Accordion names

[srbarete]

Hi everyone,

I know this will sound like a strange request, but what are some of the
less-than-glowing alternative names for accordions and concertinas.
Obviously, Ralph will say "squ#%^x" (see, Ralph, I didn't quite say
it!), and there's also "Stomach Steinway." Any others that you've
heard?

I'll check back in whan I return home from the museum mid-week.

Thanks,
Lynda Griffith,
Certified Accordion Family Instrument Repair Technician
A World of Accordions Museum

[DoN. Nichols]

In article <3A61F8EE...@northernnet.com>,

srbarete <srba...@northernnet.com> wrote:
>Hi everyone,
>
>I know this will sound like a strange request, but what are some of the
>less-than-glowing alternative names for accordions and concertinas.
>Obviously, Ralph will say "squ#%^x" (see, Ralph, I didn't quite say
>it!), and there's also "Stomach Steinway." Any others that you've
>heard?

Well ...

Concertina Constant Screamer
PA "Wrinkle Piano" (from a non newsgroup member in Finland)

>I'll check back in whan I return home from the museum mid-week.

It will be interesting to see what else appears.

Squeeze On,
DoN.

--
Email: <dnic...@d-and-d.com> | Voice (all times): (703) 938-4564
My Concertina web page: | http://www.d-and-d.com/dnichols/DoN.html
--- Black Holes are where God is dividing by zero ---

[Gert-Jan Kamphorst]

Any interest in names for diatonic buttonboxes ???

Gert-Jan
(Amsterdam)

"srbarete" <srba...@northernnet.com> schreef in bericht news:3A61F8EE...@northernnet.com...

[Ralph Stricker]

In article <3A61F8EE...@northernnet.com>,
srbarete <srba...@northernnet.com> wrote:

Why would you want to perpetuate derrogatory names for the accordion? This only contributes to
the lowering of the instrument in the public's eye. If you as an accordionist cannot refer to the
accordion by it's name, how could you expect anyone else to do so?
Regards
Ralph Stricker

Ralph Stricker "Silver Fox"

[Helen P.]

"Belly Baldwin"

-- Helen

[charles benoit]

How bout "chest piano"?

[Ralph Stricker]

In article <11355-3A...@storefull-105.iap.bryant.webtv.net>,
Charle...@webtv.net (charles benoit) wrote:

>How bout "chest piano"?
>

How about ACCORDION
Sheeeeesh

[Mike]

It's not really an alternative name, but when I was young, I had some
relatives from another state in the U.S. who, when visiting, always asked me
to play the "accor-deen".

Nobody where I live calls it that, so I thought they were making fun of me.
It used to drive me nuts, to the point where I simply refused to play the
accor-deen for them anymore. Instead, I'd tell them it was broken or at my
teacher's house <g>.

Mike

[Joe Kesselman]

To be perfectly honest, I don't think I know of a single inherently
derogatory name for the instruments in this family. Nicknames, yes --
most of which have already been cited -- but as past debate has
indicated, a nickname is not necessarily disparaging or dismissive; that
depends _heavily_ on the context and tone of voice in which it is
uttered. As with any word:

"Just where do you think you're going with that... thing?"

There are people who can say "accordion" in such a way that it's a
deadly insult, and others who say "belly baldwin" in such a way that
it's a complement.

(I've been known to refer to this newsgroup as
rec.music.squeekers.mazebox, but that's hardly common... and isn't
particularly negative.)

--
------------------------------------------------------
Joe Kesselman, http://www.lovesong.com/people/keshlam/
Appearing January 13 at Walkabout: The Nields
February 10: Pete Seeger and Tao Rodrigues -- order in advance!
http://www.WalkaboutClearwater.org/coffeehouse.html

[Saramac]

srbarete wrote:

> Hi everyone,
>
> I know this will sound like a strange request, but what are some of the
> less-than-glowing alternative names for accordions and concertinas.

Piano with suspenders
Belly Baldwin

Sister eX

[Saramac]

>
> >
>
> How about ACCORDION
> Sheeeeesh
> Ralph Stricker

How about waiting till you find out WHY she needs the names? Geez,
you're jumpy.

Sister eX

[Helen P.]

"Sheeeeeshbox" ;-)

-- Helen

[Ralph Stricker]

In article <3A636BA8...@attglobal.net>,
Joe Kesselman <kes...@attglobal.net> wrote:

Your answer is laughable. Any word term can be said in a way to be an insult. What has that got
to do with referring to an accordion as a squee@#&*% or any other stupid name. Stop splitting
hairs. Is it so difficult to say accordion?

[Ralph Stricker]

In article <3A63C00F...@teleport.com>,
Saramac <sar...@teleport.com> wrote:

I could give a rat's a$& why she needs the names. It is another way of demeaning the accordion.

[Ralph Stricker]

In article <940lm3$k4$1...@slb6.atl.mindspring.net>,
"Helen P." <le...@mindspring.com> wrote:

>"Sheeeeeshbox" ;-)
>
>-- Helen
>
>

Are you referring to your anatomy? :-)

[Crs smitty]

>
>srbarete wrote:
>
>> Hi everyone,
>>
>> I know this will sound like a strange request, but what are some of the
>> less-than-glowing alternative names for accordions and concertinas.
>

I have to add the one used when I was kid in this area

"windjammer"

Ron Smith, Montana squeezer

[DoN. Nichols]

In article <941leb$3r2$1...@slb6.atl.mindspring.net>,

Ralph Stricker <bjp...@ix.netcom.com@ix.netcom.com> wrote:
>In article <3A63C00F...@teleport.com>,
> Saramac <sar...@teleport.com> wrote:

[ ... ]

>>> How about ACCORDION
>>> Sheeeeesh

[ ... ]

>>How about waiting till you find out WHY she needs the names? Geez,
>>you're jumpy.

[ ... ]

> I could give a rat's a$& why she needs the names. It is another way of demeaning
> the accordion.

Note that she also asked for such terms for concertinas, and
that those of us who play concertinas do not take offense. We use such
terms (fondly) for our own instruments -- including the "s-word" which
you so dislike.

[Ralph Stricker]

In article <942703$29o$1...@izalco.d-and-d.com>,
dnic...@d-and-d.com (DoN. Nichols) wrote:

Don
You are a nice person and a gentleman. I am sorry that you and your friends would accept any
name except what the instrument is called. That is your choice.
Regards

[Xcott Craver]

Ralph Stricker <bjp...@ix.netcom.com@ix.netcom.com> wrote:
>
> I could give a rat's a$& why she needs the names. It is another way
> of demeaning the accordion.

*Using* the names, perhaps. But _collecting_ the names?
No, that does not demean the accordion. For all you know,
she's doing this for research purposes.

BTW, are you also offended by alternative spellings or
pronunciations of "accordion," such as "accordian" or
"accord-eeen"? I'm interested in knowing where this fine
line lies.

>Ralph Stricker "Silver Fox"

-S

[polishfireball.com]

So Ralph, are you also offended by slang terms for professional gamblers?
I've heard some that were not very flattering.

By the way, not everyone who reads this list plays an accordion. Some, like
me, play a squeezebox.

Regards,

Ken Yagelski

[Joe Kesselman]

Xcott Craver wrote:
> BTW, are you also offended by alternative spellings or
> pronunciations of "accordion," such as "accordian" or
> "accord-eeen"?

Judging from past posts, he is.

Some folks simply have a different sense of humor. Mot a problem as long
as everyone can recognize this, "agree to disagree", and not get
stressed out about it. But reducing the stress would be a lot easier if
folks on both sides of the Dignity question could quit sniping at each
other -- if folks haven't changed their minds by now they aren't going
to, and venting just irritates folks unnecessarily.

[Joe Kesselman]

Crs smitty wrote:
> "windjammer"

Hmmm. As someone who likes nautical songs, I think I approve of the
pun...

[Ralph Stricker]

In article <nw896.10860$jk6.3...@typhoon2.ba-dsg.net>,
sacr...@use.my.princeton.address (Xcott Craver) wrote:

If it is done because a person can't spell or is unaware, I am tolerant. If it is because the
person is being "smart" then there is no "fine line."

[Ralph Stricker]

In article <oo896.9584$vW4....@skycache.prestige.net>,
"polishfireball.com" <yage...@va.prestige.net> wrote:

I am not offended by slang terms for professional gamblers. I don't have much respect for a
"professional gambler." I do however respect a professional blackjack player/counter/shuffle
tracker etc.
Regards
Ralph

Ralph Stricker "Silver Fox"

[Ralph Stricker]

In article <3A65326C...@attglobal.net>,
Joe Kesselman <kes...@attglobal.net> wrote:

I don't get "stressed out" , I just am dismayed that a person who plays accordion can't hold it
to the respect that it should have.
Regards

[shaw]

"Ralph Stricker" <bjp...@ix.netcom.com@ix.netcom.com> schreef in bericht
news:93vslt$pic$1...@slb3.atl.mindspring.net...

How about you getting a sense of humour.
Jock (who likes to play his tit squasher)

[shaw]

"Ralph Stricker" <bjp...@ix.netcom.com@ix.netcom.com> schreef in bericht

news:941leb$3r2$1...@slb6.atl.mindspring.net...

And you have the monopoly on the instrument?
Jock

[shaw]

"Ralph Stricker" <bjp...@ix.netcom.com@ix.netcom.com> schreef in bericht

news:944ar8$sg4$1...@slb6.atl.mindspring.net...

I play the accordion every day. I love it. But that doesnt put it above
satire. Its just a blinking box with reeds in it. In the great swing of
things its meaningless. There are folk in the world that dont even know
where their next plate of rice will be coming from. And you make a big deal
of this?
Sheesh, Jock Shaw

[shaw]

"srbarete" <srba...@northernnet.com> schreef in bericht
news:3A61F8EE...@northernnet.com...

> Hi everyone,
>
> I know this will sound like a strange request, but what are some of the
> less-than-glowing alternative names for accordions and concertinas.

> Obviously, Ralph will say "squ#%^x" (see, Ralph, I didn't quite say
> it!), and there's also "Stomach Steinway." Any others that you've
> heard?
>
> I'll check back in whan I return home from the museum mid-week.
>
> Thanks,
> Lynda Griffith,
> Certified Accordion Family Instrument Repair Technician
> A World of Accordions Museum

In Holland the DBB is referred to as "trekzak" which means "pullbag" . The
Belgians call it "heen en toe" which means "back and forth". The Fresians
call it the "tietenpletter" which means "titsquasher".
BTW i was thinking, if i killfile everybody except Ralph i will get all
messages as he answers them all anyway.
Jock Shaw

[Ike Milligan]

This is of course, riddiculous, but stummick stineway.
"DoN. Nichols" <dnic...@d-and-d.com> wrote in message
news:93t8bg$is6$1...@izalco.d-and-d.com...
> In article <3A61F8EE...@northernnet.com>,

> srbarete <srba...@northernnet.com> wrote:
> >Hi everyone,
> >
> >I know this will sound like a strange request, but what are some of the
> >less-than-glowing alternative names for accordions and concertinas.
> >Obviously, Ralph will say "squ#%^x" (see, Ralph, I didn't quite say
> >it!), and there's also "Stomach Steinway." Any others that you've
> >heard?
>

> Well ...
>
> Concertina Constant Screamer
> PA "Wrinkle Piano" (from a non newsgroup member in Finland)

>
> >I'll check back in whan I return home from the museum mid-week.
>

> It will be interesting to see what else appears.

[Pete Young]

>"DoN. Nichols" <dnic...@d-and-d.com> wrote in message
>news:93t8bg$is6$1...@izalco.d-and-d.com...

>> Concertina Constant Screamer

I'm sure I've heard Mike Harding refer to "his little leather ferret".
I assume he was talking about his concertina, but who knows?

--
____________________________________________________________________
Pete Young pe...@antipope.org
"Just another crouton, floating on the bouillabaisse of life"

[Ralph Stricker]

In article <944boj$bmlpr$1...@ID-61290.news.dfncis.de>,
"shaw" <c.shaw@.chello.nl> wrote:

when you post something worthwhile and funny, I'll be amused. Now I am laughing at your
stupidity.

[Ralph Stricker]

In article <944bql$c7s68$1...@ID-61290.news.dfncis.de>,
"shaw" <c.shaw@.chello.nl> wrote:

No. Only on my monopoly board game.
Sheeeeesh

[Ralph Stricker]

In article <944c3e$c6rqv$1...@ID-61290.news.dfncis.de>,
"shaw" <c.shaw@.chello.nl> wrote:

Keep practicing, you may earn a bowl of rice.

[Ralph Stricker]

In article <944cg8$c6q0u$1...@ID-61290.news.dfncis.de>,
"shaw" <c.shaw@.chello.nl> wrote:

Be my guest to "killfile" my responses. I doubt if you can comprehend anything I post. By the
way, what is a symetrical scale?

[Ralph Stricker]

In article <slrn96bhj...@cornfed.alien.bt.co.uk>,
pe...@antipope.org (Pete Young) wrote:

I believe it was his belt. :-)

[Jim Lucas]

"shaw" <c.shaw@.chello.nl> wrote ...

>
> In Holland the DBB is referred to as "trekzak" which means "pullbag"
. The
> Belgians call it "heen en toe" which means "back and forth". The
Fresians
> call it the "tietenpletter" which means "titsquasher".
> BTW i was thinking, if i killfile everybody except Ralph i will get
all
> messages as he answers them all anyway.

Nope. You'll miss nearly all the concertina stuff. Probably most of
the accordion repair hints, as well. But you will most likely learn a
lot about jazz.

/Jim

[Jock]

>
> Be my guest to "killfile" my responses. I doubt if you can comprehend
anything I post. By the
> way, what is a symetrical scale?
> Ralph Stricker
>
>
> Ralph Stricker "Silver Fox"

Och, a widna dream o killfiling you. A wid jist killfile the rest , ken. Ah
wid still see aw the ither posts fur ye reply tae aw yins ony wey.

As for the symetrical scale. I dont know what it is. So now apart from being
the accordions namekeeper you have proven that you know more about music
than i do. I dont really care to be honest. As i said, in the great swing of
things it means nothing but entertainment and pleasure. Which i myself enjoy
very much to listen to and play albeit limited.
I just got word back from my 19 year old daughter that the 12 tumors in her
arm are cancer. Do you think i care if someone calls an accordion a
squeezebox?
I would trade both mine in and never play again to undo this horror.
It just gets on my nerves when people henpick on something so trivial as a
name.
There are worse things. I do not wish them on you. But lighten up.

Jock Shaw

[Francine]

Hi there, I just thought it would be interesting to note that in some
southeast asian countries the word(s) they use for accordion is translated
as "crying box" which I think is very descriptive. Another accordion player
who went to the Phillippines told me that.
Francine

[Ralph Stricker]

In article <zgm96.734666$%C1.9234760@Flipper>,
"Jock" <jo...@nospam.chello.nl> wrote:

>
>>
>> Be my guest to "killfile" my responses. I doubt if you can comprehend
>anything I post. By the
>> way, what is a symetrical scale?
>> Ralph Stricker
>>
>>
>> Ralph Stricker "Silver Fox"
>
>Och, a widna dream o killfiling you. A wid jist killfile the rest , ken. Ah
>wid still see aw the ither posts fur ye reply tae aw yins ony wey.
>
>As for the symetrical scale. I dont know what it is. So now apart from being
>the accordions namekeeper you have proven that you know more about music
>than i do. I dont really care to be honest. As i said, in the great swing of
>things it means nothing but entertainment and pleasure. Which i myself enjoy
>very much to listen to and play albeit limited.
>I just got word back from my 19 year old daughter that the 12 tumors in her
>arm are cancer. Do you think i care if someone calls an accordion a
>squeezebox?

I'm sorry about your daughter. I can commiserate as I have prostate cancer, emphysema.
I did not try to impress you with my musical knowledge. I only wanted to get you to relate to
the accordion by it's name.

Regards
Ralph Stricker

>I would trade both mine in and never play again to undo this horror.
>It just gets on my nerves when people henpick on something so trivial as a
>name.
>There are worse things. I do not wish them on you. But lighten up.
>
>Jock Shaw
>
>

Ralph Stricker "Silver Fox"

[Ralph Stricker]

In article <7vm96.45722$gz2.1...@news.total.net>,
"Francine" <franc...@hotmail.com> wrote:

After hearing some of the players. I would believe that it is called by the name you mention.

[Helen P.]

Ralph Stricker wrote:
> Keep practicing, you may earn a bowl of rice.

<wg> & LOL!

And they claim you have no sense of humor?!!!

-- Helen
forget the $$$ -- please pass the chocolate!

[Helen P.]

Jock Shaw wrote in message ...

>I just got word back from my 19 year old daughter that the 12 tumors in her
arm are cancer.

I hope your music will help all of your family to get through the rough
times ahead.

Best wishes for her speedy recovery!

-- Helen

[Pete Young]

Ralph Stricker <bjp...@ix.netcom.com@ix.netcom.com> writes:
> By the
>way, what is a symetrical scale?

In East Anglia, that's when both sides of the kettle get furred up at the
same time.

Kind regards

Pete

[ph...@csv.warwick.ac.uk]

On 17 Jan 2001, Pete Young wrote:
>
> I'm sure I've heard Mike Harding refer to "his little leather ferret".
> I assume he was talking about his concertina, but who knows?

> ____________________________________________________________________
He certainly calls his contre-bass concertina an "old leather
stomach pump, for people with old leather stomachs" on one of his tapes.

[ph...@csv.warwick.ac.uk]

Be my guest to "killfile" my responses. I doubt if you can comprehend
anything I post.

Ralph Stricker
======================================================================
The modesty of the man !!!

[Jock]

> I'm sorry about your daughter. I can commiserate as I have prostate
cancer, emphysema.
> I did not try to impress you with my musical knowledge. I only wanted to
get you to relate to
> the accordion by it's name.
>
> Regards

Yes but i dont care Ralph. Its naught but an instrument. It means no more
than that to me. My reprtois is about 25 tunes and the same in songs played
by chords. If i make folk in the pub happy and have them sing along or at
our local home for mentally handicapped children its enough for me. It
matters nothing what someone calls it. As for my refference to my daughter.
I shouldnt have brought it up here. Its just that now things i used to make
a 'big deal' of are small matters now. My daughter worked as a volunteer
with AIDS babies in Rumania and came home with the tumors. She can now not
play the flute anymore which she did much better than i can play the DBB.
She has a dropping hand because the brain cannot get stimuli past the
infected nerve sinews in her arm. Thats what i mean as wel when i say "in
the great swing of things, what do such things matter". To me naught at all.
Now if somebody referred to a Jewish person with a derogatory term, that
would be terrible in my sight. Racism is a big deal. Calling an accordion by
another name is not. Many poor folk in Rumania are self taught and the few
pennies they make busking is all they have. Some of them are even quite
good. I have seen them in Cluj-Napoca. The funny thing is, some of them dont
even know the proper name.
Regards, Jock Shaw

[Jock]

<ph...@csv.warwick.ac.uk> schreef in bericht
news:Pine.SOL.4.30.010118...@mimosa.csv.warwick.ac.uk...

Actually it was a joke on my part. I didnt say i would kilfile him. I said
if i killfiled everybody on the group except him i would still see the
messages as he responds to all anyway. I think Ralph took me seriously.
Jock Shaw

[Ralph Stricker]

In article <slrn96db1...@cornfed.alien.bt.co.uk>,
pe...@antipope.org (Pete Young) wrote:

Another "musician" heard from.
Sheeeeesh

[Ralph Stricker]

In article <IDy96.746634$%C1.9396001@Flipper>,
"Jock" <jo...@nospam.chello.nl> wrote:

Email me off "air" I may be able to help with some alternative medicine suggestions.
Regards

[Ralph Stricker]

In article <hGy96.746676$%C1.9399140@Flipper>,
"Jock" <jo...@nospam.chello.nl> wrote:

I didn't take you seriously. I did take the part about your daughter seriously. :-(

[Jock]

>
> Email me off "air" I may be able to help with some alternative medicine
suggestions.
> Regards
> Ralph Stricker
>
>
> Ralph Stricker "Silver Fox"

I tried e-mailing you but it bounces back. My e-mail is jo...@chello.nl
I appreciate the trouble you take for this.
Jock Shaw

[srbarete]

srbarete wrote:
>Hi everyone, I know this will sound like a strange request, but what are some
of the

> less-than-glowing alternative names for accordions and concertinas...

Hi all! Home from the museum today. Geez, ask a simple question and look
what I get! I didn't mean to get so many blood pressures up! Anyway, here's
the list for accordion, so far (sorry again, Ralph - close your eyes and don't
read!):
belly Baldwin, chest piano, accordeen, tit squasher,
piano with suspenders, windjammer, winkle piano,
stomach pump, trekzak (pullbag), heen en toe (back & forth),
tietenpletter (tit squasher), crying box

And for concertina we had: constant screamer

Any others I missed? Someone asked why? It's a list for A World of
Accordions Museum. I was asked to collect the information and I must admit, I
didn't ask why specifically. Thank you to all who contributed to this thread.

[DoN. Nichols]

In article <ToH96.757151$%C1.9577078@Flipper>,

It looks as though his system is duplicating the domain name.
Try:

bjp...@ix.netcom.com

and you'll have a better chance at reaching him.

Good Luck,

[Ralph Stricker]

In article <947vci$eub$1...@izalco.d-and-d.com>,
dnic...@d-and-d.com (DoN. Nichols) wrote:

Thanks Don
It is bjp...@ix.netcom.com I hope he emails me because I may have some suggestions.

[Joe Kesselman]

"DoN. Nichols" wrote:
> Concertina Constant Screamer

That reminds me -- my Jeffries _still_ hasn't told me its name. (Though
a Star Trek-loving friend took one look at the brand name and the shape
when extended and said "Oh, so _that's_ a Jeffries Tube.")

[Joe Kesselman]

srbarete wrote:
> Any others I missed?

You didn't catch stomach Steinway, which is the other brand of belly
Baldwin.

Was that "winkle piano" or "wrinkle piano"? I thought I saw the latter.

[Monty [|||||||]]

>
> And for concertina we had: constant screamer
>
> Any others I missed?

After years of struggling to get loose from my concertina to turn a page of
music I came up with the term: musical handcuffs.

Monty [|||||||]

[Helen P.]

Hmm, does an accordion by any other name sound as sweet?

-- Helen
listening through rose-colored earmuffs

[Jock]

"Ralph Stricker" <bjp...@ix.netcom.com@ix.netcom.com> schreef in bericht
news:9480on$9e5$1...@slb6.atl.mindspring.net...

I have tried twice and keep getting it back. Even when i use the link above.
It might be the fault of my ISP. But if you just mail jo...@chello.nl with
nothing in the header i can press the reply button. I keep on getting them
back. Sorry. I do want to know what you have to say.
Jock

[bogus address]

> You didn't catch stomach Steinway, which is the other brand of belly
> Baldwin.

Shouldn't there be an "Erard de l'estomac" and a "Bauern Bosendorfer"
to match?

========> Email to "jc" at this site; email to "bogus" will bounce. <========
Jack Campin: 11 Third Street, Newtongrange, Midlothian EH22 4PU; 0131 6604760
http://www.purr.demon.co.uk/purrhome.html food intolerance data and recipes,
freeware logic fonts for the Macintosh, and Scots traditional music resources

[srbarete]

Monty [|||||||] wrote:

> After years of struggling to get loose from my concertina to turn a page of
> music I came up with the term: musical handcuffs.

Hi Monty! As usual, thanks for your clever sense of humor. Lynda 8-)

[Pete Young]

Ralph Stricker <bjp...@ix.netcom.com@ix.netcom.com> :

> Another "musician" heard from.

Suitably chastised, I looked it up.

"When a mode of given scale produces the same type of scale as the
original, the scale is said to be symmetric."

Think chromatic.

I am not the world's greatest lover of Jazz, but I wonder just how
many of the truly great jazz musicians that I do listen to, such as
Django Reinhardt, Art Tatum, Bix Beiderbecke (sp?), Fats Waller would
have used this without knowing what it was called?

No disrespect intended here to these or other great players, but in my
rare dealings with Jazz I often get the impression that applying
musical theory to it doesn't help a great deal. It certainly doesn't
help _me_ a great deal.

Massive respect here to Marc Sabatella for the deeply educational
Jazz Improvisations Primer, available on-line at

http://www.outsideshore.com/primer/primer/index.html

To me this site is a brilliant example of the way the web should be used.

I'd also like to thank Ralph, who is a great motivational force for
channelling the forces of minor irritation into 'I'll-show-em'
educational self-improvement.

>Sheeeeesh

Sheeeesh yourself. Why don't we get together and put your accordion book
on a website similar to Mark Sabatella's?

Regards

[Michael Berenstein]

Pete Young wrote:

> I am not the world's greatest lover of Jazz, but I wonder just how
> many of the truly great jazz musicians that I do listen to, such as
> Django Reinhardt, Art Tatum, Bix Beiderbecke (sp?), Fats Waller would
> have used this without knowing what it was called?
>
> No disrespect intended here to these or other great players, but in my
> rare dealings with Jazz I often get the impression that applying
> musical theory to it doesn't help a great deal.

It's not THAT type of jazz. THAT type of jazz was obscene, vulgar,
monstrous, uneducated, of "negroid" origin and sexually explicit, which is
reflected in the name "jazz", which was a street word for having sex
(according to some sources), and which still has some negative meaning: 2)
Jazzing,- empty talk: STUFF, HUMBUG <spouted all the
scientific ~ --Pete Martin>
Now THIS type of jazz is all scientific, educated, complex, abstinent,
extremely difficult to play and listen to and highly elevated.
The problem arises when somebody starts mixing them together under one name,
meaning only one side. I think it's quite misleading that the two
distinctively different music styles are called the same name.
(uneducated opinion)

[Gert-Jan Kamphorst]

Here's my contrib on behalf of the diatonic button boxes (also part of the accordion family, i believe the oldest part...)

German:
Treckbüdel
Quetschbühl
Quetschkommode
Alsace/Elzas
Knatsch
Swiss
Handharfe
Volksharfe
Örgeli
Austria
Wiener
Russian
Chromka
Swede
Durspel
Norway
Trekspill
Denmark
Torader
Italy
Organola
Fisarmonica
Basque
Trikitixa
Dutch/Flemish (including local dialects form The Netherlands
Trekzak
Speelboek
Open en toe
Pens-orgel
Knijpzak
Kwetsbuul
Trek(ke)buul
Moenieke
Monika
Mook
Troet
Pokkel Orgel
Stoofke
Boek Orgel
Trek Orgel
Kassie
Jammer Orgel
Jammerkast
Heen en Weertje
Schippersklavier
Knopenkast
Zuigspinet
Scheurijzer
Tietenpletter
Tietenrasp
Luizenpletter
Spreeuwenkissie
Notenpomp.

I hope this satisfies your greed for derogatory names for our beloved instrument :))

Gert-Jan
(Amsterdam)

"srbarete" <srba...@northernnet.com> schreef in bericht news:3A676DD5...@northernnet.com...

[Mike Maddux]

I didn't make up:

Stomach Steinway

but I made these up:

Pregnancy Simulator
Yoke Of Oppression
Greatest Instrument Ever Invented
Squeeze This
Wheezebox
Wooden Lung
Chiropractor's Friend

Mike

In article <3A676DD5...@northernnet.com>, srbarete says...

[Helen P.]

That was the example given by Lynda at the start of this whole thread.

-- Helen

Joe Kesselman wrote in message <3A67B1AE...@attglobal.net>...

[srbarete]

Gert-Jan Kamphorst wrote:

> Here's my contrib on behalf of the diatonic button boxes (also part of the accordion family, i believe the oldest part...)
>

> ... I hope this satisfies your greed for derogatory names for our beloved instrument :))

Hello Gert-Jan and thank you, ah, er ... I think. As I said earlier, it's not my request, ultimately. I was asked to pose
the question to the group. I'm told that the museum display has not been conceived because anyone at the museum likes these
terms, but rather because this is the way the instrument is known to lay people around the world. These terms are a part of
the listening and/or playing cultures, like it or not.

Anyway, with that said, could you email me please and give me the English translations for this list of words? Thank you!
Much appreciated.

Lynda Griffith,
Certified Accordion Family Instrument Repair Technician
A World of Accordions Museum

Minnesota

[Ralph Stricker]

In article <slrn96h0v...@cornfed.alien.bt.co.uk>,
pe...@antipope.org (Pete Young) wrote:

>Ralph Stricker <bjp...@ix.netcom.com@ix.netcom.com> :
>
>> Another "musician" heard from.
>
>Suitably chastised, I looked it up.
>
>"When a mode of given scale produces the same type of scale as the
>original, the scale is said to be symmetric."
>
>Think chromatic.
>
>I am not the world's greatest lover of Jazz, but I wonder just how
>many of the truly great jazz musicians that I do listen to, such as
>Django Reinhardt, Art Tatum, Bix Beiderbecke (sp?), Fats Waller would
>have used this without knowing what it was called?

I don't know about the rest, but Tatum & Django used them.
An example of a symetrical scale is:

Start on a half step before any note of a diminished Chord.
(D) Eb (F) F# (G#) A (B) C (D) Eb
The notes in an Eb diminished scale are Eb F F# G# A B C D Eb Therefore if you start on D it is
now a D symetrical scale.

>
>No disrespect intended here to these or other great players, but in my
>rare dealings with Jazz I often get the impression that applying
>musical theory to it doesn't help a great deal. It certainly doesn't
>help _me_ a great deal.
>
>Massive respect here to Marc Sabatella for the deeply educational
>Jazz Improvisations Primer, available on-line at
>
>http://www.outsideshore.com/primer/primer/index.html
>
>To me this site is a brilliant example of the way the web should be used.
>
>I'd also like to thank Ralph, who is a great motivational force for
>channelling the forces of minor irritation into 'I'll-show-em'
>educational self-improvement.
>
>>Sheeeeesh
>
>Sheeeesh yourself. Why don't we get together and put your accordion book
>on a website similar to Mark Sabatella's?

It is already on JanPress site.
Regards
Ralph Stricker

>
>Regards
>
>Pete
>
>--
> ____________________________________________________________________
> Pete Young pe...@antipope.org
> "Just another crouton, floating on the bouillabaisse of life"

Ralph Stricker "Silver Fox"

[Ralph Stricker]

In article <3A6893AF...@pixar.com>,
Michael Berenstein <mi...@pixar.com> wrote:

>Pete Young wrote:
>
>> I am not the world's greatest lover of Jazz, but I wonder just how
>> many of the truly great jazz musicians that I do listen to, such as
>> Django Reinhardt, Art Tatum, Bix Beiderbecke (sp?), Fats Waller would
>> have used this without knowing what it was called?
>>
>> No disrespect intended here to these or other great players, but in my
>> rare dealings with Jazz I often get the impression that applying
>> musical theory to it doesn't help a great deal.
>
>It's not THAT type of jazz. THAT type of jazz was obscene, vulgar,
>monstrous, uneducated, of "negroid" origin and sexually explicit, which is
>reflected in the name "jazz", which was a street word for having sex
>(according to some sources), and which still has some negative meaning: 2)
>Jazzing,- empty talk: STUFF, HUMBUG <spouted all the
> scientific ~ --Pete Martin>

Are you nuts. "That type of Jazz was obscene, vulgar, monstrous, uneducated, of "negroid" origin
and sexually implicit. By who's definition some holy roller? First of all this definition was by
white people who though that anything by the black race was bad. Thode were different times. I
can still remember people calling Elvis Presley the devil. That Rock & Roll was dirty.
if it weren't for the blacks musicians, there would be no Jazz. Incidentally the original
spelling of Jazz was "Jass" but someone would always erase the J off of the drummers head so
that it became ASS. So they renamed it Jazz.

>Now THIS type of jazz is all scientific, educated, complex, abstinent,
>extremely difficult to play and listen to and highly elevated.
>The problem arises when somebody starts mixing them together under one name,
>meaning only one side. I think it's quite misleading that the two
>distinctively different music styles are called the same name.
>(uneducated opinion)

"Uneducated opinion" is right. Do you think that the old time players like Fats Waller, Art
Tatum, Willie D' Lion Smith were uneducated. You are so wrong, many of them studied classical
music as well as defining Jazz.
SHEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEESH

[bogus address]

> "When a mode of given scale produces the same type of scale as
> the original, the scale is said to be symmetric."

A more useful concept is the one Messiaen used: "mode of limited
transposition". The wholetone scale is an example, but Messiaen's
concept also covers scales where you have n notes but only m modes,
for 1<m<n (unlike the diatonic scale: 7 notes, 7 modes - and also
unlike the wholetone scale: 6 notes, 1 mode).

Incidentally, I've heard that Owen Murray has been known to play
Messiaen organ music on the accordion. Has he recorded any?

[Ralph Stricker]

>
>I'd also like to thank Ralph, who is a great motivational force for
>channelling the forces of minor irritation into 'I'll-show-em'
>educational self-improvement.
>
>>Sheeeeesh
>
>Sheeeesh yourself. Why don't we get together and put your accordion book
>on a website similar to Mark Sabatella's?
>
>Regards
>
>Pete
>
>--
> ____________________________________________________________________
> Pete Young pe...@antipope.org
> "Just another crouton, floating on the bouillabaisse of life"

I forgot to mention that Ernest Deffner is also handling my book. (besides JanPress)
Regards
Ralph Stricker
I am also contemplating publishing my beginner book. It starts with the 12 and in a short 10-12
weeks how you go immediately to 120 bass accordion. If there is any interest I may release it.
It would sell for $14.95 It cuts to the chase and eliminates the tiresome redundancy of Sedlon &
Palmer Hughes.

Ralph Stricker "Silver Fox"

[Michael Berenstein]

Ralph Stricker wrote:

> >It's not THAT type of jazz. THAT type of jazz was obscene, vulgar,
> >monstrous, uneducated, of "negroid" origin and sexually explicit, which is
> >reflected in the name "jazz", which was a street word for having sex
> >(according to some sources), and which still has some negative meaning: 2)
> >Jazzing,- empty talk: STUFF, HUMBUG <spouted all the
> > scientific ~ --Pete Martin>

Great!
Now we have a discussion.

>
>
> Are you nuts. "That type of Jazz was obscene, vulgar, monstrous, uneducated, of "negroid" origin
> and sexually implicit. By who's definition some holy roller? First of all this definition was by
> white people who though that anything by the black race was bad.

It's not white people vs. black.
I'm sure there was plenty of good religious black folks who despised jazz, blues etc. due to their
very natural sensual bases.
It's more new vs. old. And these folks had a good point, I might say. It does feel like every new
style of popular music in post-medieval Europe is becoming more and more "dirty", openly sensual(
to the point, where it's not sensual anymore, but outright sexual, bordello type), more loud and
less intricate. Doesn't imply it's bad. It's just what it is.

> Thode were different times.

> I
> can still remember people calling Elvis Presley the devil. That Rock & Roll was dirty.

Look at above argument. Those people were and are dead right. Some like it, some not.

>
> if it weren't for the blacks musicians, there would be no Jazz.

Yes, exactly! Do you expect them to get good education? Ever heard of blues - the backbone of jazz?
Those guys couldn't even speak properly and had vocabulary of few "hunrit" words.

> Incidentally the original
> spelling of Jazz was "Jass" but someone would always erase the J off of the drummers head so
> that it became ASS.

Exellent! So those good cristians were fighting the devil. Times were different indeed.

>
> >Now THIS type of jazz is all scientific, educated, complex, abstinent,
> >extremely difficult to play and listen to and highly elevated.
> >The problem arises when somebody starts mixing them together under one name,
> >meaning only one side. I think it's quite misleading that the two
> >distinctively different music styles are called the same name.
> >(uneducated opinion)
> "Uneducated opinion" is right. Do you think that the old time players like Fats Waller, Art
> Tatum, Willie D' Lion Smith were uneducated. You are so wrong, many of them studied classical
> music as well as defining Jazz.
>

According to Mark Sabatella's website
(http://www.outsideshore.com/primer/primer/ms-primer-2-4.html) about history of Jazz, Fats Waller
is not a pioneer, but a musician from big band era.
It's like Disco from the 80-ies. The very essence of early jazz--collective improvization, humor,
was lost. And I have no interest of discussing well played elevator music.
Luis Armstrong didn't have proper education, he was instructed by Joe "King" Oliver, whose
education is...?
Information is taken from website: http://www.redhotjazz.com/kingo.html

[Michael Berenstein]

Ralph Stricker wrote:

>
> Are you nuts. "That type of Jazz was obscene, vulgar, monstrous, uneducated, of "negroid" origin
> and sexually implicit. By who's definition some holy roller?

Hello again.
There is another character in early jazz, whose education and manners were of highest sort, such
that the common church going black folks would trust their kids to - Ferdinand "Jelly" Roll Morton.
Aside from these guys having nicknames with prison flavour, here's how another website:
http://www.redhotjazz.com/jellyroll.html , describes him:
"As a teenager Jelly Roll Morton worked in the
whore houses of Storyville as a piano player...
He worked as a gambler, pool shark, pimp,
vaudeville comedian, and as a pianist. "

[DoN. Nichols]

In article <3A67B1AE...@attglobal.net>,

Joe Kesselman <kes...@alum.mit.edu> wrote:
>srbarete wrote:
>> Any others I missed?
>
>You didn't catch stomach Steinway, which is the other brand of belly
>Baldwin.
>
>Was that "winkle piano" or "wrinkle piano"? I thought I saw the latter.

It was at least what I *hope* that I typed. It was what I
meant.

Enjoy,

[Mike]

> I can still remember people calling Elvis Presley the devil. That
> Rock & Roll was dirty.

I still think a lot of Rock & Roll is dirty -- and I ain't that old of a
fart, either. Elvis may not have been the devil, but a lot of today's heavy
metal, etc., has the old boy's pitchfork in it.

Mike

[Jim Lucas]

"Ralph Stricker" <bjp...@ix.netcom.com> wrote ...
> ...Those were different times. I can still remember people

> calling Elvis Presley the devil.

"Different times"? What about the periods -- in Scotland and also in
America -- when the fiddles were denounced as "the Devil's instrument"
and were actively sought out and destroyed by church leaders?

These days, other new forms are being denounced just as vehemently.

"The more things change, the more they stay the same."

/Jim

[Jim Lucas]

"Michael Berenstein" <mi...@pixar.com> wrote ...

> Pete Young wrote:
>
> > I am not the world's greatest lover of Jazz, but I
> > wonder just how many of the truly great jazz
> > musicians that I do listen to, such as Django
> > Reinhardt, Art Tatum, Bix Beiderbecke (sp?),
> > Fats Waller would have used this without knowing
> > what it was called?

[...]

> It's not THAT type of jazz. THAT type of jazz was obscene, vulgar,

> monstrous, uneducated, of "negroid" origin and sexually explicit,...

I thought Django was a French gypsy. :-) But I think your point
was that many (most?) jazz greats couldn't have quoted -- or even
cared about -- a music-theoretical description of their playing. Like
English grammar, the theory at least began as an attempt to describe
what people were already doing. Neither human language nor jazz was
submitted for document review as a proposal (the way so many computer
programs and city-development proposals are) before people were
allowed to construct and use them.

Which is not to say that the theory isn't a useful tool for passing
some of the same knowledge on to others, especially those who don't
have the opportunity to meet the masters. And as Ralph said, *some*
of them did know their theory... although earlier musical theory had
to be extended to in order to some of the stuff they themselves were
playing.

> Now THIS type of jazz is all scientific, educated,
> complex, abstinent, extremely difficult to play and
> listen to and highly elevated. The problem arises
> when somebody starts mixing them together under
> one name, meaning only one side. I think it's quite
> misleading that the two distinctively different music
> styles are called the same name.

Welcome to the "what is folk music?" debate in a clever disguise.
:-)

/Jim Lucas

[bogus address]

>> "When a mode of given scale produces the same type of scale as the
>> original, the scale is said to be symmetric."

> An example of a symetrical scale is:
> Start on a half step before any note of a diminished Chord.
> (D) Eb (F) F# (G#) A (B) C (D) Eb
> The notes in an Eb diminished scale are Eb F F# G# A B C D Eb
> Therefore if you start on D it is now a D symetrical scale.

Sure? The D and Eb scales aren't the same. You get the same mode if
you start on Eb, F#, A, or C, but a *different* mode if you start on
D, F, G# or B (the scale only has two modes). The first mode has a
perfect fourth and a diminished fifth, the second an augmented fourth
and a perfect fifth, so you won't confuse them easily.

[Jim Lucas]

"Mike" <yardm...@firstconnect.com> wrote ...

And Elvis might well be apalled to have it classed under the same name
as his own stuff.

[Ralph Stricker]

In article <3A6903C5...@pixar.com>,
Michael Berenstein <mi...@pixar.com> wrote:

Was George Gershwin, Jerome Kern Cole Porter's music dirty? Was Scott Joplin's "ragtime" dirty?
Sheeeeese

>
>> I
>> can still remember people calling Elvis Presley the devil. That Rock & Roll was dirty.
>
>Look at above argument. Those people were and are dead right. Some like it, some not.
>
>>
>> if it weren't for the blacks musicians, there would be no Jazz.
>
>Yes, exactly! Do you expect them to get good education? Ever heard of blues - the backbone of
jazz?
>Those guys couldn't even speak properly and had vocabulary of few "hunrit" words.

Earl Fatha Hines, Art Tatum were well educated. You also have to define "good education". I'd
rather be able to play like Tatum than know how to speak correct grammar, know algebra, social
studies. etc etc.

>
>> Incidentally the original
>> spelling of Jazz was "Jass" but someone would always erase the J off of the drummers head so
>> that it became ASS.
>
>Exellent! So those good cristians were fighting the devil. Times were different indeed.
>
>>
>> >Now THIS type of jazz is all scientific, educated, complex, abstinent,
>> >extremely difficult to play and listen to and highly elevated.
>> >The problem arises when somebody starts mixing them together under one name,
>> >meaning only one side. I think it's quite misleading that the two
>> >distinctively different music styles are called the same name.
>> >(uneducated opinion)
>> "Uneducated opinion" is right. Do you think that the old time players like Fats Waller, Art
>> Tatum, Willie D' Lion Smith were uneducated. You are so wrong, many of them studied classical
>> music as well as defining Jazz.
>>
>
>According to Mark Sabatella's website
>(http://www.outsideshore.com/primer/primer/ms-primer-2-4.html) about history of Jazz, Fats
Waller
>is not a pioneer, but a musician from big band era.
>It's like Disco from the 80-ies. The very essence of early jazz--collective improvization,
humor,
>was lost. And I have no interest of discussing well played elevator music.

What is "elevator music?" because years ago they were playing Jackie Gleason's band and other
big bands you referred to them as elevator music.
Ralph Stricker

>Luis Armstrong didn't have proper education, he was instructed by Joe "King" Oliver, whose
>education is...?
>Information is taken from website: http://www.redhotjazz.com/kingo.html
>
>
>

Ralph Stricker "Silver Fox"

[Bruce Henderson]

In article <sxha6.99$qs3....@news.get2net.dk>, "Jim Lucas" <j...@danbbs.dk>
writes:

>"Ralph Stricker" <bjp...@ix.netcom.com> wrote ...
>> ...Those were different times. I can still remember people
>> calling Elvis Presley the devil.

>"Different times"? What about the periods -- in Scotland and also in
>America -- when the fiddles were denounced as "the Devil's instrument"
>and were actively sought out and destroyed by church leaders?

Yupp. And to bring a little accordion content back, I remember a CD being
played on BBC radio a few years ago (and I have never been able to find it to
buy) of Basque one- row melodeon (button accordion) music from the last third
of the 1800's -- and the title of the CD as translated into English was "the
Bellows of the Devil". It paints a picture for me of the Devil fanning the
flames of Hell!
Bruce Henderson, Alexandria VA & Solihull W Mids

[Helen P.]

That's why violas are consider to be better than violins: they burn longer.
;-)

-- Helen

Jim Lucas wrote in message ...

[Jock]

"Jim Lucas" <j...@danbbs.dk> schreef in bericht
news:sxha6.99$qs3....@news.get2net.dk...

My Father who was an active member of the Communist Party in Scotland
forbade me to take fiddle lessons at school because it was a borgois
instrument.
The poor old fiddle was hated by religious bigots and atheist ones. I
secretly played guitar over at a friends house until the Russians invaded
Czeckeslovakia in 1969. My father tore up his Communist membership card that
year and many of his biases were lifted. I wonder what he would think now of
me playing the diatonic button box were he still alive.
Jock Shaw

[Jock]

"Mike" <yardm...@firstconnect.com> schreef in bericht
news:t6j2qpj...@corp.supernews.com...

I cannot help being bemused at this. I thought for a while that you were
only kidding but now see that you are not. Many heavy metal bands are indeed
of the so called "black metal" Not 'black' as in skin colour, but 'black' as
in black magic.
Black Sabbath being one of the better known ones or 'KISS' Knights In Satans
Service.
But i tend to see this as a pubescent way of some kids to shock their
parents other than it being the real thing.
There are also Christian Gospel heavy metal bands such as Jerusalem from
Sweden. Music is a great deliverer of emotion and i suppose there could be a
satanic classical orchestra if one could find enough players who were daft
enough to participate.
Jock Shaw

[Mike]

> But i tend to see this as a pubescent way of some kids to shock their
> parents other than it being the real thing.

Yes, I've heard this explanation, too, and for most cases it may be valid.
But there are some who aren't well-equipped to deal with this type of
material, and they can end up getting sucked into a dark passageway. It ends
up going way past shock value to where it borders on a form of cult identity
or religion, and the resulting personality changes can be substantial.

I listened to a lot of this music in college when it first appeared on the
shelves (much to my parents' dismay <g>), but I later dumped much of it
overboard when I realized how negative it was. Life is difficult enough --
at some point I decided I'd rather listen to music which is uplifting rather
than that which is always focusing on anger, rebellion, violence, gloom,
depression, etc.

It's hard to play that stuff on the accordion, anyway :-)

Mike

[bogus address]

> What about the periods -- in Scotland and also in America -- when the
> fiddles were denounced as "the Devil's instrument" and were actively
> sought out and destroyed by church leaders?

In Scotland there were no such times.

There were some remote areas where the minister or the kirk session
tried to stop secular music-making in the 19th century, but they were
very sporadic and rarely effective. St Kilda was about the only place
where the ban was near-total (all they had left was the jew's harp);
its peak population was about 200. And for the first 300 years of the
Reformation, the Kirk didn't care in the least about popular secular
music, one way or the other.

I don't believe there was any period when such a policy was tried all
across America, either.

[Joe Kesselman]

Folks, unless you believe that the accordion really is the devil's
instrument, the question of whether heavy-metal music leads to anything
more evil than deafness really is offtopic.

--
------------------------------------------------------
Joe Kesselman, http://www.lovesong.com/people/keshlam/
Appearing January 13 at Walkabout: The Nields
February 10: Pete Seeger and Tao Rodrigues -- order in advance!
http://www.WalkaboutClearwater.org/coffeehouse.html

[Lee Thompson-Herbert]

In article <71...@purr.demon.co.uk>,
bogus address <bo...@purr.demon.co.uk> wrote:
[...]

>I don't believe there was any period when such a policy was tried all
>across America, either.

No, but it _was_ true in certain regions of the US. Since until recently,
the US was made up of pockets of emigrants, that meant that a particular
type of music could get wiped out of someone took a mislike to it.

In some parts of the South, the fiddle was "the devil's instrument."
This is why there's still a tradition of singing squares and lilting
for dancing in those areas. Of course, _dancing_ was also considered
evil by some sects, but not enough to obliterate the dances. The
common children's song "Skip to my Lou" is the remnants of calls for
a dance, by the way.

--
Lee M.Thompson-Herbert KD6WUR l...@retro.com
Head Muso, White Rats Morris
Member, Knights of Xenu (1995). Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"

[Helen P.]

Mike wrote in message ...

>at some point I decided I'd rather listen to music which is uplifting
rather
>than that which is always focusing on anger, rebellion, violence, gloom,
>depression, etc.
>
>It's hard to play that stuff on the accordion, anyway :-)

Accordions are such fun-loving instruments, after all! :-)

-- Helen

[Toby Hanson]

In article <94a88...@drn.newsguy.com>, Mike Maddux
<mike_...@rocketmail.com> wrote:

> I didn't make up:
>
> Stomach Steinway
>
> but I made these up:
>
> Pregnancy Simulator
> Yoke Of Oppression
> Greatest Instrument Ever Invented
> Squeeze This
> Wheezebox
> Wooden Lung
> Chiropractor's Friend
>
> Mike

I've been known to refer to my accordion as "The Original Strap-On Fun Machine."

--
-Toby Hanson

Proud Graduate of Bethel High School
2000 Washington State 4A Football Runners-Up!

We may have lost the championship game...
but at least we did better than Spanaway Lake!

[Jock]

> It's hard to play that stuff on the accordion, anyway :-)
>
> Mike

Not at all. Dont even think about what your playing. Just press random notes
and grunt at the same time. it will then come out as "Death Squeezefolk".
Jock ;-)

[Pete Young]

Ralph Stricker <bjp...@ix.netcom.com> writes:

>It [Ralph's book] is already on JanPress site.

Well, sort of. There's a copy of the index. I think you could afford
to be a lot braver and publish the entire text of the book on-line,
which is what Marc Sabatella has done.

I can see the argument that it might adversely affect sales: I
think it would work in your favour, since it would become more
widely known and easier to get hold of world wide, and people will
still want a hard copy.

The JanPress website is something of an anachronism in the 21st century
and doesn't appear to be doing anyone any favours. Making arrangements
to send in a check in US dollars is a major hassle in the rest of the
world. If Joe Natoli is still lurking here, I'd like to encourage him
to set something up with Amazon to allow on-line purchasing, put a
shopping cart on the site or allow a money transfer.

Kind regards,

[Jock]

"Joe Kesselman" <kes...@attglobal.net> schreef in bericht
news:3A6B7938...@attglobal.net...

> Folks, unless you believe that the accordion really is the devil's
> instrument, the question of whether heavy-metal music leads to anything
> more evil than deafness really is offtopic.
>

There are some orthodox groups that believe that any instruments not
mentioned in the old testament being used for the inauguration of the Temple
in Jerusalem are of the devil. An interesting thread would be the
ecclesiastical relevance of the accordion.
Jock ;-))

[Mike]

> Not at all. Dont even think about what your playing. Just press random
notes
> and grunt at the same time. it will then come out as "Death Squeezefolk".

But it probably wouldn't go over well with the crowd unless you painted your
face, had explosions and smoke on the stage, a big light show, etc. <g>

Mike

[Ralph Stricker]

In article <slrn96o2j...@cornfed.alien.bt.co.uk>,
pe...@antipope.org (Pete Young) wrote:

>Ralph Stricker <bjp...@ix.netcom.com> writes:
>
>>It [Ralph's book] is already on JanPress site.
>
>Well, sort of. There's a copy of the index. I think you could afford
>to be a lot braver and publish the entire text of the book on-line,
>which is what Marc Sabatella has done.
>
>I can see the argument that it might adversely affect sales: I
>think it would work in your favour, since it would become more
>widely known and easier to get hold of world wide, and people will
>still want a hard copy.

I thank you for the suggestion. I will be delighted to consider it when you write a book that
took years of work and you put it on the net.
Regards
Ralph Stricker

>
>The JanPress website is something of an anachronism in the 21st century
>and doesn't appear to be doing anyone any favours. Making arrangements
>to send in a check in US dollars is a major hassle in the rest of the
>world. If Joe Natoli is still lurking here, I'd like to encourage him
>to set something up with Amazon to allow on-line purchasing, put a
>shopping cart on the site or allow a money transfer.
>
>Kind regards,
>
>Pete
>
>--
> ____________________________________________________________________
> Pete Young pe...@antipope.org
> "Just another crouton, floating on the bouillabaisse of life"

Ralph Stricker "Silver Fox"

[bogus address]

> There are some orthodox groups that believe that any instruments not
> mentioned in the old testament being used for the inauguration of the
> Temple in Jerusalem are of the devil. An interesting thread would be
> the ecclesiastical relevance of the accordion.

Some of those Hebrew words are of very uncertain meaning - the one
generally translated "psaltery" is thought by some to be a kind of
zither and by others to be a bagpipe. And a Bronze Age culture
could have made a simple accordion if they'd thought of it (albeit
without paper, the bellows would have had to be the skin of a goat).

Another possibility: if you wanted to make a *really big* accordion
back then (say, 2.5 x 1.5 x 1.5 cubits), one way would be to use slats
of shittim wood with a gold covering to keep it airtight. The result
would be so heavy that a couple of tablets of stone inside would hardly
be noticeable, but hey, a lot of accordions are like that, and you could
always fit it with four hanging rings so the player's assistants could
take the weight with a pair of supporting staves. So maybe the most
famous box in history was actually an accordion? (ref: Exodus 25:10-16).

Consistent with this is the incident in II Samuel 6:6-7, which describes
the attitude a lot of accordionists have to somebody else touching their
instrument:

And when they came to Nachon's threshingfloor, Uzzah put forth his
hand to the ark of God, and took hold of it; for the oxen shook it.

And the anger of the LORD was kindled against Uzzah; and God smote
him there for his error; and there he died by the ark of God.

A similar argument might be put forward for the Black Stone of Mecca
being Allah's rhythm egg. Mohammed set it immovably into the Kaaba
because the Almighty kept losing the beat but insisted on joining in
anyway.

[Mike]

> and God smote
> him there for his error

Poor Uzzah -- he must have had trouble with those exercises in the Sedlon
books, too.

Mike

[Mike Maddux]

Re our pal the devil and his musical adventures:

In Vallenato music there is the story of the accordion duel between the mythical
Francisco El Hombre and the devil. Francisco won by playing sacred hymns
backwards, which apparently upset the horned/hooved one something awful.

Mike

[Michael Berenstein]

Jim Lucas wrote: Neither human language nor jazz was

> submitted for document review as a proposal

Which I think is very eloquent summing up of the discussion. Nothing to
add.