5th TRIPolis Rock Fest - 5th and 6th of July 2008

5th TRIPolis Rock Fest - 5th and 6th of July 2008

On the 5th (Sat) and 6th (Sun) of July ’08, in ancient Pan’s homeland, Tripolis, Peloponnesus, Greece!

5th TRIPolis Rock Fest - 5th and 6th of July 2008

Summer time here kitties and it’s time to take a TRIP on the 5th TRIPolis Rock Festival,

on the 5th (Sat) and 6th (Sun) of July ’08, in ancient Pan’s homeland, Tripolis, Peloponnesus, Greece!
This year, our fest becomes “International”, now that, bands are coming from Germany and Italy, visiting for the very first time our country, Greece!

The schedule of the 2-days festival goes like this:
Headliners of the first day (Sat 5 July) will be the band of Vibravoid coming straight from Düsseldorf (Germany). 3 other Greek bands are gonna play the same day, Drug Free Youth (Athens), The Snails (Athens) and Anthi Antekdikisis (Tripolis).

Atomic Workers (with members from Italy, Netherlands and England) are headlining the 2nd day of the fest (Sun 6 July), supported by 3 other Greek bands, Warehouse (Patra), Flames Of Love (Tripolis) and Sleepwalkers (Tripolis).

Heavy doses of Psychedelic Space Rock along with sixties garage beats alternating with more indie even classic shades of pure rock .
Doors Open at……I Forgot…..There are No Doors! … The Place is a replica of an ancient Greek Theater … and the Admission is FREE!!!Be there at 19:00.

For More Info : mtimelord@gmail.com

Band-Links:

http://www.vibravoid.de/

www.myspace.com/atomicworkers

www.myspace.com/thesnailsathens

www.myspace.com/warehousetapes

www.myspace.com/flamesofloveband

Jethro Tull - Carnegie Hall, New York - November 4, 1970

Review
by Bruce Eder
Where the first Jethro Tull box five years earlier, 20 Years of Jethro Tull, mostly traded on radio broadcast performances and rarities, a few outtakes, and a remastered collection of key songs, 25th Anniversary Boxed Set benefits from a more thorough raid on the vaults that has yielded up one essential addition to any Jethro Tull collection. Disc two is the centerpiece of the set, containing an additional hour of the group's November 4, 1970 concert at Carnegie Hall in New York (two pieces were previously issued on Living in the Past). Preserved on a 16-track master tape, this benefit show for the drug rehabilitation program Phoenix House was the group's most prominent American gig up to that time. It's a good representation of what the band sounded like in its second incarnation, when they were still establishing themselves outside of England. The group had still not reached — or even approached — its progressive rock period, and the sound is very stripped down, a pounding mix of hard rock, acoustic folk music, jazz elements, and Ian Anderson's vocals, alternately sage-like and fierce; some of the flute acrobatics don't translate too well to tape, even in Carnegie Hall, but the transition from "Sossity, You're a Woman" into "Reasons for Waiting" — featuring exquisite organ playing by John Evan — is beautiful enough as to make up for the flaws elsewhere, as well as reminding listeners of one of the more hauntingly beautiful songs in the group's early repertory; they also unveil a song that was still, by Anderson's own account, a work-in-progress, entitled "My God."HISTORY

Jethro Tull had its roots in the British blues boom of the late '60s. Anderson (b. Aug. 10, 1947, Edinburgh, Scotland) had moved to Blackpool when he was 12. His first band was called the Blades, named after James Bond's club, with Michael Stephens on guitar, Jeffrey Hammond-Hammond (b. July 30, 1946) on bass and John Evans (b. Mar. 28, 1948) on drums, playing a mix of jazzy blues and soulful dance music on the northern club circuit. In 1965, they changed their name to the John Evan Band (Evan having dropped the "s" in his name at Hammond's suggestion) and later the John Evan Smash. By the end of 1967, Glenn Cornick (b. Apr. 24, 1947, Barrow-in-Furness, Cumbria, England) had replaced Hammond-Hammond on bass. The group moved to Luton in order to be closer to London, the center of the British blues boom, and the band began to fall apart, when Anderson and Cornick met guitarist/singer Mick Abrahams (b. Apr. 7, 1943, Luton, Bedfordshire, England) and drummer Clive Bunker (b. Dec. 12, 1946), who had previously played together in the Toggery Five and were now members of a local blues band called McGregor's Engine.

In December of 1967, the four of them agreed to form a new group. They began playing two shows a week, trying out different names, including Navy Blue and Bag of Blues. One of the names that they used, Jethro Tull, borrowed from an 18th-century farmer/inventor, proved popular and memorable, and it stuck. In January of 1968, they cut a rather derivative pop-folk single called "Sunshine Day," released by MGM Records (under the misprinted name Jethro Toe) the following month. The single went nowhere, but the group managed to land a residency at the Marquee Club in London, where they became very popular.Early on, they had to face a problem of image and configuration, however. In the late spring of 1968, managers Terry Ellis and Chris Wright (who later founded Chrysalis Records) first broached the idea that Anderson give up playing the flute, and to allow Mick Abrahams to take center stage. At the time, a lot of blues enthusiasts didn't accept wind instruments at all, especially the flute, as seminal to the sound they were looking for, and as a group struggling for success and recognition, Jethro Tull was just a little too strange in that regard. Abrahams was a hardcore blues enthusiast who idolized British blues godfather Alexis Korner, and he was pushing for a more traditional band configuration, which would've put him and his guitar out front. As it turned out, they were both right. Abrahams' blues sensibilities were impeccable, but the audience for British blues by itself couldn't elevate Jethro Tull any higher than being a top club act. Anderson's antics on-stage, jumping around in a ragged overcoat and standing on one leg while playing the flute, and his use of folk sources as well as blues and jazz, gave the band the potential to grab a bigger audience and some much-needed press attention.They opened for Pink Floyd on June 29, 1968, at the first free rock festival in London's Hyde Park, and in August they were the hit of the Sunbury Jazz & Blues Festival in Sunbury-on-Thames. By the end of the summer, they had a recording contract with Island Records. The resulting album, This Was, was issued in November. By this time, Anderson was the dominant member of the group on-stage, and at the end of the month Abrahams exited the band. The group went through two hastily recruited and rejected replacements, future Black Sabbath guitarist Tony Iommi (who was in Tull for a week, just long enough to show up in their appearance on the Rolling Stones' Rock 'N Roll Circus extravaganza), and Davy O'List, the former guitarist with the Nice. Finally, Martin Barre (b. Nov. 17, 1946), a former architecture student, was the choice for a permanent replacement.It wasn't until April of 1969 that This Was got a U.S. release. Ironically, the first small wave of American Jethro Tull fans were admiring a group whose sound had already changed radically; in May of 1969, Barre's first recording with the group, "Living in the Past," reached the British number three spot and the group made its debut on Top of the Pops performing the song. The group played a number of festivals that summer, including the Newport Jazz Festival. Their next album, Stand Up, with all of its material (except "Bouree," which was composed by Johann Sebastian Bach) written by Ian Anderson, reached the number one spot in England the next month. Stand Up also contained the first orchestrated track by Tull, "Reasons for Waiting," which featured strings arranged by David Palmer, a Royal Academy of Music graduate and theatrical conductor who had arranged horns on one track from This Was. Palmer would play an increasingly large role in subsequent albums, and finally join the group officially in 1977. Meanwhile, "Sweet Dream," issued in November, rose to number seven in England, and was the group's first release on Wright and Ellis' newly formed Chrysalis label. Their next single, "The Witch's Promise," got to number four in England in January of 1970. The group's next album, Benefit, marked their last look back at the blues, and also the presence of Anderson's longtime friend and former bandmate John Evan — who had long since given up the drums in favor of keyboards — on piano and organ. Benefit reached the number three spot in England, but, much more important, it ascended to number 11 in America, and its songs, including "Teacher" and "Sossity, You're A Woman," formed a key part of Tull's stage repertory. In early July of 1970, the group shared a bill with Jimi Hendrix, B.B. King, and Johnny Winter at the Atlanta Pop Festival in Byron, GA, before 200,000 people. By the following December, after another U.S. tour, Cornick had decided to leave the group, and was replaced on bass by Anderson's childhood friend Jeffrey Hammond-Hammond. .......

enjoy!

Ten Years After - Helsinki Finland December.03.1969

Ten Years After Live In Kulttuuritalo, Helsinki Finland December 3, 1969 Set List Includes:

Spoonful 7:40, I May Be Wrong But I Won’t Be Wrong Always 9:40, Hobbit 11:10, Good Morning Little School Girl 7:30, No Title 11:25 Skoobly Oobly Doobob / I Can’t Keep From Crying Sometimes 18:30 Ten Years After Jam, Instrumental 7:50

History
After several years of local success in the Nottingham/Mansfield area as a band known since 1962 as The Jaybirds (its core was formed in late 1960 as Ivan Jay and the Jaycats), and later as Ivan Jay and the Jaymen, Ten Years After was founded by Alvin Lee and Leo Lyons. Ivan Jay sang lead vocals from late 1960 to 1962 and was joined by Ric Lee in August 1965, replacing original drummer Dave Quickmire, who had joined in 1962. In 1966 The Jaybirds moved to London, where Chick Churchill joined the group. That November the quartet signed a manager, Chris Wright, and decided to change their name to Blues Trip, Blues Yard (under which they played a show at the legendary Marquee Club supporting Bonzo Dog Band), and finally in November 1966, to Ten Years After ( in honour of Elvis Presley, an idol of Lee's whose momentous year in rock, 1956, helps to better explain the band's title). They became the first band of the soon-to-be Chrysalis Agency. They secured a residency at the Marquee, and received an invitation to play at the renowned Windsor Jazz Festival in 1967. That performance led to a contract with Deram, a subsidiary company of Decca – the first band so signed without a hit single. In October, their 1967 self-titled debut album was released.
In 1968, after touring Scandinavia and the United States, Ten Years After released their second album, live Undead, which brought their first classic, "I'm Going Home." This was followed in February 1969 by studio issue, Stonedhenge, a British hit, that included another classic, "Hear Me Calling" (it was released also as a single, and covered in 1972 by British glam rock rising stars, Slade). In July 1969 they appeared at the Newport Jazz Festival, in the first event to which rock bands were invited. In August, the band performed a breakthrough American appearance at Woodstock; their furious-to-soft-to-furious rendition of "I'm Going Home" was featured in both the subsequent film and soundtrack album and catapulted them to star status.
During 1970, Ten Years After released "Love Like a Man," their only hit in the UK Singles Chart. This song was on their fifth album, Cricklewood Green. The name of the album comes from a friend of the group who lived in Cricklewood, London. He grew a sort of plant which was said to have hallucinogenic effects. The band did not know the name of this plant, so they called their album Cricklewood Green. It was the first record to be issued with a different playing speed on both sides – one a three-minute edit at 45rpm, the other, a nine-minute live version at 33rpm. In August, Ten Years After played the Isle of Wight Festival 1970 to an audience of 600,000.
In 1971, the band released the album A Space in Time which marked a move toward more commercial material. It featured their biggest hit, "I'd Love To Change The World". But a few albums later, the band broke up after the 1974 album "Positive Vibrations". In 1988, they re-united for a few concerts and recorded the album About Time (1989).
Alvin Lee has since then mostly played and recorded under his own name. In 2004, the other band members substituted him with Joe Gooch and recorded the album Now. Material from the following tour was used for the 2005 double album Roadworks. Ric Lee is currently in a band called The Breakers, along with Ian Ellis (Clouds).
At The Beat Club , Germany

bootleg archive

enjoy!

John 'Spider' Koerner ,Dave'Snaker' Ray & Tony 'Little Sun' Glover - Blues, Rags, and Hollers (1963)

''IN LOVING MEMORY OF DAVE RAY ''
Dave 'Snaker' Ray passed away at home in his sleep at 6:15 AM 11/28/02 R.I.P.

Koerner, Ray & Glover
“Spider” John Koerner. Dave “Snaker” Ray. Tony “Little Sun” Glover. The names are legendary, and the seminal country-blues trio they formed in the early Sixties influenced a musical era with its passionate treatments of rare blues stylings. A self-described fun-loving trio of misfits, they turned audiences on their heads with foot-stomping performances throughout the U.S., and their series of Elektra recordings, commencing with Blues, Rags and Hollers, are considered the cornerstone of the Sixties folk/blues revival. Though based in Minneapolis, Koerner, Ray and Glover first connected in New York City in the spring of 1962. Glover was visiting his pal Ray when Koerner dropped in from Upstate. Amidst the bar hopping and jamming, the three clicked, and the trio was born. By that fall, they were back in the Twin Cities, jamming and playing clubs and parties. In 1963, with the help of the editors of the Little Sandy Review, Koerner, Ray & Glover hooked up with Audiophile records in Milwaukee and in one twelve hour session, recorded Blues, Rags & Hollers. They sold several hundred records at gigs and put copies into the hands of a few influential people, including Jac Holzman at Elektra Records. When Holzman got around to listening to it he was blown away, and signed them to a recording contract. Elektra also bought the Blues, Rags & Hollers masters from Audiophile, but found that the album’s significant length posed mastering problems, and deleted four songs before releasing it in November.
Eventually, Koerner, Ray & Glover cut five albums for Elektra, with an intriguing mix of string-band, ragtime and down-home blues styles. They performed at the Newport and Philadelphia Folk Festivals as well as on the club and college circuit. Their raucous enthusiasm and musical acumen breathed life into traditional material and they earned fans that included John Lennon and the Doors. During the Sixties, Koerner kept up his solo career and in 1969 recorded the classic Elektra album Running, Jumping, Standing Still with Willie Murphy.
In the Seventies, he turned to other interests and moved to Denmark for several years. In Denmark, Koerner immersed himself in traditional American folk music. Falling in love with this genre, he began to forgo original compositions for traditional songs into which he infused his own interpretation, style and energy. Back in Minnesota in 1980, Koerner went into the studio with an outstanding group of sidemen that included Peter Ostroushko, Butch Thompson, Willie Murphy, Tony Glover, Dakota Dave Hull, and the Boston area’s bones-rattling wizard Mr. Bones. In one night while a tornado raged outside, the group recorded what has been described as one of the great folk records of all time. In late 1986, Red House released the session under the title Nobody Knows the Trouble I’ve Been. The critical response was unanimous, with accolades like “Comeback of the Year” and “Leave it to Spider John Koerner - Minnesota's premier blues picker - to salvage the soul of American folk music.” Today, Koerner is still exploring the range of folk traditions. There have been two more critically-acclaimed Red House recordings, Legends of Folk (with Utah Phillips and Ramblin’ Jack Elliott) and Raised By Humans. Red House also released a re-mastered, expanded CD version of the out-of-print Running, Jumping, Standing Still. Koerner’s rollicking treatments of traditional folk songs and self-penned classics seem to only get better and more seasoned with age.
During the Seventies and Eighties, Koerner, Ray & Glover reunited for special shows, including Folk Festivals in Winnipeg and Vancouver, and Sing Out! magazine’s thirtieth anniversary concert. One of their last trio shows in 1984 formed the foundation for Blues, Rags & Hollers: The Koerner, Ray & Glover Story, a two-hour performance documentary video produced by Glover. The Minnesota Music Awards named Koerner, Ray & Glover “Best Folk Group” and elected them to the Minnesota Music Hall of Fame along with Bob Dylan and Prince. Koerner and Ray & Glover’s recent recordings have only served to increase their legendary status, whetting the appetites of their long term fans and bringing a younger generation of music lovers on board. In response, Red House Records has secured the rights to Blues, Rags & Hollers for release on CD. In the process the four lost tracks that Elektra cut have been restored. The excitement generated by this release proves that the Little Sandy Review was remarkably prophetic when they predicted in 1963: “[Blues, Rags & Hollers] is a disc that will surely be a collector’s item in the future, as surely as the best blues of the 1930’s are collector’s items now.”
(RED HOUSE RECORDS)
This reissue has been digitallyremastered and includes all the tunes from the 1963 Audiophile release, including the four that Elektra dropped on their disc .

Red House's reissue of Blues Rags and Hollers, the first album from Koerner Ray & Glover, follows through on the folk and country-blues leanings of the blues revival. The result is a strong, catchy album that nevertheless sounds closer to folkies than the typical British blues record. — Thom Owen

Koerner, Ray & Glover Discography

http://www.redhouserecords.com/KRG.html

http://www.myspace.com/official%20spider%20john%20koerner

heres the link
get it here ,enjoy

ΔΙΟΝΥΣΗΣ ΧΑΡΙΤΟΠΟΥΛΟΣ - Μοντέρνες δουλειές

Στις σύγχρονες επιχειρήσεις η εργασιακή σκλαβιά επανήλθε λουστραρισμένη, αλλάεξίσου εξοντωτική.

Η μοίρα του σπουδασμένου εργαζόμενου είναι δυσμενέστερη απότου αγράμματου εργάτη.

Ο πραγματικός πλούτος της χώρας παράγεται στο χωράφι και στο εργοστάσιο· γι' αυτό οι αγρότες και οι εργάτες δεν διανοήθηκαν ποτέ να επικαλεστούν κάποια νεφελώδη ιδεολογήματα για τη δουλειά τους.

Η προσφορά τους είναι αυταπόδεικτη.

Αντιθέτως, οι απασχολούμενοι στον τριτογενή τομέα, των υπηρεσιών, δεν αρκούνται στην υψηλότερη αμοιβή που εισπράττουν· αγωνιούν να δώσουν και ανώτερο νόημα σ' αυτό που κάνουν.

Το επάγγελμα έγινε ιδεολογία.

Ο καλώς εννοούμενος επικερδής χαρακτήρας του αποσιωπάται συστηματικά και προβάλλεται κατά κόρον σαν ζωτική ωφέλεια για το κοινωνικό σύνολο.

Οιχρηματιστές κόπτονται για την "ανάπτυξη", οι διαφημιστές μοχθούν για την"επικοινωνία", οι ασφαλιστές χτίζουν την "ασφαλιστική συνείδηση" κ.ο.κ .

Εξ ου και το καταγέλαστο ορισμένων ότι ασκούν λειτούργημα.

Η κοινωνία, που διευθύνεται από τους εγγράμματους, έχει περί πολλού αυτά τα επαγγέλματα και περιφρονεί εξόφθαλμα τον αγρότη και τον εργάτη.

Απόδειξη, ότι τους αμείβει με τα χαμηλότερα των εισοδημάτων και τους επιφυλάσσει πενιχρές συντάξεις και ανεπαρκέστατη υγειονομική περίθαλψη.

Ουδείς ζηλεύει τη μοίρα τους.

Οι νέοι ονειρεύονται να σπουδάσουν για να κάνουν καριέρα σε κάποια από τιςμοντέρνες και αστραφτερές δουλειές. Αυτές έχουν πέραση· προσφέρουν υψηλέςαμοιβές και απείρως υψηλότερο κοινωνικό στάτους.

Δεν υποψιάζονται καν πως η καριέρα είναι η δική τους κοιλάδα των δακρύων.

Για να πετύχεις σ' αυτές τις δουλειές, το παν είναι να ξέρεις να πουλάς τον εαυτό σου.Να είσαι αυτό που επιθυμεί ο άλλος να είσαι.

Αλλού σε θέλουν τολμηρό και επιθετικό και αλλού μετρημένο και αξιόπιστο.

Οι απαιτήσεις αλλάζουν ανάλογα μετον κλάδο· άλλο σέιλς κι άλλο φαϊνάνς.

Αυτή την κωμωδία του αγκρέσιβ ή τουριλάιαμπλ δεν θα σταματήσεις ποτέ να την παίζεις· αυτή θα σε κρατάει στη δουλειά.

Επίσης, από τη μέρα που θα εισέλθεις σε κάποιον κλάδο, θα πρέπει να ασπαστείς και τις ιδεοληψίες του· σαν να μυείσαι σε θρησκευτική αίρεση.

Ο κλάδος υπεράνω όλων.***

Είναι ο ιερός δεσμός που προστατεύει και ανυψώνει τα μέλη του, ασχέτως τωνεσωτερικών ανταγωνισμών. Με αυτή τη συντεχνιακή αντίληψη της χειρίστης μορφής οι "συνάδελφοι" θωρακίζουν την επαγγελματική τους ιδιότητα και διεκδικούν από την κοινωνία διαρκώς και νέα προνόμια.

Μαζί με την είσοδο στην αγορά εργασίας των νέων επαγγελμάτων εισήχθη και η δυτική νοοτροπία του ολοκληρωτικά αφοσιωμένου στη δουλειά του προτεστάντη.

Ο χρόνος που αφιερώνουν οι υπάλληλοι στην εταιρεία είναι τρομαχτικός.

Στις σύγχρονες επιχειρήσεις η εργασιακή σκλαβιά επανήλθε λουστραρισμένη, αλλά εξίσου εξοντωτική.

Η μοίρα του σπουδασμένου εργαζόμενου είναι δυσμενέστερη απότου αγράμματου εργάτη.

Το καθορισμένο ωράριο θεωρείται παρωχημένη αντίληψη, και η αμοιβή για υπερωρίες είναι αδιανόητη.

Οι υπάλληλοι δουλεύουν εντυπωσιακά περισσότερες ώρες από τις προβλεπόμενες από τον νόμο, απασχολούνται Σαββατοκύριακα και αργίες χωρίς την ανάλογη αμοιβή.

Τα εξοντωτικά 12ωρα και 14ωρα δουλειάς είναι νον στοπ.

Η μεσημβρινή σιέστα έχει τεθεί πλέον και στη χώρα μας υπό διωγμόν· κατάντησε μομφή. Λένε "αυτός κοιμάται μεσημέρι" εννοώντας πως είναι εκτός πνεύματος· εν ολίγοις ακατάλληλος.

Αν οι επιστήμονες μπορούσαν να καταθέσουν δημοσίως για τις ευεργετικέςιδιότητες του μεσημβρινού ύπνου, θα είχε καταρρεύσει προ πολλού το δυτικόεργασιακό μοντέλο.

Ο ύπνος του μεσημεριού είναι βάλσαμο για την ψυχική και τη σωματική μας υγεία και, εννοείται, συμβάλλει καίρια στη μακροβιότητα.

Είναι κατάπολύ πιο απαραίτητος και ζωογόνος από όλες τις "χελθ" βιταμίνες, τα "σπα" και τις λοιπές τεχνικές στήριξης του ανθρώπινου οργανισμού.

Ο ευπρεπής μισθός και ίσως κάποιο ετήσιο μπόνους που παρέχουν οι εταιρείες στα μοντέρνα εργατόσκυλα δεν αντισταθμίζουν τις ατελείωτες ώρες πρόσθετης δουλειάς.

Γι' αυτό υπάρχουν συνήθως και κάποιες έξτρα παροχές κολακείας· το ωραίο γραφείο

(με παράθυρο ή όχι, ανάλογα με τη θέση σου στην ιεραρχία της επιχείρησης)

και κάποιοι φανταχτεροί τίτλοι, που ουσιαστικά δεν σημαίνουν τίποτα. ***

Προβιβάζεσαι σε εξέκιουτιβ, σίνιορ εξέκιουτιβ, κοoρντινέιτορ, σουπερβάιζορ, νταϊρέκτορ,

βάις πρέζιντεντ, τσιφ, μέλος του εξέκιουτιβ μπορντ και άλλα του σωρού και χωρίς νόημα.

Η μακροβιότητα της καριέρας σε μια σύγχρονη εταιρεία κρίνεται από δύο βασικά στοιχεία: την όλο και μεγαλύτερη "τρέλα" για δουλειά και το λόγιαλτι (τηνπιστότητα) στην εταιρεία και στους στόχους της.

Επίσης, είναι απαραίτητο να συμμεριστείς κάποιες νέες "αξίες".

Όπως το σχιζοφρενικό "άλλο δουλειά κι άλλο φιλία", λες κι ο άνθρωπος μπορεί να κάνει αναστολή αισθημάτων.

Ή το δόγμα ότι με κάθε θυσία πρέπει να φέρεις σε πέρας τη δουλειά που σου ανέθεσαν.Όλα αυτά καλύπτονται με την πρόστυχη στρεψοδικία του σωστού "επαγγελματία".

Που σημαίνει ότι, προκειμένου να γίνει η δουλειά σου, όλα επιτρέπονται·

η δουλειάπροηγείται κάθε ανθρώπινου αισθήματος· φιλία, αγάπη, δίκιο, κατανόηση είναι δευτερεύοντα.

Λένε "είμαι προφέσιοναλ" κι αυτό τα εξηγεί όλα.

Κι ο Αλ Καπόνε "προφέσιοναλ" ήτανε.

Μάλιστα, οι νέοι επαγγελματίες διηγούνται εμφατικά το παράδειγμα του Ωνάση που φιλοξενούσε έναν φίλο του, επίσης εφοπλιστή, στη θαλαμηγό του.

Ενώ έπαιζαν τάβλι, ο άλλος του αποκάλυψε χαρούμενος πως έδωσε εντολή αγοράς δύο πλοίων που μόλις είχαν βγει προς πώληση.

Ο Ωνάσης δεν φάνηκε να δίνει σημασία στην πληροφορία· συνέχισαν το παιχνίδι,

μα κάποια στιγμή σηκώθηκε, να πάει στην τουαλέτα, και άργησε λίγο.

Όταν επέστρεψε,ξανάπιασε τα ζάρια και είπε χαμογελαστός στον φίλο του πως τα πλοία που του είχε αναφέρει τα αγόρασε μόλις πριν ένα λεπτό εκείνος.

Αυτόν τον κτηνώδη αμοραλισμό εννοούν όταν λένε "είμαι προφέσιοναλ".

Το πλέον ψυχοφθόρο για τον εργαζόμενο είναι πως πρέπει να δίνει κάθε μέρα εξετάσεις.

Τα σύγχρονα επαγγέλματα έχουν υψηλό βαθμό ανασφάλειας σε σχέση μετα παραδοσιακά. Και απείρως σκληρότερο ανταγωνισμό·

τόσο εξωτερικό, από άλλες ομοειδείς εταιρείες, όσο και εσωτερικό, από άλλους καπάτσους που εποφθαλμιούν την ίδια θέση.

Ακόμη και το υψηλόβαθμο στέλεχος δεν αισθάνεται σιγουριά· πάει έναπρωί, και χωρίς καμία προειδοποίηση βρίσκει το γραφείο του στον διάδρομο.

Δυστυχώς στην ίδια λούμπα έπεσαν και οι γυναίκες.

Μέχρι πρόσφατα δεν επιδείκνυαν την ολοκληρωτική αφοσίωση των αντρών στη δουλειά τους.

Ως όντα πιο πολύπλοκα, αισθαντικά και ερωτικά, έδιναν μεγαλύτερη σημασία στα αισθήματα και στις χαρές της ζωής.

Γι' αυτή την ανεξαρτησία τους η κοινωνία τις φιλοδώρησε εκδικητικά με σωρεία κατηγοριών· άπιστες, ελαφρόμυαλες, ανεύθυνες, γλωσσούδες κ.λπ.

Η χαρά και ο ερωτισμός δεν συγχωρούνται στην παραγωγή.

Τελευταίως μάλιστα, αν αποπειραθείς στη δουλειά ένα πονηρό αστείο, κάποιο υπονοούμενο, καραδοκεί η εξευτελιστική κατηγορία της "σεξουαλικής παρενόχλησης".

Αυτό κι αν είναι ευνουχισμός· σημαίνει "όσοι περάσετε αυτή την πόρτα αφήστε έξω το φύλο σας".

Οι γυναίκες, στην προσπάθειά τους να κατακτήσουν ένα ακόμη αντρικό οχυρό,γίνονται κι αυτές "προφέσιοναλ" θύματα.

Τυπικές, σοβαρές, με πολυάσχολο ύφος,ασέξουαλ ντύσιμο, κάτι σκούρα ταγιέρ σαν αντρικά κουστούμια, λευκό πουκάμισο και απομίμηση γραβάτας.

Έσβησε το χαμόγελο, το σκέρτσο και το παιχνίδισμα, που τις έκαναν αξιολάτρευτες.

Έχασαν το πλεονέκτημα της ζωής που είχαν έναντι των εξουθενωμένων από τηδουλειά αντρών.

Ο Γκι Ντεμπόρ το έγραψε με συνταρακτική απλότητα: "Μόνο όσοι δεν δουλεύουν ζουν".

Στο πίσω μέρος του κεφαλιού μας όλοι ξέρουμε ότι στον κόσμο δεν ήρθαμε για να κάνουμε καριέρα, λεφτά και όνομα· ήρθαμε πρωτίστως για να ζήσουμε και, ει δυνατόν, να αφήσουμε αυτόν τον κόσμο λίγο καλύτερο απ' ό,τι τον βρήκαμε.

Αλλά δεν ζούμε.

Κι αυτό μας τρελαίνει.

"Το άγχος, το στρες, ο φόβος, η ντροπή, η περιφρόνηση, η επιθετικότητα, η θέληση της δύναμης γεννιούνται από μια καταπιεσμένη θέληση για ζωή".

(Βάνεγκεμ)

Με την πιο κοινή λογική, όσες ώρες δουλεύεις, άλλες τόσες πρέπει να έχεις ελεύθερες για να χαρείς αυτά που έβγαλες.

Όμως ο νέος άνθρωπος σπαταλά όλο τον χρόνο του, την ευφυΐα, την εφευρετικότητα και τις εμπνεύσεις του υπέρ της καριέρας του και όχι της ζωής του.

Ο ψυχισμός του μολύνεται από αυτό το δηλητηριώδες αλισβερίσι.

Φυσικώ τω τρόπω, το εξέκιουτιβ τερατάκι γραφείου θα μεταφέρει μακάβρια το πάρε δώσε και στις προσωπικές τουσχέσεις:

"Αυτά έκανα για σένα, περιμένω ανταπόδοση".

Μοιραία οι λαμπρές καριέρες είναι πυραμίδες που θεμελιώνονται πάνω σε προσωπικές και οικογενειακές τραγωδίες.

ΔΙΟΝΥΣΗΣ ΧΑΡΙΤΟΠΟΥΛΟΣ - Μοντέρνες δουλειές

(ΤΑ ΝΕΑ , 07/12/2002 , Σελ.: P35Κωδικός άρθρου: A17510P351)

Jorma Kaukonen -78-02-04 Old Waldorf-San Francisco

Jorma Kaukonen (Solo-Acoustic)2/04/197 8Old Waldorf - San Francisco, Ca.

Show Notes: Very relaxed acoustic show. Very intimate setting with about 30-40 fans. Flanger used on several cuts. Next to perfect sound quality. Late Show. To my knowledge no other sources exist.

Jorma Kaukonen is one of the real legends of American rock. He started his career as an acoustic finger picker. He got his first taste of the main stream when he became a member of the San Francisco rock band, The Jefferson Airplane. He was inducted into the Rock and Roll Hall of Fame in 1995 as a founding member of the band. Jorma has released more than two dozen albums and has been a part of a number of ensembles. Jorma's most recent CD, "Blue Country Heart," demonstrates his love for bluegrass, country and old-time blues songs. Jorma also wants to give something back to society. He has combined his passion with his lifelong interest in teaching, this combination has resulted in Fur Peace Ranch, a successful guitar camp founded by Jorma and Vanessa Kaukonen in southeast Ohio.
Jorma Kaukonen was born in Washington, D.C. And he spent most of his childhood there. It is here that he discovered his love for the guitar. He shifted to the San Francisco Bay Area in the early '60s, here he often played as backup to singer Janis Joplin in local San Francisco clubs. It was in 1965 after Kaukonen founded the rock group Jefferson Airplane, that he really got fame. The band was a huge hit and its popularity soared in 1967. Though Kaukonen did not contribute as much in the vocal department of the band his distinctive guitar-playing was the core of the band's music.

Interview with Jorma Kaukonen

http://jormakaukonen.com/index.php

Home is where the heart is!

enjoy!

HANDGJORT - Handgjort - Acid Psychedelic Indian Folk (Sweden 1971- Silence Records SRC4602)

enjoy!

Guy Ohrstrom - acoustic guitar

Theo Greyerz - tablas

Stig Ame Karlsson - sitar

Marcus Brandelius - sarod, ezra

with:
Bjorn json lindh - flute

Kenneth Armstrom - Sax

Dallas Smith - clarinet

Brullet Green - oboe

Jan Bandel - - gong

HANDGJORT - Handgjort - Acid Psychedelic Indian Folk (Sweden 1971- Silence Records SRC4602)
This is the rarest Silence albumby far,released in separately handmade cover designs.the music smells of incense , as this is an exotic fusion of indian and western music, with sitar, tablas, flutes,sarod, tambouraand acoustic guitar.This mainly instrumental music has an open air, rural feel , which was ideally suitable for the hippie festivals of the time.

The album is most memorable for two extended tracks.
(from Scented Gardens Of The Mind , by Dag Erik Asbjornsen)
All track composed by Handgjort except the traditional ones.Recorded at Decibel Sound Studios, Stockholm, September 1970.Produced by Gran Ahlin.

Handgjort :