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Saturday, December 10, 2016

Turning Ho-Ho-Hum to Ho-Ho-Ho: Music News, Holiday Destinations, and More! Dec 9 2016 edition

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This period we call "The Holidays" is either stressfully hectic or achingly lonely. We can offer you lots of places to take visiting relatives or go make new friends, and maybe even to make a difference with your presence. We can suggest gifts of music for you to give others, or acquire to treat yourself. Whatever your relationship status, your distance in time and place from whatever you call (or once called) home... whether your Christmas dinner plans are to settle in at the local Chinese restaurant... Or to tolerate that drunk uncle who always ruins your holiday, but is part of the bargain to watch the kids excitedly unwrap packages... whatever your attitudes and values relative to religion, special days that derive from it, or the complete absence thereof...

Never underestimate your ability to make a difference.

The young boy who would become COUNT BASIE took piano lessons for 25 cents a lesson from a German woman named Holloway. We only know about her because of him.

A man named VINCENT LEINEN moved to L.A. from Iowa a bit over 35 years ago. He organized caroling for shut-ins in the San Fernando Valley that first year he was here. Last Sunday, a cavalcade of music stars (Grammy winners, Gold Record holders, rock stars, and many others with recognized stature) joined Hollywood film and TV actors, less-well-known musicians, and members of the community who joined their voices in song for Vincent's 35th annual caroling event. We only hear from Vincent twice a year -- when he recruits everyone to join-in the caroling event, and when he invites everyone to take part in his events surrounding the annual Playboy Jazz Festival. Oh, he COULD get people to turn-out for anything he wanted. But he sticks with those two events. Right now, he's off on his usual month-long December tour, leading caroling events for shut-ins in 21 other cities, until Christmas, back in Iowa. Now remember, he didn't know anyone when he arrived here.

Take a moment and tell yourself a story of someone you know who has made a difference. Someone sung or un-sung. Maybe as a volunteer bringing live music to a school with no music program. Maybe as a performer at the old folks home, or the VA home. Maybe collecting winter coats or getting them washed and dried for distribution at the homeless shelter. Or striving to save an endangered species by saving the last vestige of their habitat from destruction. Or fighting climate change. Or finding loving homes for abandoned animals. Or doing any of a thousand things that make the world just a little bit brighter. More promising. More loving. More caring. In some way. For someone. Maybe there's someone you know whose efforts you could support. Maybe it's you, and you don't get any recognition or help or credit, but you do it anyway because YOU know it makes a difference, even if no one else does.

Don't underestimate YOUR ability to make a difference. You probably are, already, even if you don't pause long enough to know it.


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CONTENTS / IN THIS EDITION...


1) NEWS SHORTS... several items, all late-breaking...

2) 2016 Americana Radio Chart Top 100; Most Played Albums of the Year

3) Ice Skate on Board a Battleship? Only in L.A.!

4) GRAMMY MUSEUM: Last of 2016, First of 2017 Special Events Schedule

5) Where to Take Holiday Guests (or to enjoy on your own)

6) Farewell to Norm's: Meeting Place for DR. DEMENTO'S "PICO & SEPULVEDA"

7) "Learn How To Play Clawhammer Banjo" Really? From a Video?

8) "Down Home Family Christmas" Dec 22nd at the Coffee Gallery Backstage

9) Sibelius 8.5 Promises "Write Music Faster and More Fluidly"

10) Berklee College of Music Online: Winter Term, Jan 9; Discounts 'til Dec 12

11) RT's "THE RESIDENT" skewers "SATURDAY NIGHT LIVE." You need to know her...

12) A Chockful Weekend: We Dare Ya to Stay Home; C'mon, We Dare Ya!

13) Events: Tasty Treats from the Music Calendar


Let's get started!


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# 1 news feature...


NEWS SHORTS...

✔ FUKISHIMA RADIATION REACHES OREGON COAST

Ken Buessler, senior scientist from Woods Hole Oceanographic Institution, said Friday that Cesium 134 and 137 have both been detected on the coast of Oregon, and Fukishima is the source. Cesium 137 has been around since the first atomic bomb tests, so it turns-up lots of places. But Cesium 134 has a two-year half-life, and given the level of radioactivity found, its source is certainly the three reactors that melted-down in Japan following the earthquake and tsunami that struck the nuclear plant there. Buessler emphasizes that the concentrations are low, and continue to be monitored. But we'll be thinking of our many friends in the vibrant Portland music community.
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✔ BIRTHDAYS, ANNIVERSARIES, AND MORE 2016 DEATHS

** First, Happy 100th Birthday (Friday) to actor and author KIRK DOUGLAS! He's played countless roles and brought memorable performances to every single one of them. For us, he'll always be Spartacus who led the slave revolt against the tyranny of the plutocrats of Rome.

** Musician GREG LAKE of EMERSON, LAKE & PALMER died Thursday at age 69. Far, far, too young, as we saw so clearly by the 70+, and some 80+, ages of all those who performed so ably and generated such magic at "Desert Trip" in Coachella in October.

** Pioneering NASA Mercury 7 and Space Shuttle Astronaut, and longtime US Senator, JOHN GLENN died Thursday at age 95. He was the first American to orbit the Earth aboard his one-man "Friendship 7" spacecraft in 1962, when he faced the uncertainty of a sudden termination of his flight after just three orbits, and emergency re-entry when it seemed the heat shield of his spacecraft may have come loose. Later, after an esteemed career in the US Senate, he became the oldest person ever to go into space in 1998, as a crewmember of Space Shuttle Discovery on STS-95. There, he conducted a wealth of medical experiments. That mission lasted nine days, orbited the Earth 134 times, traveled a distance of 3.6 million miles, and brought a landing on wheels for a waiting crowd instead of beneath a parachute into the lonely blue ocean. The shuttle Discovery eased through re-entry at a mere 3 Gs, half of what he experienced aboard Friendship 7, 36 years earlier. For all those who've always been told, "You can't go home again," don't believe it. Godspeed, John Glenn.


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# 2 news feature...


2016 AMERICANA RADIO CHART TOP 100; MOST PLAYED ALBUMS OF THE YEAR


(Nashville, Tenn.) December 8, 2016 - The Americana Music Association has announced its year-end Top 10 and Top 100 Albums of the Year. These are based on the records reported to the Americana Airplay Chart during the period of December 1, 2015 through December 5, 2016.

This year's Top 100 most played albums are:

1) Avett Brothers, "True Sadness"

2. Tedeschi Trucks Band, "Let Me Get By"

3. Bonnie Raitt, "Dig In Deep"

4. Lumineers, "Cleopatra"

5. Hayes Carll, "Lovers And Leavers"

6. Parker Millsap, "The Very Last Day"

7. Mudcrutch, "2"

8. Sturgill Simpson, "A Sailor's Guide To Earth"

9. Colvin & Earle, "Colvin & Earle"

10. Jayhawks, "Paging Mr. Proust"

11. Margo Price, "Midwest Farmer's Daughter"

12. Record Company, "Give It Back To You"

13. Lucinda Williams, "The Ghosts Of Highway 20"

14. Nathaniel Rateliff and The Nightsweats, "Nathaniel Rateliff and The Nightsweats"

15. Dylan LeBlanc, "Cautionary Tale"

16. Cactus Blossoms, "You're Dreaming"

17. Darrell Scott, "Couchville Sessions"

18. Elizabeth Cook, "Exodus Of Venus"

19. Bonnie Bishop, "Ain't Who I Was"

20. Aubrie Sellers, "New City Blues"

21. Sarah Jarosz, "Undercurrent"

22. Loretta Lynn, "Full Circle"

23. Sara Watkins, "Young In All The Wrong Ways"

24. Shovels & Rope, "Little Seeds"

25. Carrie Rodriguez, "Lola"

26. Josh Ritter, "Sermon On The Rocks"

27. Wynonna & The Big Noise, "Wynonna & The Big Noise"

28. Infamous Stringdusters, "Ladies & Gentlemen"

29. John Prine, "For Better, Or Worse"

30. Hard Working Americans, "Rest In Chaos"

31. Paul Simon, "Stranger To Stranger"

32. James Hunter Six, "Hold On!"

33. Aoife O'Donovan, "Magic Hour"

34. Robert Ellis, "Robert Ellis"

35. Honeycutters, "On The Ropes"

36. Luther Dickinson, "Blues & Ballads"

37. Peter Wolf, "A Cure For Loneliness"

38. Sam Bush, "Storyman"

39. Ben Harper & The Innocent Criminals, "Call It What It Is"

40. Devil Makes Three, "Redemption & Ruin"

41. Joe Ely, "Panhandle Rambler"

42. Buddy Miller & Friends, "Cayamo Sessions At Sea"

43. Dwight Yoakam, "Swimmin' Pools, Movie Stars..."

44. Lori McKenna, "The Bird & The Rifle"

45. Jason Isbell, "Something More Than Free"

46. Yarn, "This Is The Year"

47. Wilco, "Schmilco"

48. Various - The Songs Of Blind Willie Johnson, "God Don't Never Change"

49. Anderson East, "Delilah"

50. Randy Rogers Band, "Nothing Shines Like Neon"

51. Corb Lund, "Things That Can't Be Undone"

52. Turnpike Troubadours, "Turnpike Troubadours"

53. Willie Sugarcapps, "Paradise Right Here"

54. Luke Bell, "Luke Bell"

55. Jim Lauderdale, "Soul Searching"

56. John Doe, "Westerner"

57. Bottle Rockets, South Broadway Athletic Club"

58. Teddy Thompson & Kelly Jones, "Little Windows"

59. Miss Tess, "Baby, We All Know"

60. Los Lobos, "Gates Of Gold"

61. Bill Kirchen & Austin de Lone, "Transatlanticana"

62. Southern Culture On The Skids, "The Electric Pinecones"

63. Dave Alvin & Phil Alvin, "Lost Time"

64. Black Lillies, "Hard To Please"

65. Green River Ordinance, "Fifteen"

66. Jack Ingram, "Midnight Motel"

67. Patty Griffin, "Servant Of Love"

68. Amanda Shires, "My Piece Of Land"

69. Chris Isaak, "First Comes The Night"

70. Charles Bradley, "Changes"

71. Sierra Hull, "Weighted Mind"

72. Wood Brothers, "Paradise"

73. Reckless Kelly, "Sunset Motel"

74. Chris Stapleton, "Traveller"

75. Shovels & Rope, "Busted Jukebox Volume 1"

76. Hackensaw Boys, "Charismo"

77. Grant Lee Phillips, "The Narrows"

78. Todd Snider, "Eastside Bulldog"

79. Seth Walker, "Gotta Get Back"

80. Charlie Faye & The Fayettes, 'Charlie Faye & The Fayettes"

81. Drive-By Truckers, "American Band"

82. William Bell, "This Is Where I Live"

83. Derek Hoke, "Southern Moon"

84. Tim O'Brien, "Pompadour"

85. Sarah Borges, "Good And Dirty"

86. Frankie Lee, "American Dreamer"

87. Steve Martin & Edie Brickell, "So Familiar"

88. Earls Of Leicester, "Rattle & Roar"

89. Hiss Golden Messenger, "Heart Like A Levee"

90. Whiskey Myers, 'Mud'

91. Billy Bragg & Joe Henry, "Shine A Light"

92. Lydia Loveless, 'Real'

93. Sean McConnell, 'Sean McConnell'

94. Malcolm Holcombe, 'Another Black Hole"

95. Billy Gibbons, "Perfectamundo"

96. Tim Easton, "American Fork"

97. Mary Chapin Carpenter, "The Things We Are Made Of"

98. Rob Baird, 'Wrong Side Of The River'

99. Brent Cobb, Shine On Rainy Day"

100. Janiva Magness , "Love Wins Again"

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Americana Music makes a great holiday gift. If you haven't heard these and other albums, go to Amazon, iTunes, or visit your local independent record store to start your holiday shopping now.

More at: www.americanamusic.org


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# 3 news feature...


ICE SKATE ON BOARD A BATTLESHIP? ONLY IN L.A.!


It might sound as crazy as that old fish and bicycle line, except this one is real. This year, "North Pole Village" has relocated to the BATTLESHIP IOWA, which is docked as a museum in San Pedro. Now, the first thing we need to do is get you qualified with a bit of vocabulary. They are encouraging you to "Ice Skate on the Big Stick this Winter!"

You need to know that it's a nickname for the USS Iowa, going waaay back before the ship's time to Teddy Roosevelt, when he said his approach to the world was to "Walk softly, but carry a big stick." Teddy was Secretary of the Navy before being elected Vice President, and becoming President when William McKinley was assassinated. Anyway, Teddy's "Big Stick" always referred to his navy ships with their big guns.

The aft deck of the USS Iowa is a vast open space where airplanes were handled and launched in World War II. They were replaced by helicopters in Korea. And the deck is presided over by the three sixteen-inch guns of the Iowa's rear-facing turret. Final piece of the puzzle? The Los Angeles Kings Holiday Ice Rink is relocated to that vast aft deck.

The giant ice rink is open 7 Nights a week until January 8, 2017. Plus there are Night Tours, and Santa Claus is there on select dates. In short, the decks of the Iowa have been transformed into an Arctic paradise. You and your family can lace up your ice skates and spin around the Los Angeles Kings Holiday Ice Rink on the huge fantail - on the only ice rink known to ever have been erected on an actual battleship.

Plus, on select days, you get a rare opportunity to tour the historic ship at night, visit with Santa Claus to share your wish list, and become an official member of "Vicky’s Order of the Blue Noses."

This being the first time anybody has ever done anything like this, and it being on such a massive scale (the ship is HUGE), you can be among the first to skate on board Battleship IOWA (or any battleship, ever) on the Los Angeles Kings Holiday Ice Rink (or any ice rink, ever).

ICE SKATING is open Monday through Friday, 5-10:30 pm, and
Saturday and Sunday, 4-10:30 pm.

Ice Skating tickets are $15 (skate rentals included).

The additional special events, "North Pole Nights at the Big Stick," are open Fridays and Saturdays, 5 pm to 10 pm, Sundays 5 pm to 9 pm. Food options, like warm chicken noodle soup, and nachos, plus cookies, treats, hot cocoa and other beverages, are available to purchase onsite. Dates: for these additional events are December 2, 3, 4, 9, 10, 11, 16, 17, 18, 23, 30 & 31.

Fantail access is FREE to reach the massive ice rink (where you will pay $15 if you want to skate, including skate rentals).

Evening Tour Tickets to tour USS Iowa are a big deal, because this doesn't ordinarily happen. Those special tix are $12. (Activities and hours subject to change.)

Battleship IOWA / Pacific Battleship Center, is moored at 250 S Harbor Bl, San Pedro 90731;


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# 4 news feature...


GRAMMY MUSEUM: LAST OF 2016, FIRST OF 2017 SPECIAL EVENTS SCHEDULE


The GRAMMY Museum's own theatre, the Clive Davis stage, is a great place to see and hear live music. The museum has also partnered with numerous other venues, so check the listings to see where each event occurs. Also note that tickets are going fast for December events, while tickets for some January events are not available until the indicated dates. Those with American Express credit cards almost always have an opportunity ahead of us peasants to get tix early for their events.

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✔ "LYTHGOE FAMILY PANTO'S 'A CINDERELLA CHRISTMAS'" runs December 8-January 8, 2017, at the Pasadena Playhouse, in Pasadena. "Panto at The Playhouse," now in its fifth year, has become a "must-do" holiday tradition for Southern California residents. A Cinderella Christmas is the latest Holiday Spectacular presented by The Pasadena Playhouse and Lythgoe Family Panto in the style of the traditional British Panto. This year's stunning production stars LAUREN TAYLOR (DISNEY's "Best Friends Whenever") as Cinderella and ALEX NEWELL (FOX's "Glee") as The Fairy Godperson. A Panto is interactive holiday fun for all ages, and the timeless tale of Cinderella will feature comedy, dancers from "So You Think You Can Dance" and contemporary music from TAYLOR SWIFT to the BEE GEES. "Panto at The Playhouse" productions have featured luminaries from the worlds of music, theatre and television, including Sabrina Carpenter, John O' Hurley, Ariana Grande, Ben Vereen, Olivia Holt and Lucy Lawless.

Receive 20% off tickets by using coupon code: ACCE
Tickets available now, online or by calling 626-356-7529.

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✔ "AN EVENING WITH DAVID BROMBERG" is Monday, December 12, 2016; 8 pm, in the Clive Davis Theatre at the GRAMMY Museum. The GRAMMY Museum welcomes singer/songwriter and multi-instrumentalist DAVID BROMBERG, an "American music icon" according to DR. JOHN, to the Clive Davis Theater for an intimate conversation on his latest album "The Blues, The Whole Blues and Nothing But The Blues," and his career, moderated by SCOTT GOLDMAN, Vice President of the GRAMMY Foundation and MusiCares. The conversation is followed by a performance.
Tix now available.

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✔ "THE DROP: US THE DUO" is Wednesday, December 14, 2016; 8 pm, in the Clive Davis Theatre at the GRAMMY Museum. The GRAMMY Museum welcomes husband-and-wife singer-songwriter duo MICHAEL & CARISSA ALVARADO of US THE DUO to the Clive Davis Theater for an intimate conversation on their rising success and latest fan-sourced project, "Public Record," moderated by SCOTT GOLDMAN, Vice President of the GRAMMY Foundation and MusiCares. The conversation will be followed by a performance.
Tix now available.

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✔ "REEL TO REEL: RATTLE THE HOCKS" is a film screening and live performance with THE GRAHAMS and special guests the NORTH MISSISSIPPI ALLSTARS, on Thursday, December 15, 2016; 7:30 pm, in the Clive Davis Theatre at the GRAMMY Museum. The GRAMMY Museum presents a special screening of "Rattle the Hocks," a short film directed and co-produced by CODY DICKINSON (founding member of the NORTH MISSISSIPPI ALLSTARS and son of the late legendary producer JIM DICKINSON) that captures THE GRAHAMS' relentless journey to explore the relationship between train travel and American roots music. The screening will be followed by a special Q&A and performance featuring THE GRAHAMS and LUTHER & CODY DICKINSON of the NORTH MISSISSIPPI ALLSTARS, hosted by SCOTT GOLDMAN, Vice President of the GRAMMY Foundation and MusiCares.
Tix now available.

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✔ "LONELY BOY: TALES OF A SEX PISTOL WITH STEVE JONES" is Tuesday, January 10, 2017; 7:30 pm, in the Clive Davis Theatre at the GRAMMY Museum. The GRAMMY Museum welcomes SEX PISTOLS co-founder STEVE JONES to the Clive Davis Theater for a conversation on his forthcoming memoir "Lonely Boy: Tales of a Sex Pistol," moderated by SCOTT GOLDMAN, Vice President of the GRAMMY Foundation and MusiCares. The conversation will be followed by a book signing with Jones in the Museum's gift shop.
Tix now available.

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✔ "AN EVENING WITH DOYLE BRAMHALL II" is Wednesday, January 11, 2017; 8 pm, in the Clive Davis Theatre at the GRAMMY Museum. The GRAMMY Museum welcomes DOYLE BRAMHALL II, lauded by ERIC CLAPTON as one of the most gifted guitarists he has ever encountered, to the Clive Davis Theater for an intimate conversation and acoustic performance surrounding his latest album "Rich Man," which documents an intensive spiritual and musical journey that took him to the other side of the world in search of new sounds and an inner peace following the death of his father in 2011. The conversation will be moderated by SCOTT GOLDMAN, Vice President of the GRAMMY Foundation and MusiCares.

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✔ "PEOPLE'S CHOICE AWARDS VIP PACKAGES" for January 18, 2017; 5 pm, at the Microsoft Theater in L.A. The Grammy Museum says, "Give the gift of a TRUE VIP experience with the PEOPLE's CHOICE AWARDS VIP Packages." On Wednesday, Jan. 18, 2017 at 5 pm, at Microsoft Theater, the 2017 People's Choice Awards return with awards in 64 categories. The 2017 People's Choice Awards promises to be one for the books - with ELLEN DeGENERES nominated in three categories, including Favorite Daytime TV Host, it could be one for the record books. If DeGeneres wins in even one of the categories in which she's nominated, she would become the most-decorated People's Choice Awards winner in history. Call Bryan Schiller at 213-763-7923 promptly to reserve tickets. You can also save 20% on General Admission Tickets to the event.

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✔ "GREAT GUITARS: ERIC JOHNSON" is Thursday, January 19, 2017; 8 pm in the Clive Davis Theatre at the GRAMMY Museum. General on-sale begins December 15 at noon. The GRAMMY Museum welcomes Texas guitar legend ERIC JOHNSON to the Clive Davis Theater for an intimate conversation and performance surrounding his first completely unplugged solo album, "EJ." The evening will be hosted by SCOTT GOLDMAN, Vice President of the GRAMMY Foundation and MusiCares.

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Unless otherwise noted, there is a 4 ticket limit per museum membership or household, per program. Tickets are non-refundable and non-transferable.

Complete information is at 213-765-6800 or online at www.grammymuseum.org.

The GRAMMY Museum is located at 800 W Olympic Bl, Los Angeles 90015.


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# 5 news feature...


WHERE TO TAKE HOLIDAY GUESTS (OR TO ENJOY ON YOUR OWN)


"Curbed" is, ostensibly, the best website in L.A. for news about real estate. But, it's never seemed to be THAT -- not at all, as far as we're concerned. It's really about interesting places, a lot of them relatively obscure, some of 'em treasures, even. And it's a great place for news of who's scheming on what, and things to support or to get organized and go fight against. And much of it is usually in "Curbed" before the L.A. Times figures out what's going on. It's also filled with tips for discovering must-see buildings about town -- sometimes just before they're torn down (see the # 6 news feature for one of those).

Their December 9th edition has a fun feature titled, "The ultimate 'La La Land' filming location map," by Jenna Chandler. It's more than the title indicates. It's the basis for you being a tour guide hero for your relatives from snow country.

Jenna writes, "'La La Land,' one of the most anticipated and acclaimed movies of the year, captures the sweetest version of Los Angeles with its cotton candy sunsets, iconic architecture, neon signs, quiet streets, and towering palm trees."

She quotes Mayor Eric Garcetti as saying, "You can’t have a better tourism brochure than this movie." At least, that's what he told "The Wrap" at the musical's Los Angeles premiere Tuesday night. The mayor added, "It highlights 60 locations. It shows that L.A. is not just about the stars. It’s about the romance."

Jenna's "Curbed" story profiles 19 classic L.A. locations used by the movie, with help from Fandango.

It's at:

http://la.curbed.com/maps/la-la-land-filming-locations

MAPS (at the link above)...

• The ultimate 'La La Land' filming location map

• 9 spots around Los Angeles to see Christmas lights


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# 6 news feature...


FAREWELL TO NORM'S: MEETING PLACE FOR DR. DEMENTO'S "PICO & SEPULVEDA"


If you remember that Dr. Demento radio favorite, "Pico & Sepulveda," this will hurt even more.

Yet another L.A. landmark is about to close and meet the wrecking ball. For years, we've made it a habit to take our guests there -- all of them who arrive at or depart from LAX. Norm's, the always busy, always open, with great service, best-one of the best chain of coffee shops in L.A., is getting run-out by a landlord who wants to make a killing, developing the land on which it sits. Norm's still retains its classic "Googie" architectural style. It still has great meals with soup and salad and dessert included. You'll still wait a few minutes for a table. And, no, it isn't really AT Pico & Sepulveda -- it's at 11001 West Pico Bl, a short block east of the intersection made famous by the song. Well, contextually famous. In some circles, anyway. Like Dr. Demento's. And ours.

But the place to eat has always been Norm's at "Pico & Sepulveda."

The song, "Pico and Sepulveda," is probably best known in the recorded version by FELIX FIGUEROA & HIS ORCHESTRA. But it dates from 1947, first performed by FREDDY MARTIN AND HIS ORCHESTRA, composed by EDDIE MAXWELL and JULE STYNE and first released on Ambassador Records.

There are several versions with fun video action on YouTube. We like:

• The Rooster version: https://www.youtube.com/watch?v=D98BR1DYrkg

• Kristofer Raikes version: https://www.youtube.com/watch?v=A_YPFvC-C_E

• And you can enjoy the commentary about the song, the setting, and how a lumber yard is really what's on the corner, at:

http://www.experiencingla.com/2009/10/pico-and-sepulveda-intersection-song-or.html
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• To read the story that first alerted us what's about to happen to that wonderful Norm's, with notes on its architecture, and a somewhat cautious take on its impending demise, go to:

http://la.curbed.com/2016/12/9/13898108/googie-style-norms-on-pico-boulevard-will-close-for-good-on-christmas-eve


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# 7 news feature...


"LEARN HOW TO PLAY CLAWHAMMER BANJO" REALLY? FROM A VIDEO?


We are always glad to see the folks from Deering Banjo. They run that hand-craftsmanship factory that produces California-made instruments, down San Diego County way. But when an article turned up yesterday by DAVID BANDROWSKI, making the claim quoted in the title above, we were expecting to see some series of lessons they were presenting somewhere. Nope. They made a video. On top of that, it's free, online.

They ask simply, "Have you always wanted to learn to play clawhammer banjo? Do you know what clawhammer banjo is? Maybe you have played it before… but then again, a little reminder wouldn’t hurt, right?"

They go on to make the audacious claim, "This video will teach you both what it is and how to play this style of banjo."

Wow. Okay, grab your 5-string and brace yourself. Because the very next thing they say is, "And so without further adieu, join Deering’s own BARRY HUNN as he guides you through the first stages of that mesmerizing sound of banjo playing they call clawhammer!"

As the Great One, Jackie Gleason, used to say, "And awaaaaay we go!"

It's at:

http://blog.deeringbanjos.com/learn-how-to-play-clawhammer-banjo/


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# 8 news feature...


"DOWN HOME FAMILY CHRISTMAS" DEC 22ND AT THE COFFEE GALLERY BACKSTAGE


Sure, we could tell you about any of a couple dozen big shows in big venues with a Christmas or generic holiday theme. But we selected this one. It's a one-night-only mother-daughter singer-songwriters show at our favorite intimate venue, and one of the two -- that being the daughter half of the duo -- is a very impressive musician whose work and live performance made us fans a long time ago. We're talking about ADJOA, a touring recording artist who sometimes performs with just her first name, and other times with her full name, as ADJOA SKINNER.

Both Adjoa and her mom are multi-instrumentalists and award winning vocalists and songwriters. Her mother, SUSAN ROZLER, is teaming-up on this special night to perform "a fun and lively show of your favorite Holiday classics." They promise to include sweet duets, an audience singalong, and funny originals. Of course there's limited seating in this acclaimed intimate music venue.

The show is Thursday, December 22nd, at 8pm, at the Coffee Gallery Backstage, 2029 N Lake Av, Altadena; reservations are strongly recommended. Call 10 am-10 pm, 7 days, at 626-798-6236. Tickets are $18.

For those with the appropriate social media, you can use #downhomefamilyxmas

Though you cannot make online reservations, there's plenty more about the show at the venue's site, www.coffeegallery.com

And there's all you want to know about the artists at:
Www.adjoaskinner.com
and
Www.susanrozler.com


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# 9 news feature...


SIBELIUS 8.5 PROMISES "WRITE MUSIC FASTER AND MORE FLUIDLY"


We have not tried this, but we explored it on the web, and we recommend you do the same if you're at all interested in a responsive, adaptable computer-based music composition program. especially if you're wanting to write parts for multiple players. The company behind this is calling it "The Fastest, Smartest, Easiest Way to Write Music."

Most of this feature is in quotes, being from Avid, the company that developed and markets Sibelius 8.5 and its previous versions.

Avid's basic pitch for this newest upgrade is, "When composing music, you have complete control over every note you write. Now get even greater and easier control over every detail in your score with Sibelius 8.5 — available now."

• Access, edit, and organize elements faster with the updated Inspector

• Change staff sizes as desired for more flexible and precise engraving control

• Take full control of your score layout with new features and functionality

A testimonial never hurts, and this is a good one:

"Sibelius is an instrument that is organic and brilliantly organized so a musician can think quickly and rely on it for ease of movement. Its design makes creativity a distinct possibility and always just a keystroke away.” -- GIL GOLDSTEIN, Grammy-Winning Music Arranger.

Their website is organized to offer short statements on numerous aspects. Under the head, "Express yourself with Sibelius," they say, "Create beautiful, captivating scores more quickly than ever before with the world's best selling notation software."

Okay, that's pretty basic blowing your own horn. Let's see how they do from there.

Editing scores more easily was a common request with the early versions. The Avid folks say, "Thanks to popular demand, you now have more flexible layout and composition possibilities to best present your score. Work faster with the updated Inspector interface, which now offers more flexible access. Change staff sizes by system, individual instruments, and groups of instruments to create a clear and perfect looking score. And gain fine control of the new staff sizes in Engraving Rules."

If somebody says, "Make music easier to learn," that simple statement gets immediate attention. Their point? "Music doesn't have to be so black and white. With the latest Sibelius, you can now color individual notes and/or chords, giving students a more enhanced and visual way of learning to read and write music notation."

It's a cute double entendre to say, "Get better rest." Of course, what they mean is, "Inserting rests into your score," which they claim "is now easier and more intuitive. Whenever you add one, Magnetic Layout automatically repositions the rest to align optimally with the phrasing of preceding notes—no manual fixes required. Create easy-to-read scores faster than ever. Plus, you can now move rests and notes horizontally in your score."

Under the heading, "Re-spell and repeat with ease," the developers tell us, "It's now possible to have the same pitched note display a different accidental in any part compared to the rest of the score. You can also create concise first, second, and third time bars that appear and play back exactly like you'd expect them to, eliminating manual correction. Plus, all time signature changes now appear after the barline but before repeat barlines by default."

Sharing your score is somewhere between desirable and an absolute necessity. They ask, "Want to share your composition with a colleague, client, or friend? You can now export your composition as an MP3 audio file for faster file transfer that won't hit email size limits."

"Write music with a pen on a Surface Pro" is a major attraction for some. They proclaim, "If you own a Microsoft Surface Pro 3 tablet, you can now add and edit notes quickly with just a tap of the pen. This makes it easier than ever to fine tune your compositions on the go. Plus, you can play back your music using the tablet's onscreen keyboard and fretboard."

This looks good for adding notes and comments. As their promo says, "Sometimes you have a great idea, but you forget to write it down. Then the next thing you know, your idea is gone. The new Annotate feature allows you to add notes directly on the score — you can create reminders for yourself as you’re composing, or communicate edits and feedback to others."

Under their heading, "Use multi-touch gestures," they explain, "with Sibelius, you can create scores faster than ever before thanks to an advanced user interface. You can navigate and edit even the most complex scores quickly using multi-touch gestures on your laptop trackpad or Surface Pro 3."

We're always skeptics about what something really costs. In addition to purchasing Sibelius outright, you can now subscribe affordably with low-cost monthly or annual subscriptions. Pay only when you need it — all updates and upgrades are included for the duration of your subscription.

The marketing and product description link for Sibelius 8.5 is:

http://www.avid.com/sibelius

You can check out the Avid blog -- certainly recommended before you buy, but it's pretty techy wonky. It's at:

http://www.avidblogs.com/sibelius-8-5-now-available-whats-new/

Again, we have not tried this. But you can explore a goodly amount of it online, and it appears impressive and something you can use without immersing yourself in some esoteric realm of uniqueness.


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# 10 news feature...


BERKLEE COLLEGE OF MUSIC ONLINE: WINTER TERM, JAN 9; DISCOUNTS 'TIL DEC 12


The Guide is big on supporting music education, from consistently and strongly advocating the return, with full funding, of arts and music education to ALL of America's public schools, to encouraging patronage by all ages of your local music teacher's digs.

This being the online age, we are also glad to support Berklee Online. You can start 2017 on the right note with courses covering 'purt near all areas of music. Their online courses are enrolling now for the winter term, which starts January 9.

If you enroll and pay by Monday, December 12, you can save up to $200 on select courses.

They offer opportunities to improve your skills in:
• Music Production
• Guitar
• Music Business
• Songwriting
• Music Theory, Harmony, and Ear Training

Full info is at:

https://online.berklee.edu/?mkt_tok=eyJpIjoiWVRRMU1EUmtPV05pTkRVeSIsInQiOiI2dUlwUUJWNmNieWZ5SEpxUVZWRFwvZ202d0xHeFpVT1NtYmQwY0Z1WHpQRTVuZElFWnUwaWFhd1pLUzl4Y1lHN2c0ZnNPMzhxR3hqY0hxNk1va1dMNFFXMzJoYVZkSXZxT2R6b0RWZFQ3RTA9In0%3D


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# 11 news feature...


RT's "THE RESIDENT" SKEWERS "SATURDAY NIGHT LIVE." YOU NEED TO KNOW HER...

If you're thinking SNL just ain't funny, you're hardly alone. With occasional (increasingly rare, but occasional) exceptions, we're in agreement, and we're always wondering what drugs they dispense to the studio audience to get all that wildly whooping applause for bits that start out prostrate, never manage to peel themselves off the linoleum, and are still down there chewing the shag and the dog hair when someone mercifully calls "time" on yet another failed bit of, uh, sketch, uh, "comedy."

On Friday, someone went on-air to call it what it is: dreadfully un-funny.

That someone is RT's "THE RESIDENT," aka satirical onscreen essayist LORI HARFENIST. She opens and closes each of her TV segments with a quick-cut foray of herself dancing through the aisles of a New York City record store, joyfully collecting vinyl 33 1/3 albums from the bins, and she flashes them into the camera to get the title of her spot.

Daily shorts airing several times between, or during breaks in the midst of, other shows? Practically unheard of with today's paradigm of maximum commercial content. So, what's her series of almost-daily TV short dissertations about? She can tell you in her own words:

"In this bizarre society humanity has made, I believe it is my role to question the establishment, whomever or whatever that morphs into as we progress. I take that role very seriously. Or…do I?"

Her website traces the development of her show from a weekly half-hour on New York City cable access in 2001, through a couple of moves, then through to the present. She'll tell you she's "a punk." We find her articulate, astute, incisive, both "inciteful" and incisive. And her usual closing line, "Tonight? Let's talk about THAT," has got to be one of the perfect recurring closing line to one of most refreshing short segments on television.

We'll pick up, partway through, her tale of how and why she got where she is, starting after her breaking free of employment in corporate America:

"In 2006, I moved it (the half-hour TV show) once more to YouTube. They immediately started featuring my videos. They invited me to their offices for input a lot. I was one of their first 75 revenue-sharing partners. That’s when the passion project, 'The Resident,' became the job.

"News outlets decided they needed some of that coooool, user-generated content, so they started contacting me through YouTube. NBC News, CNN, FOX, Discovery Channel, DIRECTV, The Post — I made content for them all. They were all very nice. Currently, I do daily studio commentary pieces for RT America, an international TV news network who is ok with me being a punk. If you’d like to be alerted to where you can find my daily videos, follow me on Twitter or on Facebook. (Links at her website, at: http://www.theresident.net/about/.)

"I also just finished my first book, which I am describing as 'George Orwell in Wonderland with robots who sing Led Zeppelin songs.' It is called, 'I, Human.' It is by far the most personal thing I have ever released into the public, and it is most definitely punk. If you would like to check it out, you can get it on Amazon!" (info at: http://www.theresident.net/)

At press time, her skewering of SNL wasn't yet on-line, because it's still airing. It'll get there. Meantime, you can catch plenty of her short dissertations on a wide variety of topics at:

https://www.youtube.com/user/RTAmerica

You'll need to scroll-down to the section for "The Resident." (The two other links you can find for her online shows as "The Resident" have content from a looong way back.)

Sometime soon, we'll also introduce you to LIONEL of "Lionel Media." He's the other voice on RT America who cuts through the crap and skewers those who try to shovel it. We already told you that Lori, aka "The Resident," is quite beautiful. For Lionel? Think a skinny, bearded LOUIS BLACK in glasses with a scruffy beard, a lawyer's vocabulary, and a higher pitch. Now, if we could ever get "The Resident" together with Lionel? Katy couldn't bar that door. Those two would blow it clean off the hinges and waste no time putting a pitchfork in the hand of every peasant. We need to talk to Thom Hartmann or Ed Schultz about that, since both have daily shows on RT America...


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# 12 news feature...


A CHOCKFUL WEEKEND: WE DARE YA TO STAY HOME; C'MON, WE DARE YA!


No, we are definitely NOT going back to presenting comprehensive music calendars. But there are some wunnerful things this weekend, so we reckoned it was our bound duty to make sure you knew about 'em. Also remember to check the very next feature (# 13) for the remains of the last calendar we DID do. Some of those things are mighty fine picks, too, and haven't happened yet, either.

_____

Saturday, December 10...

Sat, Dec 10:
Noon-2 pm "AL SHELTON ART EXHIBITION – COWBOY ARTIST TO THE STARS," presented by the City of Buena Park Fine Arts. It's a FREE reception and memorial celebration of the life of western artist Al Shelton (1920-2016). The venue is the City of Buena Park Council Chamber, 6650 Beach Bl, Buena Park, CA 90622. If possible, rsvp (so they'll have enough free refreshments for you); Greg M. Atkin, at 714-663-0071 or by email to gatkin@artisanstudioworks.com.
The Guide ran a full feature story in the Dec 2 edition; news feature # 7; read it at:
http://acousticamericana.blogspot.com/2016/12/lots-of-news-to-start-december.html

_____

Sat, Dec 10, 2 pm:
WOMEN ON THE MOVE TRIO plays their CD release show for "HONEY WITH MY TEA," a wonderful new album that the Guide really, really, likes. Great melodies and fine harmonies, and it sounds great in a car goin' down the road. Catch this rare L.A. show (they tour a lot). It's dedicated to their mentor, friend, and teacher, HARRIET SCHOCK, who was with the vastly bigger group when it was too big to fit on most stages, before it paired down to trio size. It's a midday matinee at the Coffee Gallery Backstage, 2029 N Lake Av, Altadena 92675; reservations, 626-798-6236.

"Three distinct voices merged into one angelic blend." -- Acoustic LA - Live.

"Women On The Move have a smooth vocal blend that fits their style of feisty folk perfectly. Switching instruments - guitar, mandolin and djembe, the women are all featured with lead vocal turns and original songs. Stellar work, WOTM!" -- Bill Berry, producer/host Songwriter’s Square.

You can listen to the new album's music and read about the trio members at: www.womenonthemovetrio.com

_____

Sat, Dec 10, 3 pm:
"GUITAR WORKSHOP" with RICHARD SMITH at Boulevard Music, 4316 Sepulveda Bl, Culver City 90230; 310-398-2583.

_____

Sat, Dec 10, 7 pm:
JIM "KIMO" WEST & KEN EMERSON present "HOLIDAY SLACK KEY" at the Coffee Gallery Backstage, 2029 N Lake Av, Altadena 92675; reservations, 626-798-6236.

_____

Sat, Dec 10, 7:30 pm:
LIZ LONGLEY & BRIAN DUNNE play Brick 15, 915 Camino del Mar, Del Mar 92014; 858-225-1315.

_____

Sat, Dec 10, 8 pm:
RICHARD SMITH plays Boulevard Music, 4316 Sepulveda Bl, Culver City 90230; 310-398-2583.

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Sat, Dec 10, 8 & 10 pm:
PATTERSON HOOD plays two shows tonight at McCabe’s Guitar Shop, 3101 Pico Bl, Santa Monica 90405; 310-828-4497.

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Sat, Dec 10, 8 pm:
JEFF LINSKY, plus ABE LAGRIMAS JR. & JENNIFER LEITHAM play the Fret House, 309 N Citrus Av, Covina 91723; 626-339-7020.

_____

Sat, Dec 10, 8 pm:
BRUCE FORMAN & COW BOP play Cody’s Viva Cantina, 900 Riverside Dr, Burbank 91506; 818-845-2425.

_____

Sat, Dec 10, 8 pm:
THE MIGHTY ECHOES plus THE STEEL WHEELS play Genghis Cohen Cantina, 740 N Fairfax Av, Los Angeles 90046; 323-653-0640.

_____

Sat, Dec 10, 9 pm:
THE HANDSOME FAMILY plays Pappy & Harriet’s Place, 53688 Pioneertown Rd, Pioneertown 92268; 760-365-5956.


++++++++++

Sunday, December 11...

Sun, Dec 11, 10:30 am:
RANDY KAPLAN plays the "Matinee Kids' Show" series at McCabe’s Guitar Shop, 3101 Pico Bl, Santa Monica 90405; 310-828-4497.

_____

Sun, Dec 11, 1:30 pm:
“SINGING FOR PEACE” COMMUNITY CHORUS plus the GAY GEZUNT KLEZMER BAND play the Pasadena Jewish Temple & Center, 1434 N Altadena Dr, Pasadena 91107; 626-798-1161.

_____

Sun, Dec 11, 2-4 pm:
FREE performance, as "LEGENDS OF THE CELTIC HARP" present their show, "A WINTER GIFT," featuring seasonal music with heartwarming tales and folk stories by PATRICK BALL, LISA LYNNE, & ARYEH FRANKFURTER, at the Thousand Oaks-Grant R. Brimhall Library,
1401 E Janss Rd, Thousand Oaks, CA 91362; www.toaks.org; 805-449-2660

NOTE: This concert has been incorrectly listed in other sources as being an evening event. OUR information is correct: it is an afternoon concert.

_____

Sun, Dec 11, 4 pm:
MATT CARTSONIS plus MARK "POCKET" GOLDBERG and DEBRA DOBKIN play the FREE monthly "Red Rock Concerts" series presented by RON SARFETY at Crown Books, 6100 Topanga Canyon Bl #1340, Woodland Hills 91367.

_____

Sun, Dec 11, 7 pm:
DEAN FRIEDMAN plays the Coffee Gallery Backstage, 2029 N Lake Av, Altadena 92675; reservations, 626-798-6236.

_____

Sun, Dec 11, 7:30 pm:
MATT NAKOA plays the Dark Thirty House Concerts series, 1132 Pinehurst Dr, Lakeside 92040; must call for reservation, 619-443-9622.

_____

Sun, Dec 11, 7:30 pm:
"LITERARY BOB: A CELEBRATION OF DYLAN'S NOBEL PRIZE" with performances by ROSS ALTMAN with Carolyn HESTER, LISA FINNIE, MICHAEL SIMMONS, RENEE SAFIER & ANDY HILL, at Beyond Baroque Literary Arts Center in Venice. BOB DYLAN, Poet Laureate of Rock and Roll, won the 2016 Nobel Prize for Literature. This evening celebrates his lyrics and music with an emphasis on his evocations of great writers going all the way back to Shakespeare and the Bible. Hosted by folk singer Ross Altman; PhD in Modern Literature. Regular $10 admission. Beyond Baroque, 681 N Venice Bl, Venice 90291; 310-822-3006; www.beyondbaroque.org

NOTE: this concert has been incorrectly listed in various sources as a Saturday event. THIS info is correct. It happens SUNDAY.

_____

Sun, Dec 11, 7:30 pm:
DANÚ plays "A CHRISTMAS GATHERING" at the Valley Performing Arts Center, 18111 Nordhoff St, Northridge 91330; 818-677-3000.

_____

Sun, Dec 11, 7:30 pm:
THE STEEL WHEELS play Brick 15, 915 Camino del Mar, Del Mar 92014; 858-225-1315.

_____

Sun, Dec 11, 8 pm:
"A TRIBUTE TO THE MUSIC OF LINDA RONSTADT" featuring GRACE POTTER, DAWES, JACKSON BROWNE, MARIA MULDAUR, J.D. SOUTHER, I'M WITH HER (featuring SARA WATKINS, AOIFE O'DONOVAN & SARAH JAROSZ), GABY MORENO, DAVID LINDLEY, all led by THE WATKINS FAMILY HOUR house band (with SARA & SEAN WATKINS) at the Theatre at the Ace Hotel in Los Angeles. Presented by the Bluegrass Situation, Goldenvoice, & Red Light Mgmt, as a benefit for the Michael J Fox Foundation for Parkinsons Research. Sirius/XM host Jim Ladd will also make a special appearance. Expect some very special surprise guests, and more acts to be announced closer to the event. All proceeds will benefit The Michael J. Fox Foundation for Parkinson's Research. Since 2000, the foundation has funded more than $450 million to speed a cure for Parkinson’s disease through an aggressive research agenda and the development of improved therapies for those living with Parkinson’s today. All ages. Doors at 7 pm. Tix range from $49.50-$250 (for the "Super VIP" tix). The Theatre at Ace Hotel, 929 S Broadway, Los Angeles 90015; 213-623-3233.

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Sun, Dec 11, 8 pm:
"MCCABE'S UMPTEENTH ANNUAL HOLIDAY SHOW" at McCabe’s Guitar Shop, 3101 Pico Bl, Santa Monica 90405; 310-828-4497. Get there early if you want to get in!


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# 13 news feature...


EVENTS: TASTY TREATS FROM THE MUSIC CALENDAR


The Guide no longer adds to this, being that we're returning to concentrating on MUSIC NEWS. BUT there are still things queued-up — THINGS THAT HAVEN'T HAPPENED YET. The Guide, for many years, published its trademark amazing annotated music calendar, L.A.'s best, hands-down. But we stopped, back on Oct. 28th. There were still events listed, and we continue to list them until the last one happens. Here they are.

Festivals, Concerts, whatever else that's appealing — stuff we've already rounded-up for a look ahead
__________

Continuing shows with multiple-performance dates are listed first. Following are the festivals, the concerts, and everything else, listed chronologically.
__________

Fri, Sat, Sun, ongoing...
11 am-All day "LOS ANGELES FINE ART SHOW" is a new event running every Fri, Sat, & Sun, at the Los Angeles Convention Center, 1201 S Figueroa St, Los Angeles 90015; 213-741-1151; www.lacclink.com.
=
It brings Art Galleries - Art Museums - Arts & Culture. The Los Angeles Fine Art Show, a new art fair dedicated to historic and contemporary traditional works, has just launched in conjunction with the LA Art Show.
=
Tix: $20 at the door, or advance at: www.losangelesfineartshow.com
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...through Dec 11:
World premiere engagement of "HANSEL & GRETEL BLUEGRASS." Show runs Oct 29-Dec 11 at 24th St Theatre in L.A. It's Bluegrass as a classic fairy tale, narrated by distinguished actor BRADLEY WHITFORD ("The West Wing"), and features music of THE GET DOWN BOYS. Tix now available. Tix & info, 213-745-6516 or www.24thstreet.org.
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Tue, Dec 27:
3:30 & 7:30 pm TRANS-SIBERIAN ORCHESTRA plays two Southern Cal shows during its annual national holiday tour, both at Citizens Business Bank Arena, Ontario. Trans-Siberian Orchestra (TSO) is an American progressive rock band founded in 1996 by Paul O'Neill. The Washington Post has called them "an arena-rock juggernaut", describing their music as "Pink Floyd meets The Who and Andrew Lloyd Weber." 2014 marks the first time they will be touring their all new live rock opera “The Christmas Attic”. This new show features songs that have never been performed live as well as fan favorites including 'Wizards In Winter, 'Requiem' and 'Christmas Eve/ Sarajevo 12/24'". TSO has played more than 1,600 shows for more than 13 million fans, cementing itself as one of the world's biggest rock acts. Tix at: http://www.ticketmaster.com/artist/780815?wt.mc_id=EML_NTF1038455_4
__________

Mar 7 & 8, 2017:
RED HOT CHILI PEPPERS with TROMBONE SHORTY & ORLEANS AVENUE play Staples Center.
__________

May 27, 2017:
2nd show added: "BRIAN WILSON PRESENTS PET SOUNDS: The Final Performances with special guests AL JARDINE and BLONDIE CHAPLIN," at the Hollywood Pantages."
=
Tix available now. You nay get some advantage by using the password: PETSOUNDS
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LEGALESE, CONTACTING US, 'N SUCH...

Boilerplate? Where's the main pressure gauge? And the firebox?

What "boilerplate"? Who came up with that goofy term for the basic essential informational stuff...
________________________________

Pssst — Hey, kid. Yeah, YOU: It won't be so "basic" when we add all the links for the global network of music news / music education sites that we're joining; THAT'LL be here very soon, as an ESSENTIAL COMPONENT of the Guide returning to being a MUSIC NEWS journal!


Direct to the Guide's current editions /

MOBILE-DEVICE-FRIENDLY

editions load quickly at
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www.acousticamericana.blogspot.com
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CONTACT US at / send Questions / Comments to:

Tiedtothetracks (at) Hotmail (dot) com
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Contents copyright © 2016,
Lawrence Wines & Tied to the Tracks.
All rights reserved.
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♪ The ACOUSTIC AMERICANA MUSIC GUIDE endeavors to bring you NEWS — and views of interest to artists everywhere — more specifically to musicians and the creative community and music makers and fans of acoustic and Folk-Americana music. That includes both traditional and innovative forms. From the deepest roots to today’s acoustic renaissance, that’s our beat. We provide a wealth of resources, including a HUGE catalog of acoustic-friendly venues (now undergoing a major update), and inside info on FESTIVALS and select performances in Southern California in venues from the monumentally large to the intimately small and cozy. We cover workshops, conferences, and other events for artists and folks in the music industry, and all kinds o’ things in the world of acoustic and Americana and accessible classical music. From washtub bass to musical spoons to oboe to viola to banjo to squeezebox, from Djangostyle to new-fangled-old-time string band music, from sweet Cajun fiddle to bluegrass and pre-bluegrass Appalachian mountain music to all the swamp water roots of the blues and the bright lights of where the music is headed now.
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The Acoustic Americana Music Guide. Thanks for sittin' a spell. The porch'll be here anytime you come back from the road.

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Wednesday, December 7, 2016

Remembering Pearl Harbor, 75 years ago today. Then and now, what it means. Dec 7, 2016

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This is a single-item special edition commemorating a day in American history and examining what it meant then and what it means now.

In addition to plenty of single-item special editions, the Guide has TWO current news editions filled with multiple feature stories. Scroll down and explore, or click to the first one of those two full news editions, at:

http://acousticamericana.blogspot.com/2016/12/lots-of-news-to-start-december.html

The other big, multi-feature news edition is at:

http://acousticamericana.blogspot.com/2016/11/news-reviews-time-of-remembrance-nov.html


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Pearl Harbor speaks to us, 75 years hence; are we listening?


By Larry Wines


There are a few dates in the American calendar that resonate beyond those reduced to three-day-weekend holiday status. Whatever your age, December 7th has the status of non-holiday importance. That's increasingly unusual in our society -- a day that's not an excuse to devour a feast or watch an overhyped sporting event or guzzle beer.

From our freeway-fed suburbia 75 years distant, there are a multiplicity of reasons to remember Pearl Harbor.

Inescapably, the US became THE global military superpower as a result of the conclusion of World War II. And that derives from very intentional choices made through the 1950s and renewed as recently as this year's expensive decision to renew the nuclear arsenal and call it a "deterrent." That's all a result of the devastating surprise attack on Pearl Harbor.

Deterrents. Readiness. Being prepared. Many euphemisms. Many meanings.

Members of a very special and esteemed group, the Pearl Harbor Survivors Association, spent years addressing school-age children and various community organizations. Despite advanced age, a few still do. For a number of those veterans, public speaking was only partly about making history live for others. There was always a specific emphasis. They would tell you, seemingly with one voice, that they came as spokesmen for their comrades who couldn't be there, comrades whose young lives had been ended, stolen, before they even knew they were in a war. Those conveying their message on behalf of lost shipmates or Marines or soldiers or pilots made clear they were advocates for preparedness. They sought a common purpose, to assure that nothing like the blistering flames and crushing explosions and swirling, oily waters that trapped so many in sinking ships, nothing like what they experienced in the choking, billowing smoke of the surprise attack of December 7th, could ever befall America again.

Given our modern sensibilities, we will never fully understand their message. In our world of propagandized truthiness that we used to call lies -- lies told to lure us into Vietnam, lies told to justify invasion of Iraq, lies told to get us to support drone wars in Syria and Libya and in ill-defined places in Africa -- we are more apt to equate "readiness" and "preparedness" with the modern obfuscations of "forward force deployment" and "regime change" and the euphemism du jour that avoids saying "boots on the ground" but puts our military personnel in harm's way under less than honest premises.

Thus, the brinksmanship of the Cold War, the deadly errors of the Domino Theory, the sheer arrogance of replacing other country's governments, the incalculable "collateral damage" of civilian deaths, and far too much more, have evoked and ultimately exploited the blood of December 7th.

It still manifests, still implores us, if we will only listen. William J. Astore recently wrote a thoughtful feature for L.A. Progressive. It ran November 23, 2016, examining the question of American military expenditures and power as necessary to make us "The Indispensable Nation." [https://www.laprogressive.com/american-warmaking/ ] He is a retired US Air Force lieutenant colonel with a PhD in Modern History from the University of Oxford.

Dr./Col. Astore wastes no time asserting, "America’s heavy investment in weaponry and war-making, abetted by a mentality that celebrates 'global reach, global power,' is a strange way to define your nation as being 'indispensable.'"

Before Pearl Harbor, the US ranked 14th in the world as a military power, just behind Sweden.

Today, as Astore explains, "The U.S. military has roughly 800 bases worldwide. Its aircraft carriers are essentially mobile American bases, bristling with weapons and munitions. The U.S. spends roughly $600 billion a year maintaining this military and empire, even as it continues to dominate the world’s arms trade."

And the US, both politically and militarily, got the bloomers in a bunch last month when Russia sailed the only aircraft carrier it has. That carrier is now off the coast of Syria, where we are ostensibly in a cooperative relationship to eliminate terrorists in Syria.

The mind struggles to grasp multiple extreme concepts. War encompasses everything. Incongruously, it hides the suffering by calling refugees "migrants" in an effort to keep everyone from smelling the burnt flesh. Contradicting the maimed bodies, more than any societal stimulus, war produces quantum leaps in medical technology. Enduring stories of individuals in extremis, performing at their best for their fellow humans, is inclusive of a pantheon of non-lethal heroes depicted in "war movies" and TV series like "M*A*S*H." The most recent landmark addition is "Hacksaw Ridge." It's a true story -- as true as any film interpretation of truth -- about a Conscious Objector who became one of the most heroic combat medics of World War II.

There are the insane incongruities at all levels. As when chickenhawk and then-Secretary of Defense Donald Rumsfeld remarked, "Death has a tendency to encourage a depressing view of war."

Still, war creates and feeds all forms of prejudice and bigotry, from the dehumanization necessary to slaughter one's enemies to the subjugation of black service members so that somebody else had it worse than you did.

Response to the attack on Pearl Harbor wasn't limited to America becoming a juggernaut without peer. Power and fear operate in conjunction.

"The politics of fear led to the post-Pearl Harbor internment of 120,000 Japanese-Americans, yet not a single one of the interned was ever found to have any connection to the bombing. For them, simply being born Japanese-American was reason enough to be treated like criminals," wrote Sharon Kyle wrote in L.A. Progressive [https://www.laprogressive.com/change/ ], on December 8, 2010.

Sharon's feature story focused on internment of non-combatants into our time. In it, she compares the experience of Mia Yamamoto, an American citizen born in one of those WWII internment camps for Japanese Americans, with the fear-based discrimination then being experienced by Muslims in America when she wrote the piece in 2010. Donald Trump and his emphatic talk of a ban on Muslims entering the country were still six years in the future.

Sharon wrote, "The politics of fear led to the post-9/11 detention or questioning of over 83,000 Muslims in America, within months of the 9/11 attacks. 13,000 of them were deported. Yet, not a single one of those detained was ever found to have any connection to 9/11 or terrorism."

Hussam Ayloush, an American Muslim profiled in the piece, "learned that simply being a Muslim in America was reason enough to be treated like a criminal."

Lest anyone find it unreasonable to conflate these aspects of 1941 with the ongoing aftermath of 2001, consider this: "When the planes hit the World Trade Center and the Pentagon on 9/11, the Ayloush family was as traumatized as any family in America. Yet, they too, were marked by their ethnicity," Sharon wrote.

Is it possible to read that and not visualize the Japanese American shop owners in Honolulu, terrified of what awaited them as the US Navy's antiaircraft shells unintentionally fell on the city the morning of December 7th?

We are still affected and effected by 9-11. We are not as aware of it, but the myriad ways December 7th still effects us is a key factor in everything about America's role and self image in the modern world.

Since the terrible day in Dallas in 1963, America has been obsessed with finding the hidden hand in everything that goes wrong. In 1972, there was a hidden hand that erased seventeen and a half minutes of tape that contained forever unknown facts about the Nixon administration's attempt to rig the electoral process. We are still in a time when any leader is beyond suspect, must've done something to elude scrutiny, and probably did something wrong.

Franklin Delano Roosevelt has not escaped allegations. The essential accusation is that he had full knowledge of the impending Japanese attack on Pearl Harbor, and he let it happen to force America's entry into the war. A number of writers have postulated that, or something similar. What all have in common is the absence of credible evidence to support it.

Professor Gordon W. Prange spent decades ferreting-out documents relating to US-Japanese relations of the period. That includes US and Japanese naval and diplomatic documents, President Roosevelt's personal communications, and much more. His landmark book, "At Dawn We Slept," was published posthumously. Nonetheless, Prange clearly wrote that he had made every effort to find general and specific evidence for a case against FDR, and the evidence simply was not there.

Moreover, L.A. Progressive published a fine piece by veteran journalist Sherwood Ross on December 7, 2008, titled, "Why Those Pearl Harbor 'Conspiracy' Theories Ain’t So." [ https://www.laprogressive.com/pearl-harbor-conspiracy-theories/ ]

Ross provides detail to verify numerous points. The essence of his feature story is:

"Indeed, the U.S. knew war was coming in the Pacific, but Washington did not know when or where Japan would strike. It is fair to say the U.S. was making diligent efforts... to prepare as rapidly as it could. [The fact that] U.S. carriers were not in Pearl Harbor on December 7th had nothing to do with getting them out of harm’s way because an attack was expected on that port... [It had...] everything to do with their ferrying fighter planes to reinforce unprepared U.S. Pacific outposts [including] as Wake Island.

"The idea that FDR, a former assistant secretary of the Navy in World War One, would have deliberately concealed knowledge of an imminent attack on a U.S. base, defies everything known about the character of the man, his lifelong love of ships, (see his childhood sketches on the wall at Hyde Park), and his visionary efforts to build shipyards to mass produce warships and to modernize the fleet upon taking office in 1933. In fact, FDR sparked the largest naval buildup in U.S. history from the time he took office, doubling naval personnel between 1939 and 1941 alone."

Beyond the thoroughly refuted proclivities to suspect "a Pearl Harbor conspiracy," it’s still easy, given today's political paradigms and their penchant for obfuscation, to characterize December 7th in ways not thought of before. For some, it's dismissible as just another of history’s darkest days. For others, it is the central reminder that we must stay vigilant to prevent a recurrence.

Plenty of military literature sees it in terms of the British surprise attack that sank the Italian navy at anchor at Taranto a year earlier, to keep modern ships out of Hitler's hands. Other things you can read portray Pearl Harbor as a unique singularity, usually to emphasize its treachery. There is no shortage of literature on December 7th, from meticulous investigations to the darkly poetic.

Three new books have arrived in time for this year's anniversary, and all are favorably reviewed here. [http://www.csmonitor.com/Books/Book-Reviews/2016/1201/3-excellent-new-books-on-Pearl-Harbor ]

Before 9/11, Pearl Harbor had status in the national consciousness as the ultimate shock. It exceeded Benedict Arnold's betrayal because peace talks were ongoing. Since 9/11, our American tendency to believe our experience surpasses that of all others, in all of time, has ironically enabled more objective evaluation since 9/11 receives all the expressions of shock.

Now, the renewed focus of this 75th anniversary -- and the realization that anyone who lived through the attack is in their 90s or older -- means that Pearl Harbor has been retrieved from history's boneyard. It is reinvested with emotional and psychological form. Photos and first-person stories of lost shipmates who are forever 18 are connecting with us. Once again, the faces in those old black & white portraits are people with eyes that look back at us, their hopes and dreams and youthful energies rescued from the dust of the ancients.

On December 7, 2013, I wrote in L.A. Progressive: [https://www.laprogressive.com/pearl-harbor-day/ ]:

If you’ve ever been to Pearl Harbor and seen the drops of fuel oil still rising to the surface from the battleship Arizona, it is as if the hundreds entombed there are reaching out to us, asking "Why?"

An entire fleet went to the bottom on that December 7th, 72 years ago today. The Arizona was one of only two ships not raised after the attack. When she exploded, her hull was shattered and her crew was killed.

Any day that memorializes warfare is tough for peace advocates. It’s tougher for those who lost and sacrificed, and for their loved ones.

Ironically, it is the damaged veterans of Iraq and Afghanistan, two unpopular wars, and not the veterans of World War II, who have finally earned a plethora of help and services for their service.

Not even all World War II veterans have received their due, emotionally, financially, or in expressions of our gratitude. Those who served in the Merchant Marine are still waiting for basic veterans benefits, despite the fact they suffered casualty rates — combat deaths — on par with the crews of the B-17s.

The Greatest Generation quite literally saved the world from continued genocide and brutal repression that knew no bounds. But they were not, and are not, the only Americans who have served.

So, on this day, this December 7th of seventy-five years later, let us remember all of them, and seek to learn whatever elusive lessons we have missed to guarantee all humanity that no other young people will lie beneath the ocean in an exploded ship, or be pulverized inside an exploded building, or be left in a remote jungle, or lie in a pool of blood in a rocky desert.

Remember Pearl Harbor, for all it can teach us.


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LEGALESE, CONTACTING US, 'N SUCH...

Boilerplate? Where's the main pressure gauge? And the firebox?

What "boilerplate"? Who came up with that goofy term for the basic essential informational stuff...
________________________________

Pssst — Hey, kid. Yeah, YOU: It won't be so "basic" when we add all the links for the global network of music news / music education sites that we're joining; THAT'LL be here very soon, as an ESSENTIAL COMPONENT of the Guide returning to being a MUSIC NEWS journal!


Direct to the Guide's current editions /

MOBILE-DEVICE-FRIENDLY

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Contents copyright © 2016,
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♪ The ACOUSTIC AMERICANA MUSIC GUIDE endeavors to bring you NEWS — and views of interest to artists everywhere — more specifically to musicians and the creative community and music makers and fans of acoustic and Folk-Americana music. That includes both traditional and innovative forms. From the deepest roots to today’s acoustic renaissance, that’s our beat. We provide a wealth of resources, including a HUGE catalog of acoustic-friendly venues (now undergoing a major update), and inside info on FESTIVALS and select performances in Southern California in venues from the monumentally large to the intimately small and cozy. We cover workshops, conferences, and other events for artists and folks in the music industry, and all kinds o’ things in the world of acoustic and Americana and accessible classical music. From washtub bass to musical spoons to oboe to viola to banjo to squeezebox, from Djangostyle to new-fangled-old-time string band music, from sweet Cajun fiddle to bluegrass and pre-bluegrass Appalachian mountain music to all the swamp water roots of the blues and the bright lights of where the music is headed now.
.
The Acoustic Americana Music Guide. Thanks for sittin' a spell. The porch'll be here anytime you come back from the road.

<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>



Monday, December 5, 2016

EXTRA! - Today only: the original "MUSIC SHORTS," through 3 AM -- Dec 5 edition, 2016

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.
This is an EXTRA. The Guide has TWO current news editions. Just scroll a short ways down for the first one, or click to it at:

http://acousticamericana.blogspot.com/2016/12/lots-of-news-to-start-december.html

The other one is at:

http://acousticamericana.blogspot.com/2016/11/news-reviews-time-of-remembrance-nov.html

NOW, to our EXTRA, what it's all about, and an opening note if you think you arrived too late to get in on this.
_________________________________________________________________

If you're reading this too late to watch at broadcast times, or you're reading at work with no way to start your TV recording device before you get home this evening when you can capture only part of the rather amazing lineup, it isn't necessarily game-over.

Our listings here will help you identify the best of this nearly forgotten genre, so you can make your own list and track them, one-by-one, down at your leisure. And some cable services offer a view-on-demand service of what's broadcast for a week or so following air dates.

Let's get started.

_________________________________________________________________


THE "MUSIC SHORT" -- GRANDDADDY OF THE MUSIC VIDEO -- ON TV THROUGH 3 AM.


First, the background, so our youngest readers will know why this is such a big deal. You can skip down to the section titled "SCREENING TODAY ON TV" if you'd like.

Peabody here. Set the Wayback, Sherman. For waaay back. Before there was an MTV as the great phenomenon of its time. Before the era of "music videos" being ground-out like sausages to feed that cable channel's audience. Before the VCR coupled to it was the center of musical pop culture for the day.

Because long before there was video -- even before it was just analog video -- before there was any TV at all -- there was the "music short," on film, for big screen viewing between the full length movies of the double feature at the bijou.

It all started in 1928, when pretty much everything else was still in the silent era. Of course, the movies were hardly viewed in silence then. From about 1914 through 1929, every screen had a pianist or organist or, in the great movie palaces built with money from one of the big studios, a full orchestra in the pit below the screen. The blockbusters of the time had reams of full scores for each musician, not unlike a program of Symphonic music -- except there were no breaks built in, because the projectionists were expected to use little on-screen cues to synchronize the reels. That made the "flickers" -- the feature-presentation movies -- as nonstop as they are in our digital era.

Why 1928? Because 1927 brought the revolution. It brought Al Jolson in "The Jazz Singer," the first great "talkie." And it wasn't just the instantly embraced ability to hear dialog matched with actors moving lips, instead of reading cue cards of stilted dialog. "The Jazz Singer" brought jazz singing. Fully orchestrated. Recorded so that each instrument could be heard and discerned as clearly as the vocals. Even attending a live concert, you couldn't sit in many places in the music hall that would enable you to have that experience. You still can't, except for today's mics and mixers and amps and speakers.

So, after the phenomenal success of "The Jazz Singer" in 1927, Hollywood instantly recognized the need for a paradigm shift to keep the theatres packed. People wanted sound, and they loved music matched with action, from seeing fingers flash over keys and horn valves to watching lips and body language of crooners. And in 1928, the music short was born.

Now remember, in 1928, most of America, like most of the world, did not live in cities, or even in suburbs. The small town movie houses employed a pianist using "lead sheets" -- and improvising from there -- to accompany the on-screen action of the silent movies. The world was necessarily rural, for food production, and for resource extraction and processing. Things still functioned, a hundred years into the Industrial Revolution, with subsidence-based economics and sale of surplus enabled by just enough advances in technology to create reliable surpluses.

Cities could not have employed everybody who found useful work in rural areas, where their work sustained the distant cities. So most people, being rural, had never experienced a symphony orchestra playing live. By the early '20s, they'd certainly seen nickelodeon film viewing machines where the only sound came from the grinding of the hand-crank. And they'd certainly heard music recordings -- which, until a short time before that, were as likely to have been on cylindrical wax as on flat discs -- but not with pictures. Certainly no moving images could accompany a needle on a spinning record.

"The Jazz Singer" changed everything. The revolution took society by storm, bringing faster change than the Industrial Revolution. The arrival of music, matched to the images as both were captured live, as the performance happened -- was THE first great revolution of the technological age.
__________

SCREENING TODAY ON TV

It's not an exaggeration to call this a Christmas or Hanukkah gift from some filmographer-musicologist programming gurus. The earliest, and many of the best, of the first-ever "music shorts" are being presented today from 10:45 am through 3 am (Pacific) in a full day of shorts on Turner Classic Movies.

Dropped into the middle of it is what started it all, one of only two full-length feature films airing between the kickoff and end at 3 am. Restored and uncut, that feature is what gave birtrh to, and started the craze of demand for, the whole music short genre. It's "The Jazz Singer" from 1927, with Al Jolson's wonderful singing performances.

"The Jazz Singer," in addition to being the easily-identifiable moment of the silent-to-talkies revolution, is more: it is a look at the once-acceptable vaudeville commonality of white performers in rather grotesque "blackface" makeup, something that lasted on stages nationwide from the 1840s through the beginning of World War II. Real African-Americans couldn't do "white" stages. In theatre history, it's regarded as the incongruity similar to the era when no women could be actors, when all female parts were played by boys whose voices hadn't yet changed with adolescence. But in the realm of American racial history, the "Blackface" era is much more complicated.

In terms of the derivation of music shorts that eventually led to music videos? What's especially significant is that most of what's presented today dates from 1928, with the rest reaching from the revolution's beginning in 1927 to as far forward as 1937.

There are a few ostensibly non-music shorts, like one with Bobby Jones illustrating a proper golf swing and one with Roscoe "Fatty" Arbuckle. Otherwise, it's music, music, music. Enough to make those esoterically incongruous music videos that revolutionized our time -- the MTV era, through today -- look like a cheesy imitation. Prepare to see the music video genre put to shame by its great grandparents of the music short era, as they delight for the full day -- through most of the night.

A few highlights:

* CAB CALLOWAY in "Hi De Ho," from 1937.
* GUS ARNHEM & HIS COCONUT GROVE ORCHESTRA from 1928.
* THE INGENUES, an all-women band, from 1928, in "The Band Beautiful."
* HARRY RESER & HIS ESKIMOS with vocals by THE MODERNAIRES and tap dance accompaniment by the THREE YATES SISTERS, from 1936.
* MILLS BLUE RHYTHM BAND in a medley from 1933.
* BABE RUTH in a music short(!) from 1936, titled, "Home Run on the Keys."
* "Truble in Toyland" from 1935, which features "When Irish Eyes Are Smiling" and "The Good Ship Lillipop."
* "An All-Colored Vaudeville Show" from 1935 with the tap-dancing NICHOLAS BROTHERS, acrobat troupe THE 3 WHIPPETS, singers ADELAIDE HALL and EUNICE WILSON, and music combo THE FIVE RACKETEERS.
* "Rambling Round Radio Row 4" with the FOUR LOMBARDO BROTHERS from 1932.
* "Smash Your Baggage," a comedic music short with Redcaps performing in a train station from 1932.
* "All Star Vaudeville" with everything but the dogs and ponies from 1935.
* "Voice that Thrilled the World," one of the earliest music documentaries, about the impact of "The Jazz Singer." (It's scheduled to run just ahead of the movie.)
* "The Jazz Singer," the 1927 feature film with AL JOLSON that brought the revolution.
* "Will Hayes -- Intro to Vitaphone" from 1926, in which the revolution was previewed. It made the public hungry and largely failed to alert studio execs that their silent film blockbusters with ever-larger grandiosity were headed the way of the biggest dinosaurs at the apex of their reign.
* "Don't Get Nervous" from 1929, with a lil' story line about how the singer needs to overcome apprehension about performing on camera and being recorded.
* "HORACE HEIDT & HIS CALIFORNIANS" from 1929.
* "THE BEAU BRUMMELS" a 1928 short of the duo doing parody songs with jokes thrown-in. (It may have been the first-ever short capturing the parody song genre.)
* "BABY ROSE MARIE: THE CHILD SINGER" from 1929 is the actress from "The Dick Van Dyke Show" as a little girl. She sings three songs.
* "The Cowboy and the Girl" from 1928, with songs performed by RAY MAYER and EDITH EVANS.
* "My Bag O' Trix" from 1929 with vaudeville star TRIXIE FRIGANZA comedically singing and playing bass fiddle.
* "HAZEL GREEN & COMPANY" from 1928, with the tap dancer and the VITAPHONE SYMPHONY ORCHESTRA.
* "Lambchops" with GEORGE BURNS and GRACIE ALLEN in a 9-minute musical-comedy short from 1929.
* "FOY FAMILY: Chips Off the Old Block" from 1928.
* "Sharps and Flats" from 1928.
* "THE REVELERS" from 1927 singing three songs.
* "Born and Lawrence, the Country: from 1928, with JACK BORN and ELMER LAWRENCE.
* "CHAZ CHASE the Unique Comedian" from 1927, in which he eats a ukulele.
* "I Thank You" from 1928 with EDDIE WHITE singing 4 songs that include "My Mammy."
* "THE HAPPY HOTTENTOTS" from 1930.
* "Why Be Good?" a 1929 musical comedy, is the only other feature-length film before 3 am.
* "DICK RICH & HIS SYNCHO SYMP." from 1928 includes "St. Louis Blues."
* "You Don't Know the Half of It" from 1929 with musical comedy by ANN BUTLER and JAY BRENNAN.
* "A Breath of Broadway" from 1928 with JACK WALDRON.
* "BEN BERNIE AND HIS ORCHESTRA" from 1930, with guest FRANCES McCOY.
* "Ship Ahoy" from 1928, with a singing-and-dancing sailor.
* "HARRY FOX AND HIS SIX AMERICANS" from 1929. Ever wonder who the guy is (was) that you need to pay (The Harry Fox Agency) to record a cover of 'purt near anybody else's song?
* "Show Girl in Hollywood" from 1930 brings a vintage slice of movieland life with ALICE WHITE as the chorus girl who wins fame singing in the talkies.
* "HARRY WAXMAN'S DEBUTANTES" from 1928 is four songs in ten minutes by the all-female orchestra.
* "Going Places" from 1930 about two hoboes (in the first year of the Depression) who sneak into a restaurant.
* "TAJ HENRY and His North" from 1929.
* "Two Good Boys Gone Wrong" from 1929 with singers HARRY JANS and HAROLD WHALEN.
* "A Cycle of Songs" from 1928 with FLORENCE BRADY doing 3 songs in 18 minutes.
* "BLOSSOM SEELEY & BENNIE FIELDS" from 1928.
* The 3 am end cavalcade of the original and classic music shorts comes with the screening of a silent film classic -- "Don Juan," the 1926 blockbuster with JOHN BARRYMORE and MARY ASTOR.

No, we won't be getting any sleep tonight, either. But we still thank Turner Classic Movies for putting this whole thing together.

And if you can't watch all these shorts when they're broadcast? Some cable services offer a view-on-demand service of what's broadcast for a week or so following air dates. And as we said already, our listings here will help you identify the best of this nearly forgotten genre, so you can make your own list and track them, one-by-one, down at your leisure.

Any way you play it, we hope you enjoy it. This really is special stuff.


_______________________________________________________


More soon.


+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+


LEGALESE, CONTACTING US, 'N SUCH...

Boilerplate? Where's the main pressure gauge? And the firebox?

What "boilerplate"? Who came up with that goofy term for the basic essential informational stuff...
________________________________

Pssst — Hey, kid. Yeah, YOU: It won't be so "basic" when we add all the links for the global network of music news / music education sites that we're joining; THAT'LL be here very soon, as an ESSENTIAL COMPONENT of the Guide returning to being a MUSIC NEWS journal!


Direct to the Guide's current editions /

MOBILE-DEVICE-FRIENDLY

editions load quickly at
.
www.acousticamericana.blogspot.com
.
<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>
.
CONTACT US at / send Questions / Comments to:

Tiedtothetracks (at) Hotmail (dot) com
.
<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>
Contents copyright © 2016,
Lawrence Wines & Tied to the Tracks.
All rights reserved.
<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>
.
♪ The ACOUSTIC AMERICANA MUSIC GUIDE endeavors to bring you NEWS — and views of interest to artists everywhere — more specifically to musicians and the creative community and music makers and fans of acoustic and Folk-Americana music. That includes both traditional and innovative forms. From the deepest roots to today’s acoustic renaissance, that’s our beat. We provide a wealth of resources, including a HUGE catalog of acoustic-friendly venues (now undergoing a major update), and inside info on FESTIVALS and select performances in Southern California in venues from the monumentally large to the intimately small and cozy. We cover workshops, conferences, and other events for artists and folks in the music industry, and all kinds o’ things in the world of acoustic and Americana and accessible classical music. From washtub bass to musical spoons to oboe to viola to banjo to squeezebox, from Djangostyle to new-fangled-old-time string band music, from sweet Cajun fiddle to bluegrass and pre-bluegrass Appalachian mountain music to all the swamp water roots of the blues and the bright lights of where the music is headed now.
.
The Acoustic Americana Music Guide. Thanks for sittin' a spell. The porch'll be here anytime you come back from the road.

<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>




Saturday, December 3, 2016

Single-item post: Let Us Entertain You (for a moment, anyway) - Dec 4 2016

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Time for a laugh. Don't fret, or let your frets get out of alignment. The Guide has TWO current news editions. Just scroll a short ways down for the first one, or click to it at:

http://acousticamericana.blogspot.com/2016/12/lots-of-news-to-start-december.html

The other one is at:

http://acousticamericana.blogspot.com/2016/11/news-reviews-time-of-remembrance-nov.html

NOW, to our single-item bit of entertainment.

Singers put lots of thought into putting just the right inflection on the right word to fixate an audience with their vocals. That's after a songwriter wrestles and takes tongs and anvil to each line and each word in lyrical composition. Because every word matters in the three-and-a-half minutes of a song -- far more than words matter in 'purt near any other context.

So, as artists and writers and songwriters and performers and lovers of song and editors, we are, all of us, wrapped up in words. Which brings us to this piece by the Guide's editor.

Must've been a re-translation

It began as something that seems to happen to me a lot. Just after I write about something, a brand new feature story appears on the web, addressing the same subject. Often, that's within minutes of hitting the "send" button. It instantly produces that "oh, shit" moment when I wonder if some up-to-the-minute game-changer is absent... some vital factoid or other. Or maybe a view of the train wreck from the opposite side of the tracks -- where you could see Snydley Whiplash press the TNT plunger. Even though you interviewed the engineer and the conductor and three passengers in the hospital and none of them saw it. Still, it's one of those dreaded, "Oh, had I only known" moments, and I am responsible for consuming the readers' time and not fully informing them.

Of course, when something appears too late, I must drop everything and go read whatever it is. It's the beginning of the self-flagellation process if I realize letters or email are forthcoming, calling me ignorant. Oh, the pain.

But then this happens.

The other new story turns out to be one from Pakistan. I am guessing at the sequence of events there, but it seems obvious. Somebody must have translated an interview that was done in English with two US university professors. Following which, the original write-up went the way of the dinosaur.

You'll see, in a moment, why I chose that metaphor. You will, that is, if you recognize the word "Chicxalub" as the key word for the asteroid impact that may have killed Cretaceous Park. Jurassic Park was already passé.

Back to the story. The only remaining version was in whatever language used in the Pakistani publication. That's in past tense because somebody then decided to translate the piece back into English, for posting on the web. Now we're caught-up.

Here's an example of the outcome:

"The high porosity of the Chicxulub shake could in like way clear up why the moon’s opening frustrated edge is fantastically permeable and illuminate other planetary problems moreover, says Ross Potter, a planetary researcher at Brown University."

It then purports to quote Prof. Potter, whose lectures really must be something:

"'Impact pits are revealing material from noteworthiness, so they’re amazing tests into inside planetary bodies,” he says. “You may be able to discover astoundingly enrapturing cases that show you a critical measure regarding the cooking framework itself, and inside the planet and how the planet limited.'"

Uh, yeah. Who says science isn't entertaining? You can subject yourself to the full monty at the link below. It maintains its unintentional comedic charm throughout the piece.

http://pakistanclip.pk/2016/12/03/rocks-drilled-mexicos-chicxulub-impact-confirm-dynamic-collapse-theory/
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+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+


LEGALESE, CONTACTING US, 'N SUCH...

Boilerplate? Where's the main pressure gauge? And the firebox?

What "boilerplate"? Who came up with that goofy term for the basic essential informational stuff...
________________________________

Pssst — Hey, kid. Yeah, YOU: It won't be so "basic" when we add all the links for the global network of music news / music education sites that we're joining; THAT'LL be here very soon, as an ESSENTIAL COMPONENT of the Guide returning to being a MUSIC NEWS journal!


Direct to the Guide's current editions /

MOBILE-DEVICE-FRIENDLY

editions load quickly at
.
www.acousticamericana.blogspot.com
.
<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>
.
CONTACT US at / send Questions / Comments to:

Tiedtothetracks (at) Hotmail (dot) com
.
<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>
Contents copyright © 2016,
Lawrence Wines & Tied to the Tracks.
All rights reserved.
<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>
.
♪ The ACOUSTIC AMERICANA MUSIC GUIDE endeavors to bring you NEWS — and views of interest to artists everywhere — more specifically to musicians and the creative community and music makers and fans of acoustic and Folk-Americana music. That includes both traditional and innovative forms. From the deepest roots to today’s acoustic renaissance, that’s our beat. We provide a wealth of resources, including a HUGE catalog of acoustic-friendly venues (now undergoing a major update), and inside info on FESTIVALS and select performances in Southern California in venues from the monumentally large to the intimately small and cozy. We cover workshops, conferences, and other events for artists and folks in the music industry, and all kinds o’ things in the world of acoustic and Americana and accessible classical music. From washtub bass to musical spoons to oboe to viola to banjo to squeezebox, from Djangostyle to new-fangled-old-time string band music, from sweet Cajun fiddle to bluegrass and pre-bluegrass Appalachian mountain music to all the swamp water roots of the blues and the bright lights of where the music is headed now.
.
The Acoustic Americana Music Guide. Thanks for sittin' a spell. The porch'll be here anytime you come back from the road.

<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>-<^>



Friday, December 2, 2016

Lots of NEWS to Start December! Participate Sunday with Music Stars, See a Special Film Screening Friday Night, and more good stuff, all within... Dec 2 edition 2016

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Stuff you should know. Stuff you don't even know that you wanna know, but you do. Really. If we're wrong, tell us. But if that's the only reason we give you to contact us, we won't hear from you. So you can contact us anyway. After you get caught-up. 'Cause, while some of this is thoughtful and reflective, some of it is ultra-timely. So jump right in.
______________________________________________________________________

CONTENTS / IN THIS EDITION...

1) Take Part in the 35th Anniversary of Holiday Magic, Presented by Celebrities & Volunteers to Over 700 Seniors in Care Centers

2) Friday Night Screening: “The Best Democracy Money Can Buy” with Filmmaker/Journalist Greg Palast in Topanga Library

3) "Bluegrass Christmas in the Smokies Music Festival" in Pigeon Forge to Benefit Disaster Relief Efforts, Hosted by Lorraine Jordan & Carolina Road

4) Music Demographics, Simplified

5) Americana Music Chart — Perspective: What it Means & How Far We've Come

6) Americana Music Radio Airplay Chart — What's Hot Now

7) Al Shelton Memorial & Retrospective Western Art Exhibition: Saturday, Dec. 10th, at Noon, in Buena Park City Hall

8) Remembering Wayne Slater-Lunsford

9) This Weekend & Events Ahead: Tasty Treats From The Music Calendar


Let's get started!

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# 1 news feature...


TAKE PART IN THE 35th ANNIVERSARY OF HOLIDAY MAGIC, PRESENTED BY CELEBRITIES & VOLUNTEERS TO OVER 700 SENIORS IN CARE CENTERS


This is both an L.A. story AND a national story of participation and rather humbling celebration. We love to present it every year — and along with recruiting readers to join us, we look forward to lending our voices in song. It's nationwide because, wherever you are in America, you're invited to take part in one of the 21 coast-to-coast events produced by its founder. There's a good chance one of them is happening somewhere near you between now and Christmas.

HERE IN LOS ANGELES, it happens Sunday, Dec. 4th. This marks the 35th year for the annual event, where just in L.A. alone, participants will entertain over 700 seniors in local care centers. The L.A. program gets underway a little before 4 pm. Everything works on a structured schedule that allows performances by two impromptu "casts" in four assisted living / nursing home facilities. But let's not get ahead of ourselves. That's after the first stop, where all the participants assemble into small caroling groups to stroll room-to-room, singing the music of Christmas and Hanukah to bring joy to true shut-ins. Oh, and after you perform, you get to rub elbows and network with your fellow participants, because there's a dinner party for the whole cast in a nearby buffet restaurant.

VINCENT J. LEINEN is the producer of every one of these shows since the series' inception. He does this as a volunteer organizing and leading a lot of very impressive and very enthusiastic volunteers. But Vincent is an elusive character when it comes to accepting the spotlight: the day after the L.A. event, he's gone, taking the show on the road across America, recruiting local singers, instrumental performers and celebrities from actors to mayors and governors for similar events in 20 additional cities and towns.

Each year, L.A. is the flagship and the kickoff event. Here, Vincent taps the energy and enthusiasm and talent — hidden and iconic — that is Los Angeles. The prominent, the up-and-coming, the obscure, and the once-a-year singers all take part. That includes tapping the resources of Hollywood — from folks in the community to recording stars and film, TV, and stage celebrities.

This year, a few of the big names you'll be joining are:

* Actor-musician ALLEN WEISS as Santa Claus.

* PHIL CHRISTIE, Canadian singer-songwriter, Kerrville New Folk Finalist, Billboard Song Finalist. Owner/general manager of the new School of Rock in Woodland Hills.

* PRESCOTT NILES, bassist for THE KNACK, whose “My Sharona” was #1 Billboard single of 1979; played on George Harrison’s “Shanghai Surprise” album; contributed to “Miami Vice” soundtrack; currently with Missing Persons.

* NILES family musicians (son and daughter of Prescott); LIV NILES, nominated for Best female guitarist for LA Rock Music Awards; GABE NILES, drummer; both are members of the BLACK VINYL BAND.

* ROBBYN KIRMSSE, singer-songwriter, 2011 Emmy winner for vocal performance & songwriting, voice of the Rachel Ray talk show and Toyota commercial tunes; featured on “Cold Case,” “Scrubs,” Nickelodeon’s “Big Time Rush”; toured U.S. with Joe Walsh & the James Gang; duet partner with Steve Tyrell backing Frank Sinatra, Celine Dion, Ella Fitzgerald, Diana Krall, and KD Lang; performed with Macy Gray, Vonda Shephard, Eric Clapton, Dr. John, Brian McKnight, Billy Preston, Melissa Etheridge (including at Brad Pitt-Jennifer Aniston wedding), Stevie Wonder, and Slash; 2008 Hollywood Talent Quest winner.

* AYDIEE-VAUGHN DUNSON, actress-singer you've seen in “Everybody Hates Chris,” “My Wife & Kids,” “Boston Legal,” “The Shield,” & more.

* TONY JONES, drummer-vocalist, The Beach Boys, Bob Dylan, Stephen Bishop, Billy Preston, The Drifters, The Platters, The Coasters, Patty Andrews, Milton Berle, Red Buttons; grandson of Leon Rene, legendary music composer of “Rockin Robin,” “When the Swallows Come Back to Capistrano,” Louis “Satchmo” Armstrong’s theme song “When It’s Sleepy Time Down South.”

* CLARENCE WITHERSPOON, Saxophonist-vocalist whose credits include Little Anthony & the Imperials, Cuba Gooding Sr.'s Sold Gold Orchestra, USO International Tours, & more.

* CHARLENE CAPETILLO, L.A.Opera mezzo soprano who has performed all over the world.

* CHRIS ROSS, drummer for Kenny Loggins, Joe Cocker, Lisa Haley, and Three Dog Night.

* DON SWEENEY, bandleader, famed drummer and author of “Backstage at The Tonight Show,” he's worked with everybody from Johnny Carson and Jay Leno to 'The Late Late Show with James Corden" on CBS.

* GINA ECKSTINE, singer who performed worldwide with Count Basie, Sammy Davis Jr., Bill Cosby, and her father, bop-big band leader and ballad singer Billy Eckstine.

* GINGER de PARIS, Jazz tap, cabaret, and Broadway dancer and singer who has performed with Jesseye Norman, Joan Collins, Stephen Sondheim, Quentin Crisp, Lauren Bacall, & many more.

* JERRY BROWN, pianist, veteran rocker, and General Director of Center Stage Opera.

* DR. MARV ROSENBERG, songwriter, lyricist, original founding member of The Safaris, with a Gold Record and a place in the Rock & Roll Hall of Fame.

* RICK BRUNER, singer-songwriter-musician, guitar & piano, with over 200 copyrighted songs.

* MICHELE WOOD MAROTTA, entertainer, former child actor, voice over artist, photographer.

* NOLAN PORTER, legendary Rhythm and Blues performer/recording artist.

* PATRICE ZAPPA, singer and author of "My Brother was a Mother: A Zappa Family Album."

* PATRICK RIDOLFI, tenor soloist, Los Angeles Master Chorale, Carnegie Hall Society of New York City, L.A. Opera, more; performed with or for Placido Domingo, Zubin Mehta, Luciano Pavarotti, Franco Zeffirelli, and Tracy Ullman; performed with Three Tenors at Dodger Stadium; sang for Pope John Paul II at the Vatican.

* PATRICK WASKIELIS, drummer for Hamilton, Joe Frank & Reynolds, with Billboard #1 single “Fallin’In Love,” #4 single “Don’t Pull Your Love,” & more.

* SHAKEH HERBEKIAN, singer-songwriter, indie artist with 5 CDs and years of touring.

* YUKA O’DAY, longtime cast member as wife of the late ALAN O'DAY, the pop singer-songwriter of #1 hit “Undercover Angel” (sold two million copies); Alan Wrote Helen Reddy’s #1 hit “Angie Baby” and The Righteous Brothers’ #3 hit “Rock and Roll Heaven.”
* and more. Hopefully including YOU. As for WHO ELSE? In past years, our editor has sang solos backed by Supertramp lead guitarist CARL VERHEYEN. And we are, without doubt, unintentionally slighting a lot of music stars by omitting them here.

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More, from Vincent...

"This FREE and rewarding local event is open to individuals and/or community groups of all talent levels, ages and faiths. If unable to attend, you’re encouraged to take your own group or individually visit your local senior centers or shut-ins. This simple act of kindness can make a difference and add true meaning for all involved this holiday season."

Vincent says he was motivated in part by his father’s 20-year plight with Parkinson’s disease.

His quest to inspire communities to bring joy and enlightenment to seniors and care-givers has evolved through three and a half decades and is now a nationwide initiative from California to Florida involving over 800 volunteers.

Vincent tells The Guide, "History has proven that while the holiday season, for many, is 'the most wonderful time of the year,' it is our seniors who suffer from increased feelings of isolation and depression. Through music, compassion, and companionship, 'Holiday Caroling' gives seniors, care-givers and volunteers a special gift of love, time, emotional and spiritual healing.

"Bottom line: Everyone greatly benefits from the festivities!"

To REGISTER your participation or get further details, call Vincent directly. (You can just "show up" before 4 pm, at the address on the website. But it's a much better experience if you know what you're doing ahead of time.

REGISTER with Vincent J. Leinen, event producer, at:

818-342-9336
and/or:
818-429-1563

or by e-mail to:
bd754@lafn.org


Full details of ALL THE EVENTS in L.A. on Sunday and across America between now and Christmas, at:

www.reachforthestars.com/caroling/ facebook.com/HolidayCaroling4Seniors

The last word goes to Vincent: "Together we have the power to make a difference and the world a better place!"


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# 2 news feature...


FRIDAY NIGHT SCREENING: “THE BEST DEMOCRACY MONEY CAN BUY” WITH FILMMAKER/JOURNALIST GREG PALAST IN TOPANGA LIBRARY


The Guide has brought readers the news of film festivals and significant special screenings for the past several years. That's whether or not trhe films have anything overtly to do with music. Here in Southern California, the integration of the music industry (and opportunities for musicians) with the film industry is a daily ongoing set of opportunities. Plus, film as an art form doesn't receive enough attention in the media coverage that artists read, so we make it part of our mission to correct that.

Tonight at 7.30 pm is a special screening WITH THE FILMMAKER, Rolling Stone journalist GREG PALAST in attendance. It's "The Best Democracy Money Can Buy: A Tale of Billionaires and Ballot Bandits" at The Topanga Library, 122 N Topanga Canyon Bl, Topanga 90290. (That's in the heart of Topanga Canyon, so allow drive time accordingly through Friday evening traffic.)

The Guide has seen this film and we highly recommend it. But due to time constraints, the following is not a review by us. It is the promo from the presenters in Topanga.

"In person: Greg Palast, Rolling Stone/BBC investigative reporter, to premiere of his new movie, a real, live detective thriller about the upcoming theft of the 2016 election and the hunt for billionaires behind it. With Shailene Woodley, Willie Nelson, Rosario Dawson, and 'detectives' Ice-T and Richard Belzer and Robert F. Kennedy

"Here’s the trailer: https://www.youtube.com/watch?v=kg2gCgFMBOg

"Are black voters at risk from becoming an endangered species? Gonzo investigative reporter Greg Palast’s (BBC, Rolling Stone) documentary detective thriller 'The Best Democracy Money Can Buy Billionaires and Ballot Bandits' busts the NEW Klux Klan – the billionaire bandits that lurk in the shadows with clear intentions to purge one million voters of color in November.

"This film reveals clandestine vote stealing trickery hatched by billionaires who are shredding the shards of our flailing democracy. It is a cautionary tale of technology, power, intended consequences, morality, and those who reap the profits from our electile dysfunction.

"Shailene Woodley, Willie Nelson, Rosario Dawson, and "detectives" Ice-T and Richard Belzer and Robert F. Kennedy, help investigative reporter Palast track down the secret billionaires and their craven addiction to power while our profit-addicted American media ignore the hard news.

"In 'The Best Democracy Money Can Buy, a Tale of Billionaires and Ballot Bandits,' all the dots are connected. Palast’s investigation takes him from the Arctic where he is clued in to the heist by a foul-mouthed Eskimo and the Koch Bros. connection, then on to a speed boat to a high class event in the Hamptons to the ballot rustler known as “The Vulture” Paul Singer, to Kansas where he finds out what is the matter with the state, (clue it is its Secretary of State and again the Kansas-based Koch Brothers) .

"Voter suppression and election fraud is a subject that lurks in the shadows. Like a computer virus, causing much harm in its wake. One reason it eludes our scrutiny is because of the media blackout that follows each election. -Our lack of information and attention compound the problem. Palast has caught America’s press puppies in delicto bedded down with their corporate patrons. Instead of covering the elections, they cover it up. Palast explains this lascivious twist in the creation of the Corporate New Entertainment complex. He shows the media has become a weapon on mass distraction for the American people.

"It was Greg Palast who busted Katherine Harris and Jeb Bush in 2000 when they swiped the Florida election by purging tens of thousands of eligible voters- mostly guilty of voting while black – using electronically generated “scrub” lists produced by a Texas firm paid millions to screen out felons, yet not required by any official to verify the accuracy of its data. With remarkable audacity and felonious foresight, the list even includes felons that will be arrested seven years in the future.

"Florida’s use of an outside firm to in effect privatize voting rights plays into Palast’ central theme of how corporate powers are riding roughshod over our democracy. From the “cash for access” scandals to the revolving door between the Koch Brothers and their trophy government henchmen, Palast lays bare patterns of corruption that have become so sadly commonplace.

"White House for Sale. Cheap. Tons of buyers. Hundreds of offers. Nailing Kansas’ Secretary of State Kris Kolbach for his “I’m for Sale, thank you Koch Brothers” actions, Palast vividly shows how this self-anointed guardian of our voting rights has pocketed corporate money to pre-select candidates before even a single vote was recorded and how that has influenced the policies and platforms of his corporate sponsors, all the while denying the necessities of the American people

"Perhaps no one in history has straddled the political divide more than Greg Palast. As an investigative reporter for the BBC and the Guardian who nailed Florida Secretary of State Katherine Harris’ fake felon purge that stole the election for Bush in 2000, and revealed in his bestselling book 'The Best Democracy Money Can Buy.' One might as well plant the flags of billionaires Donald Trump or Paul Singer when one 'counts' the votes. Elections now have everything to do with a ravenously greedy elite class that play with the treasure of our nation, risking our future, risking democracy itself . And all the while, our compliant and cuckolded media stand silently by.

"The venerated Palast has been called 'courageous' by Michael Moore. John Pilger says in Palast's hands, 'facts are like hand grenades.' Palast’s inimitable style is 'funnier than Michael Moore, more substantial than Naomi Klein' says the Guardian. Palast, says Jim Hightower, is a 'cross between Sam Spade and Sherlock Holmes' and this documentary investigation shows just how true that statement is. Rev. Al Sharpton likens Palast to 'an Oreo cookie: white on the outside, black on the inside.' Noam Chomsky reports, 'Palast upsets all the right people.' Michael Moore says, 'Palast’s work is funny, heartbreaking.' And, Jason Alexander thanks Palast for 'f#@king up my life with truth.'

"As an investigative journalist, he has uncovered scandal, corruption and vast lies in the highest seats of power from the White House to corporate America. Known and respected in Britain as 'The most important investigative journalist of our time' (Tribune Magazine) Palast has broken some of the biggest stories including:

"* How Bush killed the FBI’s investigation of the bin Laden family prior and after 9/11

"* How the Bush Family stole the 2000 Election.

"* How Enron cheated, lied and swindled its way into an energy monopoly

"These provocative exposes are pure Palast territory- as well as grounding breaking reports on the World Bank, the IMF, the World Trade Organization, Wal-Mart and much, much more.

"Screened with Palast’s gutsy in-your-face style with animation by Keith Tucker ('Who Framed Roger Rabbit,') and photography by Academy Award nominee Richard Rowley, this is not just a documentary – it is a REAL-LIVE AS-IT-HAPPENS DETECTIVE STORY. Joined by his sidekick Ms. Badpenny, Palast names the major ballot bandits and shines a light on the shadowy tactics employed by their trophy GOP officials who do their blind bidding.

"He is the dogged outsider, a former working class gumshoe from Los Angeles who has gained his fame through multiple best sellers with his revelations about Corporate America for the BBC and The Guardian.

"Palast’s disturbing indictment of the major media as purveyors of corporatized infotainment must serve as a wake-up call to journalists, and everyone who cares about a well-informed citizenry as a basis for democracy.

"With 'The Best Democracy Money Can Buy, a Tale of Billionaires and Ballot Bandits,' Palast breaks ground on the debate before we become 'No Country for Black Voters.' Or for Hispanic voters. Or Muslim Voters. Or Women voters. Or YOU.

"See this Film. Act Accordingly. Our country is in the midst of a civil war between the alarmingly uninformed and the just plain alarmed because they are informed. Greg Palast’s documentary asks questions the media/propaganda machine purposefully don’t ask. In typical Palast style, he details in pull-no-punches Palastian prose how the assault on our entire voting system is widespread and relentless. Determining our actions today can move us towards either a stronger, more positive future, or a future shrouded in fear, poverty, war. This film should act as a primer for people of all ages, all classes who want answers and solutions. Viewer beware. Ignore the facts at your own peril!

A nominal donation is expected. No one is turned away for lack of funds. But the room will reach capacity, so don't be late.


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# 3 news feature...


"BLUEGRASS CHRISTMAS IN THE SMOKIES MUSIC FESTIVAL" IN PIGEON FORGE TO BENEFIT DISASTER RELIEF EFFORTS, HOSTED BY LORRAINE JORDAN & CAROLINA ROAD


Festival Aligns with the Dollywood Foundation's Smokey Mountain "My People" Fund

Pigeon Forge, Tenn. (December 2, 2016) - The fires didn't stop it, and now the fire victims will be the beneficiaries of the annual "Bluegrass Christmas in the Smokies Music Festival." It will be held as scheduled, December 7-10 at the Ramada Inn & Smoky Mountain Convention Center in Pigeon Forge, Tennessee. Hosted by LORRAINE JORDAN & CAROLINA ROAD, the festival brings together many traditional bluegrass and gospel bands for an early Christmas celebration. This year, the festival will go on with no interruption to the musical program or accommodations due to the wildfires. Now, the festival has been given the opportunity to help local residents who have been impacted by the ongoing devastating fire that has ravaged the area.

"We are blessed that the fires have been contained and that the area where we host the festival is free of any problems. As the promoter, I feel that the best way to help the community is through Dolly Parton's My People Fund. Please join us in helping out the victims of this terrible experience by coming to the festival and supporting the area economy with your tourism dollars and your ticket donation." said Lorraine Jordan.

By aligning with the Dollywood Foundation's unprecedented support of east Tennessee, Bluegrass Christmas in the Smokies Music Festival created a special, $15 general admission ticket for Friday and Saturday night. All proceeds from these tickets will be donated to the Dollywood Foundation's Smokey Mountain "My People" fund.

Scheduled to perform throughout the festival produced by Jordan Entertainment include DOYLE LAWSON & QUICKSILVER, LORRAINE JORDAN & CAROLINA ROAD, LONESOME RIVER BAND, GOLDWING EXPRESS, RALPH STANLEY II, RONNIE RENO & RENO TRADITION, PAUL WILLIAMS AND VICTORY TRIO, THE BLUEGRASS MOUNTAINEERS, GARRETT NEWTON BAND, BALSAM RANGE, WILLIAMSON BRANCH, JIMBO WHALEY & GREENBRIER, MALPASS BROTHERS, SALT & LIGHT and THE DEAN OSBORNE BAND, THE GRASCALS, SMOKY MTN ALL-STARS: TIM WHITE, JERRY BUTLER, MATT LEADBETTER, MATT WALLACE, JOSH GOFORTH, LARRY STEPHENSON BAND, EDGAR LOUDERMILK BAND FEATURING JEFF AUTRY, SIDELINE, MARK TEMPLETON, DEEPER SHADE OF BLUE and THE MOORE FAMILY.

This was just announced today. We do not yet know if a television taping for future airing, or an online pay-per-view live webcast will be available.

Full info on the festival, including purchase of special Disaster Relief tickets, is at:

www.BluegrassChristmasInSmokies.com

or call 919-779-5672


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# 4 news feature...


MUSIC DEMOGRAPHICS, SIMPLIFIED


"All you need to know to understand demographics is something you can teach yourself at a music festival.

"If the only people under 30 are little kids kept close by their parents, the music will do well on CD, but not online. If the kids in tow are in the 9-12 age group, and all you see is the tops of their heads during the performance, it's either (a) 'over' for that band in a couple of years, or (b) that band is the next global phenom. It depends on whether the kids were telling cyberia how great that act is, or telling cyberkidland they were bohh-ring in between zapping scary aliens or collecting Japanese anime characters.

"How do you know which? If the kids took selfies with the stage behind them, the band's social media page will be yuge by morning.

"Next factor: if there are hipster bands booked, like the Lumineers, Mumford & Sons, or Salty Suites — or hipster ensembles like Shovels & Rope or The Licata Brothers — festival attendees are automatically heavily inclusive of an upper-teens/twenties audience. Those are the fans who pull out their earbuds just before the band goes on, then dance just as enthusiastically to tunes from the 1920s as to the bands' new originals; they'll buy-out all the overpriced screenprinted tie-dye T-shirts, but not the CDs.

"Whatever your demographic, you may have to wait 'til spring to test all this. Unless you shot enough videos this year on your phone. Maybe they're still in there, or lost in some cloud you don't remember how to access. Along with all those selfies and cat pictures from 'friends' you've never laid eyes on, but whose images are clogging up your phone memory. With those 5,000 songs people sent you that you never listen to, but are afraid to delete in case you see them somewhere."

— from The Guide Editor's "Guide to Everything."


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# 5 news feature...


AMERICANA MUSIC CHART — PERSPECTIVE: WHAT IT MEANS & HOW FAR WE'VE COME

The week Roz Larman died, sales of Americana Music exceeded sales in every other genre of recorded music with physical and cyber sales in America. Of huge significance, that included the week's total sales of Nashville-pop that has come to be identified as "the" modern Country Music. It marked the first time, ever, that has happened, and it's a big reason for a lot of celebrations. We quietly saw that fact as a victory for Roz and her late husband Howard. It was the Larmans who had, for decades, kept the radio listening public aware of the vitality and continuing relevance of American Folk Music.

Our brief exploration of perspective warrants a couple of additional points.

Of course, you can start an argument if you attempt to define the overlapping spheres of "Folk" and "Americana." A few years back, The Guide's editor got in multiple rounds of just such an argument, online and in print in another music journal — and that argument was with the Larman's. With their influence in mind, we have consistently maintained that there are countless arenas of "folk" that properly belong in "world music," and those have precious little in common with "Folk-Americana." But combining those two words into a single term is too much of an unholy marriage for some dyed-in-the-wool "folkies." Those folks will not make room at the inn for certain kinds of Americana music, any more than they'll accept jazz as folk music. Even the traditional New Orleans Jazz, Dixieland Jazz, American-based Djangostyle and other traditional blues-jazz forms that we often cover. All that is just anathema to some Folk Music purists, and they, or others in the fold, reject honky-tonk music or anything played with a pedal steel guitar as being outside the bounds. Curiously, the Dobro is always okay. But some of the things done with the banjo? Those aren't. And there are emphatic opinions about all of it.

This lil' dialog may already have gotten the hair up on somebody's back. So let's bring our perspective back to the string-based music that's less likely to foment argument.

The US really does not have a "Folk Chart" that matters. This country hasn't had one for decades. Even as the Canadian Juno Awards have expanded to recognize all that nation's genres and the artists who write and perform in them, the US-based GRAMMYS have expanded within pop, rap, and hip-hop categories and reduced or chosen to neglect many genres of music with deep roots is America.

The "Americana Music Chart" is thus doubly important — covering the absence of a meaningful American Folk Music chart, and operating as an important measure of music the GRAMMYS largely neglect. The chart isn't based on sales. It tracks radio stations — both terrestrial and internet — with entire full-time formats or individual shows dedicated to the Americana music genre. As Americana and Folk-Americana have a proven and growing acceptance, preference, and popularity, the chart clearly matters.

The Guide has, for the past few years, brought you the Top 40 Americana Music Airplay Chart on an irregular basis. We've always thought it important to keep it in mind as a touchstone. Especially since the Los Angeles radio market has NO stations with a Folk-Americana format, and is almost devoid of individual Americana music shows.

We hasten to add that comment is NOT intended as a slight to the few shows that the collective "we" do have on broadcast airwaves in Southern California, or to the stalwarts that lovingly produce, choose the playlists, and host those shows. Indeed, those shows are of high quality and would do well in any other market where they would compete with established Americana / Folk-Americana music programming.

But in L.A., the fact is, the overwhelming share of Folk-Americana music on our local airwaves isn't on radio. It's on TV, mostly on KLCS, the PBS affiliate owned and operated by the L.A. Unified School District. (For which they are our heroes, especially on Friday evenings, when they are frequently celebrated in our cyber pages, and have been, over a long period of time.)

Finally, with holiday gift-buying an inevitability for our conspicuous-consumption-obsessed society, it doesn't hurt to know what's likely to bring a "Wow, thanks!" instead of an "Oh."

The following feature story is the most current chart and the most-added tracks for the week it reports.


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# 6 news feature...


AMERICANA MUSIC RADIO AIRPLAY CHART — WHAT'S HOT NOW


The Americana Airplay chart represents the reported play of terrestrial radio stations, nationally syndicated radio shows, satellite radio and internet stations who have agreed to submit weekly spin counts. There's more information about the chart at: www.americanamusic.org.


TOP 5 MOST ADDED for the Week

(There are seven this week, due to ties)

Artist - Title - Label

GILLIAN WELCH - Boots No. 1: The Official Revival Bootleg" - Acony

KACEY MUSGRAVES - "A Very Kacey Christmas" - Mercury Nashville

PAUL THORN - "Best Of Paul Thorn" - Perpetual Obscurity/Thirty Tigers

VARIOUS - "The Life & Songs Of Emmylou Harris An All-Star Concert Celebration" - Rounder/Concord

MICHAEL MARTIN MURPHEY - "High Stakes" - Murphy Kinship Recordings

DON DiLEGO - "Magnificent Ram" - Velvet Elk

NEIL YOUNG - "Peace Trail" - Reprise

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AMERICANA TOP 40 RADIO AIRPLAY CHART

Most recent playlist, for the week of Monday, November 28, 2016

RANK this week (1-40) - ARTIST - (Stations Playing | Stations Added) - "SONG TITLE" - LABEL

1 JOHN PRINE (66|1) "For Better, Or Worse" Oh Boy/Thirty Tigers

2 DRIVE-BY TRUCKERS (58|1) "American Band" ATO

3 WILCO (54|0) "Schmilco" Anti-Epitaph

4 ALEJANDRO ESCOVEDO (63|3) "Burn Something Beautiful" Fantasy/Concord

5 JAMESTOWN REVIVAL (55|4) "The Education Of A Wandering Man" Republic

6 DWIGHT YOAKAM (62|0) "Swimmin' Pools, Movie Stars..." Sugar Hill/Concord

7 TODD SNIDER (54|1) "Eastside Bulldog" Aimless/Thirty Tigers

8 BRENT COBB (48|3) "Shine On Rainy Day" LCS/Elektra

9 RECKLESS KELLY (53|0) "Sunset Motel" No Big Deal/Thirty Tigers

10 BLACKBERRY SMOKE (51|3) "Like An Arrow" 3 Legged/Thirty Tigers

11 AMANDA SHIRES (56|0) "My Piece Of Land" Silver Knife/BMG

12 JESSE DAYTON (29|2) "The Revealer" Blue Elan Records

13 BOB WEIR (55|0) "Blue Mountain" Legacy

14 JIM LAUDERDALE (47|1) "This Changes Everything" Sky Crunch Records

15 AVETT BROTHERS (38|0) "True Sadness" American/Republic

16 SETH WALKER (39|0) "Gotta Get Back" Royal Potato Family

17 JACK INGRAM (42|3) "Midnight Motel" Rounder/Concord

18 ROBERT EARL KEEN (43|4) "Live Dinner Reunion" Dualtone

19 WAYNE HANCOCK (44|3) "Slingin' Rhythm" Bloodshot

20 VARIOUS (46|6) "THE LIFE & SONGS OF EMMYLOU HARRIS - An All-Star Concert Celebration" Rounder/Concord

21 SHOVELS & ROPE (55|1) "Little Seeds" New West

22 SOUTHERN CULTURE ON THE SKIDS (43|0) "The Electric Pinecones" KUDZU

23 VARIOUS ARTISTS (49|1) "The Musical Mojo Of Dr. John Celebrating Mac..." Concord

24 AARON LEE TASJAN (45|2) "Silver Tears" New West

25 BILLY BRAGG & JOE HENRY (43|0) "Shine A Light" Cooking Vinyl

26 DAVID BROMBERG (46|0) "The Blues, The Whole Blues, & Nothing But..." Red House

27 BILL KIRCHEN & AUSTIN DE LONE (33|0) "Transatlanticana" Red House

28 DEVIL MAKES THREE (40|1) "Redemption & Ruin" New West

29 VARIOUS (42|4) "Highway Prayer: A Tribute To Adam Carroll" eight30records

30 HISS GOLDEN MESSENGER (45|0) "Heart Like A Levee" Merge

31 PAUL CAUTHEN (33|2) "My Gospel" Lightning Rod/Thirty Tigers

32 WHISKEY MYERS (24|1) "Mud Wiggy" Thump/Thirty Tigers

33 PAPER BIRD (36|0) "Paper Bird" Sons Of Thunder/Thirty Tigers

Debut at # 34 BLUE RODEO (41|4) "1000 Arms" Telesoul

Debut at # 35 CHELLE ROSE (37|3) "Blue Ridge Blood" Lil' Damsel

36 MAVERICKS (39|1) "All Night Live Volume 1" Mono Mundo/Thirty Tigers

37 MANDOLIN ORANGE (35|2) "Blindfaller" Yep Roc

38 MARCUS KING BAND (29|0) "The Marcus King Band" Fantasy

39 GREENSKY BLUEGRASS (34|0) "Shouted, Written Down & Quoted" Big Blue Zoo/Thirty Tigers

40 TIM EASTON (41|0) "American Fork" Last Chance
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There's more information about the chart, the most current stats on radio airplay, 1-40 rankings for the previous two weeks, and more, at: www.americanamusic.org


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# 7 news feature...


AL SHELTON MEMORIAL & RETROSPECTIVE WESTERN ART EXHIBITION: SATURDAY, DEC. 10th, AT NOON, IN BUENA PARK CITY HALL


Al Shelton, globally renowned "Artist to the Western stars," has died after a long and remarkably productive life. Even into recent years, he was still getting national radio and TV interviews.

Worldwide, many are familiar with Al's dazzling leathercraft, or with his many paintings that are in the collections of famous people, or with his meticulously detailed metalcraft. Some of our readers know him as a Western singer-songwriter who carried on for small audiences well past his years of being a crowd draw at art shows and festivals. There is so much to remember about Al Shelton.

One of his most dazzling hand-tooled leather guitar cases has a prominent place on permanent view in the collection of the Martin Guitar Museum. His leatherwork is enshrined in the Tandy Leather Museum. Another guitar case, one that Al did many years ago for Gene Autry — who was still performing Western songs at the time — is displayed in the Autry Museum of the American West in L.A.'s Griffith Park. The Autry, about five years ago, did a nice retrospective tribute exhibit of a variety of Al's work that featured paintings, metalcraft, leathercraft and Al's Western music, with a live performance by Al and an ensemble band of Western music luminaries at the dedication.

Al's original oil painting, entitled "Thinking of You," was purchased by actor Jack Palance and hung above his ranch fireplace in Tehachapi, CA for over forty years. That's just one example. When you visited his shop, it was a crowded hall of wonders. You found scraps of paper and old invoices pairing phone numbers with names like John Wayne, Jimmy Stewart, Efraim Zimbalist Jr., Henry Fonda, Ward Bond, Michael Landon, and more.

Al handcrafted the molds for numerous "official" cast metal belt buckles for many TV Western shows. As you followed him around the shop, he would describe things that warranted documenting bin a book. He would hand you a finely-crafted cowboy belt buckle to examine just to see you enjoy the surprise. If you took your eyes away from the scrupulous fine detail and looked up, you'd catch him smiling at you.

Not that he didn't have the artist's temperament and a temper to match. We never experienced it, but we knew better than to trigger it. Al really liked people, and it was easy to like him, as well as to admire his work. And it never took much to get invited to pull up a nail keg or a beat-up old chair and make music with him. That was a big deal, since it was the only place most of us could hope to keep up with his talent as an artist.

We should expect this event, in Buena Park, to be the last opportunity to see a broadly-based exhibition of his work in multiple mediums of art. And to appreciate that all those things were his principle identity, in addition to Al's "accesiible" sideline as a cowboy singer-songwriter.

Al Shelton's longtime friend, fine guitarist and all-around good guy, Greg Atkin has organized this final art exhibition of Al's work to accompany what promises to be a fitting and nice memorial.

You are invited. And we want to alert all our saddle pals. The full info, with Greg's email address to rsvp for the December 10th event, follows.
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The City of Buena Park Fine Arts Presents "Al Shelton Art Exhibition – Cowboy Artist to the Stars," Saturday, December 10th, 2016. It's a reception and memorial celebration of the life of western artist Al Shelton (1920 - 2016). The venue is the City of Buena Park Council Chamber, 6650 Beach Bl, Buena Park, CA 90622.

The event runs Noon to 2 pm. Please RSVP to Greg M. Atkin, at 714-663-0071 or by email to gatkin@artisanstudioworks.com

There will be several historic video presentations to enjoy, along with vintage musical recordings of Al Shelton singing his western songs and reading his poetry. Also, refreshments, good company, and a chance to view the Al Shelton retrospective art exhibition that will be on display.
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You can learn more about western artist Al Shelton and his many artistic accomplishments at:

www.artisanstudioworks.com

The site has links for the NPR national radio feature on "All Things Considered" and the KCET "Life and Times" television episode on Al Shelton. Both are recommended.

You can read the Los Angeles Times article on Al written in 2004 by Hugh Hart. It's at:

http://articles.latimes.com/2004/nov/07/entertainment/ca-cowboy7


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# 8 news feature...


REMEMBERING WAYNE SLATER-LUNSFORD


By Larry Wines

We aren't starting this in "obituary style" with all the usual stuff, like when he was born. Even a rudimentary obit would cover his years of essential contributions to key annual events, where most people in music knew him. Our approach may stray from conventions, but we won't let it get disorienting. We'll get to all the factual particulars. What we really want to do is remember a talented man from our music community for the essence of who he was, and afford a chance to get to know him for those who didn't have that privilege.

It took a while to be able to write this. It has been a tough year for music makers and bringers of words and music, and for those who knew or loved them and anxiously awaited the product of their creative endeavors. Because far too many resonant voices have been forever silenced by death during this tumultuous 2016. Each of us carries their names in our own creative conscience.

Bearing the pall passes quickly, and human resilience discards the crepe and black lace and keeps their songs resounding through the passages of our minds. That's true for the mega-famous names on this year's list. But fame is not a requirement for leaving a void. It's just as true for an artist whose influence imparts meaning on all who knew them. Whether famous, or never-quite-famous, the power of an influential artist leaves us with the same need to hear their voice and guitar again.

Wayne Slater-Lunsford qualifies. His passing left us with the sense of all that. His body of work is outstanding, if woefully "under known." That includes his songwriting, recorded performances, storytelling, and creative writing. It includes his organizational and logistical skills as a stalwart in festival and concert planning and production.

It prominently includes his electronic wizardry in what he always called "sound reinforcement." He gently insisted on that term to take the attention away from the mics and amplifiers and mixers and speakers, to return it to the essential reason for being there — the performance by the artist. Wayne owned a lot of gear for many years, was the sound engineer of record for countless festivals, and was a crowd-pleaser at the ones that scheduled stage time for him to do his own set. The late, great California Traditional Music Society (CTMS) was one of his annual clients and a beneficiary of his artistry on and behind the stages.

Wayne had played the coffeehouse circuit in Florida long before any of us knew him. He had opened there for big names in the folk world, being just old enough to cross paths with most of the giants of the late '60s. And there in Florida, as he developed his performing craft, he did his share of headlining. Even if you thought you knew pretty well, you didn't know that unless you engage him in conversation about it. Wayne didn't have the kind of ego that led him to dispense impressive answers to simple questions. He wasn't bashful, but he didn't keep the reed wet on a back-pocket trumpet. But you knew, if you took the time to know.

That was elemental to an important part of his personality. It manifested in many ways. Like his bear hugs that put his chin over your shoulder and told you he really was happy you were there. Whether you had time for a conversation or just a smile and nod before one of you went on stage or led a song circle or presented a plan for the next festival. If you were on Wayne's extensive list of friends, he made you feel it.

Part of that was his elemental to his expression of religious values. Which were more centered in humanism than anybody else you know with religious values. Peace — not just anti-war — aligned with social justice and racial justice, and love for people and creatures great and small, were all themes in his life, his writing and his music. Plus a regard, best described as respectful awe, for the natural systems and processes of the Earth and all its abundant expressions of life. All were what he celebrated and implored with his music — and central to knowing Wayne Slater-Lunsford.

That crazily verbose last name was the product of his marriage to Charlotte, an expression of his respect for who she is. Deprive her of her name? Part was the spirit of the times, the rest was the two of them.

Others earned Wayne's respect with some determination to make a difference, no matter how big or small. He was happy to lend his talents in support or to lead when the situation called for it.

In 2004, I envisioned an acoustic Folk-Americana music festival for charity in the California desert. Two friends with heavy-duty CTMS credentials signed-on instantly as co-producers. They were Wayne Slater-Lunsford (of course) and Chris Hingley. She left us all in 2007. Chris owned Rancho Raviri, the last of the almond orchards and only one turned confectionery in Quartz Hill, California. Immediately, I had a desk, a computer, and a bunk for work nights that went too late at "the rancho." I knew that Wayne was behind that, because I didn't know Chris very well. He did things like that.

Their work became ever more important, because I found myself working in Seattle that summer. (In fact, I returned only because of the festival, or I'd still be in Seattle now.) Chris secured Antelope Valley College in Lancaster as the venue, prepared all the contracts, and set-up the financials. I booked the acts — eventually topping 70, both full acoustic bands and solo musicians, from deep traditional roots music to the innovative performers of the then-burgeoning Acoustic Renaissance. FolkWorks co-editor Steve Shapiro played it with his Irish band. The hottest acoustic acts in L.A. all played it, and acts came from as far as Colorado. At the time, it had more featured performances than any one-day festival in California history.

Somehow, Wayne arranged all the sound. Contacts and charisma got it done. Artist Joan Enguita signed-on as a planning/production supernumerary for Wayne and Chris. And, well, Wayne did everything that needed doing. I drove him crazy, and he was slow to realize that his own enthusiasm fueled the manifest destiny to keep adding more and more acts. The Desert Song Music Festival benefitted Project Hope, a top-rated charity that operated the S.S. Hope hospital ship.

In typical Wayne fashion, he sought to make it an annual event. He produced a necessarily smaller version the following year, before the college's price tag precluded continuing. Nonetheless, Wayne assumed the mantle as guru of Desert Song Productions, doing a series of concerts and house concerts over the next several years, with all the money going to the artists or to charities.

Professionally, Wayne was a man of many talents. He was happiest when his writing earned his paycheck. Of course, that meant writing in non-artistic settings.

That brought the best job he had during the years I knew him. Wayne was then in aerospace, writing proposals and tech manuals and marketing materials, things usually requiring a team to cover all the specialties. But they had Wayne. The company was developing large "UAVs" — Unmanned Aerial Vehicles. Today we call them drones. When all that was about flying platforms for cameras and instrumentation that could stay aloft a long time and cover vast distances to assess conditions on the ground — like measuring watershed resources or how many dangerously dead trees were standing in the forests, or what kind of horrific damage was being by surface mining in some obscure place — Wayne was proud of his role.

Things changed. It became the era of near exclusivity for military applications of drones. When "his" drones were re-designated as aerial weapons platforms, Wayne lost it. His willingness to participate and his job were both gone in a single moment when he reaffirmed his values and lost his career.

He would share that he paid the price for a lot of decisions. Some were scars he wore like stars, as with ending his last "paycheck" career. Others were deep regrets that informed his writing and songwriting, as in his song, "Best Quit Messin' Up," which he recorded and in which he plays a nice guitar solo. (The link to listen is near the end of the feature.)

Wayne became a struggling freelancer in a bad economy. Still, he made time for his art. Then came the cancer diagnosis. He didn't have long unless he accepted the textbook regimen of toxic treatments. So he did.

Wayne's son, Michael, says, "My dad was a fighter, and he gave cancer the best fight he could. He tried radiation and chemotherapy, but a year ago, the cancer returned and he underwent another round of chemotherapy. Finally they gave him an immune suppressant which also failed. He spent his last year fighting and living and giving. He left behind a lot of love, work, music, family, and friends. I still remember two months ago when he was worrying about everyone else. He always gave his heart and his mind to be fully invested in those he loved."

We'll get to that treasure-trove legacy of his art and music.

Michael tells us, "My dad passed peacefully with me and my mom at his side on November 4, 2016. He was peaceful and comfortable and in his own home. We laid his body to rest with a green shroud burial in Twenty-Nine Palms at Joshua Tree Memorial Park on November 11. His memorial was held at AV Reach in Quartz Hill on November 12."

Whether anyone else makes the connection of Wayne's chosen resting place with that of Gram Parsons, we feel the need to note it.

An untold number of his friends, especially his many friends in music, did not know of his passing, or of the arrangements in time to attend. Hence, this lengthy tribute.

Michael speaks to all of us in that regard, saying, "We would have loved to see you there, but we understand. We wish we had done more to reach out to others not on Facebook.

Michael continues, "He left behind a family with his wife Charlotte, his kids Michael Slater-Lunsford, Christopher Slater-Lunsford, and Jessica 'Avery' Callenback as well as four grandkids, Samuel, William, Alexander, and Jeremy Callenback."

Lyndsay Ortiz, a fellow writer and friend of Wayne’s, wrote a memorial for the Butler’s Coffee website. It was a venue Wayne had played many times, and which, in an added note of poignancy, hosted its own final performance just after Wayne's death; it is closing its doors this weekend.

Lindsay covers the needs of an obituary and conveys much more:

"WAYNE SLATER-LUNSFORD. February 14, 1951 – November 4, 2016. Wayne was the main man behind Desert Song Productions, and was also a 'ringtailed raconteur' (his words) and an accomplished musician in his own right, with an encyclopedic knowledge of all things music, and really, all things in general. But then, what do you expect of a U.S. Air Force brat with a brain about two sizes too big? Wayne was born in Georgia, and raised in a dozen locations across the US and England, eventually graduating from high school in Jacksonville Florida, where he learned to sight-read choral music. A rambling kinda guy, Wayne worked a wide assortment of jobs, including stints in electronics, truck driving, wood working, shipyard sheet metal and a couple of years playing guitar and singing before joining the Navy for the G.I. bill. He worked as a technical writer, a pilot, digital photographer, [college teacher - ed.] and ran Desert Song Productions. When presented with new technology, he didn’t begrudgingly take it on; he learned it inside and out. This would include the science behind his own chemotherapy and radiation treatments, which he kept detailed journals of, found in his cancer blog, at: http://waynesl.me/zombie/

"His passion for life didn’t stop at music and his writing wasn’t always technical, as Wayne wrote sensual and thought-provoking poetry and at the urging of a muse, some memoirs of his colorful adventures.

"Take a look into the mind of an impassioned man to truly understand who it was that we lost, even if he was often late, and a mischievous whirlwind of energy wherever he went. Wayne, your booming voice is missed."

That brings us to the point we promised, Wayne's legacy in his art and music.

All the proof is there: the former college teacher worked diligently and lovingly, knowing the time was growing short, to produce a website of astonishing depth with labyrinthine depths of artistic merit. His poetry is there. There are thoughtfully entertaining ruminations on technology — he once observed, "We are a juggernaut with a loose rudder." His stories read like tales told around a campfire. You can share journeys through the mind of that "mischievous whirlwind of energy." His original song lyrics are there, with links to studio-quality recordings of his music. Therein is proof of his sound wizardry: he produced the recordings himself, in his living room, and some of them sound like the basement studio at Columbia Records. He left us these as his parting statement, and they are parting gifts to us all.

Explore this remarkable man's remarkable website, the last of several he had, going back to the early days of the internet. His final site, and a delightful omnibus of his writing, songwriting, and music performances, is at: http://waynesl.me/

If you want to share any of what you find there, you can. You'll likely want to learn some of his songs. If you want to record them or attempt economic gain from his work, the copyright is a creative commons license and the details are on the site.

Finally, in addition to encouraging those online ruminations, we specifically direct you to the following listening experiences. Hear these songs once, and we 'spect you'll be back.

So, thank you, Wayne, for taking time to share and to leave us with something meaningful. As your son Michael said of you, "He left behind a lot of love, work, music, family, and friends... he was worrying about everyone else. He always gave his heart and his mind to be fully invested in those he loved."

High quality audio tracks are at Soundcloud:

His thoughtful song on what divides us resonates especially well post-election. It's called "Rigid Isms." It's at: https://soundcloud.com/waynesl/rigid-isms

One link brings four more tracks, selectable individually, with a total time of 12:02. He chose these well. You'll hear, at: https://soundcloud.com/waynesl/sets/waynesl-demo2

1. "Dark Money" (2:47)
2. "Rigid Isms" (earlier version, 2:26)
3. "Stand Your Ground" (2:58)
4. "Best Quit Messin' Up" (3:49; he plays a nice guitar solo at 2:20)

He also has material on Reverb Nation, at:
https://www.reverbnation.com/label/desertsongproductions

Wayne added more links on his site and on Soundcloud. Get to know him. Because every bit as much as Leonard Cohen, Leon Russell, Merle Haggard, Glenn Frey, Pete Huttlinger, Roz Larman, and the other musicians and gurus of Folk-Americana we have lost in 2016, Wayne is still with us through the magic of his recorded art. And as with as those famous others, that art deserves to be heard and shared.

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# 9 news feature...


THIS WEEKEND & EVENTS AHEAD: TASTY TREATS FROM THE MUSIC CALENDAR


The Guide no longer adds to this, being that we're returning to concentrating on MUSIC NEWS. BUT there are still things queued-up — THINGS THAT HAVEN'T HAPPENED YET. The Guide, for many years, published its trademark amazing annotated music calendar, L.A.'s best, hands-down. But we stopped, back on Oct. 28th. There were still events listed, and we continue to list them until the last one happens. Here they are.

Festivals, Concerts, whatever else that's appealing — stuff we've already rounded-up for a look ahead


Continuing shows with multiple-performance dates are listed first. Following are the festivals, the concerts, and everything else, listed chronologically.
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Fri, Sat, Sun, ongoing...
11 am-All day "LOS ANGELES FINE ART SHOW" is a new event running every Fri, Sat, & Sun, at the Los Angeles Convention Center, 1201 S Figueroa St, Los Angeles 90015; 213-741-1151; www.lacclink.com.
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It brings Art Galleries - Art Museums - Arts & Culture. The Los Angeles Fine Art Show, a new art fair dedicated to historic and contemporary traditional works, has just launched in conjunction with the LA Art Show.
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Tix: $20 at the door, or advance at: www.losangelesfineartshow.com
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...through Dec 11:
World premiere engagement of "HANSEL & GRETEL BLUEGRASS." Show runs Oct 29-Dec 11 at 24th St Theatre in L.A. It's Bluegrass as a classic fairy tale, narrated by distinguished actor BRADLEY WHITFORD ("The West Wing"), and features music of THE GET DOWN BOYS. Tix now available. Tix & info, 213-745-6516 or www.24thstreet.org.
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Sat, Dec 3:
5-8 pm 6th annual “HOLIDAYS ON THE HOMESTEAD” brings Cowboy Songs, a Chili Cook-off, Crafters, and more, at the Antelope Valley Indian Museum, a California State Park, at 15701 East Avenue M; a Lancaster address that's 20 miles from that town, and near Lake Los Angeles. Info, www.AVIM.parks.ca.gov; 661-946-3055.
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Stay warm around the blazing bonfire while cowboy-singer MICHAEL TCHERKASSKY, “The Saddle Serenader”, croons the romantic poetry about life on the range that cattlemen composed by day during their journeys across the old west, and then shared around the campfire when the sun went down. Michael has performed traditional cowboy songs and poetry for many years at the Santa Clarita Cowboy Festival and other events around the country.
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Featuring live acoustic music around a campfire, the museum, originally a 1930’s homestead, and its historic grounds, will be decorated in vintage holiday style. A chili cook-off, tours of the grounds, a country craft boutique, real cowboy coffee brewed over the fire, and hot chocolate or cider for the kids make for a nice evening. Explore the unique hand-built museum and whimsical grounds at night, with soft lighting and the smell of fresh greenery, and the wintery sky sparkling over the desert.
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The country craft boutique features unique gift ideas, made by local artists. The crafters carry on the artistic tradition of Howard Arden Edwards, who built the Indian Museum to display his collection of American Indian artifacts. The Craftsman-style building is decorated with his colorful representations of Indian culture and creative hand-made furniture.
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Rose Edwards was known for her tasty rib-sticking chili and cornbread feasts at their holiday celebrations. Try the chili cook-off entries and Rose’s original 1930 Christmas Chili recipe, complemented by delicious cornbread generously provided by The Lemon Leaf Café.
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The Chili Cook-off is still open to competitor sign-ups, and vendors are still being accepted. Contact Jean Rhyne at 661-946-6900 or Jean.Rhyne@parks.ca.gov for information.
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This event is a fundraiser for the non-profit Friends of the Antelope Valley Indian Museum, which provides funding to help keep the museum open. Event is rain or shine to support the museum!
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Event admission is $10 for adults, $5 for ages 6-12, and ages 5 and under are free.
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Cell phones are iffy out there, so here are directions. From Fwy 14, take Avenue K east 17 miles, turn right on 150th Street East for two miles, then left on East Avenue M. The museum is on the left, at the foot of the big rocky butte.
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Sat, Dec 3:
8 pm WITCHER, RECUPIDO, AND LEVITT, featuring the nucleus of the Witcher Brothers, Dennis Witcher and Tony Recupido, joined by the fine banjo of Dan Levitt, play the Pasadena Folk Music Society series at Caltech in Pasadena. Park free in either lot at the S end of Michigan Av, S off Del Mar. Call the Caltech Ticket Office Monday through Friday, 9 am-4 pm, at 626-395-4652, or buy tickets online or at the door (if any remain). www.Pasadenafolkmusicsociety.org.
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Sat, Dec 3:
9 pm: THE COUNT BASIE SEPTET, presented by The World Stage Performance Gallery on The World Stage, 4321 Degnan, Leimert Park (Los Angeles). Tix $15-$20. The Count Basie Orchestra, founded over 80 years ago, is widely regarded as the greatest jazz orchestra in the world. The orchestra continues to tour the world spreading its unique brand of swing. In early December The Count Basie Orchestra will be in Los Angeles to record its latest collection of music. During their stint at Capitol Records several of the band members will break from the recording to "stretch out" at the venerable World Stage Performance Gallery co-founded by master drummer Billy Higgins and consummate poet Kamau Daaood. This is a historic, limited engagement. One night only. ** Presale tickets are $15, available before Nov 1.
** General Admission tix are $20 thru Dec 2, 2016. Tickets at the door, subject to availability.
** Because seating for this historic, limited engagement is limited, patrons are advised to purchase tickets in advance, at: https://www.eventbrite.com/e/the-count-basie-septet-the-world-stage-tickets-27344172155?aff=erellivmlt
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Sun, Dec 4:
ANDREA BOCELLI plays the Honda Center in Anaheim.
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Tue, Dec 27:
3:30 & 7:30 pm TRANS-SIBERIAN ORCHESTRA plays two Southern Cal shows during its annual national holiday tour, both at Citizens Business Bank Arena, Ontario. Trans-Siberian Orchestra (TSO) is an American progressive rock band founded in 1996 by Paul O'Neill. The Washington Post has called them "an arena-rock juggernaut", describing their music as "Pink Floyd meets The Who and Andrew Lloyd Weber." 2014 marks the first time they will be touring their all new live rock opera “The Christmas Attic”. This new show features songs that have never been performed live as well as fan favorites including 'Wizards In Winter, 'Requiem' and 'Christmas Eve/ Sarajevo 12/24'". TSO has played more than 1,600 shows for more than 13 million fans, cementing itself as one of the world's biggest rock acts. Tix at: http://www.ticketmaster.com/artist/780815?wt.mc_id=EML_NTF1038455_4
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Mar 7 & 8, 2017:
RED HOT CHILI PEPPERS with TROMBONE SHORTY & ORLEANS AVENUE play Staples Center.
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May 27, 2017:
2nd show added: "BRIAN WILSON PRESENTS PET SOUNDS: The Final Performances with special guests AL JARDINE and BLONDIE CHAPLIN," at the Hollywood Pantages."
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Tix available now. You nay get some advantage by using the password: PETSOUNDS
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LEGALESE, CONTACTING US, 'N SUCH...

Boilerplate? Where's the main pressure gauge? And the firebox?

What "boilerplate"? Who came up with that goofy term for the basic essential informational stuff...
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Pssst — Hey, kid. Yeah, YOU: It won't be so "basic" when we add all the links for the global network of music news / music education sites that we're joining; THAT'LL be here very soon, as an ESSENTIAL COMPONENT of the Guide returning to being a MUSIC NEWS journal!


Direct to the Guide's current editions /

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♪ The ACOUSTIC AMERICANA MUSIC GUIDE endeavors to bring you NEWS — and views of interest to artists everywhere — more specifically to musicians and the creative community and music makers and fans of acoustic and Folk-Americana music. That includes both traditional and innovative forms. From the deepest roots to today’s acoustic renaissance, that’s our beat. We provide a wealth of resources, including a HUGE catalog of acoustic-friendly venues (now undergoing a major update), and inside info on FESTIVALS and select performances in Southern California in venues from the monumentally large to the intimately small and cozy. We cover workshops, conferences, and other events for artists and folks in the music industry, and all kinds o’ things in the world of acoustic and Americana and accessible classical music. From washtub bass to musical spoons to oboe to viola to banjo to squeezebox, from Djangostyle to new-fangled-old-time string band music, from sweet Cajun fiddle to bluegrass and pre-bluegrass Appalachian mountain music to all the swamp water roots of the blues and the bright lights of where the music is headed now.
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The Acoustic Americana Music Guide. Thanks for sittin' a spell. The porch'll be here anytime you come back from the road.

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