Which Will It Be? — Charmed Chaos

“Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light.” ― Dylan Thomas, Do Not Go Gentle Into That Good Night May your thoughts be pure of heart, Your hands sure and steadyFor my future lies In the precise wield of […]

via Which Will It Be? — Charmed Chaos

In Memory: “compared to classical composers like Bach… or Mozart, I would define myself as unemployed“

Art of Quotation

Mr. Morricone placed his acclaimed oeuvre in a modest perspective.

“The notion that I am a composer who writes a lot of things is true on one hand and not true on the other hand. Maybe my time is better organized than many other people’s.

But compared to classical composers like Bach, Frescobaldi, Palestrina or Mozart, I would define myself as unemployed.”

Ennio Morricone, 1928-2020, Italian, composer



Morricone composed over 400 scores for cinema and television, as well as over 100 classical works. His score to The Good, the Bad and the Ugly (1966) is considered one of the most influential soundtracks in history[2] and was inducted into the Grammy Hall of Fame.[3] His filmography includes over 70 award-winning films, all Sergio Leone‘s films since A Fistful of Dollars, all Giuseppe Tornatore‘s films since Cinema Paradiso, The Battle of Algiers,

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David Bruce: The Funniest People in Music, Volume 3 — Practical Jokes, Prejudice

Practical Jokes

• Pianist J.W. “Blind” Boone owned a watch that cost $1,000, an enormous amount of money at the time. He used the watch to play a practical joke on children, whom he told that the watch could foretell the future. In 1888, he told one group of children that the watch had told him that Benjamin Harrison would defeat Grover Cleveland and become President of the United States. In fact, Harrison did defeat Cleveland, and so the children believed that Blind Boone’s watch could predict the future.

• Leo Slezak would sometimes play a joke on small-town German audiences. During a concert, he would sing a little-known piece by a giant of music such as Schubert or Schumann, then say that his pianist had written the music just recently. The small-town German audience would applaud as the pianist took his bows.


• In the early 1970s, all-girl bands were largely regarded as novelty acts, making it difficult for the real thing — all-woman rock band Fanny — to find acceptance. After considering a number of women’s names for the name of the band and deciding on “Fanny,” band members then discovered that their record company’s publicity department was coming up with slogans such as the double-meaning “Get behind Fanny.” Occasionally, people thought that Fanny was an all-female vocal group who sang topless while the real band, composed of men, played the musical instruments. While touring in Joliet, Illinois, band members discovered that the promoters were expecting a topless band. Some of the costumes the record company had the band wear were skimpy and risqué, getting them banned from London’s Palladium at one point. Bass guitarist Jean Millington remembers, “I wore a tank top made from coins. I had to wear pasties or the coins would pinch my nipples. June’s outfit was turquoise, Jean wore crystals, and Nickey’s shirt had sequins. It was all very Las Vegas showgirl.” Nickey Barclay played keyboards, June Millington (Jean’s older sister) played lead guitar, and Alice de Buhr played drums. When they recorded their first album — self-titled — few people took them seriously. Alice remembers, “We got asked all the time about the male studio musicians who must’ve played on the album. Those questions stopped after the third or fourth album.” Despite the BS, Fanny released six albums and had two top-40 hits:“Charity Ball” (1971, #40) and “Butter Boy” (1975, #29). In the liner notes to Fanny’s 2002 4-CD compilation First Time in a Long Time, Bonnie Raitt calls Fanny a “real rock band full of smart, tough, and talented women — who could really play.”

• African-American jazz musician Branford Marsalis has faced racism. As a student in Boston, he and two white friends went into an all-white and very tough neighborhood in South Boston. Some white teenagers with baseball bats saw Branford and didn’t like his color, so they attacked him and his friends. Branford got away and ran for help to a gas station. A really big white man with a chain came to the rescue. He told Branford, “They’re [messing] with you ’cause you’re black, aren’t they? I hate that.” Then the man and his son rescued Branford’s friends. Branford, noting the white man’s help, says, “I can’t really indict the whole neighborhood.”


Copyright by Bruce D. Bruce; All Rights Reserved


The Funniest People in Music, Volume 3 — Buy:

The Paperback




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Music Recommendation: The Underwater Bosses — “Basshead”


Music: “Basshead” from the album AQUA LA VISTA

Artist: The Underwater Bosses

Artist Location: Syracuse, New York

Info: “Formed in September 2018, the surf rock band Underwater Bosses consists of drummer Bob Breen, guitarist/organist Chris Stewart and bassist/vocalist Greg Bresett. The band members have collaborated across numerous musical projects since their high school days in the 90s. Currently based out of Syracuse, New York, the mostly instrumental trio hangs ten on riff-driven surf soaked in sonic waves of punk, garage, psychedelic, art and math rock. Underwater Bosses draw influence and inspiration from the likes of Descendents, Dead Kennedys, Misfits, Shadowy Men on a Shadowy Planet, The Mermen and Man or Astro-Man?”

“All songs written by Underwater Bosses.”

Price: $1 (USD) for track; $8 (USD) for 12-track album

Genre: Surf. Instrumental.


The Underwater Bosses on Bandcamp