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Date:Fri,20Feb200610:22:05-0800(PST)
From: JeriFouhy<jfouhy1@yahoo.com>
Subject: BRAVO AMP and BRIAN ENO!!
Hello Amp
I'd just
like to say BRAVO to Brian Eno for such an invigoratingly truthful article
on the supposed "war". Lessons in How to Lie About Iraq The problem
is not Propaganda but the relentless control of the kind of things we think about...by
Brian Eno, August 17, 2003. What he addresses in the article is very important.
The way he wrote the article lends itself to understanding and honesty. I will
be forwarding your site to many people ...keep up the great work!
Sincerely,
Jeri Fouhy (Guitarist for the band Bella And The Bottom Feeders,- NJ)
From: "Instrumental
Weekly Editor" <instrumentalweekly@hotmail.com>
Subject: Thanks for a Great Site...
Date: Wed, 26 Dec 2002 14:35:16 -0600
X-OriginalArrivalTime: 26 Dec 2001 20:35:17.0148 (UTC) FILETIME=[D42D45C0:01C18E4C]
Hello,
I just wanted to say thanks for keeping the indie-music torch lit...while in
college and working at the campus station (92-96) I was an avid reader of the
print magazine. Only recently did I discover your online presence, and I am
certainly glad that I did.
As I host my own instrumental/ambient review site at www.overturedesigns.com/iw/
, I like to check reviews of a handful of sites...AMP has just moved to the
head of that list.
Thanks again and keep up the great work! JimmyD
The Instrumental Weekly
www.overturedesigns.com/iw/
Status: U
Date: Fri, 16 Nov 2001 04:14:22 -0800
Subject: Thanks
From: "SH@Ebbtide" <info@hos.com>
Hi Ben,
Just wanted to thank you for the fine, sensitive review of David Darling's album.
The magazine looks good and I spent some time exploring it today. I'm more convinced
than ever that reinventing itself online is the only way that indy and niche
music is going to be able to work in the future, and quality review publications
with solid web archives are a very important part of it.
All the best :: Stephen Hill, Producer
HEARTS OF SPACE :: timeless music for a changing world
1 Harbor Drive, Suite 107
Sausalito, CA 94965
TEL :: 415.331.3200x67
FAX :: 415.331.3280
EMAIL :: info@hos.com
WEB :: www.hos.com
From: Sarah Baine
mistressbungle@aol.com
Date: Sun, 29 Apr 2001 18:49:33 -0400 (EDT)
I'd just like to, at random and with free will, commend AMP for being one of
the most musically versatile and genre-wise broadly covered magazines I have
found as of yet. I'm constantly hearing of new bands, being introduced to new
styles of music, and basically being able to keep up with culturing myself when
there's soooo much out there with you guys... keep it up, i can't get enough.
Sarah Baine
Subject: Fwd: early days of Jazz, Rock, Beat,
From: Kdm4ks
Date: Sat, 2 May 1999 06:00:41 EDT
Dear Ben
As a jazz specialist I was glad to read something as your article "Growing Pains" about the social climate during the early days of jazz. It reminded me on more recent events, but more of this later. And I liked what you write about a band like the one that Ted Lewis led. In concerts (and on many recordings) this band was a caricature of the real hot black music, miles away from Louis Armstrong's Hot Five or Hot Seven, or Jelly Roll Morton's Red Hot Peppers, which were pure "studio" bands and had not the duty to entertain a dancing public on the spot. An audience mostly looks for excitement and thrills, for obvious novelties and gags. Look at the old photos of the O.D.J.B. or other show (jazz) bands... Today the differences can be easily heard, but at the days when it happened it was surely not as easy; nobody had then any standards what is "good" and what is "silly" in this new music. Besides, the dancers wanted a strong beat and to be entertained and nothing else! It's always much easier to judge in hindsight about musical quality and influences... :-)
Certainly you know it, but I will state it anyway: The hostility and hatred against a "new" music was similar when Rock'n'Roll grabbed the white kids in the mid fifties, and it was similar (at least in Europe) when the Beatles, the Stones, and all the rest started another musical ("beat") revolution. And, do you remember the bad articles in the normal press when "Woodstock" happened? For the media, for the older generation, and for the older musicians (!) all this NEW music and fashion and slang did mean the end of the civilized world (and most probably the end of their fame and income). I remember the early sixties when a "serious" German magazine wrote about the too tight "blue jeans" that will castrate all young men... And millions of words were written about that disgusting long hair! I remember when the first films with Marlon Brando came into the cinemas (together with the first R'n'R) the older generation didn't understand and fighted heavily! (...or maybe they DID understand and had all reason to fight against it?!) (By the way, when the Waltz dance was "invented" before 1800, it made similar waves: How can serious couples dare to dance together tightly grapping each other?) Of course in the early years of this century many Americans used the then usual racial "reasons" to fight against hot music, simply because it was the tendency of that era, and not just in music. The "negroes" were then not accepted... ah, you know much better as I do. We in Germany had the jews; the German authoritites in the thirties fighted against Benny Goodman and Gershwin because they were jewish. After all, the Americans just spoke, they did not actually kill millions of blacks.
Back to music: How "the authorities" howled a few years ago when "Techno" began to get real big here in Germany; they saw (again) another end of civilisation ... until they realized that the techno fans are millions of harmless and peaceful (if not: dumb) consumers and this new musical fashion means big business; all hate immediately stopped, and all media suddenly reported positive about this new generation and their music. ... Some more sensible observers woke up: Maybe it's no real musical revolution but just big business? Or is it that things like the invention of Jazz, of R'n'R and of Beat music isn't possible anymore? Will from now on every new movement of a new generation immediately bought up by the society? (even "Punk"). I remember that this discussion was already held at the times of Woodstock, Monterey, and the Isle of Wight Festivals: Is it a "new age" of peaceful and free people and music, ...or is it business, even a rip-off? In the end it WAS business ...and a few positive memories of thousands of now elderly people. If they grew up in the twenties they carry their Jazz-Age memories, the next generation carry their Swing memories, the next had Frank Sinatra, then R'n'R and Elvis, then the Beatles or Neil Young . . . Even in our small world of Electronic Music we have already the 40 to 50 yearsold who write us and who remember their youth when they discovered "Irrlicht" or "Cyborg" . . .But, funnily, when these elders are confronted with another musical fashion of today's young people, they react the same as their parents reacted. It seems as if they have forgotten that they were young once and followed Ted Lewis, or Benny Goodman, or Elvis, or the Rolling Stones, or Johnny Rotten, or Madonna ?
I send my best regards,
Klaus
Klaus D. Mueller
Berlin, Germany
