Chalupa

Going for it on 4th down on your own 26 in the 2nd quarter and you've got the lead????? ARE YOU NUTS??? That's something you might do if it's the 4th quarter and you're losing but not in the first half w/ plently of time on the clock and you have the lead. Could you imagine the shit storm that would have erupted had Holmgren gone for it and not made it?? Otherwise I agree w/ your both W/R/T Seattle having its chances and doing nothing w/ them. Yeah, the refs blew a few calls. Get over it. They always blow calls. That said, the offensive pass interference call that nullified the TD was a travesty. Also, it didn't look to me that Big Ben scored but there wasn't enough evidence on replay to overturn the call. I was surprised ABC didn't get a better shot of that. The holding call that called back that long pass to Stevens was a good call. The Seattle Olineman had the Pittsburgh player around the neck. Also, someone mentioned the Seattle player getting the ball over the goal line before he stepped out. That's not the rule. You must come down w/ both feet inbounds for it to be a catch. He never did so no catch = no td.

Calvin, Elliott, and Rick(in the background)...

Calvin...

Another of Jamaladeen..

Here are some photos I took last Friday night of Jamaladeen Tacuma, Elliott Levin, Calvin Weston, and Rick Iannancone......

http://www.yourmusic.com/browse/genre/010_...d.html?sortby=5 Check out the image on the Bob James "Touchdown" cd in the top row. As my toddler son would say,"Uh-oh."

>Byard Lancaster 'Exodus' Philly Jazz 1973 (1977?). A few of these have popped up on ebay in the past year. They usually go for around $20. Try www.gemm.com too.

AHHHHHH!!! Drink a highball, at nightfall, Be good fellows while you may For tomorrow may bring sorrow, So tonight, let's all be gay. Tell the story, of the glory, Of Pennsylvan-i-a, Drink a highball, and be jolly Here's a toast to dear old Penn!

So.... who's been to the women's roller derby in Austin????

Sly Stone's Surprise Reclusive Musician May Emerge to Perform At Grammy Awards By J. Freedom du Lac Washington Post Staff Writer Friday, January 27, 2006; C01 Sly Stone, the reclusive, long-vanished funk-rock pioneer whose potent recordings in the late 1960s and early '70s defined the era and altered the course of popular music, may be about to strut back into the public eye. According to several friends and associates, discussions are well underway about a Sly and the Family Stone reunion performance at the Grammy Awards on Feb. 8 in Los Angeles. It would be Stone's first live performance since 1987, and his first major public appearance since Jan. 12, 1993, when Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame. It would also mark the first time since 1971 that the band has played in its original configuration. (Drummer Greg Errico quit the group that year and was soon followed by bass player Larry Graham.) As songwriter, producer, bandleader and singer, Stone dazzled the world of pop music more than 35 years ago with a string of superlative anthems -- timeless songs, including "Dance to the Music," "I Want to Take You Higher," "Hot Fun in the Summertime," "Family Affair" and "Everyday People" (whose lyric "Different strokes for different folks" became a slogan for the Woodstock generation). By the early '70s, though, he had developed an all-consuming cocaine addiction, and he soon faded from the spotlight. Speculation on the whereabouts and condition of Sly Stone has been a pop pastime for decades. Ron Roecker, a spokesman for the Recording Academy, wouldn't confirm that the reunion is on the Grammy-night schedule, which already includes an all-star tribute to Sly and the Family Stone. The tribute -- featuring John Legend, Maroon 5, will.i.am of the Black Eyed Peas and Steven Tyler of Aerosmith, among others, performing a medley of Sly classics -- was announced yesterday by the academy. (All the artists appear on a Sly and the Family Stone tribute album that will be released the day before the Grammys.) "The facts are what we put in the press release," Roecker said. "As far as anything else, it's all just rumor. But we do believe that he is attending the Grammy Awards." He added: "It seems like the right time for him. We're thrilled that we'll be able to do this." Stone's manager, Jerry Goldstein, could not be reached for comment. Nor could Stone himself -- no surprise, given that he stopped speaking to the media in about 1987. But sources close to the band said rehearsals are scheduled to begin next week in Santa Monica, Calif. They cautioned, however, that the reunion could implode at any point, given Stone's long history of erratic behavior. Still, that there's talk at all about a Sly Stone coming-out party is a surprise. "He's been in seclusion for so long, he's like J.D. Salinger," said Greg Zola, who is producing and directing "On the Sly: In Search of the Family Stone," a documentary about the elusive musician and his band mates. "He was so famous for a period of time, but he's just not around anymore. A lot of people who you'd think are in the know actually think Sly Stone is dead." Stone's younger sister, Vaetta, acknowledges as much on her Web site, where she's selling T-shirts that say, simply: "Sly Lives." "I don't think Sly has been hurting from his underground status -- I think he likes the mystique," said Rickey Vincent, author of "Funk: The Music, the People, and the Rhythm of the One" and host of a funk radio show in the San Francisco Bay area. "But it would be nice to see him make a triumphant return -- to be treated the way Carlos Santana was at the Grammys a few years ago, and the way George Clinton was treated at the Grammys." Clinton thinks so, too. A funk legend himself, Clinton was forced to rethink his approach to music after hearing Sly and the Family Stone's landmark 1969 album, "Stand!" "He's my idol; forget all that peer stuff," Clinton said. "I heard 'Stand!,' and it was like: Man , forget it! That band was perfect. And Sly was like all the Beatles and all of Motown in one. He was the baddest thing around. What he don't realize is that him making music now would still be the baddest. Just get that band back together and do whatever it is that he do." In its heyday, from roughly 1968 through 1971, Sly and the Family Stone created revolutionary music, an intoxicating mix of psychedelic pop, pulsating funk and social commentary. Among the first fully integrated groups on the American music scene, with blacks and whites and men and women together onstage, the seven-piece San Francisco band played the world's biggest venues while cranking out hit after cutting-edge hit. Stone was an innovator whose work inspired Motown to find its social conscience, helped persuade Miles Davis to go electric, and ultimately laid out a blueprint for generations of black pop stars, from Prince and Michael Jackson to OutKast, D'Angelo and Lenny Kravitz. "There's black music before Sly Stone, and there's black music after Sly Stone," said Joel Selvin, author of "Sly and the Family Stone: An Oral History" and a San Francisco Chronicle music critic for the past 30 years. "He completely changed what black music was. I mean, he changed Motown! Before Sly, the Temptations were 'I'm Losing You.' After Sly, they were 'Ball of Confusion.' It's a black and white moment. "The album 'Stand!' summed up the times, with the humanitarian sentiments, in a perfect sloganeering way. 'Dance to the Music,' 'There's a Riot Goin' On' -- these were revolutionary documents. And Sly's statements last. They sound as good today as they did when they were recorded. There's really nobody like Sly Stone in the history of black music." Lamont Dozier, part of the Holland/Dozier/Holland hit-making machine at Motown, said in an interview that Stone "took music in a new direction, another step forward. He definitely had some potent stuff, and some new stuff, in a new voice. It was this funky, street-y, but pop R&B music. I was very much a fan." Said Vincent: "Sly was so far ahead of everybody else, he was flaming out when everybody was still trying to figure him out." Indeed, even as Stone's star was ascending, he was deteriorating personally -- skipping concerts (he missed a third of the band's shows in 1970), blowing off record-label deadlines, acting increasingly ornery. He was abusive toward associates, band mates, friends and family members, too: Once, upon being caught with cocaine and a handgun, Stone -- whose real name was Sylvester Stewart -- told police that his name was Freddie Stewart. (Freddie was Sly's little brother and the guitarist in the Family Stone.) By 1975, the hits had dried up, and Stone's downward spiral quickened. "He was so creative, one of the most talented guys I've ever met," said R&B great Bobby Womack. "It was inspirational being around him. He made some great music. He just wasn't happy in his personal life. He got to the point he wouldn't even listen to his own stuff. That's paranoia. As the drugs set in, the warm, creative side went away. And then it got worse and worse. He was a person out of control." Womack added: "We used to be as tight as bark on a tree. But I haven't heard from Sly in 15 years. At least. The last time I saw him, I was driving down Hollywood Boulevard, and he was going the opposite way. I blew the horn and said, 'Sly!' He looked at me and just kept going. "But then he turned around and said, 'Bobby, I can't do that to you, man.' I said: 'What was that about?' " Stone, who'd once earned a reported $2 million per album, was cut loose by Epic Records in 1978. Warner Bros. offered a half-million-dollar contract, and in 1979, the label released Stone's "Back on the Right Track." It didn't even crack the Top 150 -- a disastrous showing for an artist who was once a fixture at the top of the charts. Stone summarily retreated from the studio and the spotlight. His brother Freddie told Spin magazine several years later that Stone had "wanted to get away from the fast pace. He just kicked back. . . . He didn't want to be out in front anymore. The glamour didn't mean anything anymore. He wanted to be normal." In 1981, Stone -- who'd been raised in a strict Pentecostal household and grew up singing gospel songs with his siblings -- reemerged to work with Clinton on a Funkadelic album, a summit that resulted in both artists getting arrested for possession of cocaine and drug paraphernalia. As Stone's career faltered, his legal problems mounted. In 1983, he was charged in Illinois with possessing a sawed-off shotgun; was found barely conscious in a Fort Myers, Fla., hotel room, apparently a result of a cocaine overdose; and was then arrested during the middle of a show in Fort Lauderdale on charges that he'd stolen a ring from a hotel owner. (During one court hearing that year, bailiffs had to shake Stone awake.) In November 1987, on the eve of a two-night comeback engagement at a small club in Hollywood, Stone told a Los Angeles Times reporter that he was clean, saying: "I'm fine, I'm fine, I'm fine. I'm straight, I'm clean. What else can I say?" The night after the first show -- which was declared a disaster by a Times critic -- Stone was arrested outside the club for having failed to pay $2,856 in child support. He was also charged with cocaine possession. "It's amazing he's still here," Errico said in an interview last fall. "But he is. I always say that a cat has nine lives, and Sly has nine cats. He's a character in every respect." In 1989, after failing to show up for a court date in Los Angeles, Stone was declared a fugitive. The FBI arrested him in Connecticut and extradited him to Los Angeles, where, in a two-week span at the end of the year, Stone pleaded guilty to driving under the influence of cocaine and then guilty again to two counts of cocaine possession. Since then, the world has heard very little from -- or about -- Sly Stone. Just a single song recorded with Earth, Wind & Fire, a national advertising campaign for Toyota that used "Everyday People," and the 1993 appearance at the Rock and Roll Hall of Fame induction, where the six original members of Family Stone (drummer Errico, bassist Graham, saxophonist Jerry Martini, trumpet player Cynthia Robinson and the siblings Freddie and Rose Stone) walked onto the stage, sang a bit of "Thank You (Falettinme Be Mice Elf Agin)," said their thanks . . . and then waited for Sly to surface. "As usual, it's just us," Rose said, looking at her watch. Sly finally materialized, in an electric-blue leather jumpsuit, and gave a brief speech, which concluded: "See you soon." Bucking Hall of Fame tradition, he didn't stop afterward to pose for pictures with his band mates, instead disappearing into the night -- and into the ether, for 13 years of radio silence. There are rumors, of course: He's broke! He's dead! He's homeless! Insane! Stone, who is 61 or 62, or maybe 64 ("I've lied about my age so much, I'm not quite sure how old I am," he told the Los Angeles Times in 1987), is either living: In a mansion in Beverly Hills; in a dingy apartment in the San Fernando Valley; on the streets of Hollywood; in a nice place in Pacific Palisades; or elsewhere in Southern California. "He's in Malibu," said Clinton. But Clinton isn't completely sure, since he couldn't get Stone on the phone -- even after Stone left a message for his friend to call. In 1986, Stone was living in an apartment in Toluca Lake, Calif., when his landlord filed a lawsuit, alleging that Stone and a roommate were making excessive noise -- and that they'd refused to leave the apartment after being served an eviction notice. His health is also unclear. Stone's manager, Goldstein, recently told an associate that Sly is "frail." When Stone surfaced at his father's funeral in 2002, he was reportedly in bad shape. "Sly went down the aisle of his brother's church with his mother on his arm, and nobody recognized him, because he has a hunchback," Selvin said. "He deprived his body of too much nutrition over the years." There are reports -- unconfirmed, as with much in the murky, mysterious world of Sly Stone -- that he's done recording sessions and then gone in and erased all the tapes. "He's got hundreds of songs that he's sleeping on," Errico said. "He's been writing the whole time. Where are all those songs? But I haven't heard one in 20 years. He's written and destroyed who knows how many great songs over the years with all the insanity he's been through." But Stone is said to have been recording recently with his sister Vaetta, who performs in a Family Stone tribute band. Last year he even surfaced at one of her shows, in Los Angeles. Zola, who's making the documentary on Sly and the Family Stone, was at the club that night and saw Sly Stone with his very own eyes. "This adventure to find Sly, it can feel hopeless," he said. "There was a period of time where I really wondered where he was. But he was there! It was remarkable." © 2006 The Washington Post Company

sent.

http://elvispelvis.com/jakibyard.htm#obit NY Times, Sunday, Feb. 14, 1999 p. 44 Jazz Artist Jaki Byard Died of Bullet Wound by Andrew Jacobs A jazz musician who was found dead in his Queens home on Thursday night was killed by a gunshot wound to the head, police said. Jaki Byard, 76, a prolific pianist who once toured Europe with Charles Mingus, was killed by a single bullet that entered through his nose, the New York City Medical Examiner said on Friday. Paramedics, responding to a 911 call, found Mr. Byard dead at 11:45 PM at the home on Hollis Avenue that he shared with two of his daughters, the police said. Investigators said he was last seen by his family at 6 PM on Thursday and that he was killed about four hours later. Detective Joseph Pentangelo, a Police Department spokesman, said no weapon had been recovered and that investigators had no motive or suspects in the slaying. There were no signs of robbery, forced entry or a struggle, Detective Pentangelo said. One of the jazz world's most enduring and eclectic musicians, Mr. Byard played as recently as two weeks ago at a club in Boston. He was best known for his unabashed mixing of styles and a witty stage presence that charmed audiences. He recently recorded a compact disc with the musician Michael Marcus, to be released in March. Writing in The New York Times in 1989, Peter Watrous called Mr. Byard "one of jazz's great surrealists, a comic who hasn't a moment's fear of disturbing the sanity of the performance." Mr. Byard could carelessly switch from bebop to swing to funk. In the 1960's, he frequently collaborated with Charles Mingus, Charlie Mariano, Booker Ervin and Don Ellis. In the 1970's his big band, the Apollo Stompers, was a regular on the Greenwich Village jazz circuit. A woman who answered the phone at Mr. Byard's home last night said that the family was too upset to talk. "We're all just in a state of shock right now," she said. Jaki Byard, a Jazz Musician and Teacher, Is Dead at 76 By PETER WATROUS NEW YORK -- Jaki Byard, a pianist, saxophonist and teacher who recorded with some of jazz's most important figures, was shot dead Feb. 11 in his house in Queens, said his daughter, Denise Byard-Mitchell. He was 76. A police investigation is continuing. Ms. Byard-Mitchell said that the family was baffled by the killing, and that she and other family members had been home when Byard died and had heard nothing. Byard was an extremely important figure in modern jazz for several reasons. In his playing he spanned the history of jazz, and his improvisations, filled with quick stylistic changes, moved from boogie-woogie to free jazz. He was a stylistic virtuoso, his fecund imagination saw comparisons and contrasts everywhere, and his improvisations were encyclopedic and profound. He also had a sense of humor that rippled through everything he played. "I played Bud Powell solos, and that was a phase," Byard once said in an interview with one of his students, the saxophonist Marty Ehrlich. "Then there was Garner, and that was a phase, and then Tatum, and then finally I decided to put everything together and say the hell with it, this is it." It made him the perfect accompanist for two of the more well versed musicians of modern jazz, Charles Mingus and Rahsaan Roland Kirk , and Byard was one of the few jazz pianists capable of keeping up not just with their stylistic references, but also with their humor and volcanic intensity. Byard also taught for several decades and brought his cross-generational sensibility to his students. The re-evaluation of jazz history that began in the late 1970s and early 1980s was partly due to Byard's encouragement and example. Byard was, early in his career, an integral part of a little-known jazz scene in Boston. During the late 1940s he worked with the tenor saxophonist Sam Rivers in a band, and worked society jobs, sometimes with the violinist and trumpeter Ray Nance. He then took a job with the alto saxophonist Earl Bostic in 1949, and when he returned to Boston he performed as a solo pianist, and later joined the big band led by Herb Pomeroy, one of Boston's most important bands. In 1959 he joined Maynard Ferguson's orchestra for two years. Also that year he met the saxophonist Eric Dolphy, and recorded with him on the album "Outward Bound." In 1961 Dolphy procured Byard's first recording date for Prestige records, producing "Here's Jaki," which featured the Boston-based drummer Roy Haynes. Byard also worked with the innovative trumpeter Don Ellis. For the rest of the 60s Byard became the pianist of choice for one of jazz's many vanguards. In the early 1960s he started recording with Mingus, and his playing can be heard on "The Complete Town Hall Concert," from 1962, and the two classic albums Mingus recorded for Impulse, "Mingus Mingus Mingus Mingus Mingus" and "The Black Saint and the Sinner Lady." In 1963 he recorded and worked with the tenor saxophonist Booker Irvin, another Mingus associate, and with Charlie Mariano. Two years later he began an association with Kirk, recording and performing with the saxophonist. During this time Byard began teaching at the New England Conservatory of Music, where he became an important figure in jazz education. He recorded regularly until his death, and when Duke Ellington became ill at the end of his life, filled the piano chair in the Ellington Orchestra. In the late 1970s Byard led the Apollo Stompers big band in Boston and New York, and he continued teaching at the New England Conservatory and at the Manhattan School of Music, along with stints at Bennington College, the Hartford School of Music, the Brooklyn Conservatory, the University of Massachusetts and others. In addition to Ms. Byard-Mitchell, he is survived by another daughter, Diane, and a son, Gerald, all of Queens, four grandsons and six great-grandsons. Pianist Jaki Byard Found Dead From Gunshot by Drew Wheeler JCS Jaki Byard, one of the most creative and respected pianists in post-bop and avant-garde jazz, was found dead in his Queens, New York apartment in the evening of Feb. 11. The New York Medical Examiner's Office disclosed the next day that he was killed by a bullet to the head. Byard was 76 and shared the apartment with his two daughters. A New York Police Department spokesman said that no gun was found in Byard's apartment, and that there were no signs of a struggle, forced entry or robbery. Members of Byard's family had seen him as late as 6:00 PM that evening. His estimated time of death was around 10:00 PM. Byard became well known in the 1960s as the pianist for bassist/bandleader Charles Mingus, but also became a noted educator and released a series of highly-regarded solo albums for such labels as Prestige, Muse, Soul Note and Concord. He was featured prominently on saxophonist Michael Marcus' 1998 album Involution. If anyone has information to supply please contact editor ~ed.

LOVE AACM and AEOC!!! OD, I'm doing a project on the Foxhole. Do you have any remembrances that you'd lke to share??

Death of a record store Famed Rhino Records shop in L.A. has last gasp By Chris Morris The Hollywood Reporter LOS ANGELES, California (Hollywood Reporter) -- They're throwing a wake of sorts for the Rhino Records store Saturday and Sunday. Founded in 1973, the venerable record shop officially closed its doors after the turn of the year, hard on the heels of the folding of crosstown competitor Aron's Records. But, in a final gasp of Rhino tradition, old customers will gather at the Westwood Boulevard location to paw through boxes of CDs, LPs, DVDs and videocassettes at the store's final parking lot sale. Rhino, a Westside institution for three decades, never recovered its footing after moving into a large new space about five years ago. The old shop, left open as an outlet for used and budget product, closed within a year. A partnership with the Golden Apple comics store failed, and an attempt to rebrand the shop as Duck Soup with the addition of high-priced collectibles never caught fire. These stabs at instilling new life into Rhino coincided with a precipitous decline in the music business. Owner Richard Foos says: "As bad as it is for everybody, it's much worse for independents. I don't know all the reasons. It's so complicated. There's literally hundreds of reasons." Foos adds dispiritedly: "There's too many other things to do and too many ways to get your music without paying $18 for a CD. ... I don't see a great future for physical product." The demise of Rhino hits home on a very personal level for this writer. For years, it was my neighborhood record store, conveniently located between my Westwood Village apartment and the Santa Monica Boulevard office of the film exhibitor I worked for. It was the hip shop on the Westside -- one of the few places you could buy that hot import album or that cool local punk 45. There, music obsessives gathered to buy their records, socialize and, frequently, argue with the store's highly opinionated clerks. In a gambit worthy of "High Fidelity," Rhino for many years maintained a "Worst Customers List," posted prominently behind the counter; the more obstreperous patrons -- including, on more than one occasion, myself -- were duly namechecked there. As combative as things could get, the store also spawned its own tightly knit community. When Rhino's fledgling record label wanted to promote one of its early novelty acts, the Temple City Kazoo Orchestra, the store drafted some of its regulars to march through Westwood Village, where they serenaded passers-by with kazoo renditions of "Whole Lotta Love" and other classic-rock chestnuts. The era when music lovers on both sides of the retail counter bonded is long gone. Foos notes with some astonishment that there are now no free-standing independent stores selling music between West Hollywood and Santa Monica. The options are Best Buy, Borders and Barnes & Noble. "The days of going into a place like Rhino and saying, 'What's the cool new import?' -- forget it," Foos says. Things aren't any better for the big mall music operators: Witness the bankruptcy filing last week of the 869-store Musicland chain. Does this reflect a paradigm shift? Of course, but, if a new study from England's University of Leicester is to be believed, it also reflects a basic difference in the way consumers are looking at music. The school's psychologists noted last week that music had "lost its aura," and was now viewed as simply a commodity. Says Foos with a sigh: "It's really sad and dangerous. Everybody's like a silo." Ave atque vale, Rhino Records. For some, you were a way of life. Copyright 2006 Reuters. All rights reserved.This material may not be published, broadcast, rewritten, or redistributed. Find this article at: http://www.cnn.com/2006/SHOWBIZ/Music/01/2...reut/index.html

An update.... Friday, February 3 | 8pm Ethnic Heritage Ensemble with Kahil El'Zabar, drums/percussion Joseph Bowie, trombone/percussion Ernest `Khabeer' Dawkins, tenor/alto sax/percussion Please note: Corey Wilkes, trumpet/percussion, replaces Joseph Bowie for this perfromance. Is anyone familiar w/ Corey Wilkes??? Kind of bummed to missing Joseph Bowie.

I was watching Sesame Street this morning w/ my son(19months old next week) and R.E.M. was on.... REM & Sesame Street - Furry happy monsters Furry happy monsters laughing Monsters having fun Happy, happy See them jump and run Happy, happy Laughing all the while Cheerful, cheerful Flashing a big smile That's a perfect sign That they're feeling fine Furry, happy monsters feeling glad Furry, happy monsters feeling glad Furry, happy monsters laughing Something has gone wrong Sighing, sighing Faces have turned long Crying, crying Hear them sob and whine Tearful, tearful That's a real good sign That they're feeling glum Sad, sad times have come Furry sobbing monsters feeling sad Furry sobbing monsters feeling sad Furry sobbing monsters crying Michael Stipe (spoken): Come on, monsters! You don't have to cry, we can be happy! Furry happy monsters feeling glad Furry happy monsters feeling glad Furry happy monsters laughing Furry sobbing monsters feeling sad Furry sobbing monsters feeling sad Furry sobbing monsters crying Furry happy monsters feeling glad Furry happy monsters feeling glad Furry happy monsters laughing Monsters, happy monsters Happy monsters Monsters, happy monsters Happy monsters Monsters, happy monsters Happy monsters

Thanks for the info. I might have to drive up from Philly for this.

Just got an email saying that Vijay Iyer's "Reimagining" is on backorder.

Wish they would get the Verve Master Takes

Oh SWEET!! I went to a record store yesterday to buy it and they were out of it. Thanks for the info.

What an incredible 4th quarter.

http://www.hofmann.org/ From Wikipedia, the free encyclopedia. Jump to: navigation, search Dr. Albert Hofmann Dr. Albert Hofmann For the American artist, see Albert Hoffman Dr. Albert Hofmann (born January 11, 1906) is a prominent Swiss scientist and best known as the "father" of LSD. He was born in Baden, Switzerland, and studied chemistry at the University of Zurich. His main interest was the chemistry of plants and animals, and he later conducted important research regarding the chemical structure of the common animal substance chitin, for which he received his doctorate. Hofmann joined the pharmaceutical-chemical department of Sandoz Laboratories, Basel (now Novartis), studying the medicinal plants squill and ergot as part of a program to purify and synthesize active constituents for use as pharmaceuticals. His research in lysergic acid, the central shared component of ergot alkaloids, eventually led to the synthesis of LSD-25 in 1938. It was five years later, on repeating synthesis of the almost forgotten substance, that Dr. Hofmann discovered the psychedelic effects of LSD after accidentally ingesting some through his fingertips on April 16, 1943. Three days later, on April 19 (later known as Bicycle Day), Hofmann deliberately consumed 250 µg of LSD, and experienced far more intense effects (see: LSD for details). This was followed by a series of self-experiments conducted by Hofmann and his colleagues. He first wrote about these experiments on April 22. He became director of the natural products department at Sandoz and went on studying hallucinogenic substances found in Mexican mushrooms and other plants used by the aboriginal people. This led to the synthesis of psilocybin, the active agent of many "magic mushrooms". Hofmann also got interested in the seeds of the Mexican magic morning glory species Rivea corymbosa, the seeds of which are called Ololiuhqui by the natives. He was very surprised to find the active compound of Ololiuhqui chemically very similar to LSD. In 1962, he and his wife Anita travelled to southern Mexico to search for the magic plant ska Maria Pastora (leaves of Mary the shepherdess), later known as Salvia divinorum. He was able to obtain samples of this plant but never succeeded in identifying its active chemicals. He calls LSD "medicine for the soul" and is frustrated by the worldwide prohibition that has pushed it underground. "It was used very successfully for 10 years in psychoanalysis," he said, adding that the drug was hijacked by the youth movement of the 1960s and then unfairly demonized by the establishment that the movement opposed. He concedes LSD can be dangerous and calls its promotion by Timothy Leary and others "a crime." [1] He has been the author of over 100 scientific articles and has written (or co-written) a number of books, including LSD, My Problem Child, which is partly an autobiography and describes his famous bicycle ride. On the occasion of his 100th birthday on January 11, 2006, he was the focus of an international symposium and media attention for his discovery of LSD.

Interesting that this person who seeded the late show, and presumedly was at both shows, didn't seed a tape of this exchange but does remember it verbatim. I mean what happened after he allegedly said that?? I can't see anyone saying "cracker shit" at a show and not get called out on it. I'd file this story under Apocryphal.

I saw this posted on another bulletin board...... -------------------------------- Hey All, I have been searching for Lennie Tristano's "Descent into the Maelstrom" on CD for years, and after much digging around, found that Jazz Records is re-releasing his catalog, so I wrote to them. Here is the reply I received today: "Andy, Jazz Records will be issuing 'Descent into the Maelstrom' as a CD. Hopefully, this will be done within the next year. I would suggest that you check out website from time to time. URL: www.jazzrecordsinc.com Thank you for your interest. Best Regards, Lenny Popkin Jazz Records, Inc." --------------------------------- "next year" = 2006.

Wow. Keeping track of things! Yeah, working in a library has given me a slight case of OCD