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I just load up my iPod with my favorite tracks, direct from CD or dubbed from disc. I use it mainly for exercising since nobody has the exact musical taste that I do. It's completely personalized just for me. I can also play the songs directly on my computer, since the iTunes library is there already.

Cary Ginell

> Date: Tue, 4 Jan 2011 10:10:41 -0500
> From: [log in to unmask]
> Subject: Re: [ARSCLIST] RIP rock n roll
> To: [log in to unmask]
> 
> Has anyone made a plug-in or "skin" for iTunes that makes it act like a vintage jukebox? If not, 
> they should. Imagine loading your favorite tunes from all those Rhino compilations, or picking the 
> best from over-thorough "retrospectives" of good but not great artists and building your own 
> jukebox, that you can plug into speakers when you're entertaining or can enjoy through your 
> headphones. The standard iTunes interface can kinda do this with "cover-flow," but not really, at 
> best it acts like a 1990's CD jukebox.
> 
> -- Tom Fine
> 
> ----- Original Message ----- 
> From: "Music Hunter" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Tuesday, January 04, 2011 10:03 AM
> Subject: Re: [ARSCLIST] RIP rock n roll
> 
> 
> > Our experience has been that the reissue labels generate a lot of business for us, especially with 
> > our library accounts.
> >
> > Sometimes folks have missed a title the 1st time around, or others want to replace beaten up 
> > copies.
> >
> > Your search for sound & video ends here!
> >
> > Jay Sonin, General Manager
> > Music Hunter Distributing Company
> > 25-58 34th Street, Suite # 2
> > Astoria, NY 11103-4902
> > [log in to unmask]
> > 718-777-1949
> >
> > ----- Original Message ----- 
> > From: "Tom Fine" <[log in to unmask]>
> > To: <[log in to unmask]>
> > Sent: Tuesday, January 04, 2011 8:17 AM
> > Subject: Re: [ARSCLIST] RIP rock n roll
> >
> >
> >> Hi David:
> >>
> >> I hear what you're saying, but I've often been disappointed by amateurish "garage" bands. There 
> >> have been some gems over the years, and indeed Rhino, Sundazed and others have made an honest 
> >> living mining the vaults. Having been raised with a lot of classical and jazz music, I expect a 
> >> decent level of musicianship from rock and blues artists. Many fall short, but when that exciting 
> >> music is combined with excellent musicianship, even on "simple" music like was played by Buddy 
> >> Holly and Elvis Presely, it's a beautiful thing. Even back in my youth, I was often disappointed 
> >> by how poorly my favorite rock bands performed in a live setting. But, there were some wonderful 
> >> surprises. When tickets cost a couple dozen dollars max, it was OK to go and check many out and 
> >> wait for the few surprises. At hundreds of dollars, forget it. As for small-venue live music, 
> >> there is none out here in the 'burbs, just really amateurish cover bands here and there. Also, 
> >> the loudness level that rock and blues are typically performed precludes me going anywhere near 
> >> these live venues without heavy ear protection. I can't afford to lose any hearing by my own 
> >> doing, time and nature are doing it to me beyond my control.
> >>
> >> One other thing, with the collapse of the record business, playing arenas actually IS a 
> >> pre-requisite to the kind of success that was the norm in previous times. And it's expected of 
> >> any band being given any upfront money by what's left of the "major companies" in a "360 deal".
> >>
> >> I'm really happy that finally some critics called the hand of these dinosaurs on the mailed-in 
> >> performances and high ticket prices. I saw the Bob Dylan and Willie Nelson minor-league ballpark 
> >> tour a few years ago and they were both mailing it in back then. At least you could understand 
> >> what Willie was singing, and even though it was basically the same show he had been doing for 20 
> >> years, he still did it well. Dylan was unintelligable and the band behind him was sloppy and 
> >> inept. And it was so loud that it was ear-damaging even with protective foam in. We left soon 
> >> after he started "performing." Hint to aging rockers -- when you need to "fill out" your band 
> >> with people younger than your children in order to produce enough noise to hold attention in a 
> >> stadium, it's time to retire. I would argue that the typical trappings of a rock performance get 
> >> ridiculous when you get into your 40's and are outright embarassing when you're eligable for 
> >> Medicare. It's a young man's game, know the rules and play by them.
> >>
> >> -- Tom Fine
> >>
> >> ----- Original Message ----- 
> >> From: "David Lewis" <[log in to unmask]>
> >> To: <[log in to unmask]>
> >> Sent: Tuesday, January 04, 2011 7:52 AM
> >> Subject: Re: [ARSCLIST] RIP rock n roll
> >>
> >>
> >>> Tom,
> >>>
> >>> Thanks for sending. It *is* thought-provoking, though like you I would have
> >>> said around 2000 the well was already dry. In response, though, I would say
> >>> that you can sidestep the arena experience altogether by checking out bands
> >>> that never made it to that level. A fair number of those groups have done so
> >>> by choice and still put on a mighty good show. Playing arena shows is not a
> >>> pre-requisite to artistic success in rock music, and the very idea that this
> >>> is so is one of the many elements that helped to doom the form at the top
> >>> level. However, the band traveling in a car, playing for $100 guarantees and
> >>> a portion of the door remains a sustainable business model. Groups willing
> >>> to put up with such discomfort are doing so because they want to have an
> >>> audience for their work, and sometimes this means better music, though it is
> >>> not neccessarily an attraction for those who feel they've had their needs
> >>> met, somewhere along the way, by the 50-plus-year heritage of rock music.
> >>>
> >>> One thing he didn't address was that in the 1980s there was a shift between
> >>> supply and demand; in the 1960s, demand was high and supply was such that
> >>> just about anyone claiming to be a pop musician could make records and even
> >>> get signed to at least middle-level recording deals; certainly not all were,
> >>> but the possibility was there. While front office types have always had a
> >>> hand in cultivating to some extent what gets recorded, the grass roots
> >>> artist pool still enjoyed a lot of freedom and were, for the most part, left
> >>> alone to create what they wanted. This became somewhat jaundiced in the
> >>> 1970s, with artists doing double-live LPs no one wanted and utilizing other
> >>> strategies to get out of their record contracts, not to mention throwing
> >>> huge parties in order to celebrate the release of albums that ultimately
> >>> wound up in the cutout bins. These excesses delivered huge losses to the pop
> >>> music industry and even brought down a major player, ABC, in 1978. The
> >>> record companies became far more careful afterward.
> >>>
> >>> The majors, at least, were not successful in dealing
> >>> with emerging grass roots trends around 1980 and decided instead to
> >>> cultivate their own pop artists, with MTV taking a major role in getting
> >>> this out to the masses, a calculated plan to divest the business of radio
> >>> and to control trends in pop music. Then you had artists at the grass roots
> >>> cultivating their own plans to create something that would appeal to the
> >>> suits at the record companies. That the form got diluted, and stale, was
> >>> inevitable. The re-emergence of the grass roots style of 1980 that came
> >>> along in 1991 or so only helped to temporarily stave off rock's eventual
> >>> bust. Add to that the killing off of the common single -- a format in which
> >>> people could enjoy a hit in a manner convenient and inexpensive to them --
> >>> and you have the golden goose with its entrails hanging out of it. As Carl
> >>> Sandburg once put it, "The lawyers, Bob, they know too much..."
> >>>
> >>> David "Uncle Dave" Lewis
> >>> Lebanon, OH
> >>>
> >>>
> >>>
> >>>
> >>> On Tue, Jan 4, 2011 at 6:48 AM, Tom Fine <[log in to unmask]>wrote:
> >>>
> >>>> http://www.jazzwax.com/2011/01/rock-and-roll-1949-2011.html
> >>>>
> >>>> even if you don't agree with all of this essay, it's thought-provoking. I
> >>>> would have written an obit for anything new and original called rock music
> >>>> 10 years ago, but Meyers makes a good point that the Geriatric Stadium Tours
> >>>> (some actually sponsored by Viagara) kept filling the coffers and thus kept
> >>>> rock in a living-dead zombie state for an extra decade. Personally, I find
> >>>> 60+ rockers spilling out of their spandex and limping around a stadium with
> >>>> tickets costing over $100 more pathetic than all the poseurs and copy-cats
> >>>> making up the "new" performers in the genre. At least a few of the "new"
> >>>> performers are good musicians, worth listening to on that point alone. Rock
> >>>> is definitely a young man's game, but two generations of young men (and
> >>>> women) have dropped the ball and just fed off the old carcass. My theory --
> >>>> rock got suburbanized and where is there any drama or struggle in a suburban
> >>>> experience, so therefore no cause for new and rebelious musical directions.
> >>>>
> >>>> Those of us who love rock and jazz, and for that matter blues, and lament
> >>>> the death of anything new and original in any of those genres can at least
> >>>> revel in the fact that all three styles lived all or most of their lives in
> >>>> the era of recordings and almost every "for the ages" song was captured on a
> >>>> musically-satisfying recording at some point. I have enough CDs, LPs and
> >>>> downloads to keep me rocking for the rest of my days, even if I'm keeping
> >>>> beat from a wheelchair.
> >>>>
> >>>> -- Tom Fine
> >>>>
> >>>
> >>
> >