A clip of Nakariakov
William Graham
Doc
"William Graham" <we...@comcast.net> wrote in message
news:Mu5fc.139817$JO3.84716@attbi_s04...
> See if this works:
>
>
http://switchboard.real.com/player/email.html?PV=6.0.12&&title=avro&link=htt
p%3A%2F%2Fwww.nakariakov.com%2Favro.mpeg
He makes me sick....
Michael Bell
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William Graham
"Doc" <docsavage20@_remove_this_to_reply_hotmail.com> wrote in message
news:Z1bfc.6677$l75....@newsread2.news.atl.earthlink.net...
it..........
William Graham
"Michael Bell" <be...@otelco.net> wrote in message
news:407d8f36$1...@corp.newsgroups.com...
> What music is he performing and is this performance on cd?
>
you'll find everything he has out.....6 or 8 CD's with some of the best
classical music ever written....
http://www.nakariakov.com
Michael Bell
"William Graham" <we...@comcast.net> wrote in message
news:Mu5fc.139817$JO3.84716@attbi_s04...
William Graham
> What music is he playing?
I don't know.....But his website has a list of all his CD's and his
repertoire.......
Nate
rather than chasing skirts like I did.
Did anyone else notice he uses circular breathing in this clip? I don't
think I've ever since a classical player do this, especially not during
such a quickly tongued passage.
Very impressive...and irritating.
-Nate
William Graham
"Nate" <nblanREMOV...@yDITTOahoo.com> wrote in message
news:Mv0gc.16269$L75.3051@fed1read06...
> Sigh....maybe I would've been better off practicing more at his age
> rather than chasing skirts like I did.
................The amateur's lament.............
Doc
> Sigh....maybe I would've been better off practicing more at his age
> rather than chasing skirts like I did.
'Ya know...I think that some people could practice their whole lives
and not play like that. The fact that some people can get so good at a
very young age I believe has a lot to do with simply being blessed
with cooperative tissue and underlying support structures - teeth,
etc.
I also believe being blessed in one particular area can well be
mutually exclusive of extreme ability in another. I bet Jon Faddis
could never play like Nakariakov and vice versa.
CoolBlues
Nutty!
Coolblues
John Miller
> He's playing the Mendelsohn (sp?) Violin Concerto in D minor.
>
> Nutty!
You mean he's playing the e minor concerto down a step?
--
John Miller
Email address: domain, n4vu.com; username, jsm
Marriage is the sole cause of divorce.
William D. Rowe
spoke of Faddis's upper register. He noted that Faddis did not have a
natural ability in the upper register, but that he had an excellent teacher
from the time he was 7 years old who had taught him how to play correctly
from the beginning. Or correctly for Faddis anyway...
--
(To reply remove no-more-spam from the reply to address)
"Doc" <docsa...@yahoo.com> wrote in message
news:f0c1bc20.04041...@posting.google.com...
Doc
"William D. Rowe" <browe_...@comcast.com> wrote in message
news:FNmdnYnL9oq...@giganews.com...
> I remember a clinic given by Marvin Stamm about 20 years ago in which he
> spoke of Faddis's upper register. He noted that Faddis did not have a
> natural ability in the upper register, but that he had an excellent
teacher
> from the time he was 7 years old who had taught him how to play correctly
> from the beginning. Or correctly for Faddis anyway...
Makes a good story anyway. Note that the first thing you think of when
someone says Jon Faddis is "high notes". Faddis was playing screamin' lead
by the time he was a teenager, so he must have had some kind of "natural
ability". So why didn't all this "correct teaching" enable him to play the
kind of literature that Nakariakov plays? Nakariakov certainly "plays
correctly" but I'd be willing to bet he could never match Faddis or many
others on high notes.
I'd also be willing to bet that if Faddis stopped what he's doing right now
and trained like hell exclusively on legit literature, even if he started 20
years ago, he could never match Nakariakov or various others in that realm,
no matter what equipment he tried. He found the realm in which he could
excel given the tools he has.
Allen Vizutti is probably as close as anyone to a "does it all" player. Yet,
if one is truly objective, he's not the strongest lead player nor in the
same class as players like Andre, Dockshitzer, Nakariakov etc.
WWise72606
someone says Jon Faddis is "high notes". Faddis was playing screamin' lead
by the time he was a teenager, so he must have had some kind of "natural
ability". So why didn't all this "correct teaching" enable him to play the
kind of literature that Nakariakov plays?>>
He chose Dizzy for a role model. All Sergei could talk about was Wynton.
They made their choices at about the same age.
<< I'd also be willing to bet that if Faddis stopped what he's doing right now
and trained like hell exclusively on legit literature, even if he started 20
years ago, he could never match Nakariakov or various others in that realm,
no matter what equipment he tried. >>
Why would he want to?
Jon Faddis is doing what Jon Faddi wants to do?
Which part of choice, Doc, don't you understand?
Everyone does not aspire to be a soloist.
Wilmer
William Graham
"MIA" <info@@terra-guard.com> wrote in message
news:6e4gc.149503$oR5.123435@pd7tw3no...
> I was impressed with his playing but amazed by his lack of physical lack
of
> movement. He has NO movement of his muscles around his chops and he didn't
> seem to physically move around with the music..........strange but
> interesting.
>
>
Yeah.....I have to confess that even though I have several of his CD's, I've
never seen him live....That clip is the first time I have seen him play,
even on the TV.....If he ever comes to Portland, OR and I find out about it,
I'll be there to see him.....
William Graham
He had started out as a pianist, and then switched to the trumpet because of
a back injury that made it hard for him to sit at the piano.....His sister
plays the piano with concert ability.....They probably were started out in
music when they were very young, and that's why they are so good at 20.....I
believe that those first 5 or 6 years of life are all important....If you
can get a kid to practice early enough, you can teach him/her
anything.....But it isn't easy....None of my kids would ever do anything I
asked them to, even when they were two year olds.....I just never had the
ability to instill any desire to work in any of them. When they were adults,
then they became hard workers, and managed to accomplish something, but as
kids, they all drove me crazy.......The parents who can instill the desire
to work hard and accomplish something in their kids when they are real young
are the ones who have some chance of parenting a Mozart or a
Nakariakov......
Doc
"WWise72606" <wwise...@aol.com> wrote in message
news:20040417175941...@mb-m04.aol.com...
> << I'd also be willing to bet that if Faddis stopped what he's doing right
now
> and trained like hell exclusively on legit literature, even if he started
20
> years ago, he could never match Nakariakov or various others in that
realm,
> no matter what equipment he tried. >>
>
> Why would he want to?
> Jon Faddis is doing what Jon Faddi wants to do?
> Which part of choice, Doc, don't you understand?
Which part of hypothetical proposition for the purpose of illustration don't
you understand?
People's "choices" are sometimes shaped by their potential. You have to look
at the big statistical picture. A guy who's 5'2" is more likely to aspire to
be a jockey than an NBA star. The only reason you ever heard of Jon Faddis
is that he's a strong high noter and lead player and won some high profile
gigs at a young age. Had he "decided" to pursue legit playing, (or even
another instrument) he likely would have been another also-ran, but not
standout player. Ditto Maynard Ferguson.
I.e., the reason they are well known is due to the happenstance that their
choice matched an ability they had that allowed them to stand out.
> Everyone does not aspire to be a soloist.
Okay, and? Both Faddis and Nakariakov certainly have chosen thusly. And this
also dovetails into what I said above. It seems to me that frequently "being
a soloist" chooses you. You're the kid in band who has better tone/technique
than everyone else, obviously the band director is likely to assign the
solos to you. Further, the reason you've ever heard of Nakariakov,
Dockshitzer, Andre, Severinsen, etc. *is* that they chose to be a soloist,
and there are likely thousands who they were chosen over for whatever
opportunities that led to their notoriety.
Doc
> He had started out as a pianist, and then switched to the trumpet because
of
> a back injury that made it hard for him to sit at the piano.....His sister
> plays the piano with concert ability.....They probably were started out in
> music when they were very young, and that's why they are so good at
20.....I
> believe that those first 5 or 6 years of life are all important....
Well....I think with brass instruments, in particular trumpet, there's a
special stumbling block - i.e. your chops.
WWise72606
you understand? >>
I don't get the point at all.
What if Phil Smith were born in the thirties and he was black?
Which chair with Duke Ellington would he play?
Would he replace Bubber Miley?
Would Wynton chose a career as an NBA gaurd if he had the choice? He is a good
ball player.
Bud played in big bands, why didn't he continue?
These are very important questions.
NOT!!!!!!!!!!!!
Wilmer
Nate
> are the ones who have some chance of parenting a Mozart or a
> Nakariakov......
That raises an interesting question. Do you think it's ethical to get a
child started on that sort of thing so early? It's unlikely that a
child under 10 years old would choose to practice an instrument over,
say, playing video games, so there would be a certain amount of
compulsion involved.
I don't have kids yet but I'd be curious to hear how others have handled
this.
-Nate
WWise72606
child started on that sort of thing so early? It's unlikely that a
child under 10 years old would choose to practice an instrument over,
say, playing video games, so there would be a certain amount of
compulsion involved. >>
I started playing the trumpet at 8 years old.
I picked the trumpet as my instrument and have stuck to it..
I was younger than Sergei when I started.
Wilmer
Doc
> << Which part of hypothetical proposition for the purpose of illustration
don't
> you understand? >>
>
> I don't get the point at all.
Jon Faddis is considered a "great" player primarily on the strength of his
ability to accurately play high, loud and in tune, for the most part in a
manner that's regarded as musical. There seems to be disagreement on the
matter of his improv chops.
I'm guessing he wouldn't be as outstanding in the legit realm, nor would
Nakariakov make a big splash as a lead player.
> What if Phil Smith were born in the thirties and he was black?
Then he wouldn't be Phil Smith.
But on that topic, certainly there are various factors besides one's skill
that have a bearing on what opportunities become available or whether
someone becomes famous. I know that what you're getting at is that blacks
were denied access to the classical music realm in days gone by. But there's
more than one kind of discrimination. Chris Botti is a competent player but
probably wouldn't have gotten many of the gigs he's gotten if he weren't a
pretty boy. No matter how well he plays, you think Wynton would have become
as well known if he were highly unphotogenic?
But none of this changes my previous point.
> Would Wynton chose a career as an NBA gaurd if he had the choice? He is a
good
> ball player.
One can find "good" ball players on every schoolyard, high school, college
and neighborhood pickup game, just as one can find "good" trumpet players
everywhere. I don't know Wynton personally but he's an amazing trumpet
player in an elite class. I'd wager he's not as amazing a ball player not
even counting that he lacks the height. As to which would he choose? I guess
you'd have to ask Wynton, but I suspect that given the choice, knowing what
he knows now, he'd pick the horn as at 42/43 he'd already be too old to play
in the NBA whereas hopefully he's still got many years ahead of him playing
the horn. If you'd asked him at 17, maybe his answer would have been
different.
> Bud played in big bands, why didn't he continue?
By Bud, do you mean Bud Herseth?
William Graham
A lot of girls start pretty early in music....Probably because they are more
passive and compliant......Many become child prodigies on the violin,
probably because that's what their parents want.....Many give it up when
they are in their twenties or thirties....I was not aware that Nakariakov
started so late....It's amazing how good he became in 12 years........
Doc
> It's amazing how good he became in 12 years........
He was likely playing all kinds of horn in far less than 12 years. That's
what I mean. It seems that as a rule the superb players get good quickly.
Doc was winning contests by the time he was 12. Maynard was fronting his own
band by his mid-teens and by all accounts had his high range early on.
There's got to be a reason why some people take to it like a duck to water
whereas some people who work just as hard and are just as motivated,
struggle. I say a lot of it lies in the physical tools one is born with.
It's also why I don't put much stock in various "play great just like me"
method books. If you weren't blessed with the same tools, the method isn't
going to produce the same results.
WWise72606
more than one kind of discrimination. Chris Botti is a competent player but
probably wouldn't have gotten many of the gigs he's gotten if he weren't a
pretty boy. No matter how well he plays, you think Wynton would have become
as well known if he were highly unphotogenic?
Hm.............
Wynton was a skinny kid when I met him, he weighed less than 150 lbs., most
of it hair.
In a short time he went from unknown to the talk of the town.
He started by subbing for me on broadway in Sweeney Todd and playing some extra
gigs with the Brooklyn Philharmonic.
He was subbing for Lew Soloff on gigs after Lew, on the phone, heard Wynton
play the Haydn Concerto live with the Brooklyn Philharmonic. He didn't have a
record contract.
Sergei also played with the Brooklyn Philharmonic.
He won a contest and played the Arban "Carnival Of Venice." He was 14 or 15
years old and played his behind off.
He wanted to do everything Wynton had done, but he wanted to do it younger.
I met Chris on the gig, we were recording that crazy"48 Hrs." theme.
Chris was there because he can play, not because he's cute:-}
Faddis was under Lew Soloff's wing for years.
John left Hamp's band and moved to NY.
He came up thru the ranks.
Every last one of them is doing what they where put here to do.
Wilmer
Carl Dershem
news:Qzlgc.17671$L75.16489@fed1read06:
If the kid is motivated and feels a connection to the music and the
instrument, they can start much earlier. I have friends who started as
early as age 4, and still play 50 years later. One trick that's REALLY
hard is to encourage withut pushing. For me, what helped was having a dad
who was a musician - he'd have friends over for "jam sessions", and hearing
what was possible, and seeing the (apparent) ease with which they made such
beautiful sounds really moivated me. ALso, having good music playing most
of the time, instead of having the TV on made a big difference.
Good luck!
cd
--
The difference between immorality and immortality is "T". I like Earl
Grey.
Doc
> I met Chris on the gig, we were recording that crazy"48 Hrs." theme.
> Chris was there because he can play, not because he's cute:-}
I'm sure he can play, but do you honestly think he'd have gotten the Sting
gig or whatever that chic's talk show is I've seen him leading the band on
if he weighed 300 lbs and had a comb-over?
I once played in a band with the late Danny Stiles (former Merv Griffin lead
player and Bill Watrous alumnus) and among the stories he related was that
they only hired guys for the Griffin band who had a full head of dark hair
and no glasses. "they wanted us to look like a buncha' queers I guess" was
the colorful way he capsulized it.
I've often thought that at least one of the reasons Doc was put out front to
be the band leader for the Tonight Show (and subsequently did many t.v.
appearances) besides that he's a superb player, was that he has a "pretty"
embouchure and looks good on camera when he plays. Doesn't puff out his
cheeks, doesn't turn 5 shades of purple or go through extreme facial
contortions even when he goes high, his chops just generally look very
symmetrical and "tidy" when he plays.
manitou910
> << But there's
> more than one kind of discrimination. Chris Botti is a competent player but
> probably wouldn't have gotten many of the gigs he's gotten if he weren't a
> pretty boy. No matter how well he plays, you think Wynton would have become
> as well known if he were highly unphotogenic?
>
> I met Chris on the gig, we were recording that crazy"48 Hrs." theme.
> Chris was there because he can play, not because he's cute :-}
I can't disagree that Botti is incredible eye candy, but if that were
the extent of his gifts he wouldn't interest me (or Sting.., or Columbia
Records.... et al........).
I've never heard any musician play an intrument more beautifully than
Chris Botti -- not even Vladimir Horowitz.
As for the 'pretty boy' claims re CB, it's worth noting he did *not*
attract much attention in his 20s or earlier 30s [when, presumably, he
was even more cute and pretty than he is now... <vbg> ].
Botti is an incredible musician. If it's any consolation [as he cries
his way to the banks of LA and NYC....], both Laurence Olivier and
Vivien Leigh in their earliest years were dismissed by many as
"incompetent" actors, because they were so gorgeous.
C.
William Graham
Yeah....I would say that people like Doc and Wynton definitely made it on
their skill, and would be where they are regardless of how they looked. If I
had to pick someone whose looks had a hand in their fame, I would look at
someone like Chet Baker....His looks and singing played a large part in his
fame, in my opinion......
William Graham
"Carl Dershem" <der...@cox.net> wrote in message
news:Xns94CF5561399...@68.6.19.6...
he's real young....If nothing else, it teaches them the benefits of a little
hard work. When I was in college I knew a guy that was tone deaf (he
couldn't tell you which of two notes was higher or lower) and he played the
accordion pretty well....He was taught at an early age to read music on the
thing like a machine. I know him today, some 50 years later, and he doesn't
play it anymore, but he had fun in college because of his ability, and isn't
bitter at anyone for making him practice the thing, so what harm was done?
And, someone that has a lot of natural ability like Nakariakov, gets to make
a good living traveling all over the world, so it certainly didn't hurt him
any. If he would rather be a doctor or lawyer, well....He's still in his
20's, so he can do anything he wants.....
Doc
> Botti is an incredible musician. If it's any consolation [as he cries
> his way to the banks of LA and NYC....], both Laurence Olivier and
> Vivien Leigh in their earliest years were dismissed by many as
> "incompetent" actors, because they were so gorgeous.
You know, I hear Anna Nicole Smith has the same problem, noone taking
her seriously as an actress. Must be because of her looks.
manitou910
> manitou910 wrote:
>
>>Botti is an incredible musician. If it's any consolation [as he cries
>>his way to the banks of LA and NYC....], both Laurence Olivier and
>>Vivien Leigh in their earliest years were dismissed by many as
>>"incompetent" actors, because they were so gorgeous.
Another Botti-basher described him as "Louis Armstrong meets Brad Pitt".
> You know, I hear Anna Nicole Smith has the same problem, no one taking
> her seriously as an actress. Must be because of her looks.
BWAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA!!!!!!!!!!!!!!!
C.
manitou910
>
>>I met Chris on the gig, we were recording that crazy"48 Hrs." theme.
>>Chris was there because he can play, not because he's cute:-}
>
> I'm sure he can play, but do you honestly think he'd have gotten the Sting
> gig or whatever that chic's talk show is I've seen him leading the band on
> if he weighed 300 lbs and had a comb-over?
Probably not -- but he also wouldn't have got either gig if he weren't a
first-class performer.
C.
Dave Lee
>had to pick someone whose looks had a hand in their fame, I would look at
>someone like Chet Baker....
Even though I liked the TJB, how about Herb Alpert?
Doc
> > I'm sure he can play, but do you honestly think he'd have gotten the
Sting
> > gig or whatever that chic's talk show is I've seen him leading the band
on
> > if he weighed 300 lbs and had a comb-over?
>
> Probably not -- but he also wouldn't have got either gig if he weren't a
> first-class performer.
Or at least plays enough to fool the audience. I wouldn't make the
assumption at all that only great players get the gig. For all I know he and
Sting are long time buddies.
William Graham
"Dave Lee" <dave...@aol.comspamnot> wrote in message
news:20040419194420...@mb-m17.aol.com...
Yeah....Except Alpert was a businessman. - He had a band, and a recording
company, and all in all, had a lot more going for himself than just playing
the horn and good looks. (I speak of him in the past tense, but I think he's
still with us....)
manitou910
>
>>>I'm sure he can play, but do you honestly think he'd have gotten the
>>>Sting gig or whatever that chic's talk show is I've seen him leading
>>>the band on if he weighed 300 lbs and had a comb-over?
>>
>>Probably not -- but he also wouldn't have got either gig if he weren't a
>>first-class performer.
>
> Or at least plays enough to fool the audience. I wouldn't make the
> assumption at all that only great players get the gig. For all I know he and
> Sting are long time buddies.
They aren't. They met circa 1998 (forget exactly, but you'll find the
info online somewhere). Sinatra had just died and Botti asked Sting if
he'd perform "In The Wee Small Hours" for his next CD, "Slowing Down The
World" [which you won't like <g>].
Sting's response was he'd do so if Botti would participate in his "Brand
New Day" CD, which led to Botti being hired as band member and featured
artist for the "Brand New Day" tour which lasted circa two years. Botti
recorded "Night Sessions" during a ten-week break in LA during the
spring of 2001.
I'd never heard (or heard of) Botti until a net friend in the UK asked
me to get the "Brand New Day" DVD, which I watched (and soon bought my
own). I was completely blown away by the work of this trumpet player,
started doing net searches and bought his CDs available at the time.
The DVD was done in LA at the start of the tour (probably late October;
Sting mentions something about Halloween in a few days). Sting had only
recently hired Kipper as his producer and keyboardist [they'd met doing
music for "The Mighty", a late 90s movie]. Sting also had to replace
his piano player, Kenny Kirkland, who had died in late 1998. Sting
remembered Kirkland once introducing him to Jason Rebello who also was
new to the Sting gang in 1999, and is a knockout musician.
All of these people (not just Botti) were hired by Sting because they
were/are superb musicians who would be tremendous assets to his band,
his tour, and the CDs and DVDs which followed.
It's also well known that Sting has not shied away from dumping one or
two people he no longer worked well with. He hires *only* musicians he
considers to be first class, whether they are band members, guest
artists, or featured artists, whatever. (And not all of them are eye
candy. Annie Lennox, touring with Sting this summer, is not exactly
Julia Roberts or Audrey Hepburn.)
Botti is now more than ready to branch out on his own. He's currently
touring, headlining with his own band. I caught his final performance
opening for Sting in Ottawa on March 23, which BTW was mainly loud,
aggressive music, not the slower 'chill-out' "music to shag to" -- the
latter being Botti's own description of his more lyrical music.
While many reviewers have compared him to Chet Baker, Botti has said
many times that the major influence which prompted him to study the
trumpet was Miles Davis. In interviews he discreetly plays down
references to Chet Baker.
Botti's "shag-to" compositions are very lyrical and he has acknowledged
being influenced by great singers including Sinatra, with whose band he
had performed in 1984.
What I like about his music, in addition to his playing, is that the
'chill-out' stuff _is_ relaxing, but also not boring -- at least not to
me. The harmonies, textures and rhythms are always inventive and unique
IMO.
Obviously, there are many people (from jazz and pop camps) who will
dismiss anything slow and relaxing as no more than elevator or
background music.
If Botti wished to build a career on pretty-boy stud-muffin looks, he
could have done so 20 years ago when he was 21. I agree the topless
photos by Fabrizio Ferri for the "Night Sessions" leaflet are -- well --
a bit over-the-top. This was obviously some publicist's idea (as it had
been decades before when Chet Baker posed topless for album covers).
C.
Tim Priddy
(in message <uL1hc.1045$J431...@news04.bloor.is.net.cable.rogers.com>):
> What I like about his music, in addition to his playing, is that the
> 'chill-out' stuff _is_ relaxing, but also not boring -- at least not to
> me. The harmonies, textures and rhythms are always inventive and unique
> IMO.
I agree. Texture is the word. Lyricism. Beauty. Tone. Very difficult to
emulate. Just try and see.
Regards,
Tim Priddy
Catzz66
point. I followed up the two Sting albums with a couple of Botti's CDs and have
not been able to get into them so far. I thought he did a lot better with the
Sting ensemble, who were all top notch musicans, by the way.
manitou910
There is no question that Sting and his band were tremendous catalysts
in Botti's development.
Most people agree Botti's best CD is "Night Sessions". It was produced
by Kipper, Sting's producer; uses several of Sting's musicians in
addition to Botti's regular band; and also encompasses the debut
recording of Sting's "All Would Envy", sung with a haunting, unique
sensitivity by Shawn Colvin [Sting's only recorded performance of the
song to date is a work-in-progress from his "Sacred Love" DVD, during
which he is exquisitely accompanied by Botti whose trumpet starts the
song with an enharmonic modulation to C-sharp minor after the final
chorus of "Stolen Car" (chapter 8 on the DVD)].
Notwithstanding my own awe of Botti, I consider he is still growing
artistically and that his solo work will get better and better in the
coming years.
In interviews Botti has stated very unequivocally that touring with
Sting was his biggest break thus far, and he obviously was not refering
only to the tremendous exposure he got from Sting's "Brand New Day" tour.
Also, I'd say Botti at this time is at a point (I believe the term
'crossroads' would be inexact and even pejorative) where he is balancing
the demands of ongoing artistic development and the demands of being
heavily marketed by Columbia and others as a breakout star performer
(eg, quickie flying in/out of Houston a few weeks ago to perform a
slightly jazzed-up National Anthem for a game audience, including former
Prez George Bush Sr. and Mrs. Bush) and sex symbol (the topless photos
for "Night Sessions").
He is obviously an extraordinarily intelligent guy as well as an
incredibly talented one. I'm quite sure Botti understands all of this
and will resolve it on his own terms, and that listeners will be the
ultimate beneficiaries.
Anyone who wants an example of Botti's best recent work _not_ done in
tandem with Sting and co, however, should listen to Botti and Billy
Childs (piano) perform "My Funny Valentine" on his recent CD, "A
Thousand Kisses Deep". Overall, I don't like this disc nearly as much
as "Night Sessions", but the Botti/Childs' performance of this classic
is astounding IMO.
I'd advise people who still aren't sure about Botti to get the disc and
listen ONLY to this cut.
C.
Spammers Are Baffled
BTW. In the immortal words of George Castanza, "It doesn't help." ROFLFLOL