C.O.B.R.A.S. AGENT DAVID DOWN UNDER AT PERMISSION TO KILLIS STARTING A WEEKLY SERIES OF POSTS , WHICH AS HE PUTS IT. . . WILL LOOK AT ACTORS, ACTRESSES, DIRECTORS AND COMPOSERS WHO HAVE WORKED ON A BOND FILM. THESE REVIEWS WILL LOOK AT THEIR WORK BEYOND THE BOND SERIES. FOR SOME PEOPLE LANDING A ROLE IN A BOND FILM IS A GREAT STEPPING STONE TO BIGGER AND BETTER THINGS. FOR OTHERS IT CAN BE A CURSE OF WHICH THEY ARE UNABLE TO BREAK FREE.
TO CHECK OUT THE FIRST ENTRY FEATURING CHRISTOPHER LEE CLICK HERE
I’m not sure I will be able to top this in terms of personal satisfaction as an editor. I mean I thought I had reached the creme de la creme last year by having James Reasoner and Robert J. Randisi (two writing heroes of mine) graciously submit stories to BTAP. But now... damn. I have the honor of publishing the late Paul S. Powers, one of the golden era pulp writers.
Here’s how it happened.
I was at my day job when Mr. Powers came to mind. I mean, of course, I go to his granddaughter, Laurie’s terrific website almost daily but I also visit about a hundred other blogs a week. What I mean to say is I hadn’t been thinking of asking for an old story, so when the thought occurred to me it was almost like he tapped me on the shoulder saying, “Hey, ask Laurie.” Seem odd to you? I’m not sure how else to explain it. I was a little apprehensive about mentioning this to Laurie but she said:
“I do think that this was all guided - I've felt that way since I found out he was a pulp writer. The serendipitous things that happened cannot be explained. So no it's not weird. I'm sure he would be very happy about all of this - thrilled, as a matter of fact. Probably standing on his head right now.”
Laurie surprised me by saying she had several unpublished works. She still had to read through them and get back to me. And when she did. Whew! One is a fictional account of the death of Ambrose Bierce which is just an extraordinary piece of writing that will be featured in our upcoming print anthology and the other makes its debut today as our Weekly Punch. Has a golden era pulp writer ever returned after a sixty year absence? I’m not sure. Regardless, thank you Laurie. Thank you Paul. I’m on top of the world.
ABOUT THE AUTHOR
Paul S. Powers (1905-1971) was a writer who crossed many genres including western, horror, noir, romance, and memoir. He began his career in 1925, writing horror stories for Weird Tales. From 1928 to 1943, he wrote over 400 stories for Street & Smith's Wild West Weekly magazine, many under the pseudonym of Ward M. Stevens.
He also wrote for many other pulp magazines, including Western Story Magazine, Thrilling Western, and Thrilling Wonder Stories. Powers was also the author of Doc Dillahay, a western novel based on the life of his father, which was published in 1949 by Macmillan. In 1943, Powers wrote a memoir, Pulp Writer: Twenty Years in the American Grub Street, but it was stored unpublished in an attic until 1999, when it was found in his personal papers by his granddaughter, Laurie. Pulp Writer was published in 2007 by the University of Nebraska Press.
Laurie recently discovered over two dozen unpublished short stories written by her grandfather in the years between 1940 and 1952, "A Killing on Sutter Street" being one of them. She is now compiling a collection of Paul Powers short stories for publication.
In a kingdom on the verge of a grand renaissance, where natural science has supplanted failing sorcery, someone aims to revive a savage rivalry...
For Portier de Savin-Duplais, failed student of magic, sorcery's decline into ambiguity and cheap illusion is but a culmination of life's bitter disappointments. Reduced to tending the library at Sabria's last collegia magica, he fights off despair with scholarship. But when the king of Sabria charges him to investigate an attempted murder that has disturbing magical resonances, Portier believes his dreams of a greater destiny might at last be fulfilled.
As the king's new agente confide, Portier - much to his dismay - is partnered with the popinjay Ilario de Sylvae, the laughingstock of Sabria's court. Then the need to infiltrate a magical cabal leads Portier to Dante, a brooding, brilliant young sorcerer whose heretical ideas and penchant for violence threaten to expose the investigation before it's begun. But in an ever-shifting landscape of murders, betrayals, old secrets, and unholy sorcery, the three agentes will be forced to test the boundaries of magic, nature, and the divine...
Join the BIG W every Friday evening as he continues to explore, with drink in hand, the Space-Age Pop Hi-Fi musical sounds of the 1950’s and the 1960’s in LIVING STEREO!
• St. Louis Blues - Lou Rawls • Hullabaloo Theme - Hullabaloo Singers • See Mamma Every Night - Peggy Lee • A Shot In The Dark - Henry Mancini • Wives And Lovers - Lena Horne • Call Me - Les Brown • Watch Girls By - Ray Charles Singers • Give Me The Simple Life - Ella Fitzgerald • Odd Job Man - Leroy Holmes • The Girl From Ipanema - Frank Sinatra • Ol’ Man River - Si Zentner • On The Beach At Waikiki - Al Caiola • Galanura - Enoch Light • Ballin’ The Jack - Sammy Davis, Jr. • The Start Of Something Big - Dave Pell • The Mood I’m In - Jack Jones • Theme From “I Spy” - Hugo Montenegro • Johnny One Note - Shirley Bassey • Mad About The Boy - Bob Thompson • Roly Poly - Rock Hudson • Balled of Cat Ballou - Nat King Cole • Holiday For Trumpet - Al Hirt
Paul Malmont has announced that he turned in the manuscript for the sequel to The Chinatown Deathcloud Peril to Simon & Schuster. The title is The Astounding, The Amazing, And The Unknown and may be available as early as Summer 2010.
The Green Hornet and Kato return in this exciting collection of digitally remastered and restored radio adventures, working outside the law to battle kidnappers, rackets, fraud, and other sinister and nefarious enterprises of the criminal underworld.
Featured in these programs is Al Hodge, the first actor to play the role of millionaire newspaperman Britt Reid, alias The Green Hornet. Join Hodge - along with Raymond Toyo as Kato (and The Black Beauty!), Gilbert Shea as Mike Axford, and Lenore Allman as Miss Case - as he "hunts the biggest of all game: public enemies that even the G-Men cannot reach!"
The twenty episodes featured here are among the earliest known recordings to survive from the Al Hodge era. Sixteen of them (taken from the original transcription discs) have not been heard since their initial broadcast in 1939, and the remaining four are available for the first time in unedited form - complete, uncut, and straight from the original masters.
Also includes a Program Guide by Martin Grams, Jr. and Terry Salomonson with photos and background information about the show.
On May 6, 1937, the airship Hindenburg caught fire and was destroyed while attempting to dock with its mooring mast at the Lakehurst Naval Air Station. But one year earlier the Hindenburg was preparing to make its first voyage to North America, and Flying Aces was heralding its arrival with an article and cover painting in the June 1936 issue by C. B. Mayshark (which would have been on the stands in May).
HERE’S SOME PULP FUN FOR EVERYONE WHO LOVES A CLASSIC HERO . . . HEAD ON OVER TO THE LIGHTNING LEGION WEBSITE AND DOWNLOAD YOUR MEMBERSHIP CARD, MEMBERSHIP CERTIFICATE, AND OTHER OLD-TIME RADIO PREMIUMS.
THEN STICK AROUND AND CATCH UP ON THE LATEST ADVENTURES OF CAPTAIN SPECTRE AND OTHERS . . .
A client who seems a little too eager to pony up his retainer, the feds sniffing around like the wolf at the door and witnesses who keep blossoming into corpses. It's almost enough to make a certain police Lieutenant seem like a welcome sight. Almost.
Paranormal romances and dark urban fantasy novels filled with vampires, werewolves, and every sort of supernatural being capable of being romanticized, continue to fill publisher’s lists with no current end in sight. And if the bookstore adult fiction shelves are full of this fare, the Y/A section is bursting at the seams with a seemingly never ending list of similar series.
As in any other genre, there is a lot of crap – but there is also a lot of excellent writing, and I’ve enjoyed most of my forays into the genre. For me, however, it is interesting to see from where the roots for this explosion of romantic horror spring.
While Anne Rice is perhaps the Mother Goddess of vampire romances, starting with Interview With A Vampire in 1976, I’ve always felt Rice is far more interested in horror than romance – certainly in her earliest vampire tales.
In looking back through my reading journals, I believe the Dark Priestess of paranormal romance to be Chelsea Quinn Yarbro. With over seventy novels to her name, covering almost every genre, Yarbro is a writers’ writer – writing six hours a day, six days a week to produce an average of three to four books a year, along with and one or two short stories and/or essays.
Honored repeatedly for her contributions to the horror genre, her stories of the heroic and historic vampire, the Count Saint-Germain, have truly laid the foundation for today’s paranormal romance explosion.
The first Saint-Germain novel, Hotel Transylvania, appeared in 1978. Set in and around Paris in 1743, Saint-Germain débuts in a story blending history and fiction as Saint-Germain is pitted against Satanists to preserve Madelaine de Montalia from ruin.
When the exquisitely beautiful Madelaine de Montalia falls violently in love with le Comte de Saint Germain, a nobleman of great charm and sophistication, she has no inkling of his terrible, torturous secret. He passionately returns her love and yearns to possess her, but he dares not – for Saint Germain is a vampire.
With the dazzling Parisian society of the mid-eighteenth century as a backdrop, Saint Germain and Madelaine struggle with their own desires while battling a fiendish coven of devil-worshippers who would defile Madelaine's body and destroy her soul.
Saint-Germain is cultured, well-traveled, articulate, elegant, and mysterious. In order to convince the naive but intelligent Madelaine de Montalia that she is in danger, Saint-Germain reveals he is thousands of years old and drinks the Elixir of Life, blood. He also introduces her to the sensual pleasures of his vampiric embrace.
Yarbro has stated she intentionally sought to get as far away as possible from the traditional vampire trope "and still have a recognizable vampire," to use the "vampire as a metaphor for humanism," and establish the vampire's erotic appeal as a shared, mutual intimacy.
Yarbro was the first writer to revise the stereotype so completely and mesh it so fully with romance. She also filtered it through a feminist perspective that both the giving of sustenance and its taking were of equal erotic potency.
With her current novel, Burning Shadows, Yarbro continues her tales of the vampire Saint-Germain. As I’ve been with her since Hotel Transylvania, I’m looking forward to being swept up again.
When the 007 franchise launched in 1962, Sean Connery was 32 when he received his license to kill. That was almost 50-years ago, and James Bond has aged like a fine Beaujolais spiked with antifreeze. How is the same 30-something special agent who fought the Cold War-era Russians now taking on post-9/11 terrorism?
There has been a theory among fans that there is no one single James Bond, but that "James Bond" is a codename passed on from one agent to the next as each retires (just as the titles of M and Q pinball from agent to agent). The theory explains the agelessness of Bond – note that Daniel Craig's Bond became 11 years younger whereas Judi Dench's M aged by four years.
This also explains how James Bond's personality changes dramatically from actor to actor. For example, in one film you have Timothy Dalton's Bond
burning a man alive (around the 9:00 mark). Pop in another DVD and you see Roger Moore's Bond is doddering around in a clown costume. The more you look into it, the more it makes sense. George Lazenby's Bond had his wife murdered in the last film he appeared in, so fans could assume his 007 retired out of grief. Timothy Dalton's Bond went rogue and was kicked out of MI6. Pierce Brosnan's final outing ended with Bond being abandoned by British intelligence. Next movie, there's a new Bond in the tuxedo and the old one is presumably on a beach somewhere collecting a government pension.
Hell, even the guy who directed Die Another Day believed this theory. Wait, that was the Bond movie with the invisible car, right? [To heck with] that guy.
WHY DOES IT MAKE THE FILM BETTER?
We like the realism this theory gives the Bond franchise, particularly since 007 movies have the propensity to fly off the rails every few years (see: Moonraker, Denise Richards as a nuclear physicist, that [stupid] invisible car).
On the downside, it throws a real monkey wrench in Cracked's patent pending James Bond Immortality Diet, in which we advise you to hydrate solely with Gordon's and Lillet and to bed at least three secretaries daily.
Elizabeth Hand's new novel Illyria follows in a long tradition of science fiction and fantasy stories which reference the works of Shakespeare, particularly the romances, and Hand's lyrical writing style is a wonderful fit for the dark romance she sets out to tell. The romance tells of the relationship between two cousins, Maddy and Rogan, but like that of the twins Viola and Sebastian in "Twelfth Night" to which the title Illyria alludes, the relationship between Maddy and Rogan proves to be a powerful touchstone for drawing together all the "big ideas" of love, ambition, and conformity to family and social expectations.
Maddy, the protagonist, and her cousin, Rogan, are teenagers growing up in the suburbs of Yonkers in the 1970s. The cousins were born on the same day, Maddy in the morning and Rogan at night, and so they think of themselves as twins, inseparable opposites.
So Rogan was darkness, I was light, and over the years the metaphor was extended to include just about every doomy literary reference you can imagine-Caliban and Ariel, Peter Pan and Wendy, Heathcliff and Cathy, Abelard and Heloise, Tristan and Iseult, Evnissyen and Nissyen . . . . The cousins seem intent upon invoking the doom dictated by their literary references for, though cousins, they experience first love with one another. The proximity of the many houses filled with their endless spying relatives, the unrelenting disapproving gaze of the family, and Maddy's own belief that Rogan is her dark twin all lend themselves to the feeling that the cousins are moving toward some violent end. Even Rogan's pet name for Maddy, "mad girl," seems to indicate that it is the self-destructive streak within each of them to which the other is drawn.
It was like my own reflection in a black mirror, only a mirror that stripped the flesh from my skull so that what grinned back was not the self I showed the daytime world, not the girl who woke and walked and struggled and laughed but the terrible me, the true me; the mad girl inside Maddy. Maddy and Rogan's frustrated desires are to some extent their family inheritance from their paternal great-grandmother Madeline. Though Madeline had been a successful actress at the turn of the twentieth century, upon her marriage she had retired from the stage, and, in her desire to maintain her own power and fame within the hierarchy of the family, actively discouraged her own children and grandchildren from following in her footsteps for fear that their own success would outstrip hers. By the time of Maddy and Rogan's generation, the family is one from which, through verbal abuse and physical bullying, all creativity and artistic ambition has been brutally weeded out. Thus the tragedy of Maddy and Rogan's forbidden desire for one another is in many ways a reflection of their frustrated desires for a life of passionate self-expression, artistic as well as emotional.
Into the parched landscape of Maddy and Rogan's lives comes a new teacher who proposes to put on a Shakespeare play. Originally, Maddy suggests that she and Rogan participate in the play as a way for them to be together despite their parents's prohibitions. The play, however, proves to be the spark that falls into the dry kindling of their emotionally and aesthetically barren lives, and the rest of the story moves inevitably toward the firestorm which will burn down the secret world, their own private Illyria, which they have managed to build together.
JENSENBRAZIL GIVES US SOMETHING SPECIAL FROM MY FAVORITE ‘GIRL SINGER’ . . .
01 Lonely Girl 02 Fools Rush In 03 Moments Like This 04 I Lost My Sugar in Salt Lake City 05 It's the Talk of the Town 06 When Your Lover Has Gone 07 Don't Take Your Love from Me 08 Where or When 09 All Alone 10 Mean to Me 11 How Deep Is the Ocean? 12 Remember 13 If I Could Be With You 14 It's Good to Want You 15 Go Slow 16 A Room With a View 17 The Nearness of You 18 Alone Together 19 I Wanna Be Loved 20 Snuggled on Your Shoulder 21 You're My Thrill 22 Lover Man 23 Body and Soul 24 Make Love to Me
Those mavens of mystery are back. When Mary struggles with a difficult teacher, the 'Sisters' attempts to understand what's what leads to a full-scale investigation! Starring Karen Shickle, Victoria Olson and Rachel Adams. This podcast was partially funded by a grant from the McKnight Foundation through the Arrowhead Regional Arts Council. TO LISTEN OR DOWNLOAD CLICK HERE
The ONLY pulp magazine in print is caught with its pants down
Read the unforgettable and unforgivable "The Vigg Train" by Chris Pimental, the startling "Functional" by John Jasper Owens, as well as new offerings from Angela Caperton, Michael Bracken, Steven Barnes, and many, many more, all carefully selected, edited and organized by read time for maximum pleasure and maximum convenience.
Read amazing nonfiction, including but not limited to an anonymous account of the trials and tribulations of getting busted for solicitation, a firsthand account of Hustler's early days and the ingenious degeneracy of the magazine's founder, an interview with a real-life porn author and a look at the seedy past and exciting present of pulp art.
Beyond all this you get a new crossword puzzle, comics, fun facts and anything else we could think of to keep you amused and make sure you don't have to pay for blank paper when you buy Out of the Gutter!
HERE’S SOMETHING THAT ALMOST SLIPPED UNDER MY C.O.B.R.A.S. RADAR. AMERICAN HISTORY MAGAZINE HAS PUBISHED A SPECIAL ISSUE ON THE 100 GREATEST SPY FILMS. IT’S ON THE NEWSTANDS NOW (I FOUND MY COPY AT THE LOCAL BORDERS).
THE ISSUE IS PACKED WITH PHOTOS, ORIGINAL REVIEWS, AND RANKINGS OF SPY FILMS FROM THE THIRD MAN TO THE OSTERMAN WEEKEND, QUILLER MEM0RANDUM AND BEYOND. INSTEAD OF LISTING ALL THE BOND OR BOURNE FILMS, THEY ARE DISCUSSED AND LISTED AS A FRANCHISE. THIS IS A GREAT WAY OF GETTING IN INFORMATION ON MORE FILMS THAT HAVEN’T BEEN PREVIOUSLY DISCUSSED INDEPTH.
ONE QUOTE FROM THE OPENING ESSAY ON THE DUPLICITY OF SPIES CAUGHT MY EAR, “TO BE A SECRET AGENT IS TO BE KIND OF A PARANOID POET, ABLE TO SIMILTANEOUSLY HOLD TWO OPPOSING TOUGHTS IN MIND – AND USE THAT TO SURVIVE.”
SPY FANS NEED TO GATHER THIS INTELLIGENCE AT THEIR FIRST OPPORTUNITY.
FOR MORE INFORMATION OR TO ORDER A COPY ONLINE CLICK HERE
It is 1861, and Albertian Britain is in the grip of conflicting forces. Engineers transform the landscape with bigger, faster, noisier and dirtier technological wonders; Eugenicists develop specialist animals to provide unpaid labour; Libertines oppose restrictive and unjust laws and flood the country with propaganda demanding a society based on beauty and creativity; while The Rakes push the boundaries of human behaviour to the limits with magic, sexuality, drugs and anarchy.
Returning from his failed expedition to find the source of the Nile, explorer, linguist, scholar and swordsman Sir Richard Francis Burton finds himself sucked into the perilous depths of this moral and ethical vacuum when the Prime Minister, Lord Palmerston, employs him as King’s Spy.
His first mission: to investigate the sexual assaults committed by a weird apparition known as Spring Heeled Jack; to find out why chimney sweeps are being kidnapped by half-man, half-dog creatures; and to discover the whereabouts of his badly injured former friend, John Hanning Speke.
Accompanied by the diminutive and pain-loving poet, Algernon Swinburne, Burton’s investigations lead him back to one of the defining events of the age: the brutal assassination of Queen Victoria in 1840; and the terrifying possibility that the world he inhabits shouldn’t exist at all.
Esquivel—Mini Skirt (Theme Music) Jonah Jones—I Dig Chicks! Frankie Capp—Why Don't You Do Right Diana Dors—Tired of Love Mundell Lowe—Satan In High Heels Martin Denny—Harlem Nocturne Julie London—One for My Baby Jim Backus & Friend—Delicious! Earl Grant—Spanish Eyes Esquivel—Lullaby of Birdland Robert Drasnin—Puente Doble Arthur Lyman—Arrivederci Roma Cal Tjader—Star Eyes Plas Johnson—Johnson's Bossa Nova Pete Rugolo—Latin Nocturne Sammy Davis, Jr.—The Tender Trap Georgie Auld—Real Thing Comes Along Peggy Lee—Alone With The Blues Buddy Morrow—Some of These Days Ethel Azama—Green Fire The Waitiki 7—Adventure In Paradise Voodoo Suite—Sophisticated Savage Perez Prado—Besame Mucho Bob Thompson—Star Fire Mel Torme with Billy May—Rosita Group 1—Cheers James Bond & His Sextet—Goldfinger Project: Pimento—One Mint Julep Quincy Jones—Boogie Stop Shuffle Si Zentner—The Fugitive Theme Hugo Montenegro—James Bond Theme Irving Joseph—The Big Six Jack Costanzo—Cumbanchero Bandoalua Boys—Chihuahua Sam Butera—Night Train Al Hirt—Taboo Dean Martin—I Wish You Love Wayne Newton—Loves Somebody
FRIEND AND WRITER EXTRODINAIRE JAMES REASONER TELLS US HIS LATEST EFFORT IN THE LONG RUNNING LONGARM SERIES IS ON THE SHELVES NOW . . .
Longarm is caught in a desert double cross.
After a sandstorm blows over, Longarm finds himself in the middle of an abandoned town that was previously hidden under sand. And he marks the spot where some hidden loot was buried, drawing thieves like corpses draw buzzards.
Caught Dick Dale’s show Saturday night at the Canyon Club in Agoura, California. I was blown away. Even at 72, Dale is still the undisputed King of the Surf Guitar. Playing a flipped right-handed electric guitar with extra heavy gauge strings left-handed (basically playing the guitar upside down and backward), Dale’s fingers moved so fast there was practically smoke coming off the frets.
Dale not only played his own original licks and riffs (filled with his trademark tremolo picking), but took the licks of everyone from Link Ray to Stevie Ray Vaughn, put them through the mix of his own musical madness and defiantly spat them out as if laughing at them while asking, “is that all you got?”
Demanding the guilt or credit for originating everything from reverb to backfeed to exploding amps, Dale straddled his guitar while running its strings back and forth across the edge of an amp – and somehow made it musical. Flowing from guitar to drums to harmonica to trumpet and more – playing them all strictly by ear and with consummate skill – Dale proved he is a musical savant and still a force with which to be reckoned.
Dale’s much younger backing musicians – a drummer and a bass guitarist introduced only as Ryan and Sammy respectively – were equally impressive. Dale follows no set routine in his ninety minute set, moving from one song to another on a whim, sometimes in the middle, sometimes somewhere else, or simply riffing at will, causing both drummer and bass guitarist to react on a moment’s notice. There were times when Dale would flash a chord progression or demand a specific drum beat as if he were flashing gang signs, but his guys were right there with him in a loose, but flawless performance.
Aside from traditional highlights, like Misirlou with all its Middle Eastern influences (Dale is often credited as one of the first electric guitarists to employ non-Western scales in his playing), The evening was capped by the most unusual arrangements of Peggy Lee’s Fever and the hymn Amazing Grace.
While courageously battling cancer, Dale claims he’ll keep playing as long as fans keep coming to hear him. For my part, I’ll keep coming to hear him as long as he keeps playing.
The head honchos over at NBC should be rounded up and committed to Arkham Asylum for their own safety and our sanity.
Not only are they having to retreat from the complete fiasco of the ‘Leno experiment,’ but are now flailing about to find a remedy in the form of remaking classic series – an absolute receipt for disaster.
The six new series to which NBC has give a green production light include a remake of The Rockford Files and a U.S. version of Prime Suspect.
Not only did both of the original shows benefit from iconic performances by iconic actors, but they are also part and parcel of the era in which they were made. Prime Suspect in particular thrived because it showed the struggle of a female detective trying for THE FIRST TIME to make it as the head of a homicide unit – the whole ‘you can’t handle this job, little lady’ thing has since been done to death.
Hasn’t anybody at NBC checked the track list of successfully rebooted series? It’s shorter than the list of shows that have survived the transition from Britain to American versions – for every The Office, there is a graveyard full of Crackers.
Trying to update or tamper with either The Rockford Files or Prime Suspect while bringing in a hip and swinging, all pouty looks and no acting chops, twenty-something to fill the lead roles is just – arrrghhhh! The eighteen to twenty-five demographic so valued by advertisers may not remember Jim Garner or even Helen Mirren, but let me give the NBC executives a clue – that demographic isn’t watching that much television any more.
How in the world did the NBC programming department convince the Network Suits to kill off the soaring Southland and opt to rework a pair of all-time classics? NBC has turned itself into a fossil. The peacock is dead. It’s over. Stick a fork in it and sneak it onto the table for Thanksgiving.
In actuality, NBC is trying the reverse – taking the peacock beauty of two classic shows and turning them into turkeys. Curmudgeon that I am, I won’t be at the table when they are served.
Oscar Alemán, one of the finest jazz guitarists of the 1930s, is a difficult player to evaluate because he sounded like a near-exact duplicate of Django Reinhardt. Since Django was a year younger, some have speculated that he developed his style from Alemán, although the opposite is just as likely.
Alemán began playing guitar as a teenager in Argentina and in the late '20s, he moved to Europe, Spain at first. By 1931, he was living in Paris and during 1933-1935, he was a regular member of Freddy Taylor's Swing Men From Harlem. Alemán appeared on records with trumpeter Bill Coleman and clarinetist Danny Polo and was the leader on eight selections from 1938-1939.
He moved back to Argentina in 1941 and, although he recorded as late as 1974, few outside of his native country have ever heard of him. Strangely enough, Oscar Alemán does not seem to have ever visited the United States and none of his many recordings of swing tunes in his post-Europe years (except for a few titles put out by the collectors TOM label) have ever been released domestically. ~ Scott Yanow, All Music Guide
01 - Dulce Georgia Brown 02 - Caminos Cruzados 03 - Limehouse Blues 04 - Me Has Enamorado 05 - Me Voy De Fiesta Al Campo 06 - Improvisaciones Sobre Boogie Woogie 07 - Apanhei Te Cavaquinho 08 - O Vestido De Bolero 09 - Cielos Azules 10 - Diga Diga Doo 11 - Pe De Manaca 12 - Ritmo Loco 13 - Tengo Ritmo 14 - Saudades 15 - St Louis Blues 16 - Nadie Me Ama 17 - Nada Mas Que Un Poquito De Swing 18 - Tonterias 19 - Ardiente Sol 20 - Milonga Triste 21 - Casi Negro 22 - Casi Bueno 23 - De Buen Humor 24 – Oscarinados
Re-inventing the spy story for the 21st Century. John Le Carre meets Jason Bourne! Daniel Marchant, a suspended MI6 officer, is running the London Marathon. He is also running out of time. A competitor is strapped with explosives. If he drops his pace, everyone around him will be killed, including the US ambassador to London. Marchant tries to thwart the attack, but is he secretly working for the terrorists?
There are those in America who already suspect Marchant of treachery. Just like they suspected his late father, the former head of MI6, who was removed from his job by the CIA. Marchant is treated like an enemy combatant – rendition, waterboarding – but he has friends who are disillusioned with America's war on terror. Friends like Leila, his beautiful MI6 colleague and lover, and Sir Marcus Fielding, the new Chief who resents the White House's growing influence in Whitehall.
On the run from the CIA, Marchant is determined to prove his father's innocence in a personal journey that takes him from Wiltshire, via Poland, to India. It was here that the former MI6 chief once met with one of the world's most wanted terrorists, and where the new President of America is shortly to visit. But was that meeting proof of a mole within MI6 or the best penetration of Al Qaeda the West has ever had? And was Marchant's father the keeper of another, darker secret?
In a compelling thriller that updates the spy novel for the 21st century – think John Le Carre meets Jason Bourne - Marchant discovers the shocking realities of personal betrayal and national loyalty, and that love can be the biggest risk of all.
It’s the Cocktail Nation with Koop Kooper sponsored by Tiki Shark. This week Koop is relaxing at the south coast holiday house enjoying the Sydney summer, playing bongos and reading. And speaking of reading, Koop will let us know about an incredible book we need to pick up about Dean Martin. We’ll also have our regular Ask Koop segment and take a look at the world of swank. Our special tonight is the life of Chet Baker, and Koop’s got a cool art showing to check out here in Sydney.
Jimmy Vargas ~ Love is a Racket Martini Kings ~ You Only Live Twice Chet Baker ~ Moonlight becomes you Neal Hefti ~ Batman Alvino Rey ~ Isn't it romantic Max Versterhalt ~ Summertime Stolen Idols ~ Black Orchid Waitiki 7 ~ Adventures in Paradise Dean Martin ~ Who's Got The Action John Barry ~ Beat For Beatniks George Shearing ~ How High The Moon Esquivel ~ Agua De Beber SSS Unlimited ~ Robotheque Diana Krall ~ Este Seu Olhar Sally Street ~ Teach Me Tonight Joey Altruda ~ Swinging Smigs Annie Ross ~ Everything I've Got