HDTenEightyP/NetNews huggingface dataset:
From: mjs@fc.hp.com (Marc Sabatella)
Newsgroups: rec.music.bluenote
Subject: Re: Penguin Guide: Short Review & 5 Star Recordings
Date: 25 Jan 1993 18:06:05 GMT
Organization: Hewlett-Packard Company
Reply-To: marc@hpmonk.fc.hp.com
NNTP-Posting-Host: hptrane.fc.hp.com
X-Newsreader: TIN [version 1.1.2 PL6]

william.j.hery (wjh@cbnewsl.cb.att.com) wrote:

: ("Do you believe what Penguin said about Ornette's NEW YORK IS NOW?
: Thin and directionless? Those guys wouldn't know a great record
: if they tripped over it" etc., etc.--and no, I don't want to start
: that debate :-).)

OK, then I will :-).  Not about "New York Is Now" (a perfectly average Ornette
album, I'd say), but about some of the 5 star recordings.

: No Diz. No Ornette. No Max. No Brownie.

The lack of Diz doesn't surprise me - for a guy who had been around as long as
he had, and who was considered an all-time great, he didn't really seem to
have much that was considered "essential" under his own name.  But I imagine
he must have appeared on a Bird collection or two that rated 5 stars?

One could probably make the same argument (minus the length of service bit for
Brownie) for the others, except Ornette.  How "The Shape Of Jazz To Come"
managed to evade that fifth star is a mystery to me.

: Blakey, Jazz Messengers with Thelonious Monk

Ick.  I was pretty excited when I first saw this recording, but having heard
it, I have to say it is one of my least favorite Blakey albums, and one of my
least favorite Monk albums.

: Bill Evans, Sunday at the Village Vanguard
: Bill Evans, Waltz For Debbie

Even a set of outtakes from the same session rates 5 stars (not that I'm
disagreeing, mind you)...

: Andrew Hill, Point of Departure
: Bobby Hutcherson, Dialog

I think these two are the same album.  At least, every time I grab one to put
on, I'm always expecting it to be the other :-)  They are also both arguably
Dolphy's "Out To Lunch".  So I guess it doesn't surprise me to see all three
get 5's, although I would have given them only 3-4.

All on all, I find their choices, well, weird.  You'd kind of expect a short
list of 5-star recordings to look more like a set of "essential" and/or
"historic" recordings.  I'd almost expect them to do a "top down" analysis -
agree on the 20 (or however many there were) best recordings, give them 5
stars, then maybe go back and individually rate the others.

--
Marc Sabatella
marc@hpmonk.fc.hp.com
--
Amendment 2 Is Legalized Discrimination - Shame On You, Colorado
--
"Neither the State of Colorado ... nor any of its municipalities ... shall ...
 enforce any ... ordinance ... whereby homosexual, lesbian, or bisexual
 orientation ... shall ... be the basis of ... any ... claim of discrimination"
--
All opinions expressed herein are my personal ones
and do not necessarily reflect those of HP or anyone else.
Newsgroups: rec.music.bluenote
From: trh@jack.sns.com (Al Trh)
Subject: Jazz article on A. Esen
Organization: Systems'n'Software
Date: Sun, 24 Jan 93 17:06:12 GMT

Turkish Jazz - AydIn Esen


AydIn Esen

At the ripe age of 30, Turkish pianist AydIn Esen is a steamy
cauldron of creative energy and technical finesse. You can feel
the expressive heat and urgency on "Anadolu", Esen's first release
for Columbia. Big ideas abound. Compositions with epic sweep and
elaborate horn arrangements swirl around Esen's exacting - and
exciting - pianistic displays. Traces of Esen's classical breeding -
he studied at both Juilliard and Berklee - seep into the music.
But a kind of burnished musicality and heartfelt emotion are the
rules here. Among the luminious musicians rounded up for Esen's
major label debut were bassists Dave Holland and Anthony Jackson,
drummer Peter Erskine, saxophonists Bob Mintzer and Dave Liebman,
and trumpeter Jon Faddis. On pieces like the title track and
"The Roll of Time: The Confidence of Dreams," the forms are
extended and the sound radiates intelligence and feeling. And on
"The Way In," Esen is heard in the pure light of a solo context.
For a glimpse into the leaner, more straightahead aspect of Esen's
artistry, consult the piano trio finery of last year's "AydIn Esen"
on Gramavision. Here, Esen is joined by bassist Peter Herbert and
drummer Selahattin C. Kozlu for a rousing, emphatic set of trio
music. Esen is one young dynamo to watch and listen for.

By Josef Woodard, JazzIz - January 1993



Newsgroups: rec.music.bluenote,rec.music.info,rec.answers,news.answers
From: linimon@nominil.lonesome.com (Mark Linimon)
Subject: FAQ: Rec.music.bluenote: Welcome to rec.music.bluenote!
Followup-To: poster
Summary: introduction to newsgroup rec.music.bluenote (periodic posting)
Originator: recmusic@cygnus
Supersedes: <bluenote_welcome_725271016@nominil.lonesome.com>
Reply-To: linimon@nominil.lonesome.com
Organization: Lonesome Dove Computing Services
Date: Fri, 22 Jan 1993 09:44:55 GMT
Expires: Fri, 5 Mar 1993 08:09:47 GMT

Archive-name: music/bluenote/welcome
Version: 1.03
Last-Modified: Tue Dec 22 10:12:36 EST 1992

The charter of rec.music.bluenote is to provide a forum for discussion
of both jazz and blues music, both past and future.  The group is
unmoderated; participation is open to all.  The readership currently
spans several continents and includes both musicians and non-musicians.

A companion posting, "FAQ: rec.music.bluenote: frequently asked questions"
<bluenote_faq_727690215@nominil.lonesome.com>, complements this one by
providing a "community memory" of the group to date.  Another companion
posting, "FAQ: rec.music.bluenote: further sources of information"
<bluenote_sources_727690215@nominil.lonesome.com>, provides references
to books, magazines, media, and festivals.

These articles are repeated periodically for the benefit of new readers.

I welcome reactions, additions, and corrections to these postings via
email at linimon@nominil.lonesome.com.
-- 
    Mark Linimon / Lonesome Dove Computing Services / Roanoke, Virginia
   {chinacat,uunet}!nominil!linimon   ||    linimon@nominil.lonesome.com     
     "I keep my fingernails long, so they click when I play the piano."
From: venkat@ccwf.cc.utexas.edu (mu)
Newsgroups: rec.music.bluenote
Subject: Re: King Records
Date: 22 Jan 1993 17:09:20 GMT
Organization: The University of Texas at Austin, Austin TX
NNTP-Posting-Host: doc.cc.utexas.edu

milliken@scofield.Corp.Sun.COM (Gary Milliken) writes:

>Recent postings about the song "Fever" reminded me how hard it is to find
>original recordings on the old King Records label, which also had the first
>versions of "Dedicated to the One I Love", "The Twist", "Honky Tonk", "Sixty
>Minute Man", "Work With Me Annie", "Good Rockin' Tonight", and lots of others.
 
euaaen@eua.ericsson.se (Anders Engwall) writes:

>However, a few of the artists already have their King/Federal material
>available on CD, through excellent Charly compilations. Thus, I heartily
>recommend:
 
I've found that the Charly compilations are good too, if you want a 
representative sampling of any of the King/Federal artists.  They come 
with decent liner notes.  Another source of the King/Federal sides are 
the compilations put out ostensibly by King.  These 12-20 song compilations
are available at the cut-out bins at *Tower*.  The one here in Austin has
always contained more than a few titles.  They typically cost $7.99.  They
have no liners, but the sound is good.

Some of the artists whose CDs I've come across are, Wynonie Harris, Roy Brown,
Ivory Joe Hunter, Champion Jack Dupree, Eddie "Cleanhead" Vinson, Jimmy Wither-
spoon, Albert King, Freddie King, Tiny Bradshaw, Earl Bostic, Hank Ballard,
Wild Bill Dogget(sp?) and others.

Murari Venkataraman
venkat@ccwf.cc.utexas.edu
From: mongeau@NMC.ED.RAY.COM (Michael Mongeau)
Subject: B.B King on cable
Organization: Equipment Division, Raytheon Company
Distribution: usa
Date: Thu, 21 Jan 93 03:21:19 GMT

The Family Channel is broadcasting a show called "B.B. King and Friends"
on Thursday 1/21/93 at 9:00pm EST and again on Saturday 1/23/93 at 
11:00pm EST.  I'm not sure who the guests are but I bet it will be 
pretty good.   Check your local listings to see if your cable supplier
provides the Family Channel.

   ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
      Mike Mongeau                                Marlboro, MA
      mongeau@ed.ray.com           Raytheon Equipment Division
   ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: kenz@local.host
Newsgroups: rec.music.bluenote
Subject: Re: Penguin Guide: Short Review & 5 Star Recordings
Date: 25 Jan 93 10:15:59 GMT
Article-I.D.: msus1.1993Jan25.161600.2188
Reply-To: kenz@local.host
Organization: Organization, City, State, etc.

In article <SMEHTA.93Jan25143006@kwela.nynexst.com>, smehta@kwela.nynexst.com (Sandeep Mehta) writes:
>	<1993Jan24.133826.2175@msus1.msus.edu>
>Date: 25 Jan 93 14:30:06
>Lines: 22
>
>
>In article <1993Jan24.133826.2175@msus1.msus.edu> kenz@local.host writes:
>
>> "Pakistani Pomade" FMP 110, Evan Parker (ss,ts); AVS; Paul Lovens
>> (d); from November, 1972.  Unfortunately, I don't have the LP, so
>> can't say what the music is like.
>> 
>> This isn't listed in Cadence, has anyone an idea of where
>> to purchase this by mail order?
>
>Sadly it is out of print until Mr. Gebers does a CD run. Cadence
>bought/got all the remaining vinyl stock from FMP and there will be
>no more. If you didn't see it in the Jan issue it is OOP. You might
>be lucky to find a used copy somewhere. Given the recent press I'd
>say it'll be back before long (wishful thinking!)

===========================================
   Sandeep:
Have you any impressions of the LP?  I'm assuming you own it.  Just curious,
since if I ever see it, I'll buy it!
Bill Kenz
kenz@mhd1.moorhead.msus.edu
===========================================
Newsgroups: rec.music.bluenote
From: mciver@kibblesnbits.cs.colorado.edu (William McIver Jr.)
Subject: Re: Johnny Smith
Keywords: Jazz Guitar
Organization: Universtiy of Coloardo, Boulder
Distribution: na
Date: Sat, 23 Jan 1993 01:06:24 GMT

In article <1993Jan19.022328.9522@cbnewsl.cb.att.com> wjh@cbnewsl.cb.att.com (william.j.hery) writes:
>gallag@happy.EEAP.CWRU.Edu (gallag) writes:
...
>He tired of touring, and retired (at a very early age) to Colorado Springs;
>the Reminiscing album was recorded in a freinds house in nearby Manitou
>Springs. In the 50s, he supported himself by running the Johnny Smith Guitar
>Center in Colorado Springs. This information is from the Reminiscing LP
>jacket; I don't know if the Center is still there, or even if Smith is
>still alive.
>
...

I heard a program on the radio (KUVO 89.3 FM, Denver) a few months
back.  It sounded like a fairly recent interview.  If I recall correctly,
he still has his store...

I recall him speaking mainly about his preparation in contrast to
that of the current crop of young Jazz musicians.  
He referred to a well-known peer of his (I forget who he mentioned) 
who has to carry around three levels of material
for the local musicians that play on his gigs...



WJM




-- 
------------------------------------------------------------------
William J. McIver, Jr.          mciver@cs.colorado.edu
Department of Computer Science, University of Colorado @ Boulder	
------------------------------------------------------------------
Newsgroups: rec.music.bluenote
From: jgthomas@crchh420.NoSubdomain.NoDomain (John Thomas)
Subject: Re: Penguin Guide: Short Review & 5 Star Recordings
Date: Mon, 25 Jan 1993 16:53:24 GMT
Reply-To: John Thomas <jgthomas@bnr.ca>              
Organization: BNR, Inc.

In article <1993Jan25.085929.2179@msus1.msus.edu>, kenz@local.host writes:
|> 
|> A final note:  most of the Globe Unity Orchestra recordings are also worth
|> investigating.  "Evidence" (FMP 220) and "Into the Valley" (FMP 270) are
|> available as single LP's or as one CD (I don't have the CD, but assume it's
|> complete).  The music is from a live concert March 1975.  I originally bought
|> it for the Steve Lacy contributions, but have found the rest of the band just
|> as invigorating (Evan Parker, Albert Mangelsdorff, Peter Kowald , Kenny
|> Wheeler, and others.)
|> 
|> Bill Kenz
|>  Moorhead State University
|> Minnesota
|> 1/25/93
|> 

Yes!  The CD is RUMBLING and it is complete although I can't remember if
it includes any extras not on the LPs.

I have got it at home and like it a lot.  Milo Fine slams it in a
recent Cadence for the very reasons why I like it so much so
don't take his word too seriously.

The sound isn't the best but considering the availability of GUO
or BCJO recordings I am not complaining.


Newsgroups: rec.music.bluenote
From: jgthomas@crchh420.NoSubdomain.NoDomain (John Thomas)
Subject: Re: Parker/Lytton
Date: Sat, 23 Jan 1993 22:09:34 GMT
Reply-To: John Thomas <jgthomas@bnr.ca>              
Organization: BNR, Inc.

In article <1993Jan22.164655.2163@msus1.msus.edu>, kenz@local.host writes:
B
|> >|> // Yes, I have a copy and if you like Evan Parker's style, it  isn't too bad. 
|> >|> Lytton works with some electronics, kind of more in the FMP/Ogun type mode, not
|> >|> like Weather Report.  I will try to listen again this weekend for a fresher
|> >|> perspective.  But I thought it was worth the $9.00, especially considering how
|> >|> relatively few Evan Parker recordings there are available.  Does anybody have a
|> >
|> >However, what do you mean by this electronics-style?  I am not familiar
|> >with the electronic stuff on FMP.
|> >
|>    What I had in mind, for example, is material like the Hans Reichel LP The
|> Dawn of Dachsman (among other things he has done) FMP 1140, or Rudiger Carl's
|> LP Zwei Quintette FMP 1210/20 (with Phil Wachsmann and Stephan Wittwer
|> performing electronics.  On Ogun, the SOS LP of Skidmore, Osborne, and Surman
|> is another good example.  Or perhaps the things trombonist George Lewis has
|> done.  That's what I meant.  Does that help?!
|> 
|> Bill Kenz
|> 
|> >

Not really, but that's OK. :)

From Bill Hsu's post, it sounds like the electronics are used subtly
for percussive effects, for example, which sounds like something I would
like.  Is this along the lines of what you are talking about?

What I wanted to stay away from was some type of electro-energy music,
that typically is very noisy although I can't think of an example
right now.  There is a DJ out here who on Saturday nights tends to play
stuff like that and it can be pretty grating.

Sounds like you guys haven't heard of the Matchless CD with Parker and
Guy though.  Oh well.

Thanks for your help.
Newsgroups: rec.music.bluenote
From: marvo@cbnewsk.cb.att.com (ronald.f.roberts)
Subject: Ella Fitzgerald (was: Singers)
Organization: AT&T
Distribution: na
Date: Fri, 22 Jan 1993 22:31:45 GMT

In article <lm0oq9INN9pr@exodus.Eng.Sun.COM> milliken@scofield.Corp.Sun.COM (Gary Milliken) writes:
>In article <C18wEF.6rn@news.iastate.edu> s1mbm@isuvax.iastate.edu writes:
>>In article <1jndf3INNslo@shelley.u.washington.edu>, clements@carson.u.washington.edu (Steve Clements) writes:
>>>>: 1) Have you heard any singers who meet your criteria?  If so, who?
>>>
>>>I just heard a recording of Ella Fitzgerald singing "Black Coffee".
>>>Wonderful. Wonderful.
>>>
>>>
>>>In fact, I'll go this far: Ella scatting has about as much 
>>>musical/emotional/artistic content, for me, as Kenny G soloing ---- 
>>>that is, little or none --- however brilliant each may be technically.
>>>I mean, who cares?
>>
>>This hurts.  To see Ella compared to the egregious Mr. G hurts me deeply.
>>You are wrong, above all, to compare them as individuals whose work can
>>be utterly singled out from the accompanying context.  Ella sings with
>>musicians who are busy playing jazz; G does not.  And that makes a world
>>of difference, as you might realize were you do not busy provoking your
>>fellow netters.
>>
>>michael mcdonald
>>>
>
>One of my FAVORITE recordings is Ella singing "Lady Be Good" in about 1951,
>backed up by (I think) Bob Haggart's band.  The song is used almost entirely
>as a vehicle for Ella's scatting, and I find it amazing.  There is one spot
>where the rhythm section rides a particular figure closely with her, indicating
>that it was a regular pre-arranged lick in the song, but the rest of it sounds
>quite spontaneous -- incorporating quotes from "A-Tisket A-Tasket", "The Toy
>Trumpet", "Dardanella", "Oop Bop Sh-Bam", and probably others.  A terrific
>performance, which uses methods and devices that any contemporary instrument-
>alist would use.
>
>If you don't like scatting by a singer with both a great voice and great ears,
>it's your serious loss.
>

Just picked up a wonderful Ella Fitzgerald compilation entitled "Clap Hands,
Here Comes Charlie! on Verve (835 646-2).  She sings Dizzy's "Night In
Tunisia" on this disc--it is really nice.  About a month ago I picked up the
Ella with Chick Webb on GRP.  Also very nice!  Her voice was striking in the
late 30s-early 40s time frame (or is it the vintage recording technology?)
-- 

Ron Roberts
AT&T Bell Laboratories, P.O. Box 900, Princeton, New Jersey 08542-0900
rfr@pruxp.att.com, phone: 609-639-2242, fax: 609-639-3121
From: hellers@cs.wisc.edu (Joe Hellerstein)
Newsgroups: rec.music.bluenote
Subject: Re: Singers
Date: 24 Jan 93 18:24:46 GMT
	<1jndf3INNslo@shelley.u.washington.edu> <C18wEF.6rn@news.iastate.edu>
	<lm0oq9INN9pr@exodus.Eng.Sun.COM>
Organization: Univ. of Wisconsin @ Madison, CS Dept.

I have to go with the poster who didn't like Ella's scatting.  At her
best, Ella had a beautiful voice and a touching simplicity in her
interpretation of songs.  My personal fave is ELLA SINGS GERSHWIN,
which is mostly just Ella accompanied by pianist Ellis Larkins.
Highly, highly recommended, it's a gem, and a little hard to find (I
have my mom's scratchy old DECCA LP (DL 8378), and an MCA re-release
LP (MCA-215).)

But her scatting always struck me as pro forma and more of a nifty
gimmick than serious improvisation.  It seems fairly clear from the
arrangements on that well-known "Lady Be Good" recording that the solo
was written in advance, and while it's nice, it's basically a novelty
-- all the quotes, the growling trumpet imitation, etc.  Given the
tight accompaniment by the big band, one suspects that someone wrote
the solo for her.  

Anyhow, I like Ella better when she's being simple, and particularly
when she's singing ballads.  Her improvisations aren't really of
interest to me at all.

And while we're at it, lets not get down on somebody for holding
contrary opinions on beloved artists (don't get me started on how I've
never been a big Coltrane fan... :-))

Joe Hellerstein
From: gel@sys.uea.ac.uk (Gareth Lee)
Newsgroups: rec.music.bluenote
Subject: Re: who is tony coe?
Date: 25 Jan 93 12:30:49 GMT
Organization: UEA School of Information Systems, Norwich, UK.

gel@sys.uea.ac.uk (Gareth Lee) writes:

>dcm@pd.org (Howard Hunnicutt) writes:

>>Tal Herbsman (talh@quip.eecs.umich.edu) wrote:
>>> 
>>> on a recent purchase of franz koglmann's _a white line_ i particularly enjoy
>>> the playing of 'guest' saxman tony coe. any information/reccomendations on/for
>>> him?
>>> 
>>[deletion]

>As for recommendations look out for any of his collaborations with Stan Tracey
>(ie. "NOW" on STEAM RECORDS, 1983ish).  I hear that Tracey has just been
>'discovered' by Blue Note - and after about 50 years playing professionally.
>I just hope the sudden success doesn't go to his head!!  Coe also released a
>recording as a leader about 2-3 years ago called "Canterbury Song" - I think
>it was released on Mole Jazz.  I can probably get you more details about
>these two realeases if you're interested.

Some corrections to my previous posting:
"Canterbury Song" is actually released on Hot House (HHCD 1005) and features
Benny Bailey (tpt), Horace Parlan (pno), Jimmy Woode (bss) and
Idris Muhammad (drms) - not my favourate LP but worth a listen.  Features a
goo dversion of "Re: Person I knew".

"NOW" is on STEAM SJ110.  Probably on vinyl only.

Also recommended:

The Crompton Suite, Stan Tracey, on STEAM. . my favourate Tracey LP.

STEAM records may not be internationally distributed since it is Stan
Tracey's own label.

Gareth Lee.
Newsgroups: rec.music.bluenote
From: gidi@Hilbert.Stanford.EDU (Gidi Avrahami)
Subject: In All Languages (was: Zorn)
Organization: Brotherhood Of Breath
Date: Thu, 21 Jan 1993 19:34:36 GMT

sik@grosz.esd.sgi.com (Seth Katz) writes:
>Someone recommended making a tape interspersing songs from
>In All Languages and Spy Vs Spy.  Apparently a lot of the same
>songs are played (though I can't find a CD of IAL).

Since your e-mail address is in Mountain View, I'll tell you that
the Palo Alto Public Library (on Newell & Embarcadero) has a
copy.

Hope that helps.

--Gidi



Newsgroups: rec.music.bluenote
From: reavie@bldghsc.lan1.umanitoba.ca (Keir Reavie)
Subject: Re: Lounge Lizards/John Lurie
Summary: Are they any good?
Organization: university of Manitoba
Distribution: rec.music.bluenote
Date: Fri, 22 Jan 1993 22:51:46 GMT

In article <2B5CF999.1500@news.service.uci.edu> eamg052@orion.oac.uci.edu (Matthew Wesley Spitzer) writes:

>      I was just wondering what people thought about John Lurie and the
>Lounge Lizards.  A few years ago I heard "The Big Heart" and got all 
>excited and rushed out to buy the record because that song is so hot.  But
>overall, I'd say the rest of the album was sort of grating.  What do people
>out in netland think about them? Any albums anyone wants to recommend?

>Thanks,
>Matt, the man with no sig

I'm glad somebody brought it up. I think the Lounge Lizards are one of the 
best things going in jazz. Unfortunately, John Lurie has been involved in 
numerous other projects and doesn't record a lot. I bought "Voice of Chunk" 
about a year ago and love it. In fact, the title track has been going 
through my head all day. The Lizard's music can be grating, but I also find 
it to be a lot of fun. Lurie is very innovative, both in performance and 
song writing. I would also recommend "No Pain for Cakes" and the first 
album, which I can't remember the name of.

I'm not knowledgable on the full discography of the band, but if somebody 
is, please post it.

Keir
reavie@bldghsc.lan1.umanitoba.ca
From: mjs@fc.hp.com (Marc Sabatella)
Newsgroups: rec.music.bluenote
Subject: Re: Penguin Guide: Short Review & 5 Star Recordings
Date: 27 Jan 1993 17:27:46 GMT
Organization: Hewlett-Packard Company
Reply-To: marc@hpmonk.fc.hp.com
NNTP-Posting-Host: hptrane.fc.hp.com
X-Newsreader: TIN [version 1.1.2 PL6]

Glenn W. Lea (gwl@specialist.genrad.com) wrote:

: I think they _should_ have used a
: different notation for their Desert Island Picks than 5 stars, though.
: If one takes the 5-stars at their word (DI disks only), I have no
: problem with this list -- those are their personal favorites.  I mean,
: if I could only take 38 (or whatever) disks to a desert island, I
: might not take any Ornette either (sorry, Sandeep et al) but I would
: take some Murray and Lacy, neither of whom got 5 stars either, though
: they are deserving, IMO.  38 is a very small subset of 8,000 (or
: whatever) albums.

I see two different interpretations of "Desert Island Picks", though.  One is
the highly personal, "this is what I would take, so sue me if I happen to like
Glen Campbell, you can fend for yourselves" type.  The other is the "this is
generally recognized as seriously important stuff you shouldn't be without"
type.  It seems to me that the Penguin (I like referring to it as "the
Penguin", BTW - it reminds me of the Blues Brothers) is mostly trying to be
somewhat objective for their ratings, but the 5-star ratings seem way too
personal.

--
Marc Sabatella
marc@hpmonk.fc.hp.com
--
Amendment 2 Is Legalized Discrimination - Shame On You, Colorado
--
"Neither the State of Colorado ... nor any of its municipalities ... shall ...
 enforce any ... ordinance ... whereby homosexual, lesbian, or bisexual
 orientation ... shall ... be the basis of ... any ... claim of discrimination"
--
All opinions expressed herein are my personal ones
and do not necessarily reflect those of HP or anyone else.