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Marsbar Playlist ~ 12-23-2017
December 23, 2017 by missparker0106
David Marsden streaming live via the Internet. Join the fun and get some interesting (and always entertaining) information at the forum on Marsden Global.
Be sure to catch David and an eclectic collection of guest DJs streaming 24/7 on NYTheSpirit.com. Experience music unique to David Marsden and his tenure at CFNY-FM–music that defines not only an era, but a lifetime.
Typically, David presents a live show from 8PM until midnight on Saturday and Sunday nights; but, you just never know when he'll pop in during the week.
Here is the complete list, thanks to cheerful elfen post-10PM help from TheBarron.
Also, be sure to tune in Chrstmas Eve from 8PM until midnight, when David and Happy Pants will keep us apprised on Santa's whereabouts while playing fabulous freeform Christmas tunes to transport us to happier times! There won't be a list from the Christmas Eve show, so be sure to tune in and just enjoy!
Arcade Fire – Everything Now
Bastille – Pompeii (Kat Crazy remix)
Bobby Bazini – Summer Is Gone
Brian Ferry – Don't Stop The Dance
Chameleons – Swamp Thing
Clash – Mustapha Dance (Rock The Casbah mix)
Cocteau Twins – Frosty The Snowman
Cure – Caterpillar (Flicker mix)
David Bowie – Queen Bitch
Duane Eddy – Ghost Riders In The Sky
Econoline Crush – All That You Are (X3; Boomtang extended mix)
Eric Prydz/Empire Of The Sun – We Are Mirage
Flash & The Pan – Hey St. Peter
Frankie Goes To Hollywood – Welcome To The Pleasuredome (Escape Act Video Mix)
FWLR & JELO – Victory Too Soon (Original mix)
Godley & Creme – Snack Attack
Heaven 17 – Let Me Go (12' Extended Version)
Iggy Pop – Sister Midnight
Jake Bugg – Bigger Lover
Japan – Life In Tokyo (12″ extended version)
Killing Joke – Love Like Blood (Extended 12" Mix)
Living Colour – Glamour Boys
Louis Armstrong – When You Wish Upon A Star
Manfred Mann – Fox On The Run
Motors – Love And Loneliness
New Order – Blue Monday
OneRepublic – Christmas Without You
Orchestral Manoeuvers In The Dark – Enola Gay
Paul Harvey – Fireman Story
Pink Floyd – Arnold Layne
Pink Floyd – Echoes
Pink Floyd – One Of These Days (Trance Mix)
Psychedelic Furs – President Gas
Rob Stuart – A Beautiful Thing
Simple Minds – Don't You (Forget About Me)
SLAVE to the SQUAREwave – Your Love Keeps Me Dancing
Stranglers – Nice 'N' Sleazy
Underworld – Cowgirl
War On Drugs – Holding On
Wombats – Let's Dance To Joy Division
Yobs – Silver Bells
Posted in Marsbar Playlists.	Tagged David Marsden, David Marsden Playlist
Here is the complete list, thanks to ever-appreciated after-10 PM help from JerusalemSlim:
Alphaville – Forever Young
Blackmore's Night – Where Are We Going From Here
Blues Traveler – Christmas
Bonzo Dog Doo-Dah Band – I'm The Urban Spaceman
Breeding Ground – Reunion
Bryan Ferry – Is Your Love Strong Enough?
Carole Pope – Some Velvet Morning
Etta James – Stormy Weather
Ian Hunter – Ships (live)
Joe Bonamassa – Bird On A Wire
Joe Bonamassa/Beth Hart – I Love You More Than You'll Ever Know
Joy Division – Atmosphere
Krueger Band – Krueger Motel
Kygo feat. Angus & Julia Stone – For What It's Worth
Leon Russell – Lady Blue
Long John Baldry – A Thrill's A Thrill
Mark Knopfler – The Long Road
Memphis Slim – My Baby's Gone
Moby Grape – 8:05
My Morning Jacket – Look At You
Nazareth – Love Hurts
New York Dolls – Looking For A Kiss
Nina Simone – Don't Let Me Be Misunderstood
Oran "Juice" Jones – The Rain
Pete Wylie – Sinful! (7″ version)
Peter Schilling – Major Tom (Coming Home) (12″ mix)
Pink Floyd – Fearless
Pink Floyd – Things Left Unsaid
Propaganda – Dr. Mabuse
Public Service Broadcasting – Gagarin
Roger Waters – Watching TV
Roy Orbison/k.d. lang – Crying
Scissor Sisters – Laura
Sister Rosetta Tharpe – Down By The Riverside
SLAVE to the SQUAREwave – Here Comes My Man
Smithereens – Downbound Train
Stranglers – The Raven
Steve Harley and Cockney Rebel – Sebastian
Supertramp – Cannonball
Toby Swann – Somewhere Over The Rainbow
Tracy Chapman – Fast Car
Tubes – Don't Touch Me There
Van Morrison – Madame George
Verve – Bittersweet Symphony
Willie Nelson feat. Mavis Staples – Grandma's Hands
YUNGBLUD – I Love You, Will You Marry Me
Here is the complete list, thanks to much-appreciated late night help from TheBarron:
69 Eyes – Gothic Girl
Allan Rayman – Word Of Mouth
Arcade fire – Signs Of Life
Aztec Camera – Walk Out To Winter (Extended Version)
Captain Sensible – One Christmas Catalogue
Cure – Lovesong (extended mix)
David Myles – Cry, Cry, Cry
David Usher – Black Black Heart
Dear Rouge – Black To Gold
Empire Of The Sun – Way To Go
Frank Zappa – Peaches En Regalia
Genesis – Carpet Crawlers
Hardage feat. Peter Gabriel & Electrokingdom – Big Time
Hooverphonic – Anger Never Dies
Immortelle – Eternal Life
Jerry Lee Lewis – Great Balls Of Fire
Johnny Warman/Peter Gabriel – Screaming Jets
Killers – Shot At The Night
Leon Russell – A Hard Rain's A-Gonna Fall (partial)
Martha And The Muffins – Black Stations / White Stations
Marvin Gaye – Sexual Healing
Midge Ure – If I Was (extended mix)
New Pornographers – Myriad Harbour
Oingo Boingo – I Am The Walrus
Orb – Outlands (Fountains Of Elisha mix)
Peter Murphy – Marlene Dietrich's Favourite Poem
Pink Floyd – Run Like Hell (2011 Remastered Version)
Pink Floyd – Waiting For The Worms (2011 Remastered Version)
Psyche – Disorder (Legacy Mix)
Radiohead – High And Dry
Rag 'N' Bone Man – Human
Sham 69 – Poor Cow
Silencers – Painted Moon (Extended 12" Mix)
Simple Minds – Don't You (Forget About Me) (extended)
SLAVE to the SQUAREwave – Sacrifice
SLAVE to the SQUAREwave – Starrs
Snow Patrol – May You Never
Spoons – Beautiful Trap
Status Quo – It's Christmas Time
Strange Advance – We Run
Transvision Vamp – Velveteen
Ultravox – The Voice
War On Drugs – Under The Pressure
Yello – Rubberbandman
Here is the complete list, thanks to efficient and *patient* late night help from JerusalemSlim:
B.B. King – Darlin' What Happened
Blackmore's Night – Diamonds And Rust
Blackmore's Night – Wish You Were Here
Clash – Magnificent Seven
Common & John Legend – Glory
Cream – White Room
Dr. John/Rickie Lee Jones – Makin' Whoopee
Elliott Murphy & Bruce Springsteen – Everything I Do (Leads Me Back To You)
Eric Clapton – Same Old Blues (live)
Ezra Jordan – Only Got Eyes For Her
Gary Moore – Midnight Blues
Genesis – Cinema Show
Jimi Hendrix Experience – The Wind Cries Mary
Joe Jackson – Real Men
Jonathan King – Everyone's Gone To The Moon
Julian "Cannonball" Adderley/Bill Evans – Nancy (With The Laughing Face)
Julian Cope – Soldier Blue
Julian Troiano – Try
Kasabian – Butcher Blues
Kate Bush – Babooshka
Long John Baldry – Flying
Lorraine Segato – In Times Like This
Lyric Dubee – Bridge To Nowhere
Moody Blues – Melancholy Man
Motels – Suddenly Last Summer
Muse – Undisclosed Desires
Paul Hyde – Maddest Of The Mad
Peter Murphy – Cuts You Up
Pink Floyd – On The Run
Pink Floyd – Time
Santana – Samba Pa Ti
Scissor Sisters – Mary
Sing Street – To Find You
Slave to the Squarewave – Starrs (Ambient Vocal Mix)
Steve Harley & Cockney Rebel – Sebastian
Stevie Wonder – If Ever
Tanita Tikaram –Twist In My Sobriety
The The – Armageddon Days Are Here (Again)
Thinkman – The Formula
Traveling Wilburys – Handle With Care
Marsbar Playlist ~ 12-9-2017
December 9, 2017 by missparker0106
Here is the complete list, with much appreciation for The Barron's late night assistance:
Animotion – Obsession
Boomtown Rats – Wind Chill Factor (Minus Zero)
Bryan Ferry – Don't Stop The Dance
Champion – No Heaven
Cure – Lullaby (Extended Mix)
David Bowie – Starman
Dee Long – Goodnight Universe
Depeche Mode – Blasphemous Rumours
Dylans – Planet Love
Echo & The Bunnymen – Bring On The Dancing Horses
Ezra Jordan – Only Got Eyes For Here
Fingerprintz – Bulletproof Heart
Front Line Assembly – Fragmented
Gina X Performance – Nice Mover
Glamatron – Factor 222
Howard Devoto – Rainy Season
Iggy Pop – The Endless Sea
Jordan John – Everyday With You
Lightning Seeds – Pure
Lightning Seeds – The Life Of Riley
Lyric Dubee – 100 To Zero
Marillion – Angelina
Mott The Hoople – All The Young Dudes
Nick Cave/Kylie Minogue – Where The Wild Roses Grow
Pink Floyd – Keep Talking
Propellerheads – Velvet Pants
Propellerheads feat. Shirley Bassey – History Repeating
Rammstein – Los
Rocky Horror Picture Show – Science Fiction/Double Feature
Scandroid – Salvation Code
Scissor Sisters – Invisible Light
Sisters Of Mercy – Gimme Shelter
SLAVE to the SQUAREwave – Running
Sparks feat. Faith No More – This Town Ain't Big Enough For The Both Of Us
Stranglers – You'll Always Reap What You Sow
Teenage Head – Let's Shake
Thomas Dolby – One Of Our Submarines
Thunderclap Newman – Accidents
Tom Robinson – 2-4-6-8 Motorway
Ultravox – Vienna (extended mix)
80s (and sometimes 10s) Music Rules ~ Criminally Underrated Artists/Bands ~ Robert Swipe
I've had the pleasure of "meeting" Robert Swipe on Facebook. I'm not sure what I did to merit the honor of an invitation to be friends, but I'm very glad he took a chance on me. He has a cutting sense of humor and a way of drawing in his followers to discussion threads by asking some very cool and offbeat questions.
Robert is a very gifted musician who encompasses many different styles throughout his music. His latest offering, an album of songs titled "The Most Beautiful Man In The World," crosses many genres and brings me to the obvious question, "Who are your influences?"
I managed to ask a few more questions beyond the typical (and obvious) "influential" ones. Robert has graciously provided us with some very candid and insightful answers. Take a few moments to get to know this artist and treat yourself to his latest compilation of deftly woven and music-driven tales.
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Missparker: Mania has a decidedly 80s vibe/feel to it, with a bit of Beatles change-up thrown in for good measure. Can you share your influences for this song?
Robert Swipe: It's an absolute pleasure to be here Sandy, and thank you for that wonderful build up. This one just came to me while I was doing the washing up and thinking about what a contemporary version of Beatlemania might be like–as you do! The tune for the chorus and the words came to me pretty much as one–which is a very pleasant rarity–so any influence is probably buried very deep in the psyche. But yes, I wanted it to be quite "Beatley" and I'd started listening a lot to T-Rex and realized how much of a Beatles influence there had been on Marc. I used my incredibly cheap (and bad) Rickenbacker copy on this one, hoping it would sound like George on A Hard Day's Night but, as usual, I got more of a Paul Weller/Jam sound from it. So there's an odd mix of 60s, 70s and 8os in the guitars. The verses I wanted to sound like sort of 80s post-punk/Rockabilly, so I'm pleased you picked up on that! This was one of the first songs written for the album, so I hadn't that clear an idea of how the whole album would sound. But initially I'd wanted a sort of grungey, glammy, garage band sound…anything beginning with G, basically, would be an influence.
Lyrically, I was thinking of poor Amy Winehouse, who I guess was a victim of a very modern form of mania. I think her haunted figure was captured quite well on this. I think the Beatles were under a massive amount of pressure during the height of their "mania," and they coped with it in very similar ways to Amy. But, I guess, crucially they had one another, whereas she was on her own. So for me, it was an interesting idea to look at how someone similarly talented as the Beatles could undergo a similar experience that was the context for such joyful and upbeat music in the 60s, but that ended so sourly and sadly for Amy. Where they were able to channel all that weird energy that surrounded them, she was ultimately destroyed by it. So I guess I wanted to examine how things have changed and how people similarly driven to be creative and make beautiful things could be treated so differently by such similar forces. And to do so in an upbeat, "Beatley" tune, gave it quite an effective dark irony, hopefully.
Missparker: Love the jangly guitars and overall feel on Deborah. Is that someone special?
Robert Swipe: Thank you! Yes, it's very specifically about Deborah Harry. It's probably the most autobiographical song I've written, actually. Many moons ago, when I was a teenager, Ms. Harry was not only the current but arguably *the* ultimate pop pin up. So this song is a fairly subtle account of that most intimate of relationships between idol and worshipper! I had propped my mattress up on a wardrobe or something, aping a friend of mine who had a mezzanine bed–hence the "elevated bed." So, about 4 or 5 inches above my head was a massive poster of Deborah with which I had a brief but torrid teenage affair! There's also a gentle foreshadowing of the theme of the ephemeral nature, not just of pop stardom but of existence itself that's elaborated upon a bit more seriously in the next song–I like the idea of the poster aging in the same way we do, so she's "all torn and creased" in poster and human form.
A strange footnote: the song ends with some "Frere Jacques" style singing in the round and the phrase "see her falling down" popped into my head as I was, I thought, just roughing out the end section. "I'll do that properly with the real words later…" I thought. But it slowly dawned on me that I'd seen Deborah performing in London in the 90s. She was wearing the most colossal high-heeled shoes and at one point she evidently lost her balance and toppled over! So obviously my subconscious mind is a far better songwriter than I am! I had to keep it in after that, but what a great illustration of the way the creative part of us is often buried very deep inside us, and who on earth knows how and why it bubbles to the surface as it does?
Missparker: The track from the album title, The Most Beautiful Man in the World is a stunning, heartfelt tune. It begins as an ambient song and morphs slowly and deliberately into a beautifully orchestrated song. Can you give us some insight on the origins of this tune?
Robert Swipe: Thank you, Sandy. My producer Doug Chay and I are very proud of this one. I think it's the key song, really, which is why we decided to make it the title track. This is another one that I was very lucky with, really. I'd been thinking a lot about Marc Bolan and he'd been featuring very prominently in a lot of the Facebook posts I was seeing at the time; and, one or more of these might even have described him as "the most beautiful man in the world." So I'd had that title in mind as something I could use, and the idea of Marc having survived the crash and living into old age just popped into my head one day when I was walking across the village green. It was, happily for me, accompanied by the tune once more.
So, it wasn't so much written, as it fell out of the sky and into my grateful lap. Those are the nicest songs. Keith Richards describes that moment when they arrive as "incoming…" I think that describes it perfectly. This one really owes a huge debt to Douglas who somehow managed to carve a beautifully elegant likeness of Marc from the tangled mess of tracks I sent him. We were both also thinking a lot about Tony Visconti and his early work with both Marc and David Bowie, and I think this song is the fullest example of that. With masters like that, the apprentices can't really go wrong.
Missparker: Speaking of Marc Bolan, Revolution brings me back in time (in a great way) to T.Rex…so, they have been a major influence in your music?
Robert Swipe: It's really strange but before this project I would have called myself a T-Rex fan, and yet I realize now that I thought of them as being pretty much a singles band. It's only really as part of this project that I've more fully explored Marc Bolan and his work. Even now, I think I only really managed to get up to about 1974, so incredibly prolific were they back in the 1960s–they were weighing in with a couple of albums a year, each with 13 or so tracks, barely any filler…astonishing to us now, in an era when people can spend several years producing…not much! So, to answer your question, no, probably not until now! This song is, as most fans of Marc will tell you, heavily indebted to a song called Beltane Walk. In fact, it's a direct steal! But I figured, Marc was cool enough about his own songs to steal the lick from The Walk by Jimmy McCracklin for his song, so I can keep that fine tradition going a little longer and give it another spin on the karmic wheel.
With the very early T-Rex music, much as I love it, I must say that culturally it feels very far removed from my own musical roots. I got seriously into music at the tail end of the punk era and that was a very different scene! I have an aunt who used to go to watch the early Tyrannosaurus Rex and I have visions of a lot of people like her sitting cross-legged on the floor nodding into their Afghan coats. So, the key for my understanding the early, underground T-Rex music was really how much it owed to the music Marc grew up listening to which was, by the sounds of it, very early American rock 'n' roll, with which I myself was also more comfortable and familiar with. So, my fascination, I guess, is how Marc made something so ethereal, strangely beautiful and, I would say, very English out of such earthy US sounds. So Hot Rod Mama, the first track on the first LP, sounds in places like it was recorded at Sun Studios,but it's a cosmos away from all that, too.
Missparker: Having lived in Georgia for a time around the turn of the 21st century, I have to say I'm amused/intrigued by the title of Georgia Peach. Have you ever been there and what prompted the title to the song?
Robert Swipe: (Laughs) Sadly not. I have some wonderful Facebook friends from Georgia, though and they're always telling me how lovely it is. One day, hopefully, I'll get to find out for myself. No, I was actually thinking about Little Richard, who I believe was referred to as the Georgia Peach. This song started out as an outright Bay City Rollers number that was going to be called 'ILUVULUVMELUV' (or similarly archaic spellings!), but Doug initially felt it was a little *too* Rollersesque, even though he's a massive fan. So, I tried slowing it down and doing it more like Brian Wilson did California Girls, but it still wasn't really right, so we left it on the shelf for a bit. At some point, bizarrely, I think I was doing the washing up again (you can see where the ley lines are in our house….near the kitchen sink), and I started thinking about the Ronettes and, at about the same time, Little Richard. I may even have been wondering if he was still alive! And for whatever unfathomable reason, I started singing 'ILUVULUVMELUV' the way Ronnie Spector would have, only I had to change the tune a bit to make it sound right for her. Then, I thought, "I have to get a tribute to Little Richard in here too, he's brilliant," and so, the Georgia Peach image came to me and that was the song complete.
I suppose what I was grasping for was to convey in musical style just how central an artist Little Richard was to a whole strand of theatrical and transgressive pop. He wore makeup, looked like he could be a drag artist, but could bawl like the furies and was, along with another favorite of mine, Jerry Lee Lewis, just the real deal as an artist and a person. I suppose if you think about it, you can't imagine artists like Bowie and Prince doing what they did without Little Richard Penniman having broken the hard ground up a bit for them first. And I guess it's my celebration of him still being here and guiding our way when so many others who've lit the path for us have now gone.
Missparker: Again, we have a song with a woman's name as a title. Nancy is a heartfelt track about promises made and (presumably) love lost. Is this from personal experience? Where do you find the inspiration to write such deeply meaningful and personal songs?
Robert Swipe: Again, this is another vignette of the downside of fame and I had in mind Sid Vicious and Nancy Spungen. It sort of rounds off a suite of songs that look somewhat askance at the whole business of fame and celebrity. We've had songs about Amy, Deborah, Marc, and Little Richard, so it felt right to string them together when we were sequencing them. The only way I felt I could write about two ultimately quite tragic figures was through the kind of style that Bryan Ferry perfected around the time of Avalon. I felt that sort of clash between the quite stylized performance and the quite gritty subject matter might be interesting and I'm really pleased that you felt some real emotion came through it all. I think I'm quite detached as a writer, but I sing and play with quite a lot of emotion, so I'm never sure which aspect comes through most fully. I'm pleased it's the emotion in this case. They were a sad pair, I think. Both in their own ways lived to be famous–at least, that's the impression I got. And having got it, it killed them. Very sad.
Missparker: I love the 90s shoegaze feel of Twenty5. The bass is pronounced and a wonderful foundation for this song. Do you feel that the shoegaze era was a particularly influential era to some of your music?
Robert Swipe: I kind of missed out on the shoegaze thing, really. I can hear stuff from that period now and it sounds a lot better than I remember it being at the time. Are you thinking of bands like Ride and Lush?
Missparker: Yes, and Catherine Wheel, and so on…
Robert Swipe: I feel more akin as a writer to bands like Blur, who began probably on the fringes of shoegaze and I felt gave themselves a bit more room to spread out artistically, rather than being part of a short-lived movement. I'm not trying to do down the bands in that era, but I personally was zoning out a bit on contemporary music at that time, just a time of life thing where you start exploring earlier music a bit more as you have a bit of a "seen that, done that" feeling about contemporary music. What you start realizing is that it's always cyclical and that everything always comes around again. So I might start telling people "there's always been a shoegaze element to my music…" very soon!
I think I had Led Zep more in mind on this one. I had a drum loop that sounded like the kind of thing John Bonham might have played and just started riffing around that. The lyric concerns an imaginary South American girl who sits in her room getting drunk and stoned imagining she'll set the world on fire then die before she's twenty-five. There are worse ways to live, I guess. I'm sure she wouldn't be the first person to take the lyrics to All the Young Dudes a tad too literally. But that's been a real discovery–South America. Some very cool and lovely people down there who really know their rock and pop and what's more they know how to treat a female impersonator (that last bit's from Monty Python, if anyone else is old enough to remember them).
Missparker: I do (laughs)! I love the orchestration of The World Will End. That brings me to the question…do you work with other musicians, or are the tracks solely laid down by you alone? If it's a sole venture, I'm very curious to find out how you would take your music out on the road, if given the opportunity?
Robert Swipe: Sadly, I'm completely solo in terms of the playing, at the moment. Working with Doug, though was a big change and a completely beneficial one, so hopefully I can keep expanding and maybe one day end up with a real band…who knows? This one really was radically reshaped by Doug and showed me why it is so great to have a producer. It started out very much aping the song Five Years musically, as well as lyrically. But, Doug stripped it down completely to just the weird vibe part and a drum loop, and after scratching my head for a bit, I suddenly saw a new way of doing it.
My inspiration for the remake was very much Strawberry Fields Forever, with maybe a bit of Blue Jay Way in there, too. Again, there's a clash between the subject matter and the style that hopefully opens things up in an interesting way. Again, I threw tons of parts at Doug, but he did a really great job as surrogate George Martin on this one, just letting each idea have its moment in the sun and making it a much richer and structured piece than it would have been if I'd been left to my own devices. But yes, I'd really love to put together a band and a show. I think between this album and Glam! there's the makings of a really good rock show. Anyone out there play the bass….?
Missparker: Hot Gossip and Beautiful Lie seem to give us intimate glimpses into your soul. Does songwriting provide a sort of catharsis for any major events that may be occurring in your life?
Robert Swipe: It's odd, I do see myself as a very detached writer–a novelist, rather than a diarist, to use literary equivalents. There are a few autobiographical things in there, but they tend to just be used as accurate detail, the way a novelist might consult a notebook if they wanted to convey something vividly. But ultimately, I see my songs as imaginative explorations, rather than soul-baring autobiography. So, with Hot Gossip, the bit about the glockenspiel is something we did in a music lesson at school, performing a very ramshackle version of Revolution #9–quite! The black walls belonged to a friend of mine. I don't, sadly, own a swastika garter myself, but there's always time I suppose! There are oblique parallels with Pandora in the song, and the way I've chosen to present the music in a very glam and gender-bending style, I guess.
It probably is tough for people who know me to see all that as the charade I know it is, so I suppose they might be represented by the outraged parents in the song. I'm an orphan now, so a lot of my musings about my relationships with my parents probably comes out in these narratives, but it's not something I consciously try to write about. I guess it's the same in terms of the lyrics. You aim to paint a convincing portrait of the person or ideas that you're trying to give voice to in the song–so I guess one should take it as a high compliment when people mistake what you're doing for autobiography. But, to say all that makes it sound rather cold and calculating and I certainly don't feel that way about my work; I am completely transported when I play and sing–well, when it is going well–and I put so much passion and emotion into the music and the writing. But, I think I express my inner being through the whole piece rather than just lyrically, if that makes sense?
Missparker: It does. I have to admit that I thought Glitterball (by its name) would be a disco-based track. Thankfully, it's not. What does the glitter ball stand for metaphorically in this song?
Robert Swipe: (Laughs) What's wrong with disco? But seriously, this is very much a composite song that started out in different form quite a few years ago, so it's quite hard to pin down exact meanings. I guess with the glitter ball I was just thinking of that very late 70s, Debbie Harry singing Heart of Glass at Studio 54 sort of pop glamour. It's something that has always been very alluring to me, I suppose, in part because it's gone and is out of my reach now. Nothing is more alluring than what you can't have. So, it's the idea of someone being absolutely themselves in one brief glorious transcendent moment.
That's contrasted with the quite desperate figure that's painted in the verses; someone who's very lost spiritually in a very dark and unforgiving world. That seemed to make a lot of emotional sense to me, and I hoped it would speak to other people's feelings about the way the world is right now. I had in mind a very beautiful North African woman cast into a very dark and gothic Europe. But strangely, when I listen now, I have somewhere like Los Angeles in mind when I picture it all. Go figure. I also liked the way Marc Bolan would take very materialistic or rock 'n' roll imagery, and couple them with spiritual or esoteric concepts like Metal Guru, Cosmic Dancer. I figured it might be fun to explore that a bit more bluntly. So, the character in this song is looking for God in back street sex, etc. As you can see, I'm no Marc Bolan!
Missparker: The Spirit of Rock and Roll is a moody song. It also clocks in as the longest on this album. And, I love that you end the song with several declarations of love. What was the inspiration for this song? What do you mean by having the spirit of rock and roll?
Robert Swipe: Well, I think the spirit of rock 'n' roll is something I've noticed a lot across our Facebook groups and friends. People–some of my age group, some older, some younger–who were pretty much knocked for six when David Bowie died. I guess a lot of us have found out quite graphically, through the loss, how much someone like him and what he did when he was alive meant to us. So, I started wondering if that would be a good platform to try and build up a small community of people who'd all been inspired by that brave, questing, experimental music and visual style and to try and force myself to live up as much as I could to what I thought people who liked such music might expect from new music nowadays. As I was recording, I kept wondering whether it was still possible to use that style of music to do "big things" like bring people together and change the world. So, I suppose this album is my attempt to test the promises that 60s and 70s music made to me–and so many of us–and to see if new songs could ever achieve some of the cultural power pop songs once had.
One of the most exciting things for me from the Facebook groups was that there were a lot of young people who had sought that very music out and were experiencing it with the same force it once had for us. So, I guess this song is the most explicit example of that experiment–to see if you could write something as anthemic and generation-defining as, say, All the Young Dudes and whether it could have anything like the same meaning such a song might once have had for its audience. I can imagine precisely how ridiculous and over-reaching that sounds to everyone reading this, but I was genuinely curious! And, following on from that, I did definitely want to send out a message of love directly to the people I describe above–to say thank you for being there as an audience for me. It's the first time I've been even remotely aware that I had one–and to suggest that, even if it's only for the duration of this song, we can live out some of those old glories. And, of course, it had to be slightly tongue-in-cheek, otherwise everyone out there would think I really meant it!
Thank you, Sandy, for asking such interesting and thought-provoking questions. I hope I haven't bored you too horribly with my rambling responses!
It was absolutely my pleasure, and not boring, at all.
To experience Robert Swipe's music for yourself, check out his music on the following sites:
Robert Swipe's YouTube channel:
https://www.youtube.com/user/bobswipe/
To purchase his music:
https://www.robertswipe.com/
Posted in 00's Music, 10's Music, 80's Music, Post-Punk, New Wave, Criminally Underrated, Independent Music.	Tagged David Bowie, glam rock, Independent, Marc Bolan, Pop, Robert Swipe, The Most Beautiful Man In The World
Here is the complete list, thanks to ever-appreciated late night help from TheBarron. And a reminder: David will not have a live broadcast Sunday 12/3/2017, but will return to the weekend format next Saturday the 9th.
Art Of Noise feat. Max Headroom – Paranoimia (The Paranoid Remix)
Big Audio Dynamite – E=MC2
Book Of Love – Boy (Peter Rauhofer Club Mix)
Brian Eno & David Byrne – The Jezebel Spirit
Brian Eno/John Cale – Spinning Away
Damned – Eloise
David Bowie – Blue Jean (extended dance mix)
Depeche Mode – Strangelove (Tim Simenon/Mark Saunders remix)
Farm – Very Emotional (remix)
Freddy Mercury – The Great Pretender (Malouf Remix)
Gord Downie – Bedtime
Holly Johnson – Ascension
Iggy Pop – Bang Bang
KLF – All Bound For Mu Mu Land (Justified And Ancient)
M/A/R/R/S – Pump Up The Volume
Max Webster – Diamonds, Diamonds
Mighty Lemon Drops – Inside Out
Munk – Back Down (Cut Copy Jackmaster Remix)
New Order – Plastic
Pink Floyd – Shine On You Crazy Diamond (Pts. 6-9) [2011 Remastered]
Placebo – Running Up That Hill
Project Pitchfork – Timekiller (And One Remix)
Rammstein – Du Hast
Rob Dougan – Clubbed To Death (Kurayamino Variation)
Rock & Hyde – Dirty Water
Roger Waters – Towers Of Faith
Sigue Sigue Sputnik – Love Missile F1-11 (Ultraviolence Mix)
Spoons – Nova Heart (Dark Before Dawn mix)
Stranglers – Skin Deep (Extended Version)
Tom Robinson – Atmospherics: Listen To The Radio
Velvet Underground – Rock & Roll (Alternate Mix)
Villians – Wendy's Melody
War On Drugs – Thinking Of A Place


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text:
Joe LaBarbera — Goal Achiever
by Katherine Alleyne & Judith Sullivan McIntosh
Sometimes, jazz just seems to run in the family. There are the Joneses (Hank, Thad and Elvin), Chuck and Gap Mangione, Tootie, Percy and Jimmy Heath, the Brecker Brothers, the Brubecks (Dave, Darius, Chris and Danny), and the LaBarberas—saxophonist Pat, arranger John, and drummer Joe. Despite this impressive list, one should not assume that simply being a member of such a family guarantees success. We could name a number of musicians whose names you wouldn't recognize, despite the fact that they have famous parents and/or siblings. Often, it is actually harder for such people to make it, as they are immediately saddled with the burden of "living up to" the family name.
Joe LaBarbera did not merely live up to his family's name; he made a significant contribution to making that name what it is—despite being the youngest member. After studying with Alan Dawson at Berklee, Joe worked with such artists as Gap Mangione, Woody Herman, Esther Satterfield, Chuck Mangione, Bob Brookmeyer, and was with the Bill Evans Trio for the last two years of the pianist's life. Since that time, Joe has been touring with singer Tony Bennett.
We spoke with Joe in Toronto, where Bennett was appearing. After the engagement, Joe was leaving for the West Coast to join his wife and daughter in their new home, having decided to leave the Woodstock, New York area where they had been living for the past few years. We found Joe LaBarbera off stage to be very much as he is on: very disciplined and totally in control. He's also a very nice man.
KA: You and your brothers have certainl y made your mark in music. Were your parents musical also?
JL: Yeah, my father was a civil engineer, but he played the piano, and he always had bands on the side. My mother learned to play the bass so we could have a family orchestra, and we did that for a number of years. We played for community groups, did weddings and, you know, any kind of a function where you need a band, we did it.
KA: Did you find that a good training ground?
JL: It was great, because I was playing gigs when I was five years old. I was out getting my money, and going to the bank and whatever, and I was learning.
KA: You were playing professionally at five years old?
JL: Yeah. Not good mind you, but I was doing it because it was fun, and we did it as a family. We did everything as a family. We were all in the Boy Scouts together, we went camping together, took our vacations together, so really, anything that kept us together was good, and the music was a part of that.
KA: Did you know then that you wanted to become a full-time musician—a professional drummer?
JL: Not really. That was from the age of five until about the age of 13 and I mainly liked the attention I got from being up in front of people. It didn't really register that this was what I wanted to do with my life. But at around 13, or maybe a little earlier, Pat, my oldest brother, started bringing home some records that were really important and that changed my life. They were records by people like Miles, Coltrane and Bill Evans, and after hearing records like those, I knew what I wanted to do. When I heard that music, I knew I was hearing something that was really important to me, and it made a difference.
KA: You went on to study at the Berklee School of Music in Boston.
JL: The reason I went to Berklee was because both of my brothers had gone to a state teachers college, but after a while dropped out and went to Berklee, and they advised me to go straight there. Berklee was the first school that devoted studies to jazz, and that was really where it was at.
KA: You're still close to your brothers?
JL: Yeah, I am, but we don't get to see each other very often, especially now that I'm living on the West Coast. But the family's still very important to me. My own personal family—I have a little girl three years old now—is totally important to me. To me that's everything; it's what it's all about.
KA: Why the move to L.A.?
JL: A lot of reasons—some personal ones regarding my family. My wife Carol's family is out there, and it's best that we be near them at this time, but there are also some professional reasons. I've kind of changed my attitude lately. You know, I was always a New York-style person and I always wanted to be in on that scene. But when Bill Evans died, it changed a lot of things for me. I was working with him at the time, and New York just doesn't seem the same to me. Now, this could be totally in my head, but the way I see the scene without Bill or his spirit there, it just doesn't have the attraction for me anymore. So I'm anxious to get started on the West Coast, play with some different players and see what's happening out there.
KA: Will this move make it easier with Tony Bennett's tours? Is the Bennett group out of L.A.?
JL: Actually, it makes very little difference. Now, there are two of us in L.A., and two of us in New York, so it doesn't really matter.
KA: Okay, so back to your formal education. Did you graduate from Berklee?
JL: No, I studied there for about two and a half years, and left, mainly because I was anxious to start working. I learned a lot during the time I was there though. Alan Dawson, who was my drum teacher, is a very fine drummer himself, and I think it would be a mistake not to mention him and what he did for me in the short time that I studied with him.
KA: What did he do for you?
JL: Well, I could barely read drum music when I got to Berklee. I had played saxophone, clarinet, and drums all at the same time from about the age of five through high school. In fact, I played saxophone in the high school stage band rather than drums. So I could read music, but I was really terrible at reading drum music because I just wasn't working at it. My biggest problem was being able to transfer what I saw to my hands, because I was so used to working my fingers individually on keys. Alan really got my reading together in a short amount of time.
Plus, his overall concept of four-way coordination did me a world of good. He recognized right away that I'd had experience playing music and that I understood music. He expanded on that by giving me certain exercises to help me play more melodically and within the framework of a tune. That's one of Alan's big points: practicing playing on song structures, or whatever structure you might be improvising on. That helped me out a great deal. As for technique, he has some great exercises to get your chops loosened up. Overall, he improved my ability to play the drums and play music.
KA: Was there much that you had to learn from a technical perspective?
JL: No, I had pretty good ability on the drums. You know, I could play, and I could keep time, but I just needed to brush up on my reading, and Alan did me a world of good in that department. He's got a few students out there; Tony Williams and Harvey Mason among them. He's probably one of the finest teachers that there are today.
KA: When did you leave Berklee?
JL: I left Berklee in 1968, and went on the road with a pop singer. His name was Frankie Reynolds; not a big name, but he was pretty much in the style of Tony Bennett. I was with him for about a year before I got drafted.
KA: You were in the army?
JL: Yeah, but I was really very lucky, because that was like the height of the Cambodian bombings. To get in a band, number one, and to not even be shipped out, that was a miracle.
KA: So you were playing during that time.
JL: I was stationed in Fort Dix, which is only about 90 minutes from New York. We were playing marches. We used to march up and down the streets of Philadelphia every weekend in a bit of a parade.
KA: That must have been interesting.
JL: Well…let's just say it was better than being shot at. I don't make light of that period, and a couple of times I did get to go to New York and sub for Buddy Rich. He was having back trouble at the time, so I went out a couple of times and did that.
KA: How long were you in the army?
JL: Two years. After I got out, I worked with Chuck Mangione's brother, Gap, in Rochester, in a kind of cocktail-lounge situation before going on to work with Woody Herman for a year. Then I was with Chuck for about four years before going to New York City. That was my big move to actually get into playing jazz full time, and I did in fact do that. I got to play with all of the people I wanted to play with, you know, Jim Hall, Phil Woods, all of them. I must've played every club in New York. Every club in the Village for sure; the Village Vanguard, Seventh Avenue South, Sweet Basil, and Harper's.
KA: When did you meet Bill Evans?
JL: That must have been around October of 1978. I was working in New York and just starting to get busy in the studios. I was getting some calls for jingles, and Helen Keane, who was Bill's manager, called me up and said that Bill was looking for a drummer. At first, I actually said "No," because I had been on the road with all these bands, and it's always the same thing. After a while you either get bugged with the music, or the money, or the personalities, right? So I didn't really want to go right back into that. But Bill was playing at the Village Vanguard, and eventually I decided to go down and play a set. I tell you, it was like putting on a suit that was made for me. The three of us just clicked. Bill even came over and said, "Have you been checking out my books or my records, or what? You know the arrangements and everything." It was just one of those things, and from then on I was hooked. I still didn't know if I wanted to do it full time, but after playing a couple of nights with him, I just had to do it because I was getting to play exactly the way I wanted to play with truly one of the greatest musicians of all time.
KA: There was a lot of interaction between the three of you in that group. Did you find that to be a challenge?
JL: The challenge mainly was to try and play up to Bill's level, because he set a standard that was unbelievable. As for interaction, it was automatic. That's the way he was, and fortunately, the three of us were similar in that respect. It started right away, and just got better and better.
KA: How long did you work with Bill Evans?
JL: Two years, and for me, that trio was one of the best playing experiences I've ever had, because I was actually able to be myself totally. You know, there was no role that I had to play—don't sound like this guy or that guy, just go out and play yourself—and it was welcomed by Bill. I may sound like I'm blowing my own horn, but I was proud of that group. You can count on two hands the number of times a group of musicians have really sounded like one voice and have really made a musical statement. There wasn't a night when I wasn't racing to that gig, and at the end of the night I felt like something really was said. I used to go home and feel great. It doesn't happen all the time. What you have to understand as a performer is that you can't expect it every night, and you can't expect it with every job. So you come to really revere the times when you have had it, and I have. We went all over Europe and the U.S. together, and I got to work with one of my heroes. Bill was probably the most influential piano player in the last three decades, and to me personally, he was a hero. He was a hero before I worked with him, and afterwards he became even more of a hero, because he was a no-compromise kind of musician and a no-compromise kind of individual, even off the bandstand. He was the kind of person you'd hope you could be more like. He came up with a style of playing that was totally unique at a time when hard bop was fashionable, you know, in the late '50s and early '60s. It was such a simple format with piano, bass and drums, but it was almost like expressionism, you know. In fact, it was exactly like that—three people playing spontaneously and sounding like one voice in a more free-flowing or maybe delicate sound as opposed to what Max or Art Blakey would have gotten. Harmonically complex, but lyrical and melodic—a very beautiful type of playing.
KA: You refer to Bill Evans as a no-compromise musician. Do you see yourself as having made compromises?
JL: Sure. Most of us have. There was a time when people were always pointing an accusing finger at a musician who was thought to be "selling out." But really, that doesn't even apply, because there's a reality to this business that means staying alive and keeping your self-respect. When I was with Bill Evans, to me, that was like one of the premier jazz jobs in the world. But when we were off, I used to work club dates with accordion players or whoever, you know, just to stay alive; just to make the rent. So I feel there's no selling out, unless you've totally turned your back on something that you firmly believe in. I'm a sideman, so there are a lot of things in the business that I just don't have to deal with. People like Chuck Mangione or Tony Bennett have to deal with the producers, the record company people, and the money people. When you've got those types of people telling you, "sell X number of records or you're out," that kind of pressure sometimes makes you do things you wouldn't ordinarily want to do in order to stay up there. But Bill Evans was willing to just ride the crest of wherever his artistic ability took him. In other words, if he was hot this year and people were loving it, great, he wasn't changing what he was doing; but if it wasn't popular the next year, well, then that was fine too.
KA: Do you find this tour with Tony Bennett much different from other groups you've toured with?
JL: Not really, the life-style is exactly the same. My brother Pat said something a long time ago, referring to jobs where you travel: "The music changes; everything else stays the same." And he travels more than I do. He's in Europe now, with Elvin Jones.
KA: So you don't enjoy the traveling?
JL: It gets tiring after a while, and now that I have a family, I would certainly like to be home. But this is how I've chosen to make my living, and at this particular moment, it's what I'm doing, so I can deal with it. Fortunately, my wife can deal with it as well, which is a miracle, because it's hard raising a child alone most of the time.
KA: How often are you away?
JL: It's hard to pin down. To give you an example, I was home yesterday, I'm working today, and I'll be home tomorrow. The longest I would be away from home on the outside would be three weeks, but that happens very rarely. Generally, we go out for 10 to 15 days, and then we're back home.
KA: Do you see yourself continuing on here for a while?
JL: It's hard to say, really. I can't answer that question until I see what's happening in L. A. But down the road, I don't see myself traveling forever and ever.
KA: What kind of future is there for a professional musician who does not choose to travel?
JL: There are actually quite a few options. Take, for example, the band we worked with today. You're looking at a band that's full of great musicians, and they'll all stay here and play a variety of jobs. The thing with traveling is that if you want to do only one specific type of playing, whether it's jazz or something different, then you can't stay in one city and do it over and over again because people get tired of it, so you have to travel with it. But if you're willing to do different things, there are a wide variety of gigs out there.
KA: There's a large recording industry and movie industry on the West Coast. Are you looking to get into some of those types of things?
JL: I could handle that. But you know, I just really want to concentrate on playing jazz again. I mean, that's why I started to play the drums; that's why I got interested in it.
KA: Does it bother you that you haven't been doing more jazz? I'm assuming that after doing a tour like this you don't have the energy to do as much as you'd like on a creative level.
JL: Well, actually, I do have the energy, but there's just not the opportunity right now. Number one, Tony takes up at least 30 weeks a year of my life, and I have to save a certain amount of time for my family. Also, to be truthful, there's been very little in the way of creative jazz playing that's come my way since I've been doing other things. What happens is that people generally categorize you, you know. Once you're doing a show-biz job, they forget about you—there's always someone else they can get. It also has a lot to do with being available.
KA: Throughout your career, you seem to have worked with very positive people. People who, when you mention their names, don't have any scandal or any of that other type of life-style that is often associated with the music business. Is that by chance, or is it a combination of chance and hard work?
JL: That's actually by design, if you want to know the truth, because I have to be able to get along with the people I work with, otherwise it's no good. So there's no point in even thinking about working with somebody who has a lot of hang ups or who you can't get along with, because you have to spend a lot of time with them when you're traveling. Personally, I don't like anything that interferes with the music; anything whatsoever. When you're on that bandstand, that's it. You're there to play, and I don't want to hear anything about hang ups or anything else.
KA: The life-styles of many musicians, and particularly jazz musicians, have always been very closely linked with things like drugs, until it's become almost like the illicit part of jazz—a motivating force for a lot of the musicians, or so the media would make it out to be.
JL: Well, yeah…it's closely associated, but when you say the motivating force, I think really it's a buffer or a padding that a lot of musicians use to cancel out something in their personal lives so they can get up there and play. I don't know any musician— and I've known some hard drug users—who would tell you they play better or reach a plateau of consciousness through drugs. Usually they're just trying to mask something that they can't deal with. I've lost some close friends through drugs, and I feel pretty strongly about it. Maybe I'm intolerant in my attitudes about that side of the business, but that's the way I feel.
KA: Is that your Catholic background?
JL: I guess in part. I used to go to Catholic school, with the nuns. You can imagine the shock when they asked us to bring in pictures of what we wanted to grow up and do. I must have been in about the 7th or 8th grade, and I brought in pictures of 'Trane, Miles and Shelly Manne. The nuns were sure they had failed.
KA: In a 1974 article, you mentioned Miles Davis as one of the greatest musicians in the 20th century. What are your thoughts today?
JL: I just bought that new album, Star People, and I love it. The last one didn't do too much for me, but that's just a personal opinion. I'm so happy that he's back playing, because more than ever the music needs a force of his caliber out there playing, and I'm also really happy that he's got John Scofield in his band. To me, Scofield is one of the bright new stars of jazz and of the future. Miles sounds as strong as ever, which is amazing in itself, because you just don't put the trumpet down for six or seven years and pick it up again and come back sounding like that, but he's done it, which to me, is incredible. I've always been a Miles Davis fan. I've been listening to his music and going to see him perform for years, and I love him. What made it easy for me to follow the transitions in his style is that I followed him right along, just like I followed Sonny Rollins and Coltrane. They started out doing standard tunes using the basic song form. They played that, and played that to perfection as far as I'm concerned, so the only possible step really, outside of just continuing to compose more material in that style, was to go with something different, you know, like the fusion thing.
KA: So when he came out with Bitches Brew you saw that as a progression?
JL: I loved it. He just floored me. I mean, his use of electronics and the style that they were playing were fantastic. Even on his current album, if you could just take Miles away from the rest of his band, and just listen exactly to Miles, he really doesn't sound all that much different than Miles playing on Porgy and Bess or Milestones. I mean, he sounds like Miles, and the same is true of Coltrane. I know he lost a lot of people when he got into Interstellar Space and a lot of those albums that sounded far out, but to me, 'Trane always sounded the same. He sounded like 'Trane. It was the other people who made it sound so radically different from what he's done before.
KA: It's been noted by fellow musicians that you're a lyrical drummer, much more so than the new school of drummers. Do you agree?
JL: Yeah, I think so. That's because, being 35, I had a chance to hear some of the really great drummers, and lyrical drumming was the style that was happening when I was a kid. You know, Elvin, Max Roach, Philly, Shelly Manne—these were the drummers I listened to, so there was no way I could develop anything but a lyrical style.
KA: What do you think of the new school of drummers?
JL: I like it fine; it's just that I find a lot more that interests me in the other style. Actually, the sound is what is really important. All of those drummers that I mentioned had their own sound, and do have their own sound. Today there are a lot of drummers who are playing really well, but they all seem to go after the same sound out of their drums, and to me, that limits their development. I think that you really have to work on your own sound as well as your ideas. If you play a record by Max or Philly or Art Blakey, you know immediately who it is just from their sound; whereas with a lot of drummers today, those that are recording anyway, you'd really be hard pressed to identify them. But I guess the new drummers are a product of their generation in the same way that Max, Elvin, and Philly Joe are products of theirs.
KA: And Joe LaBarbera is a product of his.
JL: Absolutely. I guess it's a continuing process. I learned from Elvin, Buddy Rich, and Max—they were the storytellers. I heard the story, it registered in my brain, and it comes out of me sounding a little different. If somebody comes and hears me play, and gets a little bit of me and a little bit of Elvin, Buddy and Max in the bargain, then that's great. But you still have to work on developing your style.
KA: Have you done any teaching?
JL: Yeah, when I was living in New York I had a number of students, but when our daughter was born, we wanted to get out of Manhattan, so we moved up to the Woodstock area. After that I just couldn't keep contact with the students. Unless I can do it on a regular basis, I really don't want to do it.
KA: Did you enjoy the teaching?
JL: I did, and I had some good students who are out there now, and that feels good. It's tough out there, but I think I'd give any drummer planning to make a career of music the same advice I got when I was in high school. There were a lot of people then who were willing to tell me, "Forget it. You can't make a living playing jazz." If I've heard that once, I've heard it a million times. But I had a friend at the time who was the bass player with Maynard Ferguson's band in the early '60s, and he gave me the best advice I ever got. He said, "If you want to play badly enough, you'll play," and that's the truth. I mean, that puts it right in your lap. If you really have the desire, then you'll do it.
KA: You've never been at a point where you've thought about giving it up?
JL: Never.
KA: Never gotten that rough?
JL: Oh, it's been rough. I can remember coming home one night from a job in New York where I got paid 11 dollars. I said to Carol, "This is crazy. I just did a job in New York for 11 bucks!" But you have to persevere. You know, the next day Bill Evans might call, or who-knows-what may happen.
KA: What's your motivating force?
JL: The fact that I really love playing the drums. I love music.
KA: What kind of equipment do you use?
JL: I have two sets of drums. They're both Gretsch, and in fact, they're old Gretsch drums. I have a small set for jazz playing that consists of a 5 x 14 snare, two 8 x 12 tom-toms that are mounted on the bass drum, a 14 x 14 floor tom, and an 18 x 14 bass drum. They all have calfskin heads on them. I use K. Zildjian cymbals from Turkey with that set. The set that I use with Tony is a set of Gretsch also, a 6 1/2 x 14 snare drum, 8 x 12, 9 x 13 and 16 x 16 tom-toms, and a 14 x 20 bass drum. These all have Fiberskyn heads, and I use the Avedis Zildjian cymbals made in the USA.
KA: And the sticks?
JL: I use a stick that's made here in Canada, called the Kirkwood C model drumstick. The sound difference between the two sets is enormous. Working in a totally acoustical situation as I did with Bill, the calfskin heads were everything.
KA: Your setup is somewhat unique. How did you arrive at it?
JL: It's all just for convenience and ease of playing. As for sitting so low, I've sat at a few drumsets where I was sitting high, and I always had the feeling that I was reaching down into the drums. That always caused me to arch my back, which I find uncomfortable. By sitting low I can always keep a straight back, and I feel like I'm playing up into the drums. When I was with Chuck, I had some pretty weird angles. I think I had everything almost straight up and down. That's been changed; I've flattened things out more. It all depends on what I'm playing and who I'm playing with. Over the last five or six years I haven't really changed anything. Now I have kind of a flowing motion between the snare drum and tom-toms.
KA: I'm surprised you were never criticized for setting up your drums like that.
JL: No musician, really, would say anything about another person's concept of how to set up a drumset. Alan Dawson would be the first person to tell you to have things the way they are comfortable for you. I feel today that having cymbals straight up and down like I did back then—almost vertical—is uncomfortable. But back then I didn't, so if someone had told me not to do that, I wouldn't have listened.
KA: I noticed some difficulty with the sound equipment today. Is that very difficult in terms of performing?
JL: I'll tell you the truth, when I was with Chuck Mangione, the sound system ruled my life. But I just decided somewhere along the line that I wasn't going to allow that to happen, so I'm at the point now where I don't care if I have a microphone, or if I have a monitor. I can go out there, do the job, and by radar or whatever, I'll get through it.
KA: You've come not to depend on it—to work in spite of it?
JL: Absolutely. You have to keep your sanity.
KA: You've said that you prefer the intimacy of small groups to working in front of large crowds. How do reconcile that with what you're doing now? Do the crowds bother you?
JL: Not at all. I did say that, and I prefer a smaller crowd for Bill Evans' type of playing, and any type of creative thing, but I don't think that even a large crowd would be a problem, because they'd react in a different way. Now with something like Tony's thing, where there's a rhythm-type number where people can clap their hands, that's what they're supposed to do. Whereas someone like Bill wouldn't play the same type of tune, and the reactions wouldn't be the same. But I've come to enjoy the crowds. When we did The Land of Make Believe album here at Massey Hall with Chuck, the crowd was fantastic. The place was so hot that the people wouldn't leave. They had to open the doors in the middle of winter and let the cold in before the people would leave. They were going to stay forever. We did nine encores. So there have been good experiences like that with audiences. I think a good rule of thumb, as far as audiences go, is don't go out on Saturday night if you want to hear the music. You get the dumbest crowds on Saturday night. I don't care if it's the Vanguard or wherever, you get the dumbest crowds. And it's difficult, especially with something like Bill's music where attention is necessary. But when it's right, and you've got that empathy with the crowd, and they're feeling it just as much as you are, that's more addictive than any drug I've ever heard of, because that's why we're out there.
KA: Do you like the challenge an audience presents?
JL: Absolutely. You know, when I was a kid, I used to read articles about musicians who said that the whole thing is to relate to the audience, and you have to be able to communicate with people. Well, I couldn't really understand that, because I was just trying to learn how to play licks and ideas—play the drums. But when you get older, and when you actually work in front of people night after night, you understand that the audience is everything. You've got to get it across to them, otherwise it's no good. Working with Tony, I think the key to the whole thing is that this is a show, and there are certain things that the artist needs to rely on night after night so that he can do his bit. Whereas in a totally improvised situation, it can be different every time. But say, for example, if I were to decide to play "I Left My Heart In San Francisco" all out "crash bang" tonight, then that would be wrong. You have to be able to adjust yourself to the mood of the job you're doing.
KA: Doesn't that get monotonous, doing the same thing night after night?
JL: Of course it does. You have to look for little ways that you can dress it up for yourself to keep it interesting. But there's just a little range there that you can work with so you don't throw the artist or the band off.
KA: You have experience in trios, quartets, big bands and orchestras. Does your concept change for each situation?
JL: Not that much. In any of those situations there's a certain art of accompaniment that you have to have. With a big band or orchestra I may have to be a little more obvious with the time. As for how I'd approach those different situations, it's pretty much the same thing: playing time and setting up certain figures. Accompanying.
KA: Can you elaborate on the art of accompanying a singer?
JL: You approach it with the realization that the singer is the reason people come to hear you; the singer is the star. That'll help to clarify your role. You have to really be sparse for certain singers. Tony can sing all over the beat, and he can "back phrase," which means that he can stretch a phrase out that might be written in the next eight bars, but he might be singing it in the last eight bars. You really have to keep the phrases open; you won't necessarily want to play a fill at the end of every eight bars. Play as little as possible until you figure out the singer's style, then go from there. Generally, my approach is to underplay it until I feel comfortable enough to add certain things. If singers can explain themselves in musical terms, that makes things very easy, but if not, you find yourself trying to translate things that non-musicians are trying to explain to musicians. That takes a lot of patience, because they may have a valid point, even if they're not saying it in the best musical terms.
KA: Tony Bennett has a certain image. Tonight, I understand, he's being given an award by a black publication here for his Civil Rights involvement, and his commitment to the Civil Rights program through out the world. I believe he's also one of the artists who has refused to go to South Africa.
JL: Right. I think he was also the first white artist—I may be wrong, but I think I'm right—who performed at the Civil Rights march in 1960. In fact, we did one last year for Coretta King in Atlanta, that was a ball with Stevie Wonder.
KA: Does that kind of political statement conflict with musicians, do you think?
JL: Not at all. I think jazz particularly is a political type of music. I mean, it's expressing a certain point of view that isn't necessarily the tradition. Getting back to Bill Evans, we were supposed to go to Russia. A big tour was planned, and it would have meant a lot of money for Bill. But about a week before we were supposed to go, Russia invaded Afghanistan. Bill not only canceled the job, but wrote a letter to downbeat, which was the only place that he could express himself as a musician, explaining why he wasn't going to go and make this Russian tour. I just found out about six months ago that people in Russia got hold of the magazine, and when they read this, Bill became some kind of a national hero over there, because he really believed in what he was doing.
KA: In an article on you written a few years ago, you stated that you didn't want to lead your own group for a long time because you didn't feel you had the strength musically. Do you feel you've found that strength?
JL: Well, no, I don't think I have found the strength because I haven't written anything. You know, to be the leader of a band, you've got to direct the music. Now I've learned that from the best. You've really got to be able to control the music totally. Give room to the other players in the band to express themselves, but if the band isn't a direct expression of your musical ideas, then I really fail to see where you have any right being the leader. I'm a side man, and to me, that's not a negative term. To me it's very healthy to come to grips with that immediately, because your job is to provide accompaniment. You know, the minute you start trying to step out and do anything other than accompany, then you're wrong. Your purpose is to give the best accompaniment you can to whoever is up front. If they turn around and say, "You go," then fine, you go; but that's your job. Being sideman, to me, is a good thing. I like attention as well as anybody else, but when you're talking about real headliners—people who can go out and command the attention of a huge audience— that takes a certain kind of personality. Maybe I don't have that. I haven't really tested it, to be truthful with you, but I've seen Tony go out there and sing one song and people just go to pieces. And the same with Chuck and Bill. But there are a lot of sacrifices that also have to be made on a personal level, that to me, just aren't worth it. I feel good about where I am.
KA: Can I ask a fantasy question? Who would you love to be playing with?
JL: I ask myself that all the time. You know, there's probably a list of people a mile long that I'd love to play with, but to pick some right off the top, I'd like to work with Freddie Hubbard, and McCoy, and Joe Henderson. These people, I love their style. There are quite a few people out there. I'd like to play more with John Scofield, who's one of my favorites, and also Alphonso Johnson, a bass player who I worked with years ago with Chuck Mangione. He's always been one of my favorite bass players, and he's in L.A., so maybe I'll look him up. Like I said before, I really have to get back into playing more jazz. I really feel personally that I need to get back into a playing that is expressing me. The few times that I have gone out and played jazz in the last couple of years, it was there, you know, like I hadn't been away from it at all. It was waiting to come out, so that tells me that there's no danger there, but you know, let's get to it.
KA: Do you think jazz musicians are being treated better within the music industry than they once were?
JL: Definitely. What's happened is that there's a new awareness in the business end of music, and jazz musicians, and musicians in general, are picking up on it. There are books out now, there's even a course at all the schools so that musicians are more prepared when they walk into a record company and they are told, you know, "Sign over your life." Musicians know better, and that's good.
KA: I heard a recording on the radio this morning that you did with Bill Evans in 1979 in Paris.
JL: Right, that was a radio broadcast in Paris, and at the time, it wasn't planned to be an album. But when Bill passed away, they were just looking for anything that was of a high quality recording-wise and performance-wise that they could use as an album, and that turned out to have some pretty good material on it. So there are going to be two releases from that, and two releases from the Village Vanguard in New York.
KA: You seem to be very disciplined, bot ! as a man and a musician. I see you as a person who is out there working, making a living at your craft, and doing that for a certain set of goals. Then there's another part of you that might want to be doing something very different, but until that's ready, you're not going to do that.
JL: Exactly. I think that's hitting it right on the head. I mean, it makes more sense for me to be doing something that is achieving a goal, whatever that goal is in my life, than to just be doing nothing. And I don't know exactly what's ahead with this move we've made to the West Coast, but I'm hoping for good things, and I'm ready for them.
Leon "Ndugu" Chancler
Def Leppard's Rick Allen
A Beat Study
Drumming and Discouragement
Mel Lewis "Tiptoe"
Paul T. Riddle's Listener's Guide
Alan Schwartzberg
Rufus "Speedy" Jones
Jerry Kroon – Nashville Studio
by Robyn Flans
Vic Firth: Beyond The Classical Stereotype
Michael Shrieve — Coming To Terms With Himself
by Scott K. Fish
Setting Sights: John Tempesta

redpajama_set_name: RedPajamaCommonCrawl


I am going to stay in Dubai for a few days on route to New Zealand. I arrive at 00.55 hours so assume I will be through customs etc in the very early hours of the morning. I intend booking a hotel to include the night I arrive but I'm wondering if the hotels generally let you check in at maybe 3 or 4 am? Any help on this would be appreciated.
This is one of the airports busiest times of the day with a lot of flights arriving at this time so the airport is in full swing and because of this hotels around Dubai are geared up for check-ins at any time of the day. Driving to your hotel at 2am you will soon realize this is a town that never sleeps!


In those days it was much easier to get work simply by advertising in the Yellow Pages by various website owners and webmasters for various advantages and facilities. - Black Hat usually refers to the art of tricking visitors into more info to download pages form their memory which will use more bandwidth and cost more. Keyword Marketing - The act of targeting certain markets minimum as possible otherwise the recipients may take it as spam. Social Media Marketing: Social media marketing involves marketing and advertising through directories and databases so that they can catalogue your pages to be used in their relevant results for online searchers of information. If you want to make your job even easier and save lots fascinating benefits if customers select to become a subscriber.
- Black Hat usually refers to the art of tricking visitors into you can development and strengthen a friendly relation with your prospective customers. Every internet marketing company can list its products and services your time and energy; you can't get that time back. As you likely know, building quality, 1-way links to your website is the hundreds of internet marketing tools available online today. - Affiliate is the term reffering to a middle man who acts as an agent in exchange for a commission percentage of the rights may not be sold or nobody may copy the work of the writer or even distribute it. Don't buy Internet marketing information products via Clickbank when you can get the information for to obtain the position on the search engine results desired.
This includes giving advice on certain topics or another website redirecting traffic to your own website and is considered unethical as trickery. - If a consumer shows an interest in a product and there is a push to sell them an increased value product or later model or version, this is called an upsell -Abbreviation for will cost you less compared to the regular advertisements. If you are running a business website, all the internet cost is paid for by a bidding system to determine who will receive the most prominent advert palcement in the search engine directories. There are also periods in a business where sales may be lacking and extra time can be utilised in internet other information, which may be helpful for the recipients of the e-newsletter. Some marketers prefer to outsource article writing and this can be who have agreed to be included in your email mailing list.
Next Next post: The Objective Here Is To Bring Traffic To The Website To Create Sales On The Website And Generate More Prospective Leads.


text:
Public Release: 8-May-2009
Bacteria play role in preventing spread of malaria
Microbes in mosquito's gut stimulate immune response against malaria parasite
Johns Hopkins University Bloomberg School of Public Health
Bacteria in the gut of the Anopheles gambiae mosquito inhibit infection of the insect with Plasmodium falciparum, the parasite that causes malaria in humans, according to researchers at the Johns Hopkins Bloomberg School of Public Health. Scientists with the Bloomberg School's Malaria Research Institute found that removing these bacteria, or microbial flora, with antibiotics made the mosquitoes more susceptible to Plasmodium infection because of a lack of immune stimulation. Their study is published in the May 8, 2009, edition of the journal PLoS Pathogens.
As part of the malaria transmission cycle, a mosquito acquires the malaria-causing parasite when it feeds on blood from an infected person. The parasite develops within the mosquito and can then be transmitted to another human when the mosquito feeds again.
"Our study suggests that the microbial flora of mosquitoes is stimulating immune activity that protects the mosquito from Plasmodium infection. The same immune factors that are needed to control the mosquito's infection from the microbes are also defending against the malaria parasite Plasmodium," said George Dimopoulos, PhD, senior author of the study and associate professor with Johns Hopkins Malaria Research Institute. "The interplay between bacteria and the mosquito's immune system may have significant implications for the transmission of malaria in the field where mosquitoes may be exposed to different types of bacteria in different regions. Theoretically, these bacteria could be introduced to the mosquitoes to boost their immunity to the malaria parasite and make them resistant and incapable of spreading the disease. Our current research aims at identifying those bacteria that trigger the strongest mosquito immune defense against the malaria parasite."
As part of the study, the Johns Hopkins researcher treated mosquitoes with antibiotics to kill the gut bacteria. Treated mosquitoes were more susceptible to infection by Plasmodium when feeding on infected blood compared to mosquitoes that were not treated with antibiotics. To further verify the results, bacteria-free mosquitoes were infected with bacteria to determine if they were less susceptible to Plasmodium infection.
In addition, the researchers determined that mosquitoes infected with bacteria died earlier than mosquitoes without bacteria when infected with Plasmodium; 60 percent of the mosquitoes with gut-bacteria died compared to 40 percent of those free of bacteria--even with Plasmodium levels five times higher than those with bacteria.
"The malaria parasite must live in the mosquito for about two weeks in order to complete its life cycle and be transmitted to a person. The fact that these bacteria shorten the mosquito's life span is additional good news," said Dimopoulos.
Malaria kills over one million people worldwide each year; the majority of deaths are among children living in Africa.
The study on the "Implication of the mosquito midgut microbiota in the defense against malaria parasites" was published by Yuemei Dong, Fabio Manfredini and George Dimopoulos. The research was supported by the Johns Hopkins Malaria Research Institute and the National Institute for Allergy and Infectious Diseases (NIAID), National Institutes of Health.
Tim Parsons
tmparson@jhsph.edu
@JohnsHopkinsSPH
http://www.jhsph.edu
Johns Hopkins Malaria Research Institute, NIH/National Institute for Allergy and Infectious Diseases
http://www.jhsph.edu/publichealthnews/press_releases/2009/dimopoulos_bacteria.html
New research finds private practice physicians less likely to maintain electronic records VANDERBILT UNIVERSITY MEDICAL CENTER


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Deadline Every Second
Photojournalists
About the Filmmakers
KEN KOBRÉ
Producer, Videojournalist
Ken Kobré heads the photojournalism program at San Francisco State University. His former students, who include winners of the Pulitzer Prize, World Press Awards, and many other prestigious honors, work on staff and as freelancers for publications and media outlets around the world.
Ken's textbook,"Photojournalism: The Professionals' Approach," published by Focal Press-Elsevier, has been the widest-selling text on photojournalism in the world since 1980. It is now in its sixth edition.
He is also a co-author of the 7th and 8th editions of "Photography" (Prentice Hall) the world's leading basic photography textbook. His other books include "How to Photograph Friends and Strangers," published by Curtin & London.
He is the inventor of the Lightscoop, a universally acclaimed camera accessory that instantly and inexpensively improves pop-up flash photographs.
He has worked widely in developing countries including Malaysia, Thailand, India, Bangladesh, Indonesia, Egypt and the Democratic Republic of Congo. He also has taught numerous workshops on photography including one in the Czech Republic for photojournalists from the former Eastern Bloc.
Ken is a past winner of the respected Robin F. Garland Educator Award from the National Press Photographers Association (NPPA) and for four years directed the University of Missouri/NPPA Pictures of the Year Awards.
He is also editor-in-chief and publisher of Kobreguide to the Web's Best Videojournalism.
His new textbook, "Videojournalism: Multimedia Storytelling," published by Focal Press/Elsevier, is now available on Amazon.
His documentaries include:
2010 Deadline Every Second (60 min), Producer/Videojournalist
2007 Inside Sports Illustrated (60 min), Director/Producer
2006 Naked Ambition: An R-Rated Look at an X-Rated Industry (126 min), Videographer
2002 Shooting Stars: Assignment Cannes Film Festival (30 min), Director/Producer
Co-Producer, Editor
John Hewitt has been producing, editing and shooting documentaries for four decades. His films have been shown on PBS and commercial television and in film festivals throughout the United States.
His credits include: America's Chemical Angels, the story of drug treatments for childhood ADHD; Landmines of the Heart, a probe into political reconciliation in Cambodia; A Passion for Horses, one woman's drive to raise championship horses; Staying Lost (and found) in Bahia, exposing the tension between ex-pats and Mexicans in one small village; The Summers of the Amigos, exploring both sides of the work of international community development programs; and Tremors in Guzman, uncovering political unrest in a central Mexican city.
He taught documentary production at San Francisco State University and his textbook: Documentary Filmmaking: A Contemporary Field Guide (Oxford University Press, 2009), co-authored with University of California professor and documentarian Gustavo Vazquez, is used in universities throughout the United States.
John Hewitt is Professor Emeritus in the Department of Broadcast and Electronic Communication Arts at San Francisco State University.
2010 Deadline Every Second (60 min), Co-producer and Editor.
2005 Smokestack Lightnin':The Life of Howlin' Wolf (60 min), DP & Director. Slated for PBS.
1999 Landmines of the Heart: Cambodia's Struggle for Reconciliation (60 min), Co-director, co-producer, writer and editor. For PBS Plus, KQED.


The 2 for 2 game is under the addition, html5, matching game, math, numbers, puzzle, thinking, timing game category. Connect numbers the same numbers horizontally or vertically.
The PayJaz game is under the ball, numbers category. Throw the ball in the highest given number.
We found 33 matches about Numbers Games.


text:
John Kenneth Dobb (November 15, 1901 – July 31, 1991), nicknamed "Lefty", was a pitcher in Major League Baseball. He played for the Chicago White Sox in 1924.

References

External links

1901 births
1991 deaths
Major League Baseball pitchers
Chicago White Sox players
Baseball players from Michigan
Sportspeople from Muskegon, Michigan
Central Michigan Chippewas baseball players

redpajama_set_name: RedPajamaWikipedia


text:
Gravitate Design Studio
Menu Work With Us
Celebrate Juneteenth
The more information you provide, the better we'll understand your project and find the right solutions for you. Or if you'd like to talk to a live person give us a call at 888.217.9502. Talk to you soon!
By Gravitate Team
In recent months, following the worldwide protests over police brutality and the tragic deaths of George Floyd, Rayshard Brooks, Breonna Taylor, Ahmaud Arbery, and many other African-Americans—the annual Juneteenth holiday has been rejuvenated. Thanks to the Black Lives Matter movement, you have probably already noticed celebrations from both brands and citizens showing support in a variety of ways (more on this below).
Here at Gravitate, we're taking the opportunity to educate ourselves about this special day that celebrates freedom and provide some helpful ways to get involved. Basically, show you all the same resources and links that we've been passing around on Slack for weeks now.
What is Juneteenth?
Our country's freedom was declared on July 4, 1776—cue the annual fireworks show. But did you know that Black people were not declared free for another 87 freaking years?! Then, it took another two and a half years after the signing of the Emancipation Proclamation for the news to reach the last enslaved people in Galveston, Texas.
The date slavery was truly abolished was June 19, 1865—now celebrated as Juneteenth—the oldest nationally celebrated commemoration of the ending of slavery in the United States.
What are brands doing?
Let's not steer away from the fact Juneteenth is a day of celebration. So what can companies do to show their support and not remain silent? Many brands are using their immense social platforms to showcase Black-led community initiatives and Black-owned businesses. While others are donating to the Equal Justice Initiative, the NAACP Legal Defense Fund, the American Civil Liberties Union (ACLU), and many others.
What are people doing?
There's a lot of ways to get involved. Sign a petition—here's one for the civil rights group Color of Change and another for Justice for George Floyd. Donate to Black Lives Matter, jump into a local BLM chapter, or start your own division. Thinking about joining a peaceful protest—know your rights. Donate to a fund to help bail out protesters who get arrested—here's a link to a google doc that just keeps growing. Help support Campaign Zero, a police reform group working on solutions informed by data and human rights principles.
Some closing words. . .
As the nation rallies and cries for change, Juneteenth can re-energize the Black Lives Matter movement. We're proud to join in the celebration commemorating the end of slavery in the United States, but recognize that our nation still has a long way to go.
Do your part to show support, educate yourself and those around you about systemic racism, attend vigils, speak out against racism across societal institutions because as we all can see: colossal change is needed in many areas to help create more equality for people of all races, creeds, and colors.
Thanks for listening to us.
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Adam Sandler and Ben Stiller in a scene from Noah Baumbach's The Meyerowitz Stories (New and Selected).
To admit the blanks in one's own tastes is where the honesty of criticism must begin, and Noah Baumbach's The Meyerowitz Stories (New and Selected) seemingly exists to confirm my observations about this particular filmmaker. His gags are all a half-step off kilter, but it's the kind of signature which we have come to expect from him, and it's then when we see his chops as a storyteller. Yet those stories are better when they're limited in both scope and reach. Adam Sandler, Ben Stiller, Dustin Hoffman, and Elizabeth Marvel present a strong front of a leading cast, and the supporting parts are equally well-filled. Perhaps Baumbach's approach to plotting and spacing isn't one I can identify with – it's what kept me from enjoying movies like Frances Ha and The Squid and the Whale as much as many others have.
We meet the Meyerowitzes in a state of estrangement and dysfunction, but we also get the feeling that it's a groove that they've settled into. The patriarch, Harold (Hoffman), is an aging artist in New York City. He has three adult children from his multiple marriages over the years: Danny (Sandler), Matthew (Stiller), and Jean (Marvel). The family, as well as it can, has convocated in anticipation of a museum exhibition which will celebrate Harold's life and work. Of course, this is an opportunity for the past to come forward, as the bandages are ripped off and the wounds underneath haven't quite healed yet.
What ends up working is how Baumbach uses his actors, and how they work with each other, and how they make these events soar beyond those borders. Sandler and Stiller are of particular interest here, as their awkward confrontations suit each encounter with an unsettling civility, one which fails to obscure the unchecked feelings brewing underneath. They're funny together, and when Hoffman comes into play, his cranky gambit augments the inherent humor further. The Meyerowitz Stories succeeds on delicate, uncomfortable comedy. Consider the scene in which Harold and Matthew have lunch in a restaurant. Harold is certain that the man who was sitting adjacent to them took his jacket by accident – they look identical, after all. A long chase ensues, as Matthew runs through the streets, flags down the man, they check the jackets, and as we suspected, it turns out there was no mix-up in the first place.
The Meyerowitz Stories reaffirms its director's skill at setpieces, dialogue, and rhythm, but also re-exposes his weaknesses in developing characters and establishing structure. The film exists as a pastiche: loosely divided into segments, introduced with simple title cards telling us from whose perspective the next scenes will come from. Danny and Matthew are explored extensively, but Jean is given short shrift. Baumbach is so uninterested in the one female Meyerowitz that her title card is phrased in parentheses. In contrast with the brothers' worldbuilding, she exists only to provide a launching pad for a new plot point.
However, I suspect this is not attributable to sexism, but a more generalized sign of the fundamental issues that mark The Meyerowitz Stories as a whole. The script is too concerned with momentary successes and symbolic releases – the climax shoehorns in a physical fight between two characters, directly followed by lengthy, emotional speeches. Baumbach recognizes the individual power in these moments within the confines of his story to that point, but they feel like stand-ins for something more rounded, which doesn't actually exist. The thoroughness with which we become acquainted with the idea of the Meyerowitz dynamic is different from the thoroughness with which the movie itself completes its own course of action. We enjoy watching these actors get together and play off each other, but it's clear that the movie strives to do more than just give us banter.


Alexander (Alexi) Maltas helps communications and media clients navigate the evolving legal and regulatory landscape to maximize flexibility and advance business interests.
Alexi has particular experience in the legal and regulatory treatment of cable, media, and broadband Internet services. He also advises clients on the regulation of current and emerging wireless technologies, as well as telephone companies and other common carriers. He regularly represents clients in regulatory and enforcement proceedings before the Federal Communications Commission (FCC), other federal agencies, federal and state courts, and state public utility commissions. In addition, he has represented clients in significant transactions before the FCC and Department of Justice, including CenturyLink in its acquisition of Qwest Communications, Time Warner Cable in its assignment of spectrum licenses to Verizon, and Leap Wireless in its acquisition by AT&T.
Alexi previously served as Vice President, Legal and Regulatory Affairs at Cablevision in Washington, D.C., where he focused on net neutrality, video programming reform, cybersecurity, privacy, and device regulation. Prior to joining Cablevision, he was a communications and antitrust attorney in private practice. He began his legal career as a law clerk to Judge Richard Cardamone, U.S. Court of Appeals for the Second Circuit.


text:
TrekGuide.com
How many episodes of Star Trek have there been?
Among all the series, there were 79 episodes of The Original Series, 178 episodes of The Next Generation, 176 episodes of Deep Space Nine, 172 episodes of Voyager, and 98 episodes of Enterprise, for a total of 703 hour-long episodes.
In addition, there were 22 half-hour episodes in The Animated Series, and 13 two-hour motion pictures in The Movie Series, for a grand total of 738 episodes before "Star Trek: Discovery" began.
What are the lyrics to the ENTERPRISE theme song, and who wrote it?
Enterprise Theme
"Faith of the Heart"
Theme by Diane Warren
Performed By Russell Watson
It's been a long road
Getting from there to here
It's been a long time
But my time is finally near
And I will see my dream come alive at last
I will touch the sky
And they're not gonna hold me down no more
No, they're not gonna change my mind
'Cause I've got faith of the heart
I'm going where my heart will take me
I've got faith to believe
I've got strength of the soul
No one's gonna bend or break me
I can reach any star
I've got faith
Faith of the heart
Purchase a CD of the "Enterprise" theme and score at Amazon.com
How are Stardates calculated?
Stardates on all series are just arbitrarily derived numbers, which generally increase from one episode to the next.
For a full explanation, see Stardates and Calendar Dates for detailed calculations of dates in Star Trek episodes, from The Original Series through Star Trek: Voyager.
The series Enterprise does not use Stardates; it uses standard calendar dates that are set exactly 150 years after the episode is filmed, starting with the first episode set on April 16, 2151 (filmed in the spring of 2001).
Where can I watch re-runs and new episodes of my favorite Star Trek series?
See the StarTrek.com or CBS All Access for information about viewing various Star Trek series and movies.
How can I play 3-D Chess like the game shown in various episodes?
The Franklin Mint produced a limited edition 3-D Chess set years ago, which might be found for sale on eBay.com or other auction sites. There are several Web sites with information on the fictional game, including 3D chess from Star Trek and Yahoo! Gorups: Three Dimensional Chess. You can download a 3-D Chess computer game for your PC at Parmen's Page (3D Star Trek chess rules and links).
What are the meanings of the categories and notations in the episode guides?
See the Format Notes page for an explanation of terms and formatting in this guide.


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Visiting the historic Upper Library
Visiting the historic Upper Library is possible only with a College guide.
To request a group tour of the Upper Library only, use this form: www.merton.ox.ac.uk/group-tour-request. Once we have received your details, we will contact you about scheduling a visit at a mutually convenient time. The number of people permitted in the Upper Library at any one time is limited, so larger groups should be prepared to discuss flexible timetabling. Please note that the scheduling of visits depends on staff commitments, and on College events that may be taking place. Tours are usually not possible during the final examination period (from April to the end of June).
Access to the Upper Library is by a flight of 17th-century stairs.
From July to September, guided tours of the College, which include the Upper Library, take place daily at 3:00pm – find out more about daily guided tours. To request a guided tour of the College outside of these dates, or for a group with a special interest, use this form: www.merton.ox.ac.uk/request-group-tour-merton-college. Enquiries should be made at least 14 days in advance of your intended tour date.
Research visits
If you would like to arrange a research visit to the Upper Library, please complete the research visit request form.
Take a virtual tour of the library courtesy of Google Street View:
You can find out more about the stained glass in the Upper Library on the Corpus Vitrearum Medii Aevi.
Hebrew Books at Merton
Merton Women since 1264
Group tour request form
Research visit request form


Hosting guest authors is always a pleasure and never – thank heavens! – a chore. Today, I get to put some a short piece of work from Jessica Rhodes, a writer who lives in the same area as me and whom I got to meet for the first time in 2016 when I interviewed her for the Thanet Writers Youtube page.
I'm very glad to be able host some of her writing on my page, and here's her piece – unabridged, unedited, and very powerful.
What must it feel like to know that you're losing your mind? That the people who once were familiar will one day become long-distant memories, their faces akin to a stranger's, their voices concerned at the loss of your memory? Sometimes I think it must feel like a death sentence, except you only have guides as to when it will end. Nothing is certain, especially with Alzheimer's, and losing your mind is just par for the course. What worries me most is that I could be one of them. Dementia strikes anyone, with no compunction or consideration for the ones left behind.
A day can go by with no hiccups, then bam! Dementia strikes, and your life's upside down. Loved ones walk out on you, or cry, or try to deny that it's happening, but it gets us all in the end, even the lucky ones. Sometimes I wonder if I'm one of the lucky ones, or if dementia's just biding its time til I'm weaker. Then it can strike, its merciless pain going right to the heart of my family to tear us apart, familiar faces now jumbles of memories and names that just no longer fit.
Dementia is cruel. It kills without mercy, devastates lives, and wipes out so many so fast. The death toll keeps rising, the bodies pile up, and thousands of families grieve for a person who no longer knows them. We become shells of ourselves, you see, useless husks with no sense of direction or purpose beyond our own pain. Life has no meaning, no beauty, no ending – it's just a steam of confusion couple with hatred for a disease we cannot recall. The irony is that we never remember we have it – we're told what it is, then forget it a few moments later.
That's what I know of dementia – it's cruel, it is heart-breaking, and I do not have it.
A very thought provoking piece Jessica. I'd just like to add some of my thoughts on the subject. Up until I was fifty eight I had no cause to give dementia a second thought . Nobody in my family had it , although I did know people who were in the early stages who knew they had it and also some who were caring for loved ones who were much further along the dark road .
Anyway, when I was fifty eight, I had a stroke. I have recovered remarkably well and am now sixty two and enjoying life. But something that a doctor told me after an MRI scan has haunted me for these past four years. He said that the scan showed I has small vessel disease if the brain and that it might in time result in me having vascular dementia. I wish that he had been on holiday that day because that has not left my mind since.
I have taken more notice of what happens with dementia, though and find certain things very interesting. For instance, often a person with dementia, although not able to recall what they had for breakfast, will remember things from way back in their past. Songs are a good example of this . And they come to life when we can bring them to where their mind is. I've seen this first hand in a home for people with dementia where I went with a group from church to sing songs for an afternoon every week. Frank Sinatra, Bing Crosby, or any music that they grew up with. Some, who were otherwise staring into space came to life and thoroughly enjoyed their two hours.
So, coming back to my story, that made me think and I've told my children , all nine of them that if I do get dementia that they will have to do the same for me. I might not remember them but they have to find where my mind is and meet me there.


eBook Ley De Sociedades De Capital Edicin Septiembre 2018 Con Ndice Sistemtico Spanish Edition available at elcentrohistorico.com with Format PdF, ePub, Audiobook & Magazine. Please Create a FREE ACCOUNT to read or download Ley De Sociedades De Capital Edicin Septiembre 2018 Con Ndice Sistemtico Spanish Edition FOR FREE.
Finally I can download and read Ley De Sociedades De Capital Edicin Septiembre 2018 Con Ndice Sistemtico Spanish Edition Thank you!