Clear The Air - Off With Their Heads - Wont Be Missed (Vinyl, LP)
March 17, at PM. The Shure has a bigger warmer sound, which I like a lot. I bookmarked this excellent post! Just scored a PlD, one of my fave vintage cheap TT. Refurbing the rubber bushes of the motor mount is a good tip, i might do that. I removed the bottom plate and put the TT on rubber pucks. Replaced the old foam in the springs and put some extra foam under the springs because they tend to drop a little after 40 years.
The belt is a little on the long side which helps also IMHO. Spinning much more quiet now! March 21, at AM. Fantastic article. Many thanks indeed. I am having a bit of a problem with inner groove distortion when tracking to within about 30mm of the label. Apparently Regas have an effective ARM length of mm, as opposed to mm on the pld. Do you have any advice on this please? I'm tracking a m75ej type 2, with 1. Am I missing something? I'm out of ideas! April 6, at PM. Thanks for the kind word words Anonymous, Hmm, well you have a lovely combination of turntable and cartridge there.
I guess you have two possible alternatives : 1 use the baerwald alignment using the vinyl engine protractor.
Basically its a pdf file you print on your computer, cut out and prick the cenitral hole using a pin. This is roughly what Clear The Air - Off With Their Heads - Wont Be Missed (Vinyl inbuilt overhang pop up sets. However i think the pioneer overhage gauge is a bit loose and can be anything from mm. Setting it 49mm using a ruler is probably best,mthen check the cartridge bolts are both equidistance in their grooves.
Alignment is like a stopped watch i. It couldi also be the album, i. Most OEM Shure stylus replacements are less compliant than the originals and may require additional tracking weight. Thanks again. I took your advice, and adjusted the cartridge so that the stylus is 49mm from the far side of the rubber washer; then used the Baerwald idiot protractor.
Now, I'm sure the sound is less dull towards the label; which is great. The stylus was indeed positioned 1mm too long. I'll put that down to the Rega Baerwald Arc Protractor being designed for a mm arm length. There is still some very slight distortion toward the label, which I can hopefully cure by fiddling more with the alignment.
April 8, at PM. Hi Anonymous, glad things have improved. I actually think i set the 49mm. Actually with the idiot protractor you are supposed to be able to align the cartridge not only on the two meridians but also on all of the grind lines either side of eachif you see what i mean.
I dont go that far, asto be honest, im having trouble seeing that well. Its always going to be a compromise, and some inner groove distortion maybe be as a result of a previous owner of an album playing it misaligned with a worn stylus.
You might want to experiment with tracking force, as I saidthe Jico styluses seem to need greater weight than the shures they replace i. Within reason, i. Its sounding wonderful. Two things ive done but not yet added to the blog. The platter spins for many minutes with the belt unhooked from the spindle and a quick push.
I had an old Ariston Q deck which had a solid matjust a slab of rubber with a slight recess for the label,motherwise solid. Those Japanese decks with their concentric mouldings and rings are more for effect it seems. This seems to be an improvement. Hi Mr Ives - I just bought the 12D and am grateful for your clear advice. I cant wait to get started restoring my deck but I'm a little worried about the arm.
You mentioned play in the bearings - namely when slightly twisting the arm. I have about mm of play when I do this - loose would be a good description. Its fine up and down and left to right. A huge fan. April 9, at PM. Hi adrian, So is the play in your bearings exhibited if you push the arm in and out gently too? I think i would advise first looking at the horizontal bearings underneath. Tightening these is quite easy, all you need is a very small flat headed screw driver, the sort that comes with a Jewlers set.
If you scroll down through the blog to where it says Update November i describe the process i went through. Slacken the grub screw in the side of the circular nut and gentle tighten til just finger tight. Also check the tightness of the screws that hold the arm to the top plate, in fact check them first as tightening them will inevitably slacken the bearing a fraction.
The trick here is to tighten just enough, finger tight, not too much. Possibly add a single drop of oil into that ball race too. If the play is in the vertical bearings, they appear to be adjustable at either side of the arm pillar using a system of locking nuts. You need a special tool which looks like a flat head screw driver with a notch missing in the centre. Now i did not have to adjust these, and they should be set fine from the factory.
The trick again is tiny amounts of tightening and it should be applied evenly on both sides, and i think you have to slacken the outer nut in order to fractionally tighten the inner, then tighten the outer to lock. If its unlikely i would be reluctant to change these. Ive not done it with this deck, though have with others. Now there is the possibility that either vertical or horizontal bearing is damaged.
The horizontal bearing might be so loose that some of the tiny ball race bearings have come out. Im not sure how many there should be but they potentially could be replaced. Im not sure what type of systemi the vertical bearings use, often its a needle bearing using a pointed grub screw into a cupped recess.
On some decks i have read that if subjected to a violent drop, the point of the grub can sheer off. Hoever this would be exceptional. Sorry to raise some doubts. Try the simple adjust of the arm screws that hold the arm on and tighten the bearings underneath and see if that fixes things, i have a hunch it might, and thats quite an eay job, and again id emphasise that gentleness and finger-tight pressure is all you need.
Bearings require some minimal play in order to work. April 10, at AM. Hello Mr. Ives, I hope you can help me with this. The sub weight of my PLD is missing. Is it still possible to replace the stock headshell with a heavier one, say an Ortofon SH-4 which I believe weighs about 9 grams and mate it with an Audio Technica ATE cartridge?
Looking forward to hearing from you. All the best. April 16, at PM. Hi Eric, excellent question, ill need some time to try balancing my arm without the extra weight. Do you know what the AT weighs?
Im currently using a Shure M95 in a generic black headshell i got off ebay, but with the extra weight. Ill get back to you on that one in a day or so, got to fly Rory Gallagher is playing on the PL12 :.
Hi Mr. Ives, Thanks for replying. The ATE weighs 6. I've tried the new plug and play Ortofon 2M Red which weighs 23 g. It's too heavy and the tonearm won't balance. April 17, at AM. Hi Eric, bit of an update, I removed the sub weight, and could still balance my Shure M95 in its generic headshell, combined weight of The vinyl engine cartridge ref lists the M95ED as 6.
The sub-weight weighs I cant tell by eye what thread it uses, id guess imperial but not sure. I have a very helpful hardware shop which might be able to help. Im wondering if a bolt of the correct thread might work as a substitute, possibly adding nuts to it to achieve a ball park equivalent weight? Ives, Thank you very much for taking the time to test yourself. I really appreciate it.
The combined weight of the Ortofon headshell plus the AT cart is I was a bit hesitant because I don't have the sub weight. Thanks again and all the best to you! No problem Eric, there is a record fair this weekend in Reading, or i would have investigated the bolt idea. Dont forget that the headshell screws and wires will add a little bit too though, but it sounds like you are sorted.
The Pioneer balance weight can got quite a long way back without becoming loose, not true of all decks. Come back if it doesnt Clear The Air - Off With Their Heads - Wont Be Missed (Vinyl out and lets investigate an alternative to the sub weight. April 18, at AM. Hi Eric, well the member vsmusic over at vinyl engine forum says the thread on the subweight is an m8.
So in theory you could use an m8 bolt inserted in the back of the arm, probably after you have refitted the main weight. The diameter of the sub weight at its widest is If you look at Aalen bolts you might find a stubby one with a circular head which is April 19, at AM.
Dear Mr. Ives, Thank you very much for the info. I'll try to look for that bolt and I'll let you know if I find one. By the way, I apologize for replying only now. I actually just came back from a trip to Tokyo. I could tell you that that place is a music lover's paradise, specially for people who are into vinyl.
I brought home with me quite a handful of Japanese-pressed pre-owned records all in near mint quality. You can find music in almost all genres and the prices are quite reasonable, in fact I found a lot of bargains. Anyway, thanks again for the help. April 28, at PM. I have a question as to where to put the dampening fluid on the PL My arm drops and lifts without dampening. I have included a link to a picture of the PL12 arm lift mechanism. I notice a piston and spring the blue arrows and also a small post and hole the red arrows.
Is dampening fluid supposed to go on both areas? I don't want to muck it all up but would like to slow down the tone arm both dropping and lifting. May 7, at AM. Hello everybody, recently i bought my first turntable a pioneer pl 12 d in a second hand market and it has 2 problems.
I'm not an expert so i don't know if these problems are mechanical or due to adjusts. It happens with all my discs, even with the new ones. I checked carefully the tracking force and the anti-skating. It is annoying because i can't listen a disc from the beginning to the end. The arm doesn't Clear The Air - Off With Their Heads - Wont Be Missed (Vinyl down to the disc from the on-up position to the down position. Maybe i don't adjusting well the arm. I try to find something about this subject in internet but i find nothing.
Thanks in advance. September 28, at PM. Hi, sorry to hear you have a few issues but im sure they can be fixed. For information i would suggest the vinyl engine forum, just google vinyl engine.
They have a wonderful forum and also a library from which you can obtain the pioneer user guide. So regarding your problems, i think they are the same problem. If the arm cannot fully descend then the arm is not exerting the correct tracking weight and this may be why its skipping.
Near the base of the arm is a curved rubber bar which supports the arm while it descends. When the arm is completely dropped i. Playing a record, this bar should have a gap between it and the arm, it should not be touching it. You can adjust its heightthere is a small screw in the side of the arm raising mechanism. Perhaps this needs adjustment? Skipping is usually an arm issue and the PL12 arm is very good.
However when i buy a second hand deck i always get a new stylus for the cartridge, if the stylus is worn it can cause problems. I don't know what cartridge you have but often a shure m75 was fitted to these decks and its possible to obtain new styluses for these great cartridges.
Or its not that expensive to get a new cartridge like the audio technica AT September 29, at AM. Hi Yves, thanks for your fast answer. As the motor worked good i thought that the problem was mechanical and no electrical, so i dismounted most parts and i cleaned them.
I saw that one of the arm's balance was mounted in the opposite direction, the part where the arm rests also was badly mounted. Also i saw that there is a spring that at the interior part of the turntable which controls the on-up, down function. It was blocked. I have mounted all the parts and now it works and the music sounds quite good, i checked it during the whole morning.
I started to enjoy my old LPs without problem. Thanks again for your help and brilliant post. October 1, at PM. Hi again; As yesterday i told you i fixed the problem with the on-up, down function and the turntable worked perfectly during the whole day. But today i don't know why it doesn't work, when it is turned on it vibrates a lot and the plate rotates without a good velocity.
I disassembled the plate and the motor seems to work ok, maybe is a problem with the belt? It is new. Is annoying cause when i thought i fixed all the problems again the turntable doesn't work. October 2, at PM. Yes perhaps its the belt. I used ones I got from William Thakker in Germany and they are the correct dimensions including the correct thickness, which is important. Does the platter turn easily with no belt attached. The strange thing is that yesterday the turntable works perfectly and today not.
About the spin of the plate. When the belt is out and i give a kick the plate doesn't make even a complete round. Which part should i lubricate? Which lubrican do you recommend me? It is also valid for the engine? Lot of questions Sorry for the previous info. With the belt the plate doesn't complete a round, without it, the plate rotates during a minute approximately. Its probably a good idea to replubricate the central spindle "Stick" and this is covered in this blog.
Its quite easy to do. It could be that the ball bearing on which the spindle sits is damaged. Its easy to replace. It could also be the belt is slipping then sticking, then slipping.
Maybe the belt of loose of perhaps so oil or grease is on the two places the belt contacts i. Also check that the brass spindle on top of the motor is clean and tight. It is fixed onto the motor shaft with a small screw. There are pictures in the blog. October 5, at AM. I restored one of these recently and decided to listen to all my vinyl from A-Z. Can you tell which is which? October 30, at PM. Matt Chavez said…. Great breakdown. Not being as mechanically inclined as you, is this TT worth that price tag?
Thanks and I'm sure I'll be visiting this frequently if I do purchase it! November 13, at AM. Hi Matt,mthanks for your nice words. Certainly the PL12D is a very well made deck from a time when vinyl was the premier format and large Japanese firms could make well made equipment at a good price. I have seen PL12Ds go for more than that on ebay. Are you able to listen to the deck before buying? Maybe take some vinyl, though the stylus in the deck might need a replacement. Speed issues can be a problem, though can be addressed.
Maybe take a few familiar records to try in the shop. Piano music can be a good test of pitch and pitch stability. November 13, at PM. Hi John, thanks for the compliment, glad it's of use. Its worth restoring the rubber mounts if you can, as they become hard and some mechanical hum can get transferred from motor to chasis to arm to cartridge. The platanclene method is described in the blog.
If you have no hum or noise and the speed is good and stable. November 29, at AM. Ciao anonymous, That looks like the correct belt. All I can say is try it and see. If the speed is good on 33 or 45 than its correct. If not it might be that the belt is a little too thick, which while very small does have an effect.
I found that the LP) William Thakker on ebay has belts which were correct for the PL12, so perhaps they have a PL10 belt too. William Thakker did have a web shop but they also sell on ebay. Thank you Mr. Ives speed does not seem to adjust, there are small and fast variations or rather fluctuations. I hope to solve with a new belt. December 1, at AM. Thanks anonymous. Which model of deck was your service guide for? Just a heads up that they may have changed the ball size for different models.
Rainer said…. Sure, the platter will spin freely, but in use it has a lateral load on it exerted by the belt, and will tend to wobble or 'precess'. A reasonably viscous oil is needed to damp this. And also, the entire weight of the platter spins on a tiny, pin-head sized thrust face the surface of a ball-bearing. I would guess this equates to several tons per square-inch. My recommendation and that of many others is SAE 30 synthetic automotive engine oil.
Rega go even more extreme, and use thick automotive gear-box oil. Then check out the "viscous bearing" used on the original Systemdek IIX. December 7, at AM. The deck will essentially be a test-bed for cartridges the detachable SME-type headshell and built in overhang checker make it idealbut if all goes well it might replace the Dual I currently use for quick 'needle drops' to digital.
You might be interested in the method I've used to isolate TT's for the last 10 years. It's simply a 36mm slab of ply 2 x18mm screwed together into a single piece on 3 or more squash balls. It is extraordinarily effective in stopping structure-borne LF breakthrough - feedback, traffic or footfall disturbance which can even be from neighbours if you don't live in a detached propertyand is intrinsically self-damping.
The heavier the combined mass of the deck and slab, the more squash balls are needed. The slab can be easily and precisely levelled by positioning of the squash balls. Level the shelf, place the squash balls on it in a way that will load them more-or-less evenlyplace the slab and deck on them, and then level the deck itself i.
For example, if the deck is up at the right-rear corner, move one or more of the balls toward the front-left.
BTW, this might sound precarious but it most definitely isn't - the squash balls compress and firmly resist any sideways force on the slab, and once they've settled check after a few days they never go out of 'adjustment'. You'll be surprised - it is actually nigh-on impossible to accidentally push the deck off the shelf.
I think I'd like to be remembered as someone who inspired people to look at life in general with an inquisitive mind. Then, we'll see what people have to say about my own art, my own unique style, whatever that may turn out to be in the long run.
I'm designing and screening two posters for stops on Mark's new tour. Paris and Manchester are my dates. I think Lanegan is the best rock singer out there at the moment.
PG: What kind of vehicle do you yourself drive? NR: I drive a Beetle everyday. It's a great car, totally love driving it. Its nickname is Rodney, and Rodney needs a respray soon.
It's currently metallic turquoise, dropped on the front, like a Cali look. Still undecided on the new color scheme. Sometimes being an artist gets in the way--like, being inspired by everything moving doesn't help one bit! Cheers, Nick. Good corresponding with a fine up-and-comer. And no, you didn't waffle-on too long at all! Keep those posters comin'. Posted by Paul Grushkin at PM 9 comments:.
Jerry Lee Lewis and band on flatbed truck. U2 atop a foot truck driving and performing. This 4' x 6' poster was found after that event.
LMHR-supporting bands on flatbed trucks will perform above and three photos below. Grateful Dead perform free concert on a flatbed truck. Jim Marshall. This weekend I was engaged in correspondence with John Hazelton, proprietor of www. I saw on his site that John had turned up the rarely seen lobby card for the film "High School Confidential" that featured Jerry Lee Lewis and his band banging out the title song atop a flatbed truck.
It's a well-remembered moment from a campy classic. I'll begin with Jerry Lee. As noted by www. Hella great truck too. About people--mostly teenagers--attended the pm event. Elvis performed with Sleepy-Eyed John and the Eagle's Nest band atop a flatbed truck in front of the new Katz Drug Store, the shopping center's flagship.
In the audience was an aspiring singer from Arkansas, Johnny Cash. This was their first tour with new guitarist Ron Wood, after Mick Taylor left the band. The tour was unusual in that it was not supporting any new release it began more than seven months after the release of "It's Only Rock 'n Roll.
The announcement of the tour became famous in itself. At a May 1 press conference, the band surprised waiting reporters by driving down Broadway, playing "Brown Sugar," on the top of a flatbed truck in the middle of unrehearsed New York traffic. Apparently drummer Charlie Watts was responsible for the idea, remembering how New Orleans jazz bands promoted club dates. Wood, an accomplished artist, later painted his memory of that day shown above.
From www. Peter Garrett, the six-foot-seven front man of Midnight Oil was like a prophet crying in the wilderness. I remember reading about the band pulling up aboard a flatbed truck in downtown Manhattan, in fron of the Exxon Oil headquarters.
The truck was loaded with their stage gear and strung with a banner that read, "Midnight Oil makes you dance, Exxon oil makes you sick. In the midst of all the sensationalism, the "School's Out" tour flew across the pond to England. By accidentally-on-purpose stalling a flatbed truck smack in the middle of Piccadilly Circus during rush hour, Alice's press agents drew huge attention to a double-sided billboard atop the truck, featuring Richard Avedon's photo of Alice wearing nothing but his boa constrictor.
When big bands we thought were jokes wereplaying inflated venues, we'd put ourselves on the bill and paper the area with posters of us as the main act and them in tiny print as the support act. Afterward the gig when the audience was coming out, we'd roll up in the parking lot on the back of a flatbed truck with a generator and our equipment and start playing. We usually got in 4 or 5 numbers before the police moved us on. We did it to Queen! Freddie was furious because we stole the review in the London Standard!
We did another flatbed gig down the Kings Road in the middle of the Great Punk Wars of '77 and nearly died, starting a riot and all. I loved the hits: Elvis, the Drifters, Buddy Holly.
Later, I got into the whole psychedelic era, starting with the Beatles, Hendrix, Cream. The Rolling Stones were like nothing I'd ever seen before--wild!
I saw Dylan in ' Ensturzende Neubauten Collapsing New Buildings played jack hammers and sand compactors and electric drills--they played Denver in a junkyard on a flatbed truck with four refrigerators on each corner and a yellow VW tilted on a ramp to shine lights on the stage.
You must remember Dokken on a flatbed semi truck performing "It's Not Love," back in a video. Jon Wiederhorn of www.
Don Dokken's voice carried better than most belters and George Lynch was a ferociously gifted guitarist who could tug at the heartstrings as easily as he could burn down the bedroom. By the time of "Under Lock and Key," the band was all about attracting a following. Candy metal softballs like "It's Not Love" were heavy enough to keep the guys rockin' but sensitive enough to attract the chicks.
And isn't that what '80s metal was all about? No post-production special effects, no gimmicks, no animation, no budget! But the clip did feature that riff and that bagpipe solo! It's still refreshing to see a truly great song and video that uses nothing except. A raw, rough, and ready Australian rock classic. It was a most exciting-looking demonstration. Trafalgar Square was raked with colour. There were streamers, Long Ranger masks, steel bands and reggae and punk from dozens of flatbed trucks, and thousands upon thousands of plastic whistles formed slip-streams of colour and sound.
Robeson was a great athlete, singer, and activist during the s - s. Inon the campaign trail in June of that year, he came to Georgia where he sang before overflow audiences. He rode a flatbed truck through the streets of the Black neighborhoods singing, and when people came out of their homes to hear him, he urged them to register to Clear The Air - Off With Their Heads - Wont Be Missed (Vinyl.
Inthe State Department banned him from leaving the U. Labor unions in the U. Robeson stood atop a flatbed truck on the American side and performed before a crowd on the Canadian side estimated to be nearly 40, people. Inrapper Consequence joined with Kanye West to film a most ambitious video in the streets of Manhattan for his song "The Good, the Bad, and the Ugly. According to www. Consequence and West found themselves on a traveling set, rolling through New York in frigid conditions, literally freezing while rapping in front of two Arriflex 16 SR 3 cameras.
We'd get through the first two verses and then the last verse would be very challenging. It was just the logistical stuff--weather conditions, being on the moving flatbed, with the city passing by--which threw us off our game.
According to authorities, the rapper who had permits pulled up in front of the venue in a flatbed truck at around 10 p. He was performing "Katrina Clap," a freestyle indictment of the Bush administration's frustratingly slow response to the hurricane victims of New Orleans and the Gulf Coast. InRiley helped found the Mau Mau Rhythm Collective to use hip hop culture to publicize campaigns against racism. Riley has taught several workshops on arts and activism, sponsored by the California Arts Council, in which he developed "guerilla hip hop concerts" mobile concerts on flatbed trucks.
Also boot ensign or George ensign. Also graybeard. Also railroad car float or rail barge. Also caravelle. Also heaving down. Also passenger-cargo ship or passenger-cargoman.
Also nau. Also center of pressure. Also chase piece or chaser. Also simply trimmer. Also speaking tube or voice tube. Also conconnecondecundeor cun. Also cockswain. Also crancecransor cranze iron. Also decky. Also devil to pay, and no pitch hot.
Also drogherraft shiptimber drogheror timber ship. Also equatorial calms. Also doreedorior Royal Navy dorey. Also draught. Also drying mooring.
Also schuyt. Also chadburn. Also in extremis. Also bear awaybear offor head down. Also ferryboat. Also boiler room. Also broadhorn. Also fluit or flute. Also forward often written as for'ard. Also fustefoistor galliot. Also brow. Also genny. Also gali or gale. Also captain's gig. And yes, for all her comic brilliance, Elaine May never matched the directorial ease of her ex-partner Mike Nichols. Track down a copy of Spies Like Us and get back to me.
For all its flaws, Ishtar deserves consideration as one of the smarter and, yes, funnier artifacts of its era. Warren Beatty and Dustin Hoffman play Lyle Rogers and Chuck Clarke, two middle-aged would-be songwriters as determined as they are untalented.
Most of their brilliantly mediocre repertoire was composed by Paul Williams. They bumble into a barely paying gig in Morocco, but get embroiled almost immediately in a standoff between the CIA-backed government of the fictitious titular country represented by Charles Grodin as an unctuous operative and a group of leftist insurgents led by Isabelle Adjani.
Beatty, playing against his public persona as a sexually inexperienced naif, may never have been funnier. Far from the cinematic catastrophe of legend, Ishtar deserves a clear-eyed viewing to belatedly honor one of the more unique sensibilities to slip, however briefly, through the studio gates. Hey there, chilblains - what's it been, three years since my last confession that I can't write on any kind of schedule anymore?
Well, for whatever reason, I suddenly find myself compelled to apply the ol' shock-pads to this moribund repository of thwarted ambition, with the half-hearted promise of keeping this up on the regular again, pull some of the dozens of posts stuck in draft-mode limbo out of mothballs and maybe even finish reviewing a single episode of Monty Python's Flying Circus like I tried to do the better part of a decade ago. We'll see; not bloody likely, but we'll see. I think I can at least manage the occasional cut-and-paste job from the archives - I do want to get that old Metal Machine Music epic I penned for the long-lost Dancing About Architecture site up here soon, but it'll definitely need some annotation, for reasons that are both deeply cringeworthy and depressingly timely.
Suffice it to say that one of the pieces I'm proudest of in my LP) Just not quite yet. Anyway, the main body of today's post isn't mine - I realized upon opening up the ol' Blogger dashboard that today would have been the seventy-ninth! Michael O'Donoghue. Though his influence actually extends far enough back that one of my earliest memories - of standing, terrified, in the bathtub while the screams that climaxed " Magical Misery Tour ," the brilliantly brutal evisceration of the most sacred of rock 'n' roll cows that ended side one of National Lampoon's Radio Dinner album, shrieked at top volume from my parents' stereo - bears the O'Donoghue brand.
As one of the key architects of American humor of the last half-century, it's deserved and long overdue, not to mention that few writers of his renown have so little work available for public consumption. The first three years of Saturday Night Livewhere he served as head writer and made occasional on-air appearances, are readily available to anyone with a Hulu subscription or some modest DVD-box-set scratch; some of his work for the Evergreen Review and the National Lampoon has turned up in various anthologies; his two major screenwriting collaborations, the highly atypical Merchant-Ivory production Savages and the ragged Dickens modernization Scrooged - two films sixteen years and a solar system or two apart from one another - are pretty easy to find on DVD and streaming services; and even his attempted TV special Mr.
Mike's Mondo Video - produced for but never aired on NBC, given a brief and somewhat disastrous theatrical release, and revived for premium cable, VHS, and a 30th-anniversary DVD - has had a remarkably rich life for a late-term abortion. But beyond that lies the work available only in long-out-of-print volumes, the musty back numbers of periodicals both renowned and forgotten, bootlegged torrents of the first nine episodes of Dick Ebersol-era SNL a fascinatingly ramshackle period worthy of deep forensic analysis and oddball scraps strewn haphazardly throughout the 'net.
And hey, as soon as I can talk Cheryl Hardwick into letting me into his archives - I'm the man for the job, I'm telling you - maybe I'll have the chance. But until that day comes, I can disinter some of the gems I've turned up through sundry search-engine and auction-site deep digs in his honor, with the intent of sharing more to come.
Since I've been holding onto the following with that very intent since the autumn ofovermuch breath should not be held. Here's one to start with:. I've wanted to get ahold of this essay ever since the late Charles M. I have somehow managed, through thirty-five years and numerous moves, to hold on to my copy of that issue, passed down to me by my supremely indulgent eighth-grade English teacher, one of that rare breed who saw no harm in encouraging fourteen-year-olds with prodigiously advanced tastes in humor in their rarefied strains of nerdery.
Cheers, Mr. Parsons, wherever you are; none of this is your fault, probably. Home Video was indeed, as Young said, a "wretched little magazine" designed to grab a few quick bucks by exploiting the then-new VCR-owners' market, one of surely many at the time.
The main distinguishing factor of this one is that its editor-in-chief was one Robert Vare, who served editorships at The Atlantic, The New Yorker, and Rolling Stoneamong others. Not sure where HV falls in his CV, but Vare clearly had connections, pretty good taste in writers, and apparently enough venture capital to enlist some pretty impressive name writers.
I'm told that Norman Mailer's 40,word opus on the existential torments of watching porn while trying to fix the tracking with his free hand is as good as The Executioner's Song. And now I bring it to you. TV has changed in myriad ways since this was written, of course - the landscape would theoretically be more friendly to a Michael O'Donoghue these days, though I'm sure he would have managed to find a way to fuck that up - and the nature and delivery systems of the American fantasy have done much the same, of course.
Even his run-ons never get winded. And as my intro turned out at least twice as long as the article it's setting up, maybe I could learn something from that. Happy birthday, Mr. Americans are reaching out. We know this by watching TV. It shows Americans reaching out to blind ice skaters and one-armed gymnasts and crippled downhill racers and handicapped hang gliders and mentally-challenged dog groomers and rodeo clowns with metal plates in their heads and deformed Navajos and boys in plastic bubbles and amputees who play the musical saw with their feet.
Remember all those types we used to see just in sideshows? Well now they're called "very special," as if "special" weren't enough, and, on TV, Americans are reaching out to them. Really getting involved. Americans on TV are mavericks. They go up against the system and lose their tempers and throw away the rule book. Their unconventional style and freewheeling methods often exasperate their hard-nosed, tough-talking superiors but that's okay, because, underneath their crusty facades, the superiors also care.
Everybody on TV cares. Paramedics care about battered wives. Teachers care about disturbed foster children. Investigative reporters care about unstable air controllers. Street-wise basketball coaches care about teenage alcoholics. Store-front lawyers care about the Hispanic community.
Doctors who care about one-time beauty queens who need radical mastectomies. Lady truckers care about owners of roller discos framed for murders they didn't do. Randolph Mantooth cares about chopper pilots trapped in high-power lines.
Modelling - Ricky General - Modelling (Vinyl), Southside - Texas - Southside (CD, Album), Por Un Año Mas - Various - Epic 3. El "Disco De Oro" (Cassette), Trio Numero Uno - Yeahyeahabsolutelynoway! - Live @ the Worldsend (File, MP3), Mi Negro Ta Contento (Afro-Cubano) - Luisa De Cordoba* - Villancicos Navideños (Christmas Carols) (V, Various - Музыкальные рассказы для младших школьников - Вып. 11 (Vinyl, LP, Album), La Montanara (Das Lied Der Berge) - Heino - Seine Grossen Erfolge 3 (Vinyl, LP), Tim Maia - Tim Maia (Vinyl, LP, Album), Jarde-marsj - Various - Kirchröatsjer-Sjpetsiejalietète (CD), Ya Ya, Spaghetti Sioux - Demo - Various - TG CD Volume 25 (Essential Listening For All Guitarists) (CD), Tchaikovsky* - The Nutcracker (CD, Album), Urban Bushman (2) - Kairos (Vinyl), Ma Chérie - BZN - The Best Days Of My Life (CD, Album)