perfect stranger

http://www.freerepublic.com/focus/f-chat/2997761/posts

Congratulations to the Democrats and Young People!

You now own it. The next terrorist attack you own it. Can't get a job after graduation, you own it. Sky rocketing energy prices due to Obama's EPA shutting down the energy producing states, you own it. A nuclear Iran, you own it. Bowing to the Soviet Union, you own it. Another severe recession, you own it. A volatile border with Mexico, you own it. Trouble getting good health care, you own it. Higher heath insurance costs and health care costs, you own it. No budget, you own it. Our allies mistrust, you own it. Another trillion of debt, you own it. More Benghazi situations, you own it. No one willing to join the military, you own it. Trouble getting to loan to buy a home, you own it. More dependency on food stamps, you own it. Trouble finding good employment, you own it. Several part time jobs instead of a good job, you own it. A World Government, you own it. The UN governing the United States instead of ourselves, you own it. A Senate that will not bring any legislation to the table rather it is "Dead on Arrival", you own it. China controlling our world trade trampling all over us, you own it. Loss of our freedoms as we have known it in the past, you own it. A dictatorship instead of a democracy that follows the Constitution, you own it. Less take home pay and higher living costs, you own it. Driving a car that looks like a toy, you own it. More government corruption and lies, you own it. More toleration of extreme and fanatical Islamist, you own it. Terrorist attacks called work place incidents, you own it. Your revenge instead of love of country, you own it. President George Bush is out of it now, and there is not another good man for you to vilify and lie about. In a way I am relieved that another good man will not be blamed when it was impossible to clean up this mess you voted for. Have a good day. God bless the United States and Texas! God is our only hope now. J. Craig Stephens

Winnie and Walter
http://www.youngwriterssociety.com/ywsblog/2008/04/07/
a-story-where-every-word-begins-with-w/

“Warm weather, Walter! Welcome warm weather! We were wishing winter
would wane, weren’t we?” “We were well wearied with waiting,” whispered
Waiter wearily. Wan, white, woe-begone was Walter; wayward, wilful, worn
with weakness, wasted, waxing weaker whenever winter’s wild, withering
winds were wailing. Wholly without waywardness was Winifred, Walter’s
wise, womanly watcher, who, with winsome, wooing way, was well-beloved.

“We won’t wait, Walter; while weather’s warm we’ll wander where woodlands
wave, won’t we?”

Walter’s wanton wretchedness wholly waned. “Why, Winnie, we’ll walk where
we went when we were with Willie; we’ll weave wildflower wreaths, watch
woodmen working; woodlice, worms wriggling; windmills whirling; watermills
wheeling; we will win wild whortleberries, witness wheat winnowed.”

Wisbeach woods were wild with wildflowers; warm, westerly winds whispered
where willows were waving; wood-pigeons, wrens, woodpeckers were warbling
wild woodnotes. Where Wisbeach water-mill’s waters, which were wholly
waveless, widened, were waterlilies, waxen white. Winifred wove wreaths
with woodbine, whitehorn, wallflowers; whilst Walter whittled wooden
wedges with willow wands.

Wholly without warning, wild wet winds woke within Wisbeach woods,
whistling where Winifred wandered with Walter; weeping willows were
wailing weirdly; waging war with wind-tossed waters. Winifred’s wary
watchfulness waked.

“Walter, we won’t wait.” “Which way, Winnie?”

Winifred wavered. “Why, where were we wandering? Wisbeach woods widen
whichever way we walk. Where’s Wisbeach white wicket, where’s Winston’s
water-mill?”

WistfuIly, Walter witnessed Winifred’s wonder. “Winnie, Winnie, we were
wrong, wholly wrong; wandering within wild ways. Wayfaring weather-beaten
waifs, well-nigh worn-out.”

Winifred waited where, within wattled woodwork walls, waggons,
wheelbarrows, wains were waiting, weighty with withered wood. Walter,
warmly wrapped with Winifred’s well-worn wadded waterproof, was wailing
woefully, wholly wearied. Winnie, who, worn with watching, well-nigh
weeping, was wistfully, wakefully waiting Willie’s well-known whistle,
wholly wished Walter’s well-being warranted.

With well-timed wisdom, Walter was wound with wide, worsted wrappers,
which wonderfully well withstood winter’s withering, whistling winds.
Wholly without warm wrappers was Winifred, who, with womanly wisdom,
was watching Walter’s welfare, warding Walter’s weakness.

“When will Willie wend where we wait?” wearily wondered Walter.
“Whist, Walter,” whispered Winnie, “who was whooping?”
“Whereabouts?”

Welcome whistling was waking Wisbeach woods when winter’s windy warfare
waxed weaker.

“Winnie! Walter!”

Winifred’s wakefulness was well-grounded. “We’re well, Willie; we’re
where Winston’s waggons wait.”

Without waiting, Willie was within Winston’s woodwork walls.

“Welcome, welcome, Willie.” Winnie was weeping with weariness with
watching Walter, weak with wayfaring.

“Why Winnie! Wise, watchful, warm-hearted Winnie,” Willie whispered
wheedlingly. “We won’t weep; Walter’s well. What were Walter without
Winnie?”

Wholly wonderful was Winifred’s well-timed womanly wisdom, which well
warranted weakly Walter’s welfare. Whenever wandering within Wisbeach
woods with Winnie, Walter would whisper, “What were Walter without
Winnie? Wise, watchful, warm-hearted Winnie!”

President Johnson orders pants from Joe Haggar.
http://americanradioworks.publicradio.org/features/prestapes/
lbj_haggar.html

President Johnson orders pants from Joe Haggar.
Aug. 9, 1964

Operator: Go ahead sir

LBJ: Mr. Haggar?

JH: Yes this is Joe Haggar

LBJ: Joe, is your father the one that makes clothes?

JH: Yes sir - we’re all together

LBJ: Uh huh. You all made me some real lightweight slacks, uh, that he just made up on his own and sent to me 3 or 4 months ago. There’s a light brown and a light green, a rather soft green, a soft brown.

JH: Yes sir

LBJ: and they’re real lightweight now and I need about six pairs for summer wear.

JH: yes sir

LBJ: I want a couple, maybe three of the light brown kind of a almost powder color like a powder on a ladies face. Then they were some green and some light pair, if you had a blue in that or a black, then I’d have one blue and one black. I need about six pairs to wear around in the evening when I come in from work

JH: yes sir

LBJ: I need...they’re about a half a inch too tight in the waist.

JH: Do you recall sir the exact size, I just want to make sure we get them right for you

LBJ: No, I don’t know - you all just guessed at ‘em I think, some - wouldn’t you the measurement there?

JH: we can find it for you

LBJ: well I can send you a pair. I want them half a inch larger in the waist than they were before except I want two or three inches of stuff left back in there so I can take them up. I vary ten or 15 pounds a month.

JH: alright sir

LBJ: So leave me at least two and a half, three inches in the back where I can let them out or take them up. And make these a half an inch bigger in the waist. And make the pockets at least an inch longer, my money, my knife, everything falls out - wait just a minute.

Operator: Would you hold on a minute please?

[conversation on hold for two minutes]

LBJ: Now the pockets, when you sit down, everything falls out, your money, your knife, everything, so I need at least another inch in the pockets. And another thing - the crotch, down where your nuts hang - is always a little too tight, so when you make them up, give me an inch that I can let out there, uh because they cut me, it’s just like riding a wire fence. These are almost, these are the best I’ve had anywhere in the United States,

JH: Fine

LBJ: But, uh when I gain a little weight they cut me under there. So, leave me , you never do have much of margin there. See if you can’t leave me an inch from where the zipper (burps) ends, round, under my, back to my bunghole, so I can let it out there if I need to.

JH: Right

LBJ: Now be sure you have the best zippers in them. These are good that I have. If you get those to me I would sure be grateful

JH: Fine, Now where would you like them sent please?

LBJ: White House.

JH: Fine

LBJ: Now, uh, I don’t guess there is any chance of getting a very lightweight shirt, sport shirt to go with that slack, is there? That same color?

JH: We don’t make them, but we can have them made up for you.

LBJ: If you might look around, I wear about a 17, extra long.

JH: Would you like in the same fabric?

LBJ: Yeah I sure would, I don’t know whether that’s too heavy for a shirt.

JH: I think it’d be too heavy for a shirt.

LBJ: I sure want the lightest I can, in the same color or matching it. If you don’t mind, find me somebody up there who makes good shirts and make a shirt to match each one of them and if they’re good, we’ll order some more.

JH: Fine

LBJ: I just sure will appreciate this, I need it more than anything. And uh, now that’s a..about it. I guess I could get a jacket made outta that if I wanted to, couldn’t I?

JH: I think that - didn’t Sam Haggar have some jackets made?

LBJ: Yeah you sent me some jackets some earlier, but they were way too short. They hit me about halfway down my belly. I have a much longer waist. But I thought if they had material like that and somebody could make me a jacket, I’d sent them a sample to copy from.

JH: Well I tell you what, you send us this, we’ll find someone to make it

LBJ: - ok

JH: We’ll supply the material to match it

LBJ: Ok, I’ll do that. Uh now, how do I - can you give this boy the address because I’m running to a funeral and give this boy the address to where we can send the trousers - don’t worry, you’ll get the measurements out of them and add a half an inch to the back and an give us couple of an inch to the pockets and a inch underneath to we can let them out.

JH: What you ‘d like is a little more stride in the crotch

LBJ: Yeah that’s right. What I’d like is to give me a half a inch more then leave me some more. Ok here he is.

JH: Thank you, I’m glad you enjoyed the others

Pat Metheny on Kenny G
From JazzOasis.com

Question:

Pat, could you tell us your opinion about Kenny G - it appears you were quoted as being less than enthusiastic about him and his music. I would say that most of the serious music listeners in the world would not find your opinion surprising or unlikely - but you were vocal about it for the first time. You are generally supportive of other musicians it seems.
Pat’s Answer:

Kenny G is not a musician I really had much of an opinion about at all until recently. There was not much about the way he played that interested me one way or the other either live or on records.

I first heard him a number of years ago playing as a sideman with Jeff Lorber when they opened a concert for my band. My impression was that he was someone who had spent a fair amount of time listening to the more pop oriented sax players of that time, like Grover Washington or David Sanborn, but was not really an advanced player, even in that style. He had major rhythmic problems and his harmonic and melodic vocabulary was extremely limited, mostly to pentatonic based and blues-lick derived patterns, and he basically exhibited only a rudimentary understanding of how to function as a professional soloist in an ensemble - Lorber was basically playing him off the bandstand in terms of actual music.

But he did show a knack for connecting to the basest impulses of the large crowd by deploying his two or three most effective licks (holding long notes and playing fast runs - never mind that there were lots of harmonic clams in them) at the key moments to elicit a powerful crowd reaction (over and over again). The other main thing I noticed was that he also, as he does to this day, played horribly out of tune - consistently sharp.

Of course, I am aware of what he has played since, the success it has had, and the controversy that has surrounded him among musicians and serious listeners. This controversy seems to be largely fueled by the fact that he sells an enormous amount of records while not being anywhere near a really great player in relation to the standards that have been set on his instrument over the past sixty or seventy years. And honestly, there is no small amount of envy involved from musicians who see one of their fellow players doing so well financially, especially when so many of them who are far superior as improvisors and musicians in general have trouble just making a living. There must be hundreds, if not thousands of sax players around the world who are simply better improvising musicians than Kenny G on his chosen instruments. It would really surprise me if even he disagreed with that statement.

Having said that, it has gotten me to thinking lately why so many jazz musicians (myself included, given the right “bait” of a question, as I will explain later) and audiences have gone so far as to say that what he is playing is not even jazz at all. Stepping back for a minute, if we examine the way he plays, especially if one can remove the actual improvising from the often mundane background environment that it is delivered in, we see that his saxophone style is in fact clearly in the tradition of the kind of playing that most reasonably objective listeners WOULD normally quantify as being jazz. It’s just that as jazz or even as music in a general sense, with these standards in mind, it is simply not up to the level of playing that we historically associate with professional improvising musicians. So, lately I have been advocating that we go ahead and just include it under the word jazz - since pretty much of the rest of the world OUTSIDE of the jazz community does anyway - and let the chips fall where they may.

And after all, why he should be judged by any other standard, why he should be exempt from that that all other serious musicians on his instrument are judged by if they attempt to use their abilities in an improvisational context playing with a rhythm section as he does? He SHOULD be compared to John Coltrane or Wayne Shorter, for instance, on his abilities (or lack thereof) to play the soprano saxophone and his success (or lack thereof) at finding a way to deploy that instrument in an ensemble in order to accurately gauge his abilities and put them in the context of his instrument’s legacy and potential.

As a composer of even eighth note based music, he SHOULD be compared to Herbie Hancock, Horace Silver or even Grover Washington. Suffice it to say, on all above counts, at this point in his development, he wouldn’t fare well.

But, like I said at the top, this relatively benign view was all “until recently”.

Not long ago, Kenny G put out a recording where he overdubbed himself on top of a 30+ year old Louis Armstrong record, the track “What a Wonderful World”. With this single move, Kenny G became one of the few people on earth I can say that I really can’t use at all - as a man, for his incredible arrogance to even consider such a thing, and as a musician, for presuming to share the stage with the single most important figure in our music.
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Friday, February 13, 2009 10:52 AM
Pat Metheny on Kenny G (continued)
This type of musical necrophilia - the technique of overdubbing on the preexisting tracks of already dead performers - was weird when Natalie Cole did it with her dad on “Unforgettable” a few years ago, but it was her dad. When Tony Bennett did it with Billie Holiday it was bizarre, but we are talking about two of the greatest singers of the 20th century who were on roughly the same level of artistic accomplishment. When Larry Coryell presumed to overdub himself on top of a Wes Montgomery track, I lost a lot of the respect that I ever had for him - and I have to seriously question the fact that I did have respect for someone who could turn out to have such unbelievably bad taste and be that disrespectful to one of my personal heroes.

But when Kenny G decided that it was appropriate for him to defile the music of the man who is probably the greatest jazz musician that has ever lived by spewing his lame-ass, jive, pseudo bluesy, out-of-tune, noodling, wimped out, fucked up playing all over one of the great Louis’s tracks (even one of his lesser ones), he did something that I would not have imagined possible. He, in one move, through his unbelievably pretentious and calloused musical decision to embark on this most cynical of musical paths, shit all over the graves of all the musicians past and present who have risked their lives by going out there on the road for years and years developing their own music inspired by the standards of grace that Louis Armstrong brought to every single note he played over an amazing lifetime as a musician. By disrespecting Louis, his legacy and by default, everyone who has ever tried to do something positive with improvised music and what it can be, Kenny G has created a new low point in modern culture - something that we all should be totally embarrassed about - and afraid of. We ignore this, “let it slide”, at our own peril.

His callous disregard for the larger issues of what this crass gesture implies is exacerbated by the fact that the only reason he possibly have for doing something this inherently wrong (on both human and musical terms) was for the record sales and the money it would bring.

Since that record came out - in protest, as insignificant as it may be, I encourage everyone to boycott Kenny G recordings, concerts and anything he is associated with. If asked about Kenny G, I will diss him and his music with the same passion that is in evidence in this little essay.

Normally, I feel that musicians all have a hard enough time, regardless of their level, just trying to play good and don’t really benefit from public criticism, particularly from their fellow players. but, this is different.

There ARE some things that are sacred - and amongst any musician that has ever attempted to address jazz at even the most basic of levels, Louis Armstrong and his music is hallowed ground. To ignore this trespass is to agree that NOTHING any musician has attempted to do with their life in music has any intrinsic value - and I refuse to do that. (I am also amazed that there HASN’T already been an outcry against this among music critics - where ARE they on this?????!?!?!?!, magazines, etc.). Everything I said here is exactly the same as what I would say to Gorelick if I ever saw him in person. and if I ever DO see him anywhere, at any function - he WILL get a piece of my mind and (maybe a guitar wrapped around his head.)

NOTE: this post is partially in response to the comments that people have made regarding a short video interview excerpt with me that was posted on the internet taken from a tv show for young people (kind of like MTV)in poland where i was asked to address 8 to 11 year old kids on terms that they could understand about jazz. while enthusiastically describing the virtues of this great area of music, i was encouraging the kids to find and listen to some of the greats in the music and not to get confused by the sometimes overwhelming volume of music that falls under the jazz umbrella. i went on to say that i think that for instance, kenny g plays the dumbest music on the planet – something that all 8 to 11 year kids on the planet already intrinsically know, as anyone who has ever spent any time around kids that age could confirm - so it gave us some common ground for the rest of the discussion. (ADDENDUM: the only thing wrong with the statement that i made was that i did not include the rest of the known universe.) the fact that this clip was released so far out of the context that it was delivered in is a drag, but it is now done. (its unauthorized release out of context like that is symptomatic of the new electronically interconnected culture that we now live in - where pretty much anything anyone anywhere has ever said or done has the potential to become common public property at any time.) i was surprised by the polish people putting this clip up so far away from the use that it was intended -really just for the attention - with no explanation of the show it was made for - they (the polish people in general) used to be so hip and would have been unlikely candidates to do something like that before, but i guess everything is changing there like it is everywhere else. the only other thing that surprised me in the aftermath of the release of this little interview is that ANYONE would be even a little bit surprised that i would say such a thing, given the reality of mr. gs music. this makes me want to go practice about 10 times harder, because that suggests to me that i am not getting my own musical message across clearly enough - which to me, in every single way and intention is diametrically opposed to what Kenny G seems to be after.

Question and Answer on Rap Music
Hello George,

I need your opinion and thoughts about about the so called “glorification of crime” in Rap Music. Why do these guys and gals want to be “Thugs”? I really don’t get it. Is their goal in life to spend the rest of their life in jail? What happened to great music, like Louis Armstrong, Duke Ellington and Miles Davis? What about the Blues? Buddy Guy and Muddy Waters. Why are these kids so violent and negative? How long will it last? Thanks.

Peter

I understand your frustration! How long will it last? Your guess is as good as mine! Violence sells on records and movies. It has been glamorized in many ways by many generations and has found a sympathetic chord in the hearts and minds of many young Rappers with a chip on their shoulder, and the possibility of quick money and fame.

Now, while some of these “gansta” Rappers really are gangsters, most of these kids are just following the leader. They are in it for the money and rap “hard” simply because it is easier to sell!

And what about the infiltration of this music into the white suburbs? That in itself is an interesting byproduct of this movement. It seems that every generation of youth needs to make a statement of separation from the previous generations. It is important that they find their own voice and style, their own form of protest and quest to be noticed and heard. In that respect, today’s youth are no different from past generations.

In other respects, they are quite different! Times have changed! Now the outrageous things I did as a kid, seem trite in comparison to the indiscretions of today’s youth. Where a kid might get beat up in my day for some stupid thing, today they might be killed! The stakes have been raised to perilous levels.

We live in a “fast food” mentality society. For many of these kids, the idea that one has to prepare by educating oneself in a chosen field is considered an imposition and too time consuming and difficult. This lack of education has driven most of today’s music and musicians into mediocrity! I’m not saying there is a lack of talent, only that their is a lack of drive to fully develop that talent by learning the craft — the nuts and bolts of music and the business if you will.

Now these kids are not stupid! They know the difference between right and wrong and most have some form of morality! So if these kids know, in their heart of hearts, that they need an education to achieve longevity in the business; and the music they are producing now, besides being relatively mediocre, is demeaning and detrimental, then why do they do it? Partially it’s because they are not aware or choose not to accept the fact that their music is in anyway less than previous generations. Also, I believe there is a basic laziness and lack of educational motivation. Because this music is selling, the thought that a young fan might take a certain “raw” lyric to heart and desire to emulate that artist and lyric, is considered irrelevant and put out of ones mind! It’s bad news!

Perhaps an even more germane question would be, who are the kids that buy these recordings and why? Of course, I can think of several quick answers, but I believe there is a deeper answer that needs to be sought after, especially among white kids. I’ll leave that for you and some psychologist to ponder — I’m just the “piano player.”

Most young contemporary Rappers don’t have long careers, usually because there’s not much substance or long term thought involved. In fact, much like any other contemporary artist, to survive most Rappers who have been around for any length of time, are still around because they have toned their rhetoric down and become more inclusive of mainstream thought and ideas. Some have become movie stars, talk show hosts or record company owners. In most cases, they have toned their overall image down in order to be more acceptable to the general public. Many have stopped touring and making records, because they are now too old for the game, and they must move on or out! Rap is a young person’s game. Once a Rapper has reached the “magic” age, then they are moved, in the hearts and minds of the young fans, to the “old school” category together with everything that implies. In either case, history demonstrates that rebellious youth, along with its’ musical trends, is always eventually absorbed to some degree by the mainstream.

My answer? I believe we shouldn’t throw these kids to the curb. It seems to me that we must embrace them on a general level while letting them know that what they are producing is unacceptable and dangerous to impressionable minds. In some way we must, dare I say, re-educate them on what is right and what is wrong and show them a different way to earn a living, that really works!! I feel that if we don’t embrace them and at least show them some degree of respect, that we will lose them all together, and a person that doesn’t care is a very dangerous person indeed!!! We must find a way to make these kids care not only about music, but have a respect for life, legacy and the real power of love, laughter and sharing!

I realize that some people believe this is a lost generation of young people, and maybe they’re right; but being the eternal optimist I am, I believe it is still possible to instill a more positive vision in some of these kids hearts and minds. In fact, it has to be possible or we really are in trouble!!

Peace,

George Duke

Pat Metheny on Kenny G
From JazzOasis.com

Question:

Kenny G is not a musician I really had much of an opinion about at all until recently. There was not much about the way he played that interested me one way or the other either live or on records.

But, like I said at the top, this relatively benign view was all “until recently”.