THE WORLD - 
From Rico W., Austin, TX, USA
Subject:
"....Carr includes in his understanding of terrorist the likes of Thomas 'Stonewall' Jackson . . ."
Really?
You sure it wasn't Andrew? Andrew couldn't have been missed. The Trail of Tears . . . . What did Stonewall the Obsessive Christian Brilliant Tactician do?
ROD RESPONDS: In the article you reference, I'm just recounting Carr's take (as provided by William Cook in Counterpunch). Besides, if I diss Andy here in Nawlins, I'll be ushered out of town on a rail. - RA
From Tapas Ray, Calcutta, INDIA:
SUBJECT: Bob Powers
Bob:
It was wonderful to read an old Athenian. Brings back memories. And "Harvard on the Hocking" is great, of course. I did my master's at OU but dropped out of the Ph.D. Must have seen Cheri and Bob Jr. We have driven through Marietta ... isn't it on the Ohio? I think we stopped for a stroll by the river ... you know, the place where you have to climb off the road a little. Or maybe I am mixing up Marietta with some other place. It's been four years, after all.
Once again, this was a very pleasant surprise!
Tapas Ray
(Calcutta, India)
From Darryl C., Hershey, PA, USA:
SUBJECT: Bob Powers' Response
Dear Bob,
I am not going to let you slide with what you gave as a response to my comment. ÝThe issue is NOT, for example, whether Lee Morgan, Grant Green, Tina Brooks, Miles Davis, Bud Powell, Duke Pearson, Freddie Redd, Herbie Hancock, Freddie Hubbard, Jimmy Smith, Andrew Hill etc. were coerced or duped into signing contracts with Blue Note. ÝI have absolutely no reason to imagine or believe that Alfred Lion and Francis Woolf engaged in such shady practices. My issue is why do the current owners of the Blue Note catalogue believe that they should charge as much as they do for the recordings when their production costs for the work of these musicians and many others is relatively minimal. ÝA very large percentage of Blue Note's output was recorded by Rudy Van Gelder. Very little of it has required any remixing or other audio fixes in order to be enjoyed. ÝI'm not asking you to attack recording companies but many of them don't deserve your defense either.
Darryl C.
BOB RESPONDS: I really have no argument with Mr. Cox. One of the reasons why America has worked is that pricing is established by the owners of the product. If that price is too high, then those recordings will stay on store shelves. Eventually, the unsold albums will be returned to the money-grubbing company president, who will have to eat them.
Seems to me that the system works really well.
Bob Powers
From L. R., Laguna Beach, CA, USA:
SUBJECT: My Glass House in #360
Right on -- glad to see you back in high dudgeon. Yours is a style and genuine sentiment not found elsewhere.
Hang in there, you're not alone, even if it feels that way sometimes.
L. R.
From V.K. J., Calcutta, INDIA:
SUBJECT: Tapas Ray article is too good.
Dear Tapas,
You are an excellent author.
May God bless you.
From Ali Jamal B., (No City Provided), MS., USA:
SUBJECT: Liberia - Charles Taylor
Jamie Menutis:
This article is very interesting indeed. It is a shame that we are not taught in depth about Liberia in American History classes. Anyway, I would like to know more of your experiences in West Africa. Are you in New Orleans, LA? If so, do you lecture or speak anywhere in the area on these types of subjects? If not, do you know of anyone who does? Thanks so much,
Ali Jamal B.
From John R. McC. (No City Provided,) USA:
SUBJECT: Ann Wins Again
"....We got stupid conservatives like Sean Hannity, Rush Limbaugh and Ann Coulter gettin' all exercised about the celebs speaking out against the proposed war. Frankly, I think most of these folks should get an exorcism. I mean, ever time I see that anorexic waif Ann Coulter on the boob tube, I keep waiting for her head to start spinnin' like Regan's and green projectile vomit to coming spewing out of her mouth. (Wait a minute! That is what she spews, ain't it?) "
Oh boy oh boy! Its that pesky First Amendment again! lets see how does it go again....T bad the founding fathers didn't reserve the right to free speech to only the elites ! Then you would not have to listen to criticism of your action and words! What a wonderful country that would be; huh?
Instead of taking Ann on, you insult her because that's the only way you people know how to make an argument ( Ann points this out in her book "Slander" beautifully). Just flap your mouth and shout rather than make a reasoned counter-argument and never mind the facts. Just insult this pretty lady so you won't have the answer her logical arguments.
She wins; you lose in the eyes of anyone with a reading ability above the 4th grade level.
John R. McC.
TOM RESPONDS: Dang, John, does that mean you meant to say I won? IF you had readin' ability above the 4th grade level, you might have been able to read at that top of that there page that my official title around here is "Muckraker". The implication there is that I write a humor(ous) column. Get it? Nobody in their right mind would come to a column called "Tabloid Hart" looking for a "reasoned response". Nobody except some dumbass, right-wing ditto-head like yourself, that is, who just wants to defend any irrational garbage that supports their danged agenda.
Write me again anytime. I enjoy makin' fun of wackos like you.
From David A., Festival Director, L'Esprit Manouche, (No City or Country Provided):
SUBJECT: Django's Last Guitar
Mandino Reinhardt has asked me to pass on to everyone information regarding Djangos last guitar.
Naguine, Djangos partner, had let the Musee de la Musique in Paris have the last of DjangosÝfamous Selmer guitars to display in honour of the musicÝand the man. What a piece of history - a treasured icon of the Manouche community, a link to the very originator of European jazz, an instrument that was owned, loved and played by the legend himself and a rarity and fine example of this important style of guitar in its own right.
How important and/or interesting would youÝconsiderÝDjangosÝguitar to be? - Louis Armstrongs trumpet? - Beethovens piano? - John Lennons Epiphone? - Miles Davis horn? - Jimi Hendrixs Stratocaster? Apparantely the Conservateur thinks not and has relegated it to the storerooms!
This can't be right and I have promised Mandino to help in whatever way I can. An email, questioning the museums short sightedness with regard to such a 'peoples' treasure, fromÝeach of us, (and as many others as we can inform), could change things. At the L'Esprit Manouche festival the other weekend it was shown that this is not a dead and forgotten movementÝ- they need reminding!
The email address for the museum is musee@cite-musique.fr and the man to harass is FrÈdÈric Dassas, directeur du musÈe de la musique. If you can send them an email of your own, or use something similar to the one below I,ÝMandino and the Manouche community, would be most grateful.
Regards,
Dave A.
Festival Director
L'Esprit Manouche
PS I have also attached a letter from Mandino to the museum.
Sample email
For the attention of FrÈdÈric Dassas,
directeur du MusÈe de la Musique.
MusÈe de la Musique
221 ave Jean JaurËs
75019 PARIS
Dear Sir,
I am most concerned to hear that the last guitar owned by Django Reinhardt has been withdrawn from display at your museum.
Surely the memory of Europes most influential contribution to the world of jazz is of some value in Paris - the city the rest of the world willÝalways associate with the name of Django?
I ask you to reconsider your decision. There is an international upsurge of interest in the style of music originated by Django Reinhardt, Stephane Grapelli and the Hot Club de France - this year has marked the 50th anniversary of the death of Django and festivals have been held worldwide to commemorate his memory. To deny access to this important piece of European musical history to the new generations discovering their 'roots'Ýand theÝimportance of European culture seems wrong.
I would value a reply and your comments regarding this matter.
Yours faithfully,
Mandino REINHARDT Monsieur le Conservateur du
25 rue d'Orbey MusÈe de la Musique
67100 STRASBOURG 221 ave Jean JaurËs
e.mail : Reinhardt.mandino@wanadoo.fr 75019 PARIS
MusÈe de la musique
musee@cite-musique.fr
FrÈdÈric Dassas, directeur du musÈe de la musique
Monsieur le Conservateur,
Gr’ce ý Naguine, femme de Django Reinhardt, qui avait offert la derniËre guitare Selmer ayant appartenu ý son mari au musÈe du Conservatoire, la communautÈ manouche Ètait fiËre d'Ítre reprÈsentÈe ý travers ce musicien gÈnial car cette fameuse guitare Selmer Ètait exposÈe dans un lieu aussi prestigieux.
Aujourd'hui, on commÈmore ý travers le monde le cinquantenaire de la mort de Django et nous sommes ulcÈrÈs de dÈcouvrir que cette guitare n'est plus exposÈeä pourtant cette guitare inspire nombre de luthiers ý travers le monde.
Pour ma part j'ai plusieurs fois visitÈ votre musÈe, et je considËre que la prÈsence de cette guitare reprÈsente un symbole pour la communautÈ manouche mais Ègalement pour les amateurs de jazz.
L'impact de la musique de Django est encore bien prÈsent dans les familles manouches. Sa musique est aujourd'hui universelle. Ceci est une juste reconnaissance de ce musicien extraordinaire. Ses enregistrements figurent parmi les meilleurs ventes en Europe. Le jazz manouche fait partie du patrimoine culturel franÁais et le musÈe ne peut l'ignorer et se doit de prÈsenter cet instrument au public.
De nos jours la communautÈ manouche est encore montrÈe du doigt. Mais je suis persuadÈe que la musique que nous jouons est un atout pour aller vers l'autre et un vecteur de comprÈhension rÈciproque.
Pourriez-vous me faire savoir si la guitare Selmer ayant appartenu ý Django retrouvera sa place dans votre musÈe ?
Meilleurs salutations.
Fait ý Strasbourg, le 20 juin 2003
Mandino REINHARDT
via e-mail.