Sunday, June 4, 2017

For those seeking more detail on the Paris Climate Accord

Click on the blue Facebook logo in the upper right-hand corner and then go to the comments for more information...

For those seeking more detail on the Paris Accord and climate disruption...

Sources: The data and scenarios are from...

Posted by Alex Tango Fuego on Friday, June 2, 2017

Tuesday, May 30, 2017

Makin' Moves by Kouhei Nakama

#MondoBizarroCoolAsShit #KouheiNakama #OutOfThisWorldCreative



MAKIN' MOVES from Kouhei Nakama on Vimeo.





CYCLE from Kouhei Nakama on Vimeo.





DIFFUSION from Kouhei Nakama on Vimeo.

Orquesta Típica Misteriosa Buenos Aires / 7 de enero (J.Arias)

As good as it gets...

Nuevo videoclip de 7 de enero, tango de Javier Arias que registramos en nuestro ultimo disco "Tu lado acústico" con la aparición estelar de: Roxana Suarez/Sebastián Achaval, Inés Muzzopappa/Fernando Galera y Rocio Lequio/Bruno Tombari.

Saturday, May 6, 2017

La Cumparsita Redux :: La Ultima Canción :: 100th Anniversary


La_cumparsita_partitur



Note that April 16, 2017 is the 100th Anniversary of the song...

http://www.worldnewsenespanol.com/309_hispanic-world/4507519_uruguay-celebrates-100th-anniversary-of-la-cumparsita-tango.html

http://www.elintransigente.com/espectaculo/musica/2016/8/23/uruguay-quiere-declarar-2017-como-tango-la-cumparsita-398734.html



On the subject of why La Cumparsita is played as the last song at milongas:

This from Glen Royce on Facebook:

Alex: Ahhh- I thought the story was more well-known! :) Pugliese was a communist, and one night the police showed up at the milonga where his orquestra was playing, to bring him in, right when they were playing 'La Cumpa' ...my good tanguero friends down here in BA who are in their 70's and 80's say he WAS arrested, and so the milonga was finished- end of the night! (because the orquestra's director had been taken away...!) Anyway, feel free to read and visit the folllowing : ;)

"Once when Pugliese was playing La Cumparsita, the police entered the club he was performing in, and directed everything to stop as he was banned. The club owners said that they could not be interrupted whilst the orchestra was playing and the dancers was tangoing. On stage, Pugliese was told about this - so started playing La Cumparsita over and over again. The audience just kept on dancing! Eventually the police gave up and left. It was, perhaps, a world record in playing La Cumparsita?"

***Again, I have been told Pugliese DID get arrested and the milonga was finished for the night (no more director OR pianit...!) So that was the last song of the night! :)







And this from Luigi Seta - his blog at: http://tangopills.blogspot.com/2017/04/por-que-la-cumparsita-es-el-ultimo.html

Saturday, April 22, 2017
¿Por qué La Cumparsita es el último tango de la milonga? (Why is La Cumparsita the last tango of the milonga?)
Los milongueros asocian este tango inmortal con Juan D’Arienzo, El Rey del Compás, porque revolucionó todo el mercado con su grabación.

The milongueros associate this immortal tango with Juan D'Arienzo, El Rey del Compás, The King of the Beat, because he revolutionized the whole market with his recording.

Fue además el tema que más veces grabó, hasta en 7 oportunidades. En los años 1928 y 1929, con las voces de Carlos Dante y Raquel Notar, respectivamente, para el sello Electra, propiedad de su tío, Alfredo Améndola. Y luego para el sello Victor en otras cinco placas, en los años 1937, 1943, 1951, 1963 y 1971. La placa de 1951 tenía en la otra faz, la milonga de Pintín Castellanos La Puñalada, que también registró en cuatro ocasiones, y batió records de venta.

It was also the tango that he recorded the most times, up to 7 opportunities. In 1928 and 1929, with the voices of Carlos Dante and Raquel Notar, respectively, for the Electra label, owned by his uncle, Alfredo Améndola. And then for the Victor label on five other records, in 1937, 1943, 1951, 1963 and 1971. The record of 1951 had on the other side, the milonga of Pintín Castellanos La Puñalada, which also recorded four times, to became a sales blockbuster.

La versión de 1951 fue tan famosa, con más de un millón de discos vendidos sólo en Argentina, y más de doscientos mil en Japón, que el público deliraba al escucharla en sus presentaciones en vivo, entonces Juancito decide dejarla siempre para el final de sus shows, como la frutilla del postre.


The 1951 version was so famous, with more than one million albums sold only in Argentina, and more than two hundred thousand in Japan, that the audience raved when listening to it at their live performances, so Juancito decides to leave it always for the end of their Shows, as the icing on the cake.

Y fue así que se impuso como cierre de las milongas a partir de de los años cincuenta en todos los clubes de Buenos Aires. Y quedarse sin bailar este último tango significaba toda una frustración.

And so it was imposed as a closure of the milongas since the fifties in all clubs in Buenos Aires. And then, staying without dancing this last tango meant a whole frustration.

Los muchachos de entonces se reunían para escucharla y también se armaba toda una revolución en las milongas con este tema. Fulvio Salamanca, el pianista de D’Arienzo por 17 años, tuvo especial intervención en los arreglos de esta versión de 1951 y se nota su sabia mano en el resultado final. Una obra maestra y super milonguera.

The guys of the time met to listen to it at home, the streets, everywhere, and then a whole revolution was set up in the milongas with this tango. Fulvio Salamanca, the D'Arienzo pianist for 17 years, had an special intervention in the arrangements of this version of 1951 and it shows his wise hand in the final result. A super milonguera masterpiece.

A continuación La cumparsita por la orquesta de Juan D'Arienzo, en su versión del año 1951, quizás la más famosa de todas.

Next The cumparsita by the orchestra of Juan D'Arienzo, in its version of the year 1951, perhaps the most famous of all.

Presten atención al toque magistral del piano a cargo de Fulvio Salamanca, que le imprimió el clásico compás a la orquesta, una variación moderna y menos eléctrica, que la que le impusiera Rodolfo Biagi.

Pay attention to the masterful touch of the piano by Fulvio Salamanca, who impressed the classic compass to the orchestra, a modern and less electric variation, than that imposed by Rodolfo Biagi.

Escuchen a Enrique Alessio, primer bandoneón, en su famosa variación del segundo coro, magistral, sin palabras.


D'Arienzo, and his line of bandoneons
Junnissi, Lazzari and Alessio

Listen to Enrique Alessio, first bandoneon, in his famous variation of the second choir, masterful, without words.

No dejen de lado la melancolía del final, con el toque impecable del primer violín de la orquesta, Cayetano Puglisi.

Do not leave aside the melancholy of the end, with the impeccable touch of the first violin of the orchestra, Cayetano Puglisi.

Finalmente, la perfecta sincronización instrumental que en corto tiempo le diera a Juan D'Arienzo el acertado calificativo de El Rey del Compás.

Finally, the perfect instrumental synchronization that in a short time gave Juan D'Arienzo the correct qualifier of El Rey del Compás, the King of the Beat.

¡A disfrutar esta joya!
Enjoy this gem!














Here's my prior post:

La Cumparsita

La_cumparsita_partitur


La Cumparsita is the song that is traditionally the last song played at a milonga. It signals to everyone that this is the last song, and that the milonga has concluded. There was a time when I was on a mission to collect as many versions of the song as I could find. At this point, I have forty [40] distinct versions.

It was written by Gerardo Hernán Matos Rodríguez, an amateur pianist and architecture student, in late 1915 or early 1916 by all accounts. He was 17 years old when he wrote it. It's important to note that he was a student in Montevideo - so the song originated in Uruguay.

The song has a very interesting story behind it - with changed lyrics, new music arrangements, ownership and royalties lawsuits (four or five), and plenty of drama over the years. It's often billed as "the most famous tango in the world". Astor Piazzolla called it "the most frighteningly poor thing in this world" in reference to the original score by Matos Rodríguez and its simple melody.




Here are a couple of links to good, in depth treatments of the song and its history:

Keith Elshaw's www.totango.net

Ricardo García Blaya's www.todotango.com

Note that both of these sites contain a wealth of information about tango music and all things tango.

Alberto Paz' www.planet-tango.com includes a lyrics translation of the re-written version. Alberto's site is well known for his lyrics translations, and also includes a wealth of information about tango.




This 1930 version, with the original lyrics sung by the opera singer Tito Schipa, is my personal favorite.





Lastly, here's a "mashup" of many versions over 26 years...

Tuesday, May 2, 2017

Jimmy Carter, Henry Kissinger and the U.S. Role in Argentina's Dirty War

Newly-declassified docs show that Jimmy Carter's support for Argentine junta's "counter-terrorism" belies his popular image as a humanitarian. 

Although former U.S. President Jimmy Carter is widely applauded for his human rights agenda in foreign policy, newly-declassified documents related to the U.S. role in Argentina's Dirty War indicates that the Democrat was fully aware of the junta's brutal crackdown on Leftist dissidents but turned a blind eye–even offering fawning praise at times–and qualified the regime's torture and murder as necessary to combat "terrorism."

http://www.telesurtv.net/english/news/Jimmy-Carter-Offered-Fawning-Praise-of-Argentine-Dirty-War-20160814-0007.html



But then there's this: (Not the Trump part, but the award part...)


TRUMP BLOCKS ARGENTINA TRIBUTE TO JIMMY CARTER

BY   · PUBLISHED  · UPDATED 

WASHINGTON, April 29, 2017—Argentine President Mauricio Macri planned to award President Jimmy Carter the Order of the Liberator General San Martín, the highest distinction Argentina awards a foreign person, during his visit to Washington this week. However, the award ceremony was cancelled after an explicit request by the Trump administration, according to several reports.

Carter was nominated for the award by former Argentine ambassador to the U.S., Martin Lousteau, for Carter's work to strengthen human rights during Argentina's military dictatorship in the late 1970s and early 1980s.

The award was announced in the Argentine government's Official Bulletin in March, and it was later decided that President Macri would preside over an award ceremony during his visit to Washington in April.

The award ceremony was abruptly cancelled days before Macri's visit. The official explanation for the cancellation was scheduling problems, but a source in the Argentine government who spoke to CNN Español on the condition of anonymity stated that the ceremony was cancelled at the specific request of the Trump administration for a delay.

The source also told CNN that Macri chose to comply with the request to "avoid conflicts" and to discuss issues that were important to both administrations.

Macri was one of the first world leaders to call Trump to congratulate him on his electoral victory in November 2016. According to Argentine newspaper La Nación, Trump asked Macri to expedite the issuance of permits that were holding up a Trump-branded office building project in Buenos Aires during the call. Both Macri and Trump denied that Trump's building project in Buenos Aires was discussed.

Another source suggests that the Argentine Foreign Ministry asked Macri to present the award to Carter despite Trump's request, especially since it had already been approved and announced in the country's official bulletin.


http://www.arbiternews.com/2017/04/29/trump-rejects-argentina-tribute-jimmy-carter/


Carter's efforts to promote or protect human rights  in Argentina appear to be pretty damn weak. Combine this with the fact that the U.S. was giving military aid to the military dictatorship of Argentina up until the very end of the Dirty War would indicate that U.S. policy supported, and was essentially complicit in, the atrocities of Argentina' Dirty War.

Sent from my iPad

Friday, March 31, 2017

The Menace of Unreality

Starbird is in the field of "crisis informatics," or how information flows after a disaster. She got into it to see how social media might be used for the public good, such as to aid emergency responders.


Instead she's gone down a dark rabbit hole, one that wends through the back warrens of the web and all the way up to the White House.


Starbird argues in a new paper, set to be presented at a computational social-science conference in May, that these "strange clusters" of wild conspiracy talk, when mapped, point to an emerging alternative media ecosystem on the web of surprising power and reach.


- Danny Westneat, Seattle Times, Mar 29, 2017


http://www.seattletimes.com/seattle-news/politics/uw-professor-the-information-war-is-real-and-were-losing-it/


UW professor: The information war is real, and we're losing it

 

A University of Washington professor started studying social networks to help people respond to disasters. But she got dragged down a rabbit hole of twitter-boosted conspiracy theories, and ended up mapping our political moment.

It started with the Boston marathon bombing, four years ago. University of Washington professor Kate Starbird was sifting through thousands of tweets sent in the aftermath and noticed something strange.

Too strange for a university professor to take seriously.

"There was a significant volume of social-media traffic that blamed the Navy SEALs for the bombing," Starbird told me the other day in her office. "It was real tinfoil-hat stuff. So we ignored it."

Same thing after the mass shooting that killed nine at Umpqua Community College in Oregon: a burst of social-media activity calling the massacre a fake, a stage play by "crisis actors" for political purposes.

"After every mass shooting, dozens of them, there would be these strange clusters of activity," Starbird says. "It was so fringe we kind of laughed at it.

"That was a terrible mistake. We should have been studying it."

Starbird is in the field of "crisis informatics," or how information flows after a disaster. She got into it to see how social media might be used for the public good, such as to aid emergency responders.

Instead she's gone down a dark rabbit hole, one that wends through the back warrens of the web and all the way up to the White House.

Starbird argues in a new paper, set to be presented at a computational social-science conference in May, that these "strange clusters" of wild conspiracy talk, when mapped, point to an emerging alternative media ecosystem on the web of surprising power and reach.

It features sites such as Infowars.com, hosted by informal President Donald Trump adviser Alex Jones, which has pushed a range of conspiracies, including that the Sandy Hook school shooting was a staged fake.

There are dozens of other conspiracy-propagating websites such as beforeitsnews.com, nodisinfo.com and veteranstoday.com. Starbird cataloged 81 of them, linked through a huge community of interest connected by shared followers on Twitter, with many of the tweets replicated by automated bots.

Infowars.com alone is roughly equivalent in visitors and page views to the Chicago Tribune, according to Alexa.com, the web-traffic analysis firm.

"More people are dipping into this stuff than I ever imagined," Starbird says.

Starbird is in the UW's Department of Human Centered Design & Engineering — the study of the ways people and technology interact. Her team analyzed 58 million tweets sent after mass shootings during a 10-month period. They searched for terms such as "false flag" and "crisis actor," web slang meaning a shooting is not what the government or the traditional media is reporting it to be.

It happens after every mass shooting or attack. If you search for "false flag" and "Westminster," you'll find thousands of results theorizing that last week's attack outside British Parliament was staged (presumably to bring down Brexit, which makes no sense, but making sense is not a prerequisite).

Starbird's insight was to map the digital connections between all this buzzing on Twitter with a conglomeration of websites. Then she analyzed the content of each site to try to answer the question: Just what is this alternative media ecosystem saying?

It isn't a traditional left-right political axis, she found. There are right-wing sites like Danger & Play and left-wing sensationalizers such as The Free Thought Project. Some appear to be just trying to make money, while others are aggressively pushing political agendas.

The true common denominator, she found, is anti-globalism — deep suspicion of free trade, multinational business and global institutions.

"To be antiglobalist often included being anti-mainstream media, anti-immigration, anti-science, anti-U.S. government, and anti-European Union," Starbird says.

So it was like the mind of Stephen Bannon, chief adviser to Trump, spilled across the back channels of the web.

Much of it was strangely pro-Russian, too — perhaps due to Russian twitter bots that bombarded social channels during the presidential campaign (a phenomenon that's now part of the FBI investigation into the election, McClatchy reported last week).

The mainstream press periodically waded into this swamp, but it only backfired. Its occasional fact checks got circulated as further evidence: If the media is trying to debunk it, then the conspiracy must be true.

Starbird is publishing her paper as a sort of warning. The information networks we've built are almost perfectly designed to exploit psychological vulnerabilities to rumor.

"Your brain tells you 'Hey, I got this from three different sources,' " she says. "But you don't realize it all traces back to the same place, and might have even reached you via bots posing as real people. If we think of this as a virus, I wouldn't know how to vaccinate for it."

Starbird says she's concluded, provocatively, that we may be headed toward "the menace of unreality — which is that nobody believes anything anymore." Alex Jones, she says, is "a kind of prophet. There really is an information war for your mind. And we're losing it."

I sat dumbfounded for a time as she spooled through tweets in her database: an archive of endless, baseless speculation that nevertheless is evidence of a political revolution. It should be unnecessary to say, but real humans died in these shootings. How disgustingly cruel it is to the survivors to have the stories of those deaths altered and twisted for commercial or ideological ends.

Starbird sighed. "I used to be a techno-utopian. Now I can't believe that I'm sitting here talking to you about all this."

Link to her paper: http://faculty.washington.edu/kstarbi/Alt_Narratives_ICWSM17-CameraReady.pdf

Sent from my iPad

Saturday, March 18, 2017

Thursday, March 16, 2017

Tibetan Mantras for Abigail


RIP Abigail 03/16/2017


My mom's cat Abigail died peacefully in her sleep last night. She was 21, or 19. We're not quite sure.

She was a sweet cat, if strange at times. I was the only human she seemed to care for. These last months she would run over when I came to visit mom, and get in my lap and start purring.

I'll bury her above the creek below our house, and say a few words.

Rest in peace, tiny soul.

Sad, really. They are our children. And the love is real.

https://youtu.be/8-wLLhyVlLk



Sent from my iPhone

Saturday, March 11, 2017

The Story Behind Orquesta Típica Victor aka OTV

Orquesta Tipica Victor

From Todotango.com

When the officials of that record company had the idea of putting together an orchestra that would represent the corporation, they turned to a pianist classically trained, who had not yet played tango: Adolfo Carabelli.

This great artist studied with the best teachers of his time and when he was fifteen he was already playing concerts in the theaters of the city of Buenos Aires. When he was very young he went to Bologna, where he stayed until 1914. There he went to school and continued his musical studies. When the war broke up he returned to his country where he put together a small group of classical music: Trío Argentina.

Around that time he became acquainted with the pianist Lipoff, who accompanied the well-known dancer Anna Pavlova, and through him he was introduced to jazz, a genre that was beginning to get a wide acclaim.

His first orchestra was named River Jazz Band, later, when switching to the radio, the group bore his name, and the orchestra achieved an overwhelming success and was requested by all the nightclubs of the period. Eduardo Armani and Antonio Pugliese, among others, passed through its ranks.

He recorded his early records for the Electra label and later he is hired by the Victor company as musical advisor and responsible for the creation of a tango orchestra.

It was a seminal orchestra in tango, that never performed in public, but which left for us, during its long career, the indelible memory of its perfection and quality.

The first setting chosen by Carabelli, and that made its debut recording two tangos on November 9, 1925: “Olvido [b]”, by Ángel D'Agostino, and “Sarandí” by Juan Baüer, was the following: Luis Petrucelli, Nicolás Primiani and Ciriaco Ortiz (bandoneons); Manlio Francia, Agesilao Ferrazzano and Eugenio Romano (violins); Vicente Gorrese (piano) and Humberto Costanzo (double bass).

The composition of the orchestra changed very often, the musicians were continuously replaced, but they all were of an excellent level. So that so that some experts recognize, on certain recordings, the violin of Elvino Vardaro, for example.

Other important names that passed through the ranks of the orchestra were: Federico Scorticati, Carlos Marcucci and Pedro Laurenz (bandoneon players); Orlando Carabelli, brother of the leader, and Nerón Ferrazzano (double bass); Nicolás Di Masi, Antonio Buglione, Eduardo Armani and Eugenio Nobile (violins). Cayetano Puglisi, Alfredo De Franco and Aníbal Troilo were also included in the orchestra on some occasions.

Years later, and due to commercial reasons, the label thought that only one orchestra was not enough. For that reason a number of orchestras began to appear: Orquesta Victor Popular, the Orquesta Típica Los Provincianos led by Ciriaco Ortiz, the Orquesta Radio Victor Argentina led by Mario Maurano, the Orquesta Argentina Victor, the Orquesta Victor Internacional, the Cuarteto Victor lined up by Cayetano Puglisi, Antonio Rossi (violins), Ciriaco Ortiz and Francisco Pracánico (bandoneons) and the excellent Trío Victor, with the violinist Elvino Vardaro and the guitarists Oscar Alemán and Gastón Bueno Lobo.

The already mentioned quality of the musicians made the Orquesta Típica Victor one of the highest musical expressions of its period, and it would remain at the same level until the late thirties. And this is important to highlight, because other important orchestras, such as Julio De Caro, had lost their north.

Unfortunately later, because of a repertory that tried to fit into the commercial needs of the period, the quality of it declined, but neither its sound nor the capability of its members were of a poor level. Its vocalists, likewise, kept on being of a first rate level.

In 1936 the leadership of the orchestra is transferred to the bandoneonist Federico Scorticati, and its early recordings were the tangos “Cansancio” (by Federico Scorticati and Manuel Meaños) and “Amargura” (by Carlos Gardel and Alfredo Le Pera), sung by Héctor Palacios.

In 1943 the orchestra was led by the pianist Mario Maurano, and recorded the tangos “Nene caprichoso” and “Tranquilo viejo tranquilo” (both by Francisco Canaro and Ivo Pelay), with Ortega Del Cerro on vocals, on September 2.

The last recordings under the name Orquesta Típica Victor were made on May 9, 1944, and they were the waltzes “Uno que ha sido marino” (by Ulloa Díaz) and the popular “Sobre las olas” (by Juventino Rosas), both sung by the Jaime Moreno and Lito Bayardo duo.

According to Nicolás Lefcovich's discography, the recordings were 444, but to this number we would have to add many recordings coupled on discs that on the opposite face had renditions of varied interpreters.

Even though it was an orchestra that mainly played tango, it also recorded other beats, more than forty rancheras and a similar number of waltzes, around fifteen foxtrots and very few milongas. Also polkas, corridos, pasodobles, etc.

As for vocalists, they appeared only three years after its creation, after over a hundred instrumental numbers were recorded. And the first one was a violinist, Antonio Buglione (a total of four recordings), with the tango "Piba", on October 8, 1928.

He was followed by Roberto Díaz (27 recordings), Carlos Lafuente (37, the one who recorded most), Alberto Gómez (25), Ernesto Famá (17), Luis Díaz (14), Teófilo Ibáñez (9), Ortega Del Cerro (7), Juan Carlos Delson (7), Mario Corrales —later Mario Pomar — (6) and Charlo (4).

Through the ranks of the orchestra the following vocalists passed: Alberto Carol, Jaime Moreno, Lito Bayardo, Lita Morales, Eugenio Viñas, Ángel Vargas, José Bohr, Osvaldo Moreno, Vicente Crisera, Dorita Davis, Oscar Ugarte, Fernando Díaz, Héctor Palacios, Mariano Balcarce, El Príncipe Azul, Francisco Fiorentino, Armando Barbé (also with the name Armando Sentous), Samuel Aguayo, Hugo Gutiérrez, Jimmy People, Deo Costa, Alberto Barros, Raúl Lavalle, Augusto "Tito" Vila and Gino Forsini.

When in 1944 the label decided to put an end to its career, tango was so successful that it would not be an exaggeration to say that everyday a new orchestra was put together. Somehow, with the great orchestras of the forties: Troilo, D'Arienzo, Di Sarli, D'Agostino, Tanturi, Fresedo, Laurenz, among others, the need of having one's own orchestra has come to an end.


From Todotango.com

Thursday, March 9, 2017

Pseudo-cabaceos by Daniel Boardman and Michelle McRuiz

pseudo-cabaceos

Taken and condensed from Daniel Boardman's and Michelle McRuiz' "From Bench Warming To Dancing In Thirty Seconds or Less: How to use cabeceo effectively"

Monday, February 13, 2017

The Thing About the Grammys - There's better music out there in the world - much better

I've never been much of one for awards and awards shows, especially in the skewed and twisted world of the American music industry and film industry. Mainstream I ain't. I'm not going to elaborate on the skewed/twisted part because I'm not in an expounding mood. Let's just suffice it to say that there are literally millions, okay, maybe hundreds of thousands, nah...make that tens of thousands...or at least 10,000 amazing, world class musicians and singers that you will never hear or see. They are out there, practicing their craft in the privacy of their own home, perhaps meeting up with other musicians to rehearse, going out and doing small intimate gigs in various venues. Coffee shops, house concerts, hotel lobby bars, etc. I didn't mention bars/nightclubs because that can be loud/raucous not-so-good stuff, but hey - there are good'uns doing that good work as well - that is your taste.

I'm blessed to live in Austin, Texas, "The Live Music Capital of the World", so I'm exposed to a lot of opportunities to listen/see/hear/experience. We have a fair number of house concerts around Austin, with the most notable by far being the one called Blue Rock. It's out in Wimberley, held at the home of Billy and Dodee Crockett, in their gigantic great room, adjacent to their commercial recording studio. Adjacent meaning in the next room. A house concert is a somewhat casual gathering of folks to listen to a musician or two. Usually traveling/touring troubadours in the singer-songwriter folk/Americana genres. Mostly acoustic, mostly small "walls of sound" - although in the case of Blue Rock and the Cactus Cafe at the University of Texas, there is a great deal of investment in a high-fidelity listening experience. The first time I heard Richard Thompson at the Cactus Cafe (who happens to be my sister-in-law's brother-in-law) - I was dumbfounded as to the extremely high fidelity/sound quality. "Am I hearing what I think I'm hearing?" was going through my head. The cover can range from $10 to $30, depending on the artist - and the thing about house concerts is that 100% of the door goes to the artist/s. They also sell CD's and T-shirts and crap during the break and after the show.

The point is to support the artists we love - not by buying a $0.99 song on iTunes - but by truly *supporting them. Show up when they're in your town, buy their CD (preferably from the artist's website, where they get the biggest cut), go to their house concerts...you get the picture. Also, buy the entire CD if you only want one song - like in the old days.

I've only recently really started listening to the words - like really listening to what they say. I have to thank my singer-songwriter most recent ex for that. I call them "poets who sing".

Here's a favorite of mine Sam Beam/Iron & Wine, with Resurrection Fern:

Live version




Studio version





Sorry for the mish-mash/poorly organized post...maybe I'll come back and clean it up...




Local Austin Musicians/Groups:
Minor Mishap Marching Band (my internist plays clarinet)
Austin Piazzolla Quartet (I heard the founding member moved to east Texas)
Glover Gill & The Tosca String Quartet (yes, we have our very own Tango composer)
Iron & Wine/Sam Beam
Sarah Jarosz
Band of Heathens

House Concerts:
Blue Rock Texas (the Blue Rock website is a great way to discover new artists...they also now offer live streaming of their concerts...)
Uncle Calvin's (in a church in Dallas)
There's one in a church in the Woodlands
Several in Austin proper
Google and ask around - you will find them

"Listening Rooms" is what you are looking for...imagine a concert where everyone is absolutely quiet during the performance - no talking, no getting up and going to the bathroom, etc. - just applause at the end of a song...you are there to listen and let the entire experience wash over you...

Here in Austin it's:
Blue Rock
The Cactus Cafe
The Continental Club Upstairs - The Gallery (downstairs is good too, but noisy bar with dancing)
Strange Brew - Lounge Side

Other Spots (here in Austin):
The Lobby Bar at the Driskill Hotel on 6th
The Townsend on Congress
The Elephant Room (for Jazz)
Antone's on 5th (famous venue - more rock genre)
Carousel Lounge

Cheatham Street (San Marcos)

Best to check out the Austin Chronicle Music Calendar for everything...http://www.austinchronicle.com/calendar/music/



Here are my preferred avenues for listening and discovering new music:

Radio station websites (live streaming and other content -KUT, Sun Radio, KEXP are good ones)

YouTube (subscribe to your favorite channels for updates)

Spotify (I prefer over Pandora because I pick what I listen to, subscribe to or follow compilation playlists and then drill down into the various artists, follow your friends - check out the music they are listening to - that's the point)

NPR Music Tiny Desk Concert



There is an amazing and plentiful amount of good music out there - a veritable smorgasbord/plethora - oodles gobs superabundance. You just have to be aware, listen, and look for it. I count myself lucky to be "into" music. I listen to it every day. Music completes me.

Good luck and good listening...