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A Spin Off of Keep a Word/Drop a Word and Music, Pics, and Whatnot
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My good thing for today was I learned to make creamy mashed taders, I know big deal but for me it is cause I am slowly learnin, went from blackened food in burnt pans to somethin actually edible and tasted good 
, Jean didn't even haveta tell how, I have watched her do it before
, Jean didn't even haveta tell how, I have watched her do it before
gopher_byrd
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Heartbeat City - The Cars
Beneath the city of the monkey god
-Sorcerers
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OMG I was so afraid this was goin to happenI am at a loss for words. I first met her through @JuicyLucy
she had sent her to me for information, we talked back and forth several times and I got to know her, then when her so called doctor told her I was crazy she faded away for a while, I had great hopes for her. a while back I learned she is a very good friend of Kad's, I know he is feelin this pain and even more. Thank you Kad for letting me know as I wondered all the time.
The irony is that probably her so called doctor killed her with the standard protocols, while your suggestions could possibly have saved her, and it continues on and on as they line 'em up, march 'em through the chemo, radiation, surgery.
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Beneath, Between & Behind - Rush
Oh my, I'm about out of time to say my good thing for the day.
I received a nice card from a friend, Thank You so much @SnapDragon NY really brightened my afternoon
Phew, I made it
I received a nice card from a friend, Thank You so much @SnapDragon NY really brightened my afternoon
Phew, I made it
I Like To Move It...by Will.I. Am
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Move Along- The All American Rejects
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If I can just swap "move" with "ride", then I can use this piece I've been itching to post. If not, the next person can queue from either word, move or ride.
Conjunto sleigh ride
-Sarah Fox, Joel Guzman
If you don't like conjunto music, you won't like it. If it was a part of the traditions you grew up with, you will love it as the best version ever of "Sleigh Ride". Having grown up hearing this kind of music at barbecues, weddings, in restaurants, etc., I LOVE it.
When I found it yesterday on YT it sounded fine. This morning it seems to me to sound a little distorted. I dunno.
And once again this thread has introduced me to a musical style I was heretofore unfamiliar with. I had to do a little research. Here is a small snippet from an article I found. Highlighted sections are by me, not the author. Mostly because I found some humor in the combination of those particular lines. Take that all you "respectable" fun haters. The author of the article, Manuel Pena, is an anthropologist who specializes in Mexican American folklore and music.
A strong regional style developed by the turn of the century, as the accordion became increasingly associated with a unique Mexican guitar known as an "oajo sexto." Another local folk instrument, the tambora de rancho (ranch drum), also enjoyed prominence as a back-up to the accordion. In combination with one or both of these instruments, the accordion had become by the 1890s the instrument of preference for working-class celebrations on both sides of the Texas-Mexico border.
In Texas, these celebrations were organized frequently--too frequently for some Anglos, who voiced their disapproval of fandangos, or "low-class" dances, in the newspapers. For example, the Corpus Christi Caller and the San Antonio Express on more than one occasion expressed Anglos' negative attitudes toward tejano music and dance. In one report, the Express equated music and dancing with idleness and concluded that "these fandangos have become so frequent they are a great curse to the country" (August 20, 1881). This typical attitude developed early on and persisted well into the twentieth century.
Despite Anglo disapproval, the conjunto and its dances thrived among tejano workers, eventually eclipsing all other forms of music for dancing. Yet, popular as it was, the conjunto remained an ad hoc ensemble until the 1930s. No permanent combination of instruments had been established prior to that time, perhaps because creative and material forces had not yet crystallized to spur radical stylistic development. To be sure, some changes had been wrought by the 1920s, as the button accordion and the bajo sexto by now formed the core of the emerging style, while such common European dances as the redowa had been regionalized and renamed. The redowa itself had been transformed into the vals bajito, in contrast to the waltz, which was known as a "vals alto." Indeed, most of the repertory for the dance, or fandango, was of European origin and included the polka, mazurka, and schottishe, in addition to the waltz and redowa. One regional genre from Tamaulipas, Mexico, the huapango, rounded out the usual repertory of conjuntos until World War II.
Beginning in the 1930s, an innovative surge rippled through the emerging conjunto tradition, as performers like Narciso Martinez (known as "the father" of the modern conjunto), Santiago Jimenez, Lolo Cavazos, and others began to strike out in new stylistic directions. This new surge of innovation must be attributed, at least in part, to the active commercial involvement of the major recording labels in the music of the Hispanic Southwest. From the 1920s, companies such as RCA Victor (Bluebird), Decca, Brunswick, and Columbia (Okeh) began exploiting the musical traditions in the Hispanic Southwest, hoping to repeat the success they had experienced with African American music since the early '20s. Under the commercial impetus of the big labels, which encouraged record and phonograph sales, radio programming, and especially public dancing (much of it in cantinas, to the dismay of Anglos and "respectable" Texas Mexicans), musicians like Narciso Martinez began to experiment. By the end of the 1930s, the conjunto had begun to evolve into the stylistic form the ensemble reached during its mature phase in the post-World War II years.
A strong regional style developed by the turn of the century, as the accordion became increasingly associated with a unique Mexican guitar known as an "oajo sexto." Another local folk instrument, the tambora de rancho (ranch drum), also enjoyed prominence as a back-up to the accordion. In combination with one or both of these instruments, the accordion had become by the 1890s the instrument of preference for working-class celebrations on both sides of the Texas-Mexico border.
In Texas, these celebrations were organized frequently--too frequently for some Anglos, who voiced their disapproval of fandangos, or "low-class" dances, in the newspapers. For example, the Corpus Christi Caller and the San Antonio Express on more than one occasion expressed Anglos' negative attitudes toward tejano music and dance. In one report, the Express equated music and dancing with idleness and concluded that "these fandangos have become so frequent they are a great curse to the country" (August 20, 1881). This typical attitude developed early on and persisted well into the twentieth century.
Despite Anglo disapproval, the conjunto and its dances thrived among tejano workers, eventually eclipsing all other forms of music for dancing. Yet, popular as it was, the conjunto remained an ad hoc ensemble until the 1930s. No permanent combination of instruments had been established prior to that time, perhaps because creative and material forces had not yet crystallized to spur radical stylistic development. To be sure, some changes had been wrought by the 1920s, as the button accordion and the bajo sexto by now formed the core of the emerging style, while such common European dances as the redowa had been regionalized and renamed. The redowa itself had been transformed into the vals bajito, in contrast to the waltz, which was known as a "vals alto." Indeed, most of the repertory for the dance, or fandango, was of European origin and included the polka, mazurka, and schottishe, in addition to the waltz and redowa. One regional genre from Tamaulipas, Mexico, the huapango, rounded out the usual repertory of conjuntos until World War II.
Beginning in the 1930s, an innovative surge rippled through the emerging conjunto tradition, as performers like Narciso Martinez (known as "the father" of the modern conjunto), Santiago Jimenez, Lolo Cavazos, and others began to strike out in new stylistic directions. This new surge of innovation must be attributed, at least in part, to the active commercial involvement of the major recording labels in the music of the Hispanic Southwest. From the 1920s, companies such as RCA Victor (Bluebird), Decca, Brunswick, and Columbia (Okeh) began exploiting the musical traditions in the Hispanic Southwest, hoping to repeat the success they had experienced with African American music since the early '20s. Under the commercial impetus of the big labels, which encouraged record and phonograph sales, radio programming, and especially public dancing (much of it in cantinas, to the dismay of Anglos and "respectable" Texas Mexicans), musicians like Narciso Martinez began to experiment. By the end of the 1930s, the conjunto had begun to evolve into the stylistic form the ensemble reached during its mature phase in the post-World War II years.
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Sleigh Ride - Johnny Mathis
Sleigh ride
-Los Strait Jackets
-Los Strait Jackets
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Magic Carpet Ride - Steppenwolf
A lot to reply to as conversation here.
Jimi and I had a conversation once, about prissy music critics making assumptions and putting them out as consensus among music listeners. When Pena wrote in that article,
"In Texas, these celebrations were organized frequently--too frequently for some Anglos, who voiced their disapproval of fandangos, or "low-class" dances, in the newspapers. For example, the Corpus Christi Caller and the San Antonio Express on more than one occasion expressed Anglos' negative attitudes toward tejano music and dance. In one report, the Express equated music and dancing with idleness and concluded that "these fandangos have become so frequent they are a great curse to the country" (August 20, 1881). This typical attitude developed early on and persisted well into the twentieth century"
he was quoting music writers' opinions that I believe were simply erroneous, or were kowtowing to what was considered the taste of a power class those writers believed to be their majority readers. The only population I can imagine turning up their noses at what was, at the time, a distinctly ethnic art form, would have been Mexican Americans who wanted to assimilate, turn aside their heritage and become what they would have considered "respectable" like anglos. The author of the article said, again, "Anglos voiced their disapproval" but he cites newspaper articles that were not written by regular people but by music writers. I can't emphasize that enough. It's like when movie critics give something the thumbs down right before that movie becomes a blockbuster.
Though 1881 was a long time ago, we had the owning class working alongside ranch hands, trail drivers, house servants, working class in the general populace, etc. Believe it or not, and ignored in Pena's treatise, some of that owning class was Mexican American, and many of the ranch cowboys were anglo. Music catches on, and if it were that reviled it could never have grown in popularity to the point that there were five or six Spanish language music radio stations on the air when I was a kid (it has died out some now). It would never have gained center stages at the annual stock show & rodeo or Fiesta SA. Fiesta itself grew out of the traditions of old Mexico that were here before Texas became part of the US. You would never have had those bands playing in restaurants all over town if it were so hated by anglos.
Maybe the worst thing about art is the writers who try to impose their assumptions about it on readers as if they were unquestionably correct. And in the current political environment we love to look for divisions, differences, rivalries that don't exist, never existed.
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Yes I see it all the time, truly a sad sight and they look so bad close to the end, people are afraid to try natural ways and it isn't just the way one eats it's a whole series of things, or at least it has for me. Even my brother believed them, they said they cured him with chemo and 7 months later he died from it.
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Strange Magic - ELO
Jimi I didn't know about your brother. I'm so sorry.
I believe the world is starting to wake up. I hope so.
Thank you my friend, I tried so hard to get him to do what I was but they told him they could cure him, right, they shrunk it down so it looked dead, He was diagnosed with early stage 3 and they killed him in 2 and a half years.
Thank you my friend, I tried so hard to get him to do what I was but they told him they could cure him, right, they shrunk it down so it looked dead, He was diagnosed with early stage 3 and they killed him in 2 and a half years.
Even when they convince you the disease is in remission, it comes back. I have a cousin who has had three rounds of breast cancer, still doing the old conventional routines, and yes, when I last saw her she looked terrible, emaciated, dark circles under her eyes, hair lost to chemo. Another female cousin died from some sort of cancer, cervical or uterine, I'm not sure. Those are the only two cancer victims I know of in my family, but even if someone said I'd dodged the genetic bullet, I wouldn't believe it. We all have genetic predispositions to all sorts of things from the time of conception. You could say it's the ways we tend to die in our familes, but our genes don't give us a death sentence. Genetics, diseases, therapies, as you know, are all very misunderstood, and you know as well as I do that nutrition, natural treatments, exercise, sunlight, happiness and hope are the ways forward.
I apologize for offending you. I admit I did not research the sources for the article. I will say this though, in the late 1800's and early 1900's there was, throughout our nation, an attitude among some segments of society that equated music and dancing with idleness and thus with the devil. Dance halls were frequent targets of the "our youth are being corrupted" types of charges, and when swing came along those types of claims increased even more. And yet swing caught on. And the morality police continued those charges any time new music, music they themselves didn't like or understand, came along. Look at the outrage that was leveled against The Beatles, Elvis, etc by some segments of society. So it is easy for me to see how a form of music that was primarily intended for dancing and celebration would garner similar complaints from "some" Anglos.
I also did not read the article as being about politics or divisions, but rather as a history of conjunto music, how it developed, how it spread, and he even does go on to explain how it became popular. Again, he never claimed all Anglos disliked it, he stated "some" Anglos, ie probably the same groups that derided virtually all forms of dancing outside of the accepted formal ballroom styles as being the work of the devil.
Omygosh Kad, you did NOT offend me. I was pointing to flaws in Pena's article, not to you. I've read some of his other work. Not a fan.
True, in 1881 there were social norms and prejudices we don't see as much today.
About his assumptions that anglos disliked conjunto/mariachi/rancho/tejano music, I'm only saying he is drawing his assumptions from music writers, not from music listeners or fans, and that he assumes anglos were an upper class when the landed gentry of this region included many Mexicans when Texas became part of the US.
As for what they said about swing or rock & roll back in the day, you may be interested to look up the horrendous things that were attributed to jazz, and how those artists were hounded by the police and the FBI.
As the saying goes, "plus ça change, plus c'est la même chose".
I'm somewhat familiar with Miles Davis being assaulted by police and arrested for nothing more than having a smoke in front of Birdland while he was performing there, and I have no doubt that many other jazz musicians had likely been unfairly targeted long before that. All have to look into it more, but I think I remember hearing about Thelonious Monk having had some run-ins with police. Jazz was a very disruptive style of music in a way, and consequently a threat to certain power structures.
And of course outside the jazz world, the whole Afroman incident I posted about awhile back was just one example of the same thing, just a different genre and era. So yes, "plus ça change, plus c'est la même chose" indeed. (my French may suck, but this one I know)
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....................................................! WAKE UP ! from the MEDIA SPELL !
So cute 
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! WAKE UP ! from the MEDIA SPELL !
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.....................................................! WAKE UP ! from the MEDIA SPELL !
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