desdemona

bush can act like a "swell" guy all he wants to but he doesn't have alzheimer's as far as I know, it seems he surrounds himself with others to carry out the dirty work, along with covering his butt on policy decisions.

ok, I can't handle this anymore, I don't want to see any more videos the terrorists release, I can see why they do it, hoping our military will give in to public pressure and give them their demands or withdraw, but that being unlikely, what's the reason for the networks showing them incessantly? For some reason they can censor inocuous material but commercialize and profit from all this terror. I feel film of hostages should be treated like prisoners of war, not to be paraded in public for humiliation. What's everyone else think? :reallymad:

Duran Duran reuniting for a new album First time for original band since 1983 Tuesday, June 15, 2004 Posted: 3:41 PM EDT (1941 GMT) NEW YORK (AP) -- Duran Duran, who regrouped last year for a successful tour, are reuniting again -- this time, for a new album on a new record label. Lead singer Simon LeBon told The Associated Press that the band has almost finished working on the untitled disc, which will be released in the fall on Epic Records. It will mark the first time the original band members -- LeBon, John Taylor, Nick Rhodes, Roger Taylor and Andy Taylor -- have recorded an album together since 1983's "Seven & the Ragged Tiger." read the entire article here: http://www.cnn.com/2004/SHOWBIZ/Music/06/1...n.ap/index.html

I've used Shoutcast before that seems to work well and easy to use.

Posted on Tue, Jun. 15, 2004 Web distributor: attack behind sluggish Internet sites SAN JOSE, Calif. (AP) - Several major Web sites -- including Yahoo!, Microsoft and Google -- were inaccessible at times early Tuesday due to what the company that distributes them online called an attack. The problem began about 9 a.m. EDT and lasted less than two hours, said Jeff Young, a spokesman for Akamai Technologies Inc., whose network of servers mirror some of the Web's top destinations to improve their performance. Young called it a ``large scale, international attack on Internet infrastructure.'' However, there was no evidence that non-Akamai infrastructure was affected. Amit Yoran, head of the Department of Homeland Security's cybersecurity division, declined to comment on the alleged attack and its scope, deferring questions to Akamai. The government-funded CERT network emergency response team did not immediately return a call seeking comment. Keynote Systems Inc., a Web performance measurement service, said the only sites where it saw trouble Tuesday were those served by Akamai. Young said he had no immediate information on the nature of the alleged attack, nor did he know where it originated or other Internet infrastructure companies that might have been targeted. Keynote said the availability of the top 40 sites it monitors dropped from 100 percent to just over 80 percent during the outage. ``We discovered it wasn't the Internet as a whole but a few large sites that dropped to nearly zero,'' said Lloyd Taylor, Keynote's vice president of technology and operations. Major Web sites hire Akamai to distribute their content on its servers around the world -- which helps balance demand, improve reliability and speed up delivery. Taylor said the outage was consistent with a technical failure or an attack on Akamai's domain name server system, which routes traffic by translating Internet text addresses to the numerical addresses of actual computers. During Tuesday's incident, Akamai's systems were slow in this regard, Young said. Users either experienced sluggish performance or time-out errors. The company claims to have the world's largest distributed content network, consisting of more than 15,000 servers in more than 60 countries. At peak times, it can handle as much as 15 percent of the Internet's traffic, Young said. The Akamai network experienced another technical problem in May -- an issue Akamai said was software-related. Shares of Akamai were up 71 cents, to $15.62, in Tuesday trading on the Nasdaq Stock Market. http://www.mercurynews.com/mld/mercurynews.../8929142.htm?1c

It's it ironic, rush limbaugh is getting divorced for the 3rd time and bill clinton is still married to hillary, I find that so funny, limbaugh doesn't go a day without attacking bill clinton.

LOS ANGELES, June 14 /PRNewswire With 16 Grammys to his credit and the only three-time inductee into the Rock and Roll Hall of Fame (as a member of Cream, the Yardbirds, and as a solo artist), Eric Clapton is one of the most admired and honored guitarists of the rock generation. Following the release of his new blues album (ME AND MR. JOHNSON, REPRISE/DUCK) and with a new studio CD antici-pated next year, THE BEST OF ERIC CLAPTON edition of 20TH CENTURY MASTERS/THE MILLENNIUM COLLECTION (Polydor/UMe), to be released June 15, 2004, revisits the first decade of his solo career (including the short-lived Derek and the Dominos) featuring 11 digitally remastered classics from 1970-1978. read the entire article here: http://www.prnewswire.com/cgi-bin/stories....02192599&EDATE=

LOS ANGELES (AP) -- The late Grateful Dead guitarist Jerry Garcia was many things: musician, artist, writer, composer. Wine connoisseur wasn't really one of them, even though J. Garcia wine, released last year, sold out its first shipment of 22,000 cases in just 30 days, according to the Clos du Bois winery, which is producing it with the approval of Garcia's estate. A second batch of wines, more than 30,000 cases of merlot, zinfandel and cabernet sauvignon, recently arrived in stores. "Quite honestly, Jerry was not really a big drinker," said Grateful Dead biographer and longtime Garcia friend Dennis McNally. "But he did have his occasional glass of wine." Garcia, who died of a heart attack in 1995, also had a somewhat tenuous relationship with Sonoma County, where the wine is produced. "Sonoma County is where Jerry dropped out of high school," McNally said with a chuckle. He surfaced fairly soon afterward in a jug band in Palo Alto that eventually changed its name, electrified its acoustic instruments and helped change popular music. Renowned initially for his music, Garcia began to gain attention toward the end of his life for his abstract paintings, and examples of the latter are included on each bottle of wine. http://music.lycos.com/news/story.asp?sect...&storyId=878220

I had to look twice, I was thinking the "fabulous thunderbirds" george thorogood

omg, you wait til I get that cerebral assassin

Boundless Warren Haynes is a rock 'n' roll four-band man By Brian Mansfield, Special for USA TODAY The Bonnaroo festival celebrates the spirit of jamming and musical mingling. Warren Haynes should be the Bonnaroo poster boy. At 44, Haynes shows no signs of slowing down ? he's a member of four different bands. By Danny Clinch The 44-year-old guitarist boasts membership in no fewer than four bands. He fronts his own trio, Gov't Mule, and plays with both the Allman Brothers and The Dead. He's also part of Dead bassist Phil Lesh's side project, Phil Lesh & Friends. Oh, and he also put out a solo album this week. Live at Bonnaroo, a solo acoustic performance recorded on a Sunday afternoon before about 80,000 people at the Manchester, Tenn., festival last June, features Haynes singing his own songs and eclectic covers ranging from Radiohead's Lucky to Otis Redding's (Sittin' On) The Dock of the Bay. "I put together a set of songs I thought it would be fun to play for the crowd," Haynes says. "I wasn't thinking about making a record ? hence the large amount of cover songs that I would've probably rethought if I had had any idea it was going to be a record." Haynes has become a fixture at Bonnaroo, which will host 90,000 people this weekend for performances by the likes of Bob Dylan, Dave Matthews, Wilco, Patti Smith, Los Lonely Boys, Nellie McKay, Los Lobos and Robert Randolph. In addition to his solo set, in Bonnaroo's previous two years Haynes has performed with Gov't Mule and the Allmans, as well as sitting in with numerous other acts, including Widespread Panic, Primus bassist Les Claypool and New Orleans' Funky Meters. This year, Haynes has scheduled Saturday performances with Gov't Mule and The Dead. He'll almost surely wind up on stage with somebody else, too. "There are so many people there that are close friends, we play together every chance we get," he says. Haynes got his first big break as guitarist for country renegade David Allan Coe during the early '80s. He moved to Nashville, seeking work as a session guitarist. Around this time, he co-wrote Two of a Kind (Workin' on a Full House), which became a hit for Garth Brooks and is still probably the biggest moneymaker in Haynes' varied career. He began playing with Allmans guitarist Dickey Betts, which led to his joining the Allmans in 1989. Lesh and Haynes began playing together in 2000. The Dead's Bonnaroo performance launches Haynes' first tour with that band. He's scheduled to open frequently with a solo set. "Warren's range is so great," Lesh says. "He can get down in the dirt with the slide guitar, or he can go out into space. He has the capacity to forget about everything he's ever played in the past, in all those other contexts he's been in, and just be in the moment. In The Dead, that's kind of the basic point from which you start." Haynes says: "The Allman Brothers and the Grateful Dead are the two forerunners of the whole jam-band scene. They have similarities in their approaches, but a lot of differences as well. "When it comes to improvisation in the Allman Brothers, they are about getting to the point and finding that magic, but finding it very quickly. In the Grateful Dead, they're much more about laying back and waiting for the magic to come. They're both beautiful approaches; there's no wrong or right with either one. It's a thing of beauty to see them both operate." In those bands, Haynes fills the roles of two of rock's most revered guitarists, Duane Allman and Jerry Garcia. Gov't Mule, which will release its sixth studio album this fall, gives Haynes the opportunity to develop his own style outside of those icons' shadows. "Gov't Mule is definitely a place in my heart where I can create anything musically that I want to create," Haynes says. "The Dead tour goes right into the next Allman Brothers tour, which goes right into the next Dead tour, which goes back into an Allman Brothers tour," he says. "By then, it'll be time to put the Gov't Mule record out and start a big Gov't Mule tour. "At that point, we'll be looking at Thanksgiving." Says Lesh: "Here's a man who lives music. It's a delight working with somebody for whom that is his primary reason for being." Says Haynes: "When I look at what my goals were a long time ago, most of them I've achieved in one way or another. But I can't say that I'm satisfied with that. I'm constantly finding things I would love to accomplish. I've been doing this a long time, but things are better than ever for me. "I just want to continue making the best music I can." http://www.usatoday.com/life/music/news/20...oo-haynes_x.htm

fundamentalists my butt, they're nothing but fanatics, btw I saw a report that 50% of the saudi people dislike americans, that survey even surprised the saudi government (supposedly) I'm sure there's more to learn about saudi arabia's support of al qaeda

congratulations wingnut, :good job:

a good link to check if you're having problems with software or you've dled something malicious. http://www.geocities.com/johnboy_tutorials/bt.html

Eminem 'wins copyright wrangle' Eminem made the recordings as an unknown teenager A hip hop magazine has been ordered to pay Eminem's legal fees after it violated a court order by publishing the lyrics of two early Eminem songs. The Source magazine was held in contempt of court by U.S. District Judge Gerard Lynch after it disregarded his ruling in December 2003. The ruling prohibited The Source from reprinting lyrics or full recordings of two controversial songs by the rapper. Both were made available on The Source website. They were removed in January. read the entire article here: http://news.bbc.co.uk/2/hi/entertainment/3801091.stm

could be dude, I guess some people you just feel like you wish you would have seem them live years ago, I'm sure if he got close enough in concert I'd go ;)

well first of all he usually only plays Boston for god's sake, lol and then secondly I think the price of a ticket is outrageous, but mostly I guess he's always seemed so arrogant to me, I just don't care to see him live, but I do still like his music.

I never know what to make of van morrison, I liked so many of his albums but each one was so different, I'm a fan but I have no desire to see him in concert, it must be his odd personality, but then that's what puts him apart from others, the mystic side of his music is unique and has always appealed to me, he slips between different genres. Astral Weeks was his first and most acclaimed album, but not my favorite, anyone have any thoughts? below a review of the album from Rollingstone Van Morrison Astral Weeks He didn't use the phrase for a song title until a year later, but "Astral Weeks" was the album on which Van Morrison fully descended "into the mystic." Morrison's first full-fledged solo album sounded like nothing else in the pop-music world of 1968: soft, reflective, hypnotic, haunted by the ghosts of old blues singers and ancient Celts and performed by a group of extraordinary jazz musicians, it sounds like the work of a singer and songwriter who is, as Morrison sings in the title track, "nothing but a stranger in this world." It also sounds like the work of a group of musicians who had become finely attuned to one another through years of working together - but, in fact, Morrison had made his name with rock songs like "Gloria" and "Here Comes the Night," and he sang "Astral Weeks," sitting by himself in a glass-enclosed booth, scarcely communicating with the session musicians, who barely knew who he was. "Some people are real disillusioned when I tell them about making the record," says Richard Davis, who supplied what may be the most acclaimed bass lines ever to grace a pop record. "People say, 'He must have talked to you about the record and created the magic feeling that had to be there . . .' To tell you the truth, I don't remember any conversations with him. He pretty much kept to himself. He didn't make any suggestions about what to play, how to play, how to stylize what we were doing." "I asked him what he wanted me to play, and he said to play whatever I felt like playing," adds Connie Kay, the Modern Jazz Quartet drummer, who was also in the group assembled for the session. "We more or less sat there and jammed, that's all." Kay was hired because Davis had suggested him; Davis got the nod because he had often worked with Lewis Merenstein, who produced the record and rounded up the musicians. Other musicians on the album include guitarist Jay Berliner, percussionist Warren Smith and horn player John Payne - all of them New York jazzmen and session players who knew nothing about Morrison and who rarely appeared on pop records. At the time, Morrison's solo career was just getting under way; earlier he had let the rough rock and R&B band Them. Until he signed with Warner Bros., to make "Astral Weeks," the mercurial Irishman didn't even have a deal with a major American label, though he had made a few solo recordings, including the sunny pop hit "Brown Eyed Girl" and the scarifying "T.B. Sheets," a ten-minute dirge about a friend's death from tuberculosis. The songs he brought into New York's Century Sound Studios were a far cry from those earlier tunes. They were long, most of them, and meandering, suffused with the pain of the blues and the lilt of traditional Irish melodies. Morrison depicted the streets of Belfast in a dim, hallucinatory light, peopled with characters who danced like young lovers and spun like ballerinas but who mostly struggled to reach out to each other and find the peace and clam that otherwise eluded them. The crowning touch is "Madame George," a cryptic character study that may or may not be about an aging transvestite but that is certainly as heartbreaking a reverie as you will find in pop music. A straight rock & roll band probably wouldn't have know what to do with these songs, but the musicians Merenstein assembled moved with the lightness and freedom that the tunes demanded. And the arrangements, invented on the spot by those players, were as singular as the world they illustrated: a soothing acoustic guitar, gently brushed drums, the caressing warmth of Davis's bass. Not that the musicians were trying to interpret Morrison's words. "I can't remember ever really paying attention to the lyrics," says Davis. "We listened to him because you have to play along with the singer, but mostly we were playing with each other. We were into what we were doing, and he was into what he was doing, and it just coagulated." They worked from seven to ten at night, running through songs they had never heard before; both Davis and Kay remember that the basic tracks were finished in a single three-hour session (the liner notes of the compact disc say it took "less than two days"). By seven o'clock some of the musicians had already played on two earlier sessions and Davis, for one, credits the relatively late hour with the way "Astral Weeks" sounds. "You know how it is at dusk, when the day has ended but it hasn't?" Davis asks. "There's a certain feeling about the seven-to-ten-o'clock session. You've just come back from a dinner break, some guys have had a drink or two, it's this dusky part of the day, and everybody's relaxed. Sometimes that can be a problem - but with this record, I remember that the ambiance of that time of day was all through everything we played." read the entire review here: http://www.rollingstone.com/reviews/album?id=111839

you should update your version musicman, I've got 154, you might not be getting results because most of the users are on a different version.

here's an interesting article that examines the right's interpretation of the abuse handed out by the US military, interesting, but as the writer concludes all a bunch of bull, an examination of the whole conservative movement which is dominating the country of late. The Rape of Logic: Conservatives and Abu Ghraib [9 June 2004] by Terry Sawyer Conservatives have a rich (and r$ch) history of denying that oppression has any meaningful ramifications in the allocation of resources or in the choices people make. In the '80s, the urban city poor were dubbed the "underclass", a stealthily eugenic term which simultaneously absolves most external factors and condemns a huge swatch of society to congenital inferiority. Similarly, the Right has heralded a utopian era where racism no longer exists, not because it's true, but because it makes the effects of racism on minorities a matter of simple "choice", and vitiates the need to redress inequality through affirmative action policies. From violence against women to homophobia, conservatives have consistently boiled away the nuance of every social problem to a problem of individuals and choices. In short, let's cut rich people's taxes and let everyone else rot in hell but pretend we're making profound statements about human will. read the entire article here: http://www.popmatters.com/columns/sawyer/040609.shtml

very nice post method, thank you, an amazing list of accomplishments, it's nice to know he did receive some honors while he was alive, too many become greater in death than in life, not the case with ray charles.

June 11, 2004, 10:39AM Paid 'ads' for song plays revive payola memories By JEFF LEEDS Los Angeles Times During a single week in May, Canadian pop rocker Avril Lavigne's new song Don't Tell Me aired no fewer than 109 times on Nashville radio station WQZQ-FM. The heaviest rotation came between midnight and 6 a.m., an on-air no man's land visited largely by insomniacs, truckers and graveyard shift workers. On one Sunday morning, the three-minute, 24-second song aired 18 times, sometimes as little as 11 minutes apart. Those plays, or "spins," helped Don't Tell Me vault into the elite top 10 on Billboard magazine's national pop radio chart, which radio program directors across the country use to spot hot new tunes. But what many chart watchers may not know is that the predawn saturation in Nashville — and elsewhere — occurred largely because Arista Records paid the station to play the song as an advertisement. In all, sources said, WQZQ aired Don't Tell Me as an ad at least 40 times the week ending May 23, accounting for more than one-third of the song's airplay on the station. The Don't Tell Me campaign is part of the latest craze in record promotion, a high-pressure part of the music business in which the labels try to influence which songs reach the air. In the late 1950s, rock's earliest days, the industry was hit by a series of payola scandals in which cash bribes were paid to disc jockeys who agreed to play certain songs. That practice was subsequently outlawed, prompting record companies to find more subtle means of currying favor with radio programmers, such as free junkets and concert tickets. In the latest twist, it's the radio stations themselves that have been reaching out to the labels, offering to play songs in the form of ads, often in the early morning hours when there tends to be an excess inventory of airtime. The practice is legal as long as the station makes an on-air disclosure of the label's sponsorship — typically with an introduction such as "And now, Avril Lavigne's Don't Tell Me, presented by Arista Records." To be sure, Don't Tell Me is a bona fide hit, even without spins being bought and paid for. Radio stations must play a song many thousands of times for it to crack the Billboard top 10. Nonetheless, a few hundred spins here and there can move a song up a place or two in the rankings — and ensure that it is climbing rather than falling on the charts. Playing songs as advertising makes "the chart unreliable," said Garett Michaels, program director of San Diego rock station KBZT-FM. "Basically, the radio station isn't playing a song because they believe in it. They're playing it because they're being paid." All five major record corporations have at least dabbled in the sales programs, industry sources said, with some reportedly paying as much as $60,000 in advertising fees to promote a single song. Interscope Records has purchased spins for the Black Eyed Peas' song Hey Mama in recent weeks, as well as for Sheryl Crow's The First Cut Is the Deepest and Sugababes' Hole in the Head, sources said. Virgin Records has bought advertising time for rock band A Perfect Circle. Lava Records has purchased airplay for singer Cherie, and V2 Records has done the same for Katy Rose. Representatives for the record labels declined to comment. But one label executive who has purchased airplay, speaking on condition of anonymity, said the idea was clearly to prop up songs long enough for them to attract genuine fans. "In our business, perception is reality," he said. "The minute you're down in spins, these program directors drop the record." http://www.chron.com/cs/CDA/ssistory.mpl/front/2621567 below an article about alan freed and the 1950's payola scandal Payola Payola - The paying of cash or gifts in exchange for airplay. "Payola" is a contraction of the words "pay" and"Victrola" (LP record player), and entered the English language via the record business. The first court case involving payola was in 1960. On May 9, Alan Freed was indicted for accepting $2,500 which he claimed was a token of gratitude and did not affect airplay. He paid a small fine and was released. His career faltered and in 1965 he drank himself to death. Before Alan Freed's indictment, payola was not illegal, however, but commercial bribery was. After the trial, the anti-payola statute was passed under which payola became a misdemeanor, penalty by up to $10,000 in fines and one year in prison. By the mid- fifties the independent record companies had broken the majors stranglehold on airplay and BMI licensed songs dominated the charts. In the wake of the quiz show scandals ASCAP (American Society of Composers, Authors and Publishers) urged House Oversight Subcommittee Chairman Oren Harris to look into the recording industry's practice of payola. ASCAP, with its head in the sand, believed BMI licensed songs were hits only because of payola. With the breakdown in morals, ASCAP believed these records were played so often by greedy deejays causing them to become imprinted on unsuspecting teenagers. ASCAP who had always looked at rock and roll as a passing fad. With these hearings they were trying to ensure that would be the case. Prior to the beginning of the hearings the FTC filed complaints against a number of record manufacturers and distributors. Those that wished to escape prosecution agreed to a 30 days Consent Order. Many of the companies found themselves back where they had started and folded. "The cancer of payola cannot be pinned on rock and roll." ....Billboard Magazine. Billboard stated payola was rampant during vaudeville of the 20s, and the big band era of the 1930s and 1940s The committee decided to look into deejays who took gifts from record companies in return for playing their records on their shows. Fearing the worse the record companies began stepping forward and announcing that they had given money to specific deejays. Soon twenty five deejays and program directors were caught in the scandal. Among the more popular ones were Joe Niagara (WIBG, Philadelphia), Tom Clay (WJBK, Detroit), Murray "The K" Kaufman (WINS, New York) and Stan Richards (WILD, Boston) The probe quickly focused in on the two top deejays in the country, Dick Clark and Alan Freed. Freed's broadcast alliances quickly deserted him. In late November, Freed was fired from both ABC-radio and WNEW-TV. Clark, with more to lose, quickly gave up all his musical interests when ordered to do so by ABC-TV. When asked to sign a statement denying involvement Freed refuse and was promptly fired from his job with WINS. When Clark appeared to testify he brought Bernard Goldsmith a statistician. Goldsmith told the committee that Clark had a 27% interest in records played in the past 28 months and those records had a 23% popularity rating. The committee was stunned as they wondered what came first the chicken or the egg. Clark's testimony began with telling the committee he had given up all outside interests connected with the recording industry. He also said the only reason he had gotten involved with those businesses were for the tax advantages. Clark admitted a $125 investment in Jamie Records returned a profit of $11,900 and of the 163 songs he had rights to143 were given to him. When questioned about Jamie records it was discovered that Jamie paid out $15,000 in payola, but Clark denied ever accepting any. The committee clearly didn't believe Clark, but he received just a slap on the wrist. In fact, committee chairman Oren Hatch called Clark "a fine young man." Freed who refused to deny involvement wasn't so lucky. Though he would only receive a small fine and six months suspended sentence his career was in tatters. Freed would die penniless, a bitter broken man, Jan 20, 1965 in Palm Springs, California.. He was forty three. http://www.history-of-rock.com/payola.htm another story about this topic here: http://dir.salon.com/ent/feature/2001/03/1...yola/index.html

here's one link that lists a few nba stars that have refused. http://www.news10.net/storyfull.asp?id=7312

Ray Charles Dies American icon was seventy-three American music legend Ray Charles, who virtually invented soul and made his mark on rock & roll, blues, country and jazz, died today at his home in Beverly Hills, California; he was seventy-three. Charles was born September 23rd, 1930 in Albany, Georgia, and lost his sight to glaucoma when he was a child. The pianist, arranger and composer is best known for his hits "What'd I Say," "Georgia on My Mind" and "Hit the Road Jack," and he won twelve Grammy awards and is a member of the Rock and Roll Hall of Fame. Charles' disciple Van Morrison paid tribute to him our "American Icons" issue back in April. Below are his fitting words: Ray Charles is proof that the best music crosses all boundaries, reaches all denominations. He can do any type of music, and at the same time he's always true to himself. It's all about his soul. His music first hit me when I heard a live version of "What'd I Say" on American Forces Network in Germany, which I used to listen to late at night. Then I started buying his singles. His sound was stunning -- it was the blues, it was R&B, it was gospel, it was swing -- it was all the stuff I was listening to before that but rolled into one amazing, soulful thing. As a singer, Ray Charles doesn't phrase like anyone else. He doesn't put the time where you think it's gonna be, but it's always perfect, always right. He knows how to play with time, like any great jazzman. But there was more to him than that voice -- he was also writing these incredible songs. He was a great musician, an amazing record maker, a great producer and a wonderful arranger. There's a reason they called Ray Charles "the Genius" read the entire article here: http://www.rollingstone.com/news/story?id=...eregion=double1

It seems Ray Charles has been around as long as I can remember, what an example of overcoming adversity to to become an icon. Truly an interesting life. I remember how everyone would imitate him playing the piano, but he really was a great musician, I guess the one song that comes to mind first is "georgia on my mind"