Jaimoe

I love June. R.I.P..

Also, I have two very close friends that work for Harlequin and all of their publishing off-shoots (the company also deals in "real" writing). I could ask them questions tomorrow if you'd like? Just give me some more questions.

My friend is a published author. She had to keep submitting her work to many publishers. Finally after many rejections, her first novel was published to some acclaim - Now for example, gave her book International Date Line NNNNN. I believe she doesn't have an agent, but certainly contacted many small press publishers. I'd investigate small press publishers. You'll find the big ones are evil.

209. Songs to bring you to a perfectly relaxed, melancholic state. 1. J.S. Bach - Largo, Piano Concerto in Fm 2. Pachelbel - Canon in D 3. Brian Eno - 2/2 4. Sid Vicious - My Way 5. 6. 7. 8. 9. 10. 11. 12.

There was a thread about this show back a ways, but it was posted too early and people tend to have short memories. I will not be going to this. Three strikes and yer out.

I found this interesting. This lesson section is from his website. Lloyd is a real technician of the guitar, moreso than Television's leader Tom Verlaine - Tom's more of a free-form and slashing player. Lloyd still teaches guitar and gave Jeff Tweedy some lessons not too long ago. Anyway, Lloyd is one of my favourite lead players ever and these lessons are pretty insightful and kind of easy to follow. He's playing Southern Ontario in May. I'll post the dates and ticket prices soon. http://www.richardlloyd.com/lessons/index.htm

I kept and eye on the game on the web via CBS Sportsline. Halladay with a CG 10 inning gem and Detroit's Bonderman went 9 full innings. You won't see a better duel all year.

208. Songs you always wanted to hear Phish cover but they never did. 1. Guns N' Roses - Paradise City 2. Wings - Band on the Run 3. The Outlaws - Green Grass And High Tides 4. Dylan - Sara 5. John Lennon - Cold Turkey 6. Genesis - the Musical Box 7. Cracker - Low 8. Nazareth - This Flight Tonight 9. Kool & the Gang- Celebration 10. The Band - Up on Cripple Creek 11. Television - Marquee Moon 12.

This is from Hugh's website under FAQ: 12. Performances start times and length of shows Evening performances start at 8:30pm unless otherwise indicated. On occasion an opening act will perform between 8:30-9:00pm. This is followed by a short break and the main performance begins around 9:15pm. Most performances consist of two sets in the length of 45 minutes, with a 20 minute break between acts. This is only a guideline and each evening varies. We also offer matinee performances. For matinees, doors open at 12:00 p.m. (noon) with most performances beginning at 1:00 p.m. We offer lunch between 12:00-1:00pm although lunch hours may be extended depending on the performance start time. Matinee performances are between 1:00-4:00pm and usually run the full length. This is only a guideline and each matinee varies.

Nice job Whitey!

Great!

Feschuck has major balls to write articles the way he does. His Raptors stories are excellent. I wish he did more hockey.

They'll get better attendance now that the Leaves didn't make it to the dance. Although, there is the Raptors playoff factor to consider.

I'd say the crowd is just overly polite. They do cheer when there's a homerun or strike-out, but between pitches they are pretty quiet. The 500 level is noisy, but the place is so huge the sound they make doesn't carry well to the lower level. The worst level in terms of noise is the 200's. It's populated by the same corporate people that are eating shrimp and drinking champagne instead of sitting in their platinum seats at Leaf games.

Hey Hal, I've been a flex-pack contributor for three years and usually go to 7-10 games a year - sitting in the 100 level on the 1st or 3rd base sides. The crowd is normally as boring as you think, however they pick it up considerably when the roop is open and the Yanks and Red Sox are in town. The acoustics of the dome are still awful and the wealthy season ticket holders DO NOT like people standing up and cheering. However, the atmosphere is getting much better thanks to the improvments on the field and the retrofit upgrades to the stadium.

Not a bad cover, but the title is hilarious:

1800 tickets still available for tonight's game.

I can't go along with singling out one of Rita's album covers. She looks like a sweet person on that cover and it's a tasteful shot of a very short yet very large woman.

Phillips is neither as "offensive" or as offensive-minded as McCabe, so there's nothing to worry about there. Chris is a solid all-round player.

In fairness to Towers, he only gave up 3 earned runs. The team coughed-up 4 errors and were generally lackluster all-round. Players get days off all the time.

204. Songs attributed to a BAND but featuring only ONE member of that band on it. 1. The Beatles - Yesterday (Paul McCartney) 2. Blind Melon - Life Ain't So Shitty (Shannon Hoon) 3. Dave Matthews Band - I'll Back You Up (this should be obvious, and feel free to hate on me) 4. Allman Brothers - Little Martha (Duane of course - original album version) 5. 6. 7. 8. 9. 10. 11. 12.

It's really not that far, but it isn't the most accomodating walk. You have to dodge cars on Lakeshore Blvd and find your way around car dealerships and warehouses. A good and direct as possible walking route is key. Of course Dima could just fly over to the venue.

This is from today's Rolling Stone. Fricke is one of the only writers that holds some respect left working for that once revered magazine: The Allman Brothers Band opened their April 7th show at New York’s Beacon Theater — the fourteenth and next-to-last night of the 2007 edition of their annual spring residency here — with a brilliant surprise: Dr. John’s acid-voodoo crawl “I Walk on Gilded Splinters.†Behind the organ, Gregg Allman growled like a man who has spent much of his life defying death and evil — which he has. In the breakdown after the chorus, guitarist Derek Trucks emulated the zombie-angel chorale on Dr. John’s original recording with swandive-bottleneck runs while Warren Haynes, also playing slide guitar, peeled off licks that sounded like the helpless cries of the undead. It was a startling blast-off to a night that, in this town, at this time of year, is so easy to take for granted. The Allman Brothers Band have made themselves at home at the Beacon for three weeks each spring since 1989. It is a hallowed local tradition, and the closest thing anywhere, certainly in this century, to the aura and lift-off that the Allmans trademarked in their legendary 1971 appearances at Bill Graham’s Fillmore East. Indeed, for the first dozen of those Beacon runs, it was enough to have the historic might of Live at Fillmore East resurrected in Allman’s voice, the drum circle of Butch Trucks, Jaimoe and Marc Quinones, the bass-guitar authority of the late Allen Woody and (since 1997) Oteil Burbridge and the serpentine double-guitar ballet of (depending on the year) Dickey Betts, Warren Haynes, Jack Pearson, Jimmy Herring and Derek Trucks. But the Allmans were, from the start, an improvising band, dedicated to the magic and lessons of change, and April 7th was a night of dynamic hairpin turns. The second-set overture “Don’t Want You No More†— the Spencer Davis Group cover that opened 1969’s The Allman Brothers Band — was followed not by its usual sister song, the blues “It’s Not My Cross to Bear†but by the jazzy meditation “Dreams,†stretched to ecstatic length by an extraordinary Trucks bottleneck reverie in which long, vocal-like notes materialized from a fuzzy ocean of sustain. The full-blown “Mountain Jam†that emerged from the extended drum-army break suddenly, on Haynes’ cue, braked and veered into Led Zeppelin’s “Dazed and Confused†— with Trucks, Jaimoe and Quinones tumbling in tandem like three John Bonhams — then U-turned back into “Mountain Jam.†Frankly, this night belonged to Trucks. Allman, who can sometimes appear sidelined by the instrumental prowess of the rest of the band, came alive vocally in the encore, a cover of Bobby “Blue†Bland’s “Turn On Your Lovelight.†And Haynes was in fine, muscular form; near the end of his solo in “Rockin’ Horse,†he skid into a thrilling patch of hammered-staccato squeals, as if he was broadcasting from the middle of the live “Spoonful†on Cream’s Wheels of Fire. But Trucks repeatedly wowed with singing solos and exchanges with Haynes that combined golden tone, slalom-raga flow and near-human incantation with a seamless, luminous grace. The guest list on stage included pedal-steel guitarist Robert Randolph and a short, steamy intermission set by what is best described as Gov’t Meters — Haynes and the rest of his band Gov’t Mule with guitarist Leo Nocentelli and percussionist Cyril Neville of the Meters. But the action that mattered most always flowed between brothers. At the Beacon, the Allmans played like a band bonded by blood, history and a life-long love of chance. May their road go on forever — through this room, this time every year. -- David Fricke