Matthew

And then there is the player that had the most talent, and then threw it all away: Dwight Gooden. He had ability to burn, and now, nothing. What could have been.....

I've read Powell's Dance to the Music of Time twice now, and I have mixed feelings about it. It'll be interesting to read your take on the books. I would compare the writing more to Waugh instead of Trollope or Galsworthy, Powell has that cynical touch about characters and situations that reminds me of EW.

I don't know what motivated Reardon to rob the store, but the 'medication made me do it' is a load of horse hockey to mix my sports here. From what I've read, Reardon was on anti-depression drugs because he was greiving over his son who died a couple of years ago -- the son died at the age of 20. I always share your doubt on these kinds of excuses, but in this case, it just might be true. From all reports Reardon is financially secure, has no history of trouble with the law, so I would cut him some slack on this one.

Could be............but it sounds to me like you might actually be talking about Yusef Lateef on 'Judyful' from the Fuller Sextet "Images" Savoy one? Coincidentally, I saw the Curtis Fuller Quintet last weekend w/Ronnie Matthews and Lou Hayes. It was Fuller's B'day and Freddy Cole stopped by to sing a couple of numbers, which was a real treat! After the show Hayes had a cd or two rattling around in his bag so I bought 'Dreamin of Cannonball' off him (he was a bit miffed that he had to pack up his own kit). So that then, was my last CD purchase. You ol' name dropper, you!

The Fuzzy Warble series, vols 1-6. Merry Christmas to me!

We all have players that everyone raves about, but we don't think that highly of, for me, Damon is that kind of player. Of course he had a great year last season, but that was a contract year, which always seems to bring out the best stats for a player. I see Damon going to down in value this season, and I don't think over a full season he can handle center at Yankee Stadium. Feel free to flame away now.

I'll have to look for that, I have an Italian 2cd import, and the sound is anything but quite clean. Wouldn't it easily fit on one disc? Ye$, it doe$, but who know$ why they $ell two cd$ in$tead of one.

I'll have to look for that, I have an Italian 2cd import, and the sound is anything but quite clean.

Is Jerry playing a steel guitar on It Hurts Me Too, in the Paris concert? Late edit: I'm stunned, a Pigpen vocal I actually like! Two Souls in Communion has an understated, sad quality to it.

Just to add my two cents: DP 36 is a great concert, and like everyone else, the Dark Stor / Morning Dew is worth the price alone; plus the sound is outstanding. It was mentioned earlier, but to have a complete set of Europe '72 would be sooooo cool. Right now I'm listening to Olympia Paris, '72 concert and it's very good.

Grateful Dead: Dick's Picks vols. 1-6. I've decided that my New Year's resolution will be to get all of the Dead's DP's by the end of 2006.

Have I overlooked it -- not one mention of Joni Mitchell?

This is a terrible decision... Treasury says Cuba can't send players to Classic Associated Press NEW YORK -- The U.S. government is shutting Cuba out of the inaugural World Baseball Classic, citing the standing embargo against the communist island nation. The Treasury Department told Major League Baseball of its decision Wednesday, said Pat Courtney, a spokesman for the commissioner's office. The department's Office of Foreign Assets Control confirmed the announcement. The sport's first World Cup-style tournament, originally to include 16 teams, was jointly organized by the commissioner's office and the players' union. It runs from March 3-20 in the United States, Puerto Rico and Japan. Organizers will work to have the decision reversed, said Paul Archey, the senior vice president of Major League Baseball International, and Gene Orza, the chief operating officer of the Major League Baseball Players Association. A permit from OFAC is necessary because of U.S. laws governing certain commercial transactions with the Fidel Castro-controlled nation. "We are very disappointed with the government's decision to deny the participation of a team from Cuba in the World Baseball Classic," Archey and Orza said. "We will continue to work within appropriate channels in an attempt to address the government's concerns and will not announce a replacement unless and until that effort fails." In Havana, government officials had yet to react to the decision Thursday, but Cubans on the street were outraged not only because they felt it was unfair, but because it meant they won't be able to see their players go up against the American major league stars. "Enough already!" said Antonio Mayeta, whose brother is a baseball player in Cuba. "It's unbelievable. This is about sports, not politics. In Cuba, baseball is our culture. Everyone was so anxious to see these games." Said Victor Renglon, sitting on a park bench in central Havana: "Everyone from Fidel to little boys are born with a bat in their hands." Organizers had said the Cuban team likely would have included only players currently residing in Cuba and not defectors such as Jose Contreras, Orlando Hernandez and Livan Hernandez, who have become major league stars. In the tournament schedule announced last week, Cuba was to play its three first-round games in San Juan, Puerto Rico, facing Panama on March 7, the Netherlands on March 9 and Puerto Rico the following day. If the Cubans advanced, they would also have played their second-round games in Puerto Rico. "It is our policy that we do not confirm, deny or discuss licenses," Treasury spokeswoman Molly Millerwise said in an e-mail to The Associated Press. "Generally speaking, the Cuba embargo prohibits entering into contracts in which Cuba or Cuban nationals have an interest." Rep. Jose Serrano, a New York Democrat, said Tuesday that he is circulating letters to be sent to Secretary of State Condoleezza Rice and Treasury Secretary John Snow asking that Cuba be allowed to play. "Let's leave the politics out of this," Serrano said in a statement. "The World Baseball Classic should not be tainted by our grudge against Cuba's government. Cuba produces some of the finest baseball talent in the world and they deserve to participate." At last week's news conference in Dallas announcing tournament plans, Orza sounded unconcerned about OFAC granting a permit. "I do not think that is a serious impediment," Orza said, adding he was "very, very confident that the Cubans will play."

If I remember correctly, when Nomar went down with the torn groin, ESPN had a huge article more than hinting that steriods was a factor. Which, I also thought strange given the nature of the injuries, but it was someone who seemed to know (FWTW). Maybe I'll see if I can dig the article up. Edit Here's the article I had in mind. Edit on my edit: No it's not.

Are only Spiritual Unity, Bells, New York Eye & Ear Control, and Spirits Rejoice, going to be in this set? No Slugs Saloon?

I don't think Nomar can stay healthy for a whole season. It seems in baseball once the body starts to breakdown (maybe it was abuse of steriods that caused it), nothing can help it -- exhibit A: Ken Griffey. Nomars days as a top level, everyday player, are over, I'm afraid.

Only one with Naomi Watts... I still think Watts' performance in Mulholland Drive is one of the tops in the past 25 years.

I'm in the "Velma is in way over her head" camp. Apply that as you see fit to Pigpen (which, you don't have to at all, it's just my humble self thinking this).

I always thought of Pigpen as rock's answer to Velma Middleton.

I just do get the Yankee's interest in Damon, he's never stuck me as someone who could handle center at Yankee Stadium. And then to ask for seven years . Normar is even more of a risk, he's never been the same player since 2003. Some of the deals that are being mentioned make no sense to me, at all. Manny to the O's though, does make sense, he'd go .350 - 50 -150 easily in Camdon.

Listened to the three cd version of the Fillmore shows today, and I must admit I was underwhelmed. Some high points, but some not so high points also, (and I'm leaving out McKernan, who I have no use for -- sorry ). Sound is good though, but I don't feel so left out on missing the whole set now.

That's what so many Christians forget about Revelations; it was written to a particular faith community to give them comfort in their trails and persecution, it was never meant to be a blueprint for the end of the world.

I love the fact that King Pat waited until Shaq comes back to take over -- what a jerk. PS: I'm kind of schocked I couldn't spell shocked right! I even used the edit function and still blew it. That's California public eduction for you.

Van Gundy steps down in Miami (the ever famous "more time with family reason"), and King Pat takes over..... I'm SCHOCKED!!

There was an earlier question of Echoes / 2001, here's how it's done from Pink Floyd on-line: How to do it: The set up is very simple: pause 2001 just before the title frame for "Jupiter & Beyond the Infinite," pause Meddle at the beginning of "Echoes," and unpause both audio and video at the same time. The beginning of the title frame should corresponds exactly with the first "ping" of "Echoes." Some verteran synchers also believe that placing this initial ping a second or two before the appearance of the JaBtI title brings slightly better results. In either case, "Echoes" and the 2001 movie as a whole should essentially end at exactly the same time. As far as I know, unlike the components of "Dark Side of the Rainbow," there are no variant versions of 2001 or "Echoes" to complicate matters here. What to look for: As soon as the song "Echoes" is played and the "Jupiter And Beyond The Infinite" title card pops up, a ping will sound. This pinging sound will ring once every few seconds for the first 1:20 or so. The music will slowly start to fade in after ten seconds or so. It is very eerie-sounding - as synthesizers slowly build, and eventually a mellow, slow guitar riff comes into play. As all this psychedellic, mellow music builds up the images on the screen are of the monolith floating around in space while the outstanding special effects show the planets in the background. The sense of limitless space is evident, and the music only enhances that feeling. LYRICS/IMAGES/INTERPRETATIONS: The lyrics begin at 2:57. Here is a line-by-line breakdown and my own personal interpretations. LYRICS: "Overhead the albatross hangs motionless upon the air" IMAGE: The camera pans across the vast space background. INTERPRETATION: Obviously the albatross represents the monolith - which is, as the song says, hanging motionless. LYRICS: "And deep beneath the rolling waves/In labyrinths of coral caves/The echo of a distant time/Comes willowing across the sand" IMAGES: The monolith continues to float around in space as the camera pans towards the Discovery ship. INTERPRETATION: The references to the ocean might be a comparison of the vastness of the ocean and the even more vastness of space. "The echo of a distant time" might refer to the monolith - as we know the monoliths have been appearing to Earthlings since evolutionary times. "Willowing across the sand" seems to symbolize the tiny little spaceship slithering across the vastness of space like a worm through sand. LYRICS: "And Everything is green and submarine" IMAGE: The Discovery. INTERPRETATION: "submarine" is obviously the spaceship Discovery - as a submarine explores the water, this machine explores space. LYRICS: "And no one showed us to the land/And no on knows the where or whys" IMAGE: images of the monolith and Bowman's pod heading for it. INTERPRETATION: The lines might be something that the humans who discovered the monolith might say - "whoever put these monoliths here didn't tell us why, but we're figuring it out." LYRICS: "But something stirs and something tries/And starts to climb towards the light" IMAGES: The monolith flying upward while the camera pans over to the Discovery. INTERPRETATION: Could mean two things simultaneously: 1) The monolith (not sure what it is, which is why it is referred to as "something") begins to gain momentum and moves from the bottom of the screen to top, and continues to move. The light it's moving to might be the light show that soon occurs. 2)Symbolic of how insignificant Bowman and his pod is (just "something"), and it is heading towards the monolith - as a subject might approach its savior and/or like a moth to a lightbulb. LYRICS: "Strangers passing in the street/By chance two seperate glances meet/And I am you and what I see is me" IMAGE: Bowman's pod heading straight towards the camera. INTERPRETATION: The monolith and Bowman might be the two strangers who have just happened to run into each other. There's so many people in the world that the huge population and all the individual traits each person has might be compared with the vastness of space. "And I am you..." - I'm positive this is a reference to the later section of the film in which Bowman sees himself as an old man in the "hotel room," however, I believe that somehow this second verse was switched with the fifth verse. The "Through the window... a million bright ambassadors" lines would seem more appropriate at this time. Either way, this still is a thoughful, poetic line. LYRICS: "And do I take you by the hand/And lead you through the land/And help me understand the best I can" IMAGE: The monolith disappears. INTERPRETATION: "Take you by the hand" - what the monolith might be saying to Bowman - to take him on a tour of the monolith's home land. "And help me understand...." what both the monolith and Bowman might say to each other - to learn more about each other. As Bowman was sent to study the monolith, the monolith is a tool to study Earth and its people. LYRICS: "And no one calls us to move on/And no one forces down our eyes/And no one speaks and no one tries/And no one flies around the sun" IMAGE: The camera pans up and the light show begins just as the last word of the last line is sung. INTERPRETATION: "no one calls us to move on... forces down our eyes" - sounds like something two children might say who are so excitied about something and can't stop doing what they're doing (as Bowman and the monolith are about to embark on a fantastic journey). "no one tries.... no one flies around the sun" - open to interpretation, could mean just about anything. Singing ends for the time being as the music becomes more mellow as the light show continues. The sound of the music seems to perfectly match the mood the lightshow induces - exactly like any other movie uses a pop song during any kind of montage. At the 7 minute point the music changes and becomes driven by organs and drums, just as the light show becomes a series of starry images - the swirling galaxies, the images that look like embryos, the dancing diamonds. The music continues to match the images and mood on-screen until.... At the 10:30 point the music fades out and an extremely eerie, freaky sequence of sound effects is faded in. This transition occurrs as the transitition on the screen is made from the starry images to the ultraviolet images of the alien planet. The sound is no longer rock, but strictly psychedellic, much like the "eeeee"- choir-sung sound on the film's actual soundtrack. Some of the background sounds on the CD seem to synch with the images on screen such as wind, waves crashing, and seagulls as we are shown what looks like the alien planet's ocean. The eerie sonic sequence lasts until 14:20 when Bowman finds himself in the bizarre "hotel room." The music starts to fade out as synthesizers slowly start to build in the background. It is at this time that Bowman begins to slowly walk around and try to figure out where he is. The sound and music continues to build and the eerie sequence fades out. The pinging noise also occurs. The music comes to a climax around 17:06 when Bowman sees himself in the other room as an old man eating. At 18:00 Bowman gets out of the chair and looks around. At 18:14 the guitars kick back in as he turns around and returns to the table. At 19:11 the lyrics come back. LYRICS: "Cloudless everyday you fall upon my waking eyes/Inviting and inciting me to rise" IMAGE: Bowman walks from the door to the table. INTERPRETATION: This might be something Bowman, as an old man, might be thinking. Perhaps he has been stuck in that room for decades as the aliens' guinea pig? LYRICS: "And through the window in the wall/Come streaming in on sunlight wings/A million bright ambassadors of morning" IMAGE: Bowman sits down at the table. INTERPRETATION: I believe all three lines refer to the rays of light which brough Bowman from our reality to the reality he is in now. It is possible this entire verse was switched with the second verse. LYRICS: "And no one sings me lullabies/And no one makes me close my eyes/And so I throw the windows wide/And call to you across the sky" IMAGE: Bowman eats his meal. INTERPRETATION: "lullabies" and "close my eyes" might be something Bowman would say since it seems he has been alone for years in just a few seconds. The latter two lines might refer to the monolith - calling to it to do something. Music continues much like it did during the light show sequence. At 21:18 the music quickly fades out just as the old, dying Bowman points to the monolith in front of him. The music at this point is keyboard-driven, very mellow - as if someone was trying to put somene to sleep (i.e. Bowman dying). At 22:10 a strange sound, like a jet engine in the distant, starts to fade in, along with the pinging sound again. The image on screen is of the embryonic Bowman. Eventually the music fades out to just the eerie sound effects as the "Star Child" looks at the camera. Both the song and the movie then end AT THE EXACT SAME TIME.