And the wheat has been most probably sprayed with glyphosate before the harvest and enhanced with industrial gluten afterwards...
Found this at a flea market on the weekend. I bought a few LP's from a cool vendor dude and he threw it in as a bonus. We had discussed it earlier concerning the rough shape of the vinyl. We weren't sure if it would play or not as it was dirty and had a lot of small surface scratches. The cover is actually why I wanted it as it's at least VG/VG+,no seam splits just rounded corners and a thumb crease at the mouth in the middle. Low and behold, after a few cleanings and some thumb nail flattening of a few scratches it actually played thru without a skip or snag...lots of SN though. I played it on an old Audiotronics record player that I bought last summer from a retired grade school teacher. Remember those with the rubber suspension feet so records didn't skip while the kids danced about the room? I play a lot of my rough records on it just for kicks...save a stylus, ride an Audiotronics. I be finger poppin' now
That's why I eat "Life" cereal. It's a name you can trust. I think. I add my own poisons to my coffee.
MUZAK STORY I always thought that a guy named Muzak invented the system. Probably because one of my best friends was named Richard Muzak. This is the guy who tried to shape the way people hear music. Still wanna listen? George Owen Squier (March 21, 1865 – March 24, 1934). He did get a PhD. Asked how to say his name, he told The Literary Digest it was pronounced like the word square. This proves, to me, that muzak is for squares. Personally, I am not impressed with the egos who display medals. This from Wiki, for those who are curious: History Inventor Major General George Owen Squier, credited with inventing telephone carrier multiplexing in 1910, developed the original technical basis for Muzak.[8] He is known for what today is called Muzak.[9][10] In the early 1920s, he was granted several further US patents[10] related to transmission of information signals, among them a system for the transmission and distribution of signals over electrical lines.[11] Squier recognized the potential for this technology to be used to deliver music to listeners without the use of radio,[8] which at the time was in early state and required fussy and expensive equipment. Early successful tests were performed, delivering music to customers on New York's Staten Island via their electrical wires. In 1922, the rights to Squier's patents were acquired by the North American Company utility conglomerate, which created the firm Wired Radio Inc. to deliver music to their customers, charging them for music on their electric bill.[12] By the 1930s radio had made great advances, and households began listening to broadcasts picked up through the airwaves for free, supported by advertising. Squier remained involved in the project, but as the home market became eclipsed by radio in 1934 he changed the direction of the company to deliver music to commercial clients.[12][13] He was intrigued by the made-up word Kodak being used as a trademark and so took the first syllable from "music" and added the "ak" from "Kodak" to create the name Muzak which became the new name of the company.[14] In 1937, the Muzak division was purchased from the North American Company by Warner Bros.,[15] which expanded it into other cities. It was bought by entrepreneur William Benton who wanted to introduce Muzak into new markets like barber shops and doctors' offices. While Muzak had initially produced tens of thousands of original artist recordings by the top performers of the late 1930s and 1940s, their new strategy required a different sound. Stimulus progression The company began customizing the pace and style of the music provided throughout the workday in an effort to maintain productivity.[16] The music was programmed in 15-minute blocks, gradually getting faster in tempo and louder and brassier in instrumentation, to encourage workers to speed up their pace. Following the completion of a 15-minute segment, the music would fall silent for 15 minutes. This was partly done for technical reasons, but company-funded research also showed that alternating music with silence limited listener fatigue, and made the "stimulus" effect of Stimulus Progression more effective. This was the time when Muzak began recording their own orchestra—actually a number of orchestras in studios around the country, indeed around the world—composed of top local studio musicians. This allowed them to strictly control all aspects of the music for insertion into specific slots in the Stimulus Progression programs. A growing awareness among the public that Muzak was targeted to manipulate behavior resulted in a backlash, including accusations of being a brainwashing technique and court challenges in the 1950s.[17] However, the popularity of Muzak remained high through the mid-1960s. President Dwight D. Eisenhower was the first president to pump Muzak into the West Wing, and Lyndon B. Johnson owned the Muzak franchise in Austin, Texas. NASA reportedly used Muzak in many of its space missions to soothe astronauts and occupy periods of inactivity.[18] Original artist programming With the rise in youth culture and the growing influence of the baby boomer generation in the 1960s and 1970s, Muzak saw their popularity decline and market share erode, in favor of newer "foreground music" companies such as AEI Music Network Inc. and Yesco that offered so-called "original artist music programming." These businesses licensed the original recordings, instead of instrumental re-recordings, and included vocal music. Every style of music was offered, from rock and pop to Spanish-language programming (for Mexican restaurants), jazz, blues, classical and even "easy listening." Foreground music markets included restaurants, fashion stores, retail outlets, malls, dental offices, airlines, and public spaces. When Muzak began programming original artists in 1984, it was after merging with Yesco, and the programming was done by Yesco.[1] This necessitated abandonment of the Stimulus Progression concept. A small contingent of Muzak's business continued to provide their trademarked background music sound where it remained popular, particularly in Japan.[19] New business model During this time Muzak became a franchise operation, with local offices each purchasing individual rights to the music, delivery technology, and brand name for their geographic areas. The company changed hands several times, becoming a division of the Field Corporation in the mid-1980s.[20] Through the 1980s and 1990s, Muzak moved away from the “elevator music” approach, and instead began to offer multiple specialized channels of popular music. Muzak pioneered "audio architecture", a process of designing custom music playlists for specific customers. Even with the changes in format, rocker Ted Nugent used Muzak as an icon of everything "uncool" about music. In 1986, he publicly made a $10 million bid to purchase the company with the stated intent of shutting it down. "Muzak is an evil force in today's society, causing people to lapse into uncontrollable fits of blandness," Nugent said. "It's been responsible for ruining some of the best minds of our generation." His bid was refused.[21] By the late 1990s, the Muzak corporation had largely rebranded itself; as of 2010, Muzak distributed 3 million commercially available original artist songs.[citation needed] It offered almost 100 channels of music via satellite or IP delivery, in addition to completely custom music programs tailored to their customers' needs.
I worked in a consulting firm in the 1970's that signed up with the Muzak Company. We all had private offices, but over the PA system installed in all offices and corridors would come this music which was designed to go on and off at random intervals and at slightly different volumes. Sometimes it would be quiet, sometimes there would be music, but the time periods were always shifting. The theory was that it increased our productivity. For me, it was very irritating. But I could not stop it. Nowadays, whenever I hear muzak, my beard does this:
Funny that the Nuge wanted to spend $10M just to shut down the company just as it was becoming practically only a subscription music service, practically a precursor to Sirius XM or Pandora. The man has no Vision, man.
Other moments from the intersection of jazz and the White House. Duke's 70th birthday at the White House But three years earlier (1966) Johnson had Ellington at the White House In 1961, JFK met Nat Cole in California. The President had to go to the King:
Finished off the work day with some Grant Green. Idris drums, Claude Bartee on ts, just didn’t know the organist Emanuel Riggins. James Brown’s Ain’t it Funky Now leads off and very entertaining version of Day in the Life for all the Beatles fan boys on this forum.
The wonderful SACD version of Barney Wilen "Le Ca: New York Romance." His partner Marie Moor is on the cover. And below. Those are her paintings.
Just picked this up yesterday, glad to have a cd version because my album is not in great shape. Reza kicks things off, Joe Farrell and Elvin make a great combination. Although anyone and Elvin make a great combination.
I was in a shop recently and met a French collector who was writing (or had written) a book on Barney Wilen. She reminded me that Americans almost always mispronounce his name. It is NOT "Why'-lin". It is more "Wee-len'" with accent on second syllable. Barney, like many jazz musicians, had his priorities all mixed up, as that picture shows. He should always get the flowers into water as soon as possible.
I knew how to pronounce the name. I was for quite some time unaware there were flowers in that photo!
I remember that you traveled with your father in your youth. Did you ever live in a French speaking country? Were you old enough to hear local music? The cash on the bed was probably change from the florist.
On the turntable, new arrival "The Magnificent Thad Jones" on Music Matters Jazz. Remastered by Kevin Gray. Thad Jones - trumpet Billy Mitchell - tenor saxophone Barry Harris - piano Percy Heath - bass Max Roach - drums "April in Paris" (Vernon Duke, E. Y. Harburg) - 6:43 "Billie-Doo" (Thad Jones) - 7:30 "If I Love Again" (Jack Murray, Ben Oakland) - 7:27 "If Someone Had Told Me" (Peter DeRose, Charles Tobias) - 5:51 "Thedia" (Jones) - 10:35
Another classic Blue Note that sat on the shelf for 14 years after being recorded in 1962 as part of those double LP re-issue series (along with Hub Cap). Why? I have no idea, this is a gem of an album, Shorter on sax, Walton piano, Workman bass, Philly Joe Jones on piano. Basically Jazz Messengers with Philly for Art and varied material. Two Cal Massey songs and 2 Hubbard originals Philly Mignon and Nostrand and Fulton.
Components - Bobby Hutcherson With; Freddie Hubbard/James Spalding/Herbie Hancock/Ron Carter and Joe Chambers
On the turntable, new arrival "Satch Plays Fats" on Pure Pleasure. Remastered by Kevin Gray and Steve Hoffman Louis Armstrong - trumpet/vocals Trummy Young - trombone Barney Bigard - clarinet Billy Kyle - piano Velma Middleton - vocals Arvell Shaw - bass Barrett Deems - drums Honeysuckle Rose Blue Turning Grey Over You I'm Crazy 'Bout My Baby Squeeze Me Keepin' Out Of Mischief Now All That Meat And No Potatoes I've Got A Feeling I'm Falling (What Did I Do To Be So) Black And Blue Ain't Misbehavin'
