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Welcome to Blax-Jive
Blaxploitation Jive is the sister blog to Blax-Pride. We are dedicated to educating people on the relationship between blaxploitation and the artists that contributed to soundtracks for the films.
We also have expanded our dedication out to Legendary musicians that have left their legacy imprinted on us. Enjoy the blog and please... learn something!
Blaxploitation Contribution (26)
Jazz-Funk (23)
Pop Soul (19)
Rhythm 'N Blues (19)
Smooth Soul (17)
Southern Soul (10)
Christmas Music (8)
Blaxploitation Jive (6)
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Film Score (1)
Go-Go (1)
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Resourceful Blogs
Between The Sky and The Land
Blaxploitation Pride
Doctor Okeh
Freedom Records
Fullundie
Jazz Disco
Jazzy Hello
Musica Desde Las Antipodas
Never Enough Rhodes
Original Funk Music
Soul Walking
The KingCake Crypt
Blax- Jive's Basement: The Crates
These are the crates. A place where I will be dumping gems for you to search. The crates are filled with Old School Soul, Funk, RnB, and Jazz. No user comments will be allowed mainly because I want to keep this clean from conjestion. Keep a check every now again to see what has been put in the basement. Enjoy.
Showing posts with label Pop Soul. Show all posts
Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), better known by her stage name Nina Simone , was an American singer, songwriter, pianist, arranger, and civil rights activist widely associated with jazz music. Simone aspired to become a classical pianist while working in a broad range of styles including classical, jazz, blues, folk, R&B, gospel, and pop.
Born the sixth child of a preacher's family in North Carolina, Simone aspired to be a concert pianist as a child. Her musical path changed direction after she was denied a scholarship to the prestigious Curtis Institute of Music in Philadelphia, despite a well-received audition. Simone was later told by someone working at Curtis that she was rejected because she was black. She then began playing in a small club in Philadelphia to fund her continuing musical education to become a classical pianist and was required to sing as well. She was approached for a recording by Bethlehem Records, and her rendition of "I Loves You Porgy" became a smash hit in the United States in 1958. Over the length of her career, Simone recorded more than 40 albums, mostly between 1958 — when she made her debut with Little Girl Blue — and 1974.
Her musical style arose from a fusion of gospel and pop songs with classical music, in particular with influences from her first inspiration, Johann Sebastian Bach, and accompanied with her expressive jazz-like singing in her characteristic low tenor. She injected as much of her classical background into her music as possible to give it more depth and quality, as she felt that pop music was inferior to classical. Her intuitive grasp on the audience-performer relationship was gained from a unique background of playing piano accompaniment for church revivals and sermons regularly from the early age of six years.
After 20 years of performing, she became involved in the civil rights movement and the direction of her life shifted once again. Simone's music was highly influential in the fight for equal rights in the US
Simone was born Eunice Kathleen Waymon in Tryon, North Carolina. The sixth of eight children in a poor family, she began playing piano at age three; the first song she learned was "God Be With You, Till We Meet Again". Demonstrating a talent with the instrument, she performed at her local church, but her concert debut, a classical recital, was given when she was twelve. Simone later claimed that during this performance her parents, who had taken seats in the front row, were forced to move to the back of the hall to make way for white people. Simone said she refused to play until her parents were moved back to the front, and that the incident contributed to her later involvement in the civil rights movement.
Simone's mother, Mary Kate Waymon, was a strict Methodist minister and a housemaid. Simone's father, John Divine Waymon, was a handyman who at one time owned a dry cleaning business, but who also suffered bouts of ill health. Mary Kate's employer, hearing of her daughter's talent, provided funds for piano lessons. Subsequently, a local fund was set up to assist in Simone's continued education. With the assistance of this scholarship money she attended high school.
After finishing high school, she had studied for an interview with the help of a private tutor to study piano further at the Curtis Institute, but she was rejected. Simone believed that this rejection was related directly to her race. Simone then moved to New York City, where she studied at the Juilliard School of Music.
To fund her private lessons, Simone performed at the Midtown Bar & Grill on Pacific Avenue in Atlantic City, whose owner insisted that she sing as well as play the piano. In 1954 she adopted the stage name Nina Simone. "Nina" (from niña, meaning 'little girl' in Spanish) was a nickname a boyfriend had given to her, and "Simone" was taken from the French actress Simone Signoret, whom she had seen in the movie Casque d'or. Simone's mixture of jazz, blues, and classical music in her performances at the bar earned her a small, but loyal, fan base.
In 1958, she befriended and married Don Ross, a beatnik who worked as a fairground barker, but quickly regretted their marriage. After playing in small clubs, in 1958 she recorded a rendition of George Gershwin's "I Loves You Porgy" (from Porgy and Bess), which she learned from a Billie Holiday album and performed as a favor to a friend. It became her only Billboard top 40 success in the United States, and her debut album Little Girl Blue soon followed on Bethlehem Records. Simone missed out on more than $1 million in royalties (mainly because of the successful re-release of My Baby Just Cares for Me during the 1980s) and never benefited financially from the album, because she had sold her rights to it for $3,000.
After the success of Little Girl Blue, Simone signed a contract with Colpix Records, and recorded a string of studio and live albums. Colpix relinquished all creative control to her, including the choice of material that would be recorded, in exchange for her signing the contract with them. At this point, Simone only performed pop music to make money to continue her classical music studies, and was indifferent about having a recording contract. She kept this attitude toward the record industry for most of her career.
Simone married a New York police detective, Andrew Stroud, in 1961; Stroud later became her manager
In 1964, she changed record distributors, from the American Colpix to the Dutch Philips, which also meant a change in the contents of her recordings. Simone had always included songs in her repertoire that drew upon her African-American origins (such as "Brown Baby" and "Zungo" on Nina at the Village Gate in 1962). On her debut album for Philips, Nina Simone In Concert (live recording, 1964), however, Simone for the first time openly addressed the racial inequality that was prevalent in the United States with the song "Mississippi Goddam", her response to the murder of Medgar Evers and the bombing of a church in Birmingham, Alabama that killed four black children. The song was released as a single, and it was boycotted in certain southern states. "Old Jim Crow", on the same album, addressed the Jim Crow Laws.
From then on, a civil rights message was standard in Simone's recording repertoire, becoming a part of her live performances. Simone performed and spoke at many civil rights meetings, such as at the Selma to Montgomery marches.Simone advocated violent revolution during the civil rights period, rather than Martin Luther King's non-violent approach, and she hoped that African Americans could, by armed combat, form a separate state. Nevertheless, she wrote in her autobiography that she and her family regarded all races as equal.
She covered Billie Holiday's "Strange Fruit", a song about the lynching of black men in the South, on Pastel Blues (1965). She also sang the W. Cuney poem "Images" on Let It All Out (1966), about the absence of pride she saw among African-American women. Simone wrote "Four Women", a song about four different stereotypes of African-American women, and included the recording on her 1966 album Wild Is the Wind.
Simone moved from Philips to RCA Victor during 1967. She sang "Backlash Blues", written by her friend Langston Hughes on her first RCA album, Nina Simone Sings The Blues (1967). On Silk & Soul (1967), she recorded Billy Taylor's "I Wish I Knew How It Would Feel to Be Free" and "Turning Point". The album Nuff Said (1968) contains live recordings from the Westbury Music Fair, April 7, 1968, three days after the murder of Martin Luther King, Jr. She dedicated the whole performance to him and sang "Why? (The King Of Love Is Dead)", a song written by her bass player, Gene Taylor, directly after the news of King's death had reached them. In the summer of 1969 she performed at the Harlem Cultural Festival in Harlem's Mount Morris Park.
Together with Weldon Irvine, Simone turned the late Lorraine Hansberry's unfinished play To Be Young, Gifted, and Black into a civil rights song. Hansberry had been a personal friend whom Simone credited with cultivating her social and political consciousness. She performed the song live on the album Black Gold (1970). A studio recording was released as a single, and renditions of the song have been recorded by Aretha Franklin (on her 1972 album Young, Gifted and Black) and by Donny Hathaway.
Simone left the United States in September 1970, flying to Barbados and expecting Stroud to communicate with her when she had to perform again. However, Stroud interpreted Simone's sudden disappearance, and the fact that she had left behind her wedding ring, as an indication of a desire for a divorce. As her manager, Stroud was in charge of Simone's income.
When Simone returned to the United States she learned that a warrant had been issued for her arrest for unpaid taxes (as a protest against her country's involvement with the Vietnam War), causing her to return to Barbados again to evade the authorities and prosecution.Simone stayed in Barbados for quite some time and she had a lengthy affair with the Prime Minister, Errol Barrow.[[25] A close friend, singer Miriam Makeba, then persuaded her to go to Liberia. After that she lived in Switzerland and the Netherlands, before settling in France during 1992.
She recorded her last album for RCA Records, It Is Finished, during 1974. Simone did not make another record until 1978, when she was persuaded to go into the recording studio by CTI Records owner Creed Taylor. The result was the album Baltimore, which, while not a commercial success, did get good reviews and marked a quiet artistic renaissance in Simone's recording output. Her choice of material retained its eclecticism, ranging from spiritual songs to Hall & Oates' "Rich Girl". Four years later Simone recorded Fodder On My Wings on a French label. During the 1980s Simone performed regularly at Ronnie Scott's jazz club in London, where she recorded the album Live at Ronnie Scott's in 1984. Although her early on-stage style could be somewhat haughty and aloof, in later years, Simone particularly seemed to enjoy engaging her audiences sometimes by recounting humorous anecdotes related to her career and music and by soliciting requests. In 1987, the original 1958 recording of "My Baby Just Cares For Me" was used in a commercial for Chanel No. 5 perfume in the United Kingdom. This led to a re-release of the recording, which stormed to number 4 on the UK's NME singles chart, giving her a brief surge in popularity in the UK. Her autobiography, I Put a Spell on You, was published in 1992. She recorded her last album, A Single Woman, in 1993.
In 1993, Simone settled near Aix-en-Provence in Southern France. She had suffered from breast cancer for several years before she died in her sleep at her home in Carry-le-Rouet, Bouches-du-Rhône on April 21, 2003. (In addition, Simone received a diagnosis of bipolar disorder in the late 1980s. Her funeral service was attended by singers Miriam Makeba and Patti Labelle, poet Sonia Sanchez, actor Ossie Davis, and hundreds of others. Elton John sent a floral tribute with the message "You were the greatest and I love you".[ Simone's ashes were scattered in several African countries. She left behind a daughter, Lisa Celeste Stroud, an actress and singer, who took the stage name Simone, and has appeared on Broadway in Aida.
Discography(Studio&Lives):
1958 Little Girl Blue (Studio) Bethlehem Records part 1 part 2
1959 Nina Simone and Her Friends (Studio) Bethlehem Records
1959 The Amazing Nina Simone (Studio) Colpix Records altrn
1959 Nina Simone at Town Hall (Live and studio) Colpix Records altrn
1960 Nina Simone at Newport (Live) Colpix Records part 1 part 2
1960 Forbidden Fruit (Studio) Colpix Records
1962 Nina at the Village Gate (Live) Colpix Records part 1 part 2
1962 Nina Simone Sings Ellington (Live) Colpix Records
1963 Nina Simone at Carnegie Hall (Live) Colpix Records
1964 Folksy Nina (Live) Colpix Records
1964 Nina Simone in Concert (Live) Philips Records altrn
1964 Broadway-Blues-Ballads (Studio) Philips Records altrn
1965 I Put a Spell on You (Studio) Philips Records
1965 Pastel Blues (Studio) Philips Records altrn
1966 Nina Simone with Strings (Studio) (strings added) Colpix
1966 Let It All Out (Live and studio) Philips
1966 Wild Is the Wind (Studio) Philips
1967 High Priestess of Soul (Studio) Philips
1967 Nina Simone Sings the Blues (Studio) RCA Records
1967 Silk & Soul (Studio) RCA Records altrn
1968 Nuff Said (Live and studio) RCA Records
1969 Nina Simone and Piano (Studio) RCA Records
1969 To Love Somebody (Studio) RCA Records
1970 Black Gold (Live) RCA Records
1971 Here Comes the Sun (Studio) RCA Records
1972 Emergency Ward (Live and Studio) RCA Records altrn
1974 It Is Finished (Live) RCA Records
1978 Baltimore (Studio) CTI Records
1982 Fodder on My Wings (Studio) Carrere
1984 Backlash (Live) StarJazz
1985 Nina's Back (Studio) VPI
1985 Live & Kickin (Live) VPI
1987 Let It Be Me (Live) Verve
1987 Live at Ronnie Scott's (Live) Hendring-Wadham
1993 A Single Woman (Studio) Elektra Records
Compilation:
1963 Nina's Choice (Compilation) Colpix Records
1994 The Rising Sun Collection (compilation, Just A Memory Records, )
1998 Sugar in my Bowl: The Very Best 1967—1972
2000 The Essential Nina Simone" (compilation, RCA, ) FLAC
Dejavu Retro Gold Collection [2CD-Deluxe Edition]
Posted by Vel_Kam at 4:33 AM 8 comments
Labels: Blues, Jazz, Piano Blues, Pop Soul, Rhythm 'N Blues, Soul, Soul Jazz, Vocal Jazz
The tragic 1979 death of 31-year-old Minnie Riperton silenced one of soul music's most unique and unforgettable voices — blessed with an angelic five-octave vocal range, she scored her greatest commercial success with the chart-topping pop ballad "Lovin' You." Riperton was born in Chicago on November 8, 1947; as a youth she studied music, drama, and dance at the city's Lincoln Center and later contemplated a career in opera. Her pop career began in 1961 when she joined the local girl group called the Gems, signing to the famed Chess label to release a handful of singles as well as lend backing vocals to acts including Fontella Bass, the Dells, and Etta James. After graduating high school, Riperton went to work at Chess as a receptionist; following the Gems' dissolution, she also signed with the label as a solo act, releasing a single, "Lonely Girl," under the alias Andrea Davis.
In 1968, Riperton was installed as the lead vocalist of the psychedelic soul band the Rotary Connection, which debuted that year with a self-titled LP on Cadet Concepts; the singles "Amen" and "Lady Jane" found a home on underground FM radio, but the group failed to make much of an impression on mainstream outlets. While still a member of the Connection, Riperton mounted a solo career; teaming with producer/arranger Charles Stepney and her husband/composer Richard Rudolph, she issued her brilliant debut, Come to My Garden, in 1970, but again commercial success eluded her grasp. After the Rotary Connection dissolved in the wake of 1971's Hey Love, she and Rudolph took a two-year sabbatical in Florida before relocating to Los Angeles, where she sang on Stevie Wonder's Fulfillingness' First Finale and toured as a member of his backing unit Wonderlove.
Wonder agreed to co-produce Riperton's 1974 album Perfect Angel, which contained the international blockbuster "Lovin' You"; the record made her a household name, although subsequent LPs like 1975's Adventures in Paradise and 1977's Stay in Love failed to repeat its success. By this time, however, commercial woes were the least of Riperton's concerns — diagnosed with breast cancer, she underwent a mastectomy in 1976, later becoming a spokesperson for the American Cancer Society and earning a Society Courage Award from then-President Jimmy Carter. Riperton continued performing despite her declining condition, with 1979's Minnie the final record completed during her lifetime — she died in L.A. on July 12 of that year. Unreleased vocal tracks with new instrumental backing comprised 1980's posthumous collection Love Lives Forever.
1969 - Come To My Garden
1974 - Perfect Angel
1975 - Adventures In Paradise
1977 - Stay In Love
1979 - Minnie
1980 - Love Lives Forever
Posted by zand at 1:55 PM 13 comments
Labels: Pop Soul, Smooth Soul, Soul
Legendary Group:The Meters
Art Neville, the group's frontman, launched a solo career around the New Orleans area in the mid-1950s while still in high school. The Meters formed in 1965 with a line-up of keyboardist and vocalist Art Neville, guitarist Leo Nocentelli, bassist George Porter Jr. and drummer Joseph "Zigaboo" Modeliste. They were later joined by percussionist/vocalist Cyril Neville. The Meters became the house band for Allen Toussaint and his record label, Sansu Enterprises.
In 1969 the Meters released "Sophisticated Cissy" and "Cissy Strut", both major R&B chart hits. "Look-Ka Py Py" and "Chicken Strut" were their hits the following year. After a label shift in 1972, the Meters had difficulty returning to the charts, but they played on several important records, working with Dr. John, Ernie K. Doe, Paul McCartney, King Biscuit Boy, Labelle, Robert Palmer and others.
In 1974 Paul McCartney invited the Meters to play at the release party for his Venus and Mars album aboard the Queen Mary in Long Beach, California. Mick Jagger of The Rolling Stones was in attendance at the event and was greatly taken with the Meters and their sound. The Rolling Stones invited the band to open for them on their Tour of America in 1975. That same year, the Meters recorded one of their most beloved and successful albums, Fire On The Bayou. From 1976 to '77 they played in The Wild Tchoupitoulas with George & Amos Landry and the Neville Brothers. The band broke up in 1977. Toussaint claimed the rights to the name "The Meters", so the musicians played under various other names and in various combinations for the rest of the decade.
They appeared on Saturday Night Live on March 19, 1977.
In 1989, the members of The Meters appeared at the New Orleans Jazz & Heritage Festival in an informal jam session and decided to reform. Zigaboo Modeliste was replaced with David Russell Batiste, Jr., a longtime collaborator with Allen Toussaint who had also worked with Robbie Robertson and Harry Connick, Jr.
In 1994, the departure of Leo Nocentelli led to the band inviting old friend Brian Stoltz into the fold as guitarist. Stoltz had been the guitarist for The Neville Brothers during the '80s, and during the '90s had done session work on records with Bob Dylan, Edie Brickell, Dr. John and Linda Ronstadt. With this new line up, the band was renamed the Funky Meters.
The original members of the Meters (including Modeliste and Nocentelli) have from time to time reformed for a limited number of shows in recent years. To differentiate from the Funky Meters, this version of the band is usually referred to as the Original Meters.
The Meters (1969), Sundazed
Look-Ka Py Py (1970), Josie
Struttin' (1970), Sundazed
Cabbage Alley (1972), Sundazed
Rejuvenation (1974), Sundazed
Fire On The Bayou (1975), Sundazed
The Best of The Meters (1975), Mardi Gras
Trick Bag (1976), Sundazed
New Directions (1977), Sundazed
Here Come the Metermen(1986),Charly Records
Good Old Funky Music(1990).Rounder Select
Uptown Rulers: The Meters live on the Queen Mary (1992), Rhino
Fundamentally Funky(1994),Charly Records
Funkify Your Life: The Meters Anthology (1995), Rhino
Message from the Meters(2000),BMG
Kickback (2001), Sundazed - rare and unreleased material
Fiyo at the Fillmore, Vol. 1 (2003), Too Funky - by the Funky Meters
Second Line Strut( ? ) Charly Records
Here Come the Meter Man(2011) Charly Records
COMPILATIONS & LIVE(butlegs)
The Meters & Professor Longhair-Live (1973)
Dr. John & The Meters — Chalmette, LA (3/5/1973)
Cissy Strut(1974).Island
Jackson, MS (1975)
Live At Rozy's1976(Dusty Groove America, Inc.)
Baton Rouge 1976 (Soundboard) flac
1977: The Showboat Lounge & Bottomline (Live) NYC
The Meters And The JB Horns _ Dec.7, 1991, Mensa, Germany (butleg.3CD) Flac
The Meters Jam(1992).Rounder
The Original Funkmasters(1992),Instant (UK)
Funky Miracle(1993).Charly Records
The Meters - Tipitina's 1993New Orleans, LAew Orleans, LA27, 1993
Crescent City Groove Merchants(1994),Charly Records
The Very Best of the Meters(1997).Rhino
The Meters Anthology: The Josie Years(2001).Repertoire Records
Let's Party with the Meters(2001)Get Back Records
Funky Good Time: Live at Moonwalker, Vol. 1vs JB's Horns '91(2001).Eureka
Funky Miracle: Live at Moonwalker, Vol. 2 vs JB's Horns'91(2001),Eastsid
The Essentials(2002).Warner Strategic UK
Zony Mash(2003).Sundazed
Selected Meters-invovled
Lee Dorsey : Ride Your Pony (Amy 8010) 1966
Lee Dorsey : The New Lee Dorsey (Amy 8011) 1966
Lou Johnson : With You In Mind (Volt 6017) 1971
Allen Toussaint : Life, Love and Faith (Reprise 2063) 1972
Earl King:New Orleans Blues(Sansu)1972
Dr. John : Gumbo & Right Place Wrong Time (Atco 7018) 1973 \FLAC
Dr. John : Desitively Bonnaroo (Atco 7043) 1974
Robert Palmer : Sneaking Sally through the Alley (Island ) 1974 \ FLAC
Jess Roden : Self-Entitled (Epic 9286) 1974
King Biscuit Boy : Self-Entitled (Reprise 32891) 1974
Browning Bryant : Self-Entitled (Reprise 2191) 1974
LaBelle : Nightbirds (Epic 33075) 1974
LaBelle : Phoenix (Epic 33579) 1975
Allen Toussaint : Southern Nights (Reprise 2186) 1975
The Wild Tchoupitoulas : Self-Entitled (Antilles 7052) 1976
Various Artists : Mardi Gras in New Orleans (Mardi Gras 1001) 1976
Patti LaBelle : Self-titled (Epic 34847) 1977
Posted by Vel_Kam at 11:29 AM 26 comments
Labels: Funk, Pop Soul
Legendary Group: Earth, Wind, and Fire
The band, at various times, comprised of:
Maurice White (b. 19th December 1941, Memphis, Tennessee, U.S.A., drums)
Verdine White (b. 25th July 1951, Illinois, U.S.A., bass)
Philip Bailey (b. 8th May 1951, Denver, Colorado, U.S.A., vocals)
Ronnie Laws (b. 3rd October 1950, Houston, Texas, U.S.A., saxophone, guitar)
Larry Dunn (b. Lawrence Dunhill, 19th June 1953, Colorado, U.S.A., keyboards)
Michael Beale (guitar)
Wade Flernmons (vocals)
Jessica Cleaves (b. 1948, vocals)
Roland Bautista (guitar)
Sherry Scott (vocals)
Alex Thomas (trombone)
Chet Washington (tenor saxophone)
Don Whitehead (keyboards)
Yackov Ben Israel (percussion)
Earth Wind & Fire were formed in 1969 in Chicago, Illinois, by Maurice White. Maurice was singing gospel by the age of six and at the age of eleven he took up drums and formed a band with schoolmate Booker T. Jones. In 1960, he relocated to Chicago and studied music composition and percussion at Roosevelt University. He had the intention at the time of becoming a music teacher.
Maurice used to record, between 1963 and 1965, for the Chess Imprint, where he worked alongside Fontella Bass, Betty Everett, Jackie Wilson, Billy Stewart, the Radiants, the Dells, Curtis Mayfield and the Impressions and Etta James. In 1967, at the age of 22, he'd replaced Red Holt in the the Ramsey Lewis Trio. Ramsey introduced Maurice to the kalimba, an African thumb piano that would prove to play a large part in his future ventures.
By 1969, he had left Ramsey's ranks and began a songwriting partnership with keyboardist Don Whitehead and singer Wade Flemons. This collaboration led to the formation of the Salty Peppers, who signed to the Capitol imprint and had a hit with the song 'La La Time.'The group also released the single 'Love Is Life' and had another small hit with the song.
Maurice left the group and then relocated to Los Angeles. It was here that he decided to form the group Earth, Wind and Fire, named after three of the elements in his personal astrological chart. Maurice's brother, Verdine, was asked to join the group in 1970, alongside Don Whitehead, Wade Flemons, female singer Sherry Scott, guitarist Michael Beal, tenor saxophonist Chet Washington, trombonist Alex Thomas, and percussionist Yackov Ben Israel.
Earth, Wind and Fire signed to the Warner Brothers imprint and released their first, self titled, album in 1970. In 1971, a second album was released, entitled 'The Need Of Love'. They also performed on the Melvin Van Peebles film 'Sweet Sweetback's Baadasssss Song'. The group's line-up changed, due to a lack of commercial success, in 1972 and a new line up formed consisting of female vocalist Jessica Cleaves, flute / sax player Ronnie Laws, guitarist Roland Bautista, keyboardist Larry Dunn, and percussionist Ralph Johnson. Philip Bailey also joined via a Denver R & B band called Friends & Love. The group opened for the singer John Sebastian in New York, which led to Clive Davis signing them to CBS.
Their first album was released for the label in 1972, entitled 'Last Days and Time'. By the end of 1972, Ronnie Laws and Roland Bautista had departed. They were replaced by Andrew Woolfolk and guitarists Al McKay and Johnny Graham. In 1973, the group released 'Head To The Sky', which was followed a year later by the album 'Open Our Eyes', which contained the popular song, 'Devotion'. This was the group's first collaboration with producer, arranger, and songwriter Charles Stepney.
Maurice's brother Fred White was enlisted as a second drummer. The single 'Mighty, Mighty' became Earth, Wind and Fire's first Top Ten hit on the R & B charts. 'Open Our Eyes' additionally, went gold. By 1975, Earth, Wind and Fire completed work on another movie soundtrack, entitled 'That's The Way Of The World'. The album stood up in it's own right, with the movie almost an after thought. 'Shining Star' went to the top of the R & B charts. The title track has become a Soul Classic in recent decades, with the album winning a Grammy for Best R & B Vocal Performance by a Group.
'That's The Way Of The World' reached the number one slot on both the pop and R & B charts and went double platinum. The song 'Reasons' showcased Philip Bailey's vocal dynamics, whilst the track 'See The Light' found favour with the Jazz Funk following (the song being covered by the fusion artist Eddie Russ). That album financed Maurice's further live developments which included stage stunts designed by the magician Doug Henning.
Earth, Wind and Fire employed a horn section, the Phoenix Horns, headed by saxophonist Don Myrick. 'Gratitude' followed later that year, an album of mainly live material, however one side of studio tracks proved immensly popular amongst Soul purists, especially the song 'Can't Hide Love', a track later to grace the dancefloors of the U.K. via a version by the jazz artist Jimmy Smith in 1977. 'Sing a Song', from that album, reached the pop Top Ten and the R & B Top Five.
During the 1976 sessions for Earth, Wind and Fire's next studio album entitled 'Spirit', Charles Stepney died suddenly of a heart attack. Maurice White took over the arrangments for the album, posthumously. The Charles Stepney produced 'Getaway' reached the top of the R & B charts, and the song was utilised by the BBC as part of the companies segue's between programmes that year. 'Spirit' was successful on the charts, reaching the number two spot.
Maurice took on further musical commitments, including work for the group the Emotions ('Flowers' and 'The Best Of My Love'), Pockets, Ramsey Lewis and kick starting Deneice Williams solo career via her successful album 'This Is Niecy' that year. The following year, the group began an incredible run of chart success via the album 'All N' All'. Maurice achieved massive success via the Earth, Wind and Fire songs 'Fantasy' and 'Serpentine Fire' alongside a number one single with, the Emotions song, 'Best Of My Love'. By 1978, he had formed his own label, ARC, and appeared in the film version of 'Sgt. Pepper's Lonely Hearts Club Band', with the group delivering their take on 'Got To Get You Into My Life', a version of the Beatles tune, that made the Top Ten. That same year, 'The Best of Earth, Wind & Fire, Vol. 1' produced another Top Ten hit (and R & B number one) with the new song, 'September'.
The group hit the top of the charts with the Emotions collaboration 'Boogie Wonderland'. 'After the Love Has Gone', featured on the album, has since become a Soul Classic. The following year, the success began to wane somewhat, however 'Faces', an experimental double album package, contained some very fine moments, including the title track, an epic of a Jazz Funk tune, and the song 'And Love Goes On', popular with the Soul Purists. After this release Al MacKay left the group.
'Raise' was released in 1981, an album that secured a top five hit with the song 'Let's Groove'. 'Powerlight' followed two years later which was considered a substandard offering by the critics. The Phoenix Horns then left the group and Earth, Wind and Fire released the album 'Electric Universe' later that year, following which, Maurice and the group went their seperate ways for a while. Verdine White became a producer and video director and Philip Bailey embarked on a solo career. He scored a one off number one single after joining forces with Phil Collins for the duet 'Easy Lover'. Phil Collins utilised the Phoenix Horns on some of his 80's records, both solo and then with his group Genesis. In 1985, Maurice White produced his own solo, self titled, album in between his outside productions.
The group were re-united in 1987 for the album 'Touch The World'. The latest line up included Maurice and Verdine alongside Philip Bailey, Andrew Woolfolk, Ralph Johnson, and new guitarist Sheldon Reynolds. Earth, Wind and Fire scored R & B hits with 'Thinking of You' and the number one song, 'System of Survival'. In 1990, 'Heritage' was released with guest appearances from Sly Stone and MC Hammer. The group then left the Columbia imprint.
Signing to the Reprise label, Earth, Wind and Fire released the album 'Millennium' in 1993. They achieved a Grammy nomination for the song 'Sunday Morning' and then tragedy struck that year when, one time horn leader, Don Myrick was murdered in Los Angeles. Philip Bailey and Maurice and Verdine White returned once again in 1997, on the independent Pyramid label, with the album 'In the Name of Love'. The track 'Cruisin' proved popular with soul fans. In the year 2000, it was announced that Maurice White had been diagnosed with Parkinson's Disease. Maurice continued to output product, producing a new project for a group called 'Xpression' entitled 'Power'. 'A return to the roots of soul' he commented on the sleevenotes.
In 2003, Earth, Wind and Fire released the album 'The Promise', a set that was perceived to be a fine return to form for the group some 35 years since their conception and featured a further collaboration with the group The Emotions, along with artistic input from Angie Stone. By 2005, a further set was released, entitled 'Illumination'. Maurice resides in Santa Monica today, is making a full recovery from his illness (according to reports), whilst Earth, Wind and Fire were, recently, inducted into the Rock and Roll Hall Of Fame.
Earth, Wind And Fire (Warners 1971)
The Need Of Love (Warners 1971)
Last Days And Time (Columbia 1972) altrn
Head To The Sky (Columbia 1973)
Open Our Eyes (Columbia 1974)
That's The Way Of The World (Columbia 1975)
Gratitude (Columbia 1975)
Spirit (Columbia 1976)
All And All (Columbia 1977) / alternate
I Am (ARC 1979)
Faces (ARC 1980)
Raise! (ARC 1981)
Powerlight (Columbia 1983)
Electric Universe (Columbia 1983)
Touch The World (Columbia 1987)
Heritage (Columbia 1990)
Live In Japan (1994)
Live in Velfarre (1995)
Plugged In And Live (1996)
In The Name Of Love (Eagle 1997) / alternate
Live By Request (1999)
Live in Rio (2002)
The Promise (Kalimba Records 2003)
Avatar (2003)
Illumination (Sanctuary Records 2005) / FLAC
Dance Trax (1988)
The Eternal Dance (1992)
Big Hits And Remixes (2002)
The Essential Earth Wind & Fire [2 CDS] (2002)
Love Songs (2004)
1974-10-08 - St Louis Arena, Missouri
2009-07-13 - Sandia Casino Amphitheater - Albuquerque, NM
Maurice White - "Maurice White" (1986)
Sonny Emory & Maurice White - "Hypnofunk - The Love Element" (1997)
Philip Bailey - "Continuation" (1983) / alternate
Philip Bailey - "Chinese Wall" (1984) / alternate
Philip Bailey - "The Wonders of his Love" (1985) / alternate
Philip Bailey - "Triumph" (1986)
Philip Bailey - "Family Affair (1989)
Philip Bailey - "Inside Out" (1990)
Philip Bailey - "A Gospel Collection" (1991)
Philip Bailey - "Philip Bailey" (1994)
Philip Bailey - "Dreams" (1999)
Philip Bailey - "Live and Love" (2002)
Philip Bailey - "Soul on Jazz" (2002)
'Live In Chile' (2008) DVD
Melvin van Peebles - OST : "Sweet Sweetback's Baadasssss Song" (1971)" - mostly performed by EWF ; composed by Van Peebles.
That The Way Of The World (1975) [Movie]
Earth, Wind, and Fire at Soulwalking
Earth, Wind, and Fire at Rateyourmusic
Alternate links
More alternate links
Thanks to Fresh Sly, Projetoesportefino, Lord Blak
Posted by Anonymous at 1:42 PM 18 comments
Labels: Disco, Funk, Pop, Pop Soul, Rhythm 'N Blues, Smooth Soul, Soul
Legend: Sam Cooke
b. Sam Cook, 22nd January 1931, Clarksdale, Mississippi, U.S.A.
d. 11th December 1964, Los Angeles, California, U.S.A.
Sam Cooke died way before his time. He was one of eight children by a Baptist minister and his wife. Sam first performed publicly with his brother and two sisters in their Baptist quartet, the Soul Children. As a teenager he joined the Highway QCs, before replacing Rebert 'R.H' Harris in the Soul Stirrers. Between 1951 and 1956, Sam sang lead with this gospel group. During that decade the Cook family moved to Chicago's South Side, where the Reverend Charles Cook quickly established himself as a major figure in the religious community. He recorded 'Touch The Hem Of His Garment' and 'Nearer To Thee'. The Soul Stirrers recorded for the Specialty label, where producer, 'Bumps' Blackwell, was to provide Sam with pop material. 'Loveable' / 'Forever' was issued as a single, under the pseudonym 'Dale Cook' in order to avoid offending the gospel audience.
Initially content, the label's owner, Art Rupe, then objected to the choir on a follow-up recording, 'You Send Me', and offered Sam a release from his contract in return for outstanding royalties. The song was then passed to the Keen label, where it sold in excess of two million copies. Further hits, including 'Only Sixteen' and 'Wonderful World', followed. The latter was used extensively in a television jeans commercial and in 1986 the re-issue reached number 2 in the U.K. charts.
Sam left the label for RCA Records where 'Chain Gang' (in 1960), 'Cupid' (in 1961), 'Twistin' The Night Away' (in 1962), 'Bring It On Home To Me' and 'Little Red Rooster' all followed. He also founded the Sar and Derby labels on which the Simms Twins' 'Soothe Me' and the Valentinos' 'It's All Over Now' were issued. Sam's own career continued with '(Ain't That) Good News' and 'Good Times'. The drowning death of his infant son in mid 1963 had made it impossible for Sam
to work in the studio until the end of that year.
On 11th December 1964, following an altercation with a girl he had picked up, the singer was fatally shot by the manageress of a Los Angeles motel. Sam had dinner with a famous artist on the 11th December 1964, Los Angeles, California, U.S.A. He and a friend picked up a couple of models and went to a hotel. After arranging rooms, Sam became aggressive with his female friend and frightened her. When he went to the bathroom, she stole his trousers and left the hotel. Sam went into a rage, and, after being unable to find his companion, he started banging on the office door demanding to know where the woman had gone. When inside he attacked the female manager, during the struggle she was able to reach behind her and pull a gun from the desk drawer. In fear for her life, she shot him repeatedly. The female escort's name was Eliza, a euroasian model. The motel manager was not prosecuted, as it was deemed to be self defence. 'A Change Is Gonna Come', went on to become a Soul classic, and was utilised by the Sixties America's Civil Rights movement.
Sam was buried at:
Burial: Forest Lawn Memorial Park Glendale Los Angeles County California, U.S.A. Plot: Garden of Honor
There are some alleged matters which some believe bring into question Sam's final days, along with the jury trial. These comprise of:
After a brief trial, the jury deliberated for fifteen minutes and came back with a verdict of justifiable homicide. Bertha Franklin and Lisa Boyer were free. The Cooke family hired an private investigator who uncovered the following facts:
Cooke had dated Lisa Boyer three weeks prior to his murder despite the fact that numerous people warned him about her colorful past which included prostitution. If Cooke was dating her, why would he try to rape her?
Singer Etta James revealed in her book 'Rage To Survive,' that Cooke was so badly beaten that his head was nearly decapitated from his shoulders, his hands were broken and crushed, his nose was smashed and he had a two inch bump on his head. These injuries were never explained and a woman could not inflict these type of injuries.
Bertha Franklin had a .32 registered in her name, yet she killed Cooke with a .22, she would move to Michigan and die eighteen months later.
Lisa Boyer would be arrested for prostitution one month after Cookes death and in 1979 she would be found guilty of second degree murder in the shooting death of her boyfriend.
Other related matters:
Singer Otis Redding would die three years later on the exact day that Sam Cooke was killed.
Cooke's widow married Bobby Womack three months after his death. They have since divorced.
Barbara sold the Sam Cooke publishing catalogue to a businessman for a mere $103,000. This catalogue currently generates $3-5 million per year.
In The Beginning (1955) / 1 / 2 /
Sam Cooke (Keen 1958)
Encore (Keen 1958)
Tribute To The Lady (Keen 1959)
Hit Kit (Keen 1959)
I Thank God (Keen 1960)
Wonderful World Of Sam Cooke (Keen 1960)
Cooke's Tour (RCA 1960)
Swing Low (1961)
My Kind Of Blues (RCA 1961)
Twisting The Night Away (RCA 1962) at Funk My Soul
Mr. Soul (RCA 1963) / alternate / alternate
Night Beat (RCA 1963) / alternate / FLAC
Ain't That Good News (RCA 1964) / alternate
Sam Cooke At The Copa (RCA 1964) from Nikos
The Wonderful World of Sam Cooke (1965)
Shake (RCA 1965)
Try A Little Love (RCA 1965)
So Wonderful (1969)
The One and Only (1969)
Sam Cooke (1970)
The 2 Sides of Sam Cooke (1970)
The Unforgettable Sam Cooke (1973)
Sam Cooke Sings Billie Holiday (RCA 1976)
Sam Cooke Live At The Harlem Square 1963 (RCA 1985)
1951 - 1964 - Portrait Of A Legend / alternate
1960 - Hits of fifties
1962 - The Best Of Sam Cooke
The Complete Specialty Recordings Of Sam Cooke With The Soul Stirrers : ONE TWO THREE
1994 - All Hits
2000 - The Man Who Invented Soul (1957-63) Box Set 4CD
The Man and his Music
2008 - You Send Me (3CDs) / info
Sam Cooke at Soulwalking
Sam Cooke at Rateyourmusic
Thanks to Zand and Mr. Moo for contributions
Posted by Anonymous at 10:39 AM 25 comments
Labels: Pop Soul, Rhythm 'N Blues, Soul, Southern Soul
Legendary Group: The Isley Brothers
The nucleus of this enduring group are three brothers:
O' Kelly Isley (b. 25th December 1937, Cincinnati, U.S.A., d. 31st March 1986)
Rudolph Isley (b. 1st April 1939, Cincinnati, U.S.A.)
and Ronald Isley (b. 21st May 1941, Cincinnati, U.S.A.)
The Isley Brothers began singing gospel in their hometown of Cincinnati, U.S.A. During the early 50's, the trio were accompanied by their brother Vernon, who died in a car crash during 1957. The group relocated to New York the following year and issued a few one-off singles before being signed by the RCA Records production team, Hugo And Luigi. One of their compositions 'Shout' built the group a reputation during live performances. The song sold well in the black market, and has since become an R & B standard and covered by several rock artists including the Beatles and Lulu.
The Isleys switched labels to Wand in 1962, where they enjoyed another sizeable hit with a cover version of the Top Notes' 'Twist And Shout', another song covered by the Beatles. The following years the group recorded for the labels, Wand and United Artists. A brief spell with Atlantic Records in 1964 saw the release of , 'Who's That Lady?', that did not do well at the time, but was to see a renaissance a decade later on.
The Isleys then formed their own company, T-Neck Records, in 1964, something not encouraged by a mainly white run music business at the time. The first release on the label, 'Testify', showcased their young lead guitarist, Jimi Hendrix. That record's experimental sound went largely unnoticed, and the Isleys, T-Neck and Hendrix went their separate ways.
The Isleys then signed a contract with Motown Records. At the Motown outset the group were teamed with the songwriting partnership of Holland / Dozier / Holland. By 1966, the song 'This Old Heart Of Mine' became a huge hit in America and a hit four years later in the U.K. 'Behind A Painted Smile' and 'I Guess I'll Always Love You' were reissued in the U.K. and became hits in the U.K. towards the end of the 60's.
The Isleys reactivated T-Neck in 1969 and took on a different look to refurbish their image. The group added two younger brothers: Ernie Isley (b. 7th March 1952; guitar) and Marvin Isley (bass) as well as a cousin, Chris Jasper (keyboards).
In America, 'It's Your Thing' and 'I Turned You On' scored at the end of the Sixties, whilst the U.K. were catching up with several earlier Motown releases. These records employed a funkier sound, inspired by the likes of James Brown And The JB's. Between 1969 and 1972 a live double set featured extended versions of their recent hits, and 'In The Beginning', a collection of their 1964 recordings with Jimi Hendrix.
In the early 70's, the Isleys incorporated into their repertoire a variety of rock material by composers such as Bob Dylan, Stephen Stills, Todd Rundgren and Carole King. By 1973, the album '3 + 3', became the first album issued via a distribution agreement with CBS Records. This albm set the course for several excellent outings throughout the Seventies and early Eighties. Ernie Isley's guitarwork (influenced by Jimi Hendrix) became central in the Isleys' sound, and was featured on the album's lead single, 'That Lady', a more successful version of their underrated 1964 single on Atlantic. '3 + 3' also contained soft soul interpretations of material by Seals And Croft, James Taylor and the Doobie Brothers.
'Highways Of My Life' demonstrated Ronald's own developing songwriting skills. 'The Heat Is On' in 1975 showcased the two sides of the groups' songwriting stylings. Side one would become the funkier, social commentary side of the groups writings. Side two would highlight their more romantic leanings, epitomised by the soul standard 'For The Love Of You'. It was this formula that stayed with the band for the following late Seventies and early Eighties offerings.
'Harvest For The World' (1976) proved to be one of the Isleys' most popular recordings. The song became a hit, in 1988, within the pop charts for the Christians. In the late 70's, the Isley's albums became popular within the Disco genre with Black & White audiences. 'The Pride', 'Take Me To The Next Phase', 'I Wanna Be With You' and 'Don't Say Goodnight' all topped the black music charts. 'It's A Disco Night', a U.K. hit in 1980, came from the double album 'Winner Takes All', which also included the excellent 'Let Me In Your Life'.
In the mid Eighties, Ernie and Marvin Isley and Chris Jasper left the group to form the successful Isley, Jasper, Isley combination. The rest of the group still recorded under the Isley Brothers banner, however, when O'Kelly Isley died from a heart attack on 31st March 1986, the group rested for a while. Ronald and Rudolph dedicated their next release, 'Smooth Sailin', to him. That album was produced by Angela Winbush with the title track highlighting.
Angela took over the artistic control of the group, and she wrote and produced their 1989 release 'Spend The Night', which was effectively a Ronald Isley solo album.The Isley Brothers legacy, has influenced several artists during the Nineties onwards, notably R Kelly on his 'For The Love Of You' sounding, 'Your Body's Calling'. Their 1996 release 'Mission To Please' attempted to move them into the same smooth urban soul territory as Keith Sweat and Babyface.
In 2001, the group returned to recording releasing 'Eternal', which featured vocal and production input from R Kelly, Raphael Saadiq, Avant, Jill Scott and Jimmy Jam & Terry Lewis. An album entitled 'Body Kiss' was released in 2003 for the Dreamworks imprint. Their series of US hits from the 50's to the 90's is one of the major influences on Black American music.
Shout (RGA Victor 1959)
Twist And Shout (Wand 1962)
Twisting And Shouting (Wand 1964)
In The Beginning (Isley Brothers & Jimi Hendrix) (1964)
This Old Heart Of Mine (Tamla 1966)
Tamla Motown Presents: The Isley Brother (1967)
Soul On The Rocks (Tamla 1967)
Behind A Painted Smile [UK] (1969)
It's Our Thing (T-Neck 1969)
The Brothers: Isley (T-Neck 1969)
Get Into Something (T-Neck 1970)
The Isley Brothers Way (1970)
Givin' It Back (T-Neck 1971)
Brother Brother Brother (T-Neck 1972)
The Isleys Live (T-Neck 1973)
3 + 3 (T-Neck 1973)
The Isley Brothers (1974)
Live It Up (T-Neck 1974)
The Heat Is On (T-Neck 1975)
Harvest For The World (T-Neck 1976)
Go For Your Guns (T-Neck 1977)
Showdown (T-Neck 1978)
Winner Takes All (T-Neck 1979)
Go All The Way (T-Neck 1980)
Grand Slam (T-Neck 1981)
Inside You (T-Neck 1981)
The Real Deal (T-Neck 1982)
Between The Sheets (T-Neck 1983)
Masterpiece (Warners 1985)
Smooth Sailin' (Warners 1987)
Spend The Night (Warners 1989)
Tracks Of Life (Warners 1992)
Live (Elektra 1993)
Mission To Please (Island 1996)
Eternal (Dreamworks Records 2001)
Body Kiss (Dreamworks Records 2003)
Taken To The Next Phase (2004)
Baby Makin' Music (Def Soul 2006)
I'll Be Home for Christmas (Def Soul Classics 2007)
Isley, Jasper, Isley
Isley Jasper Isley - Broadway's Closer to Sunset Boulevard (1984)
Isley Jasper Isley - Caravan of Love (1985)
Isley Jasper Isley - Different Drummer (1987)
Chris Jasper - Superbad (1987)
Chris Jasper - Time Bomb (1989)
Chris Jasper - Amazing Love (2005) PW = Mr. Moo
Chris Jasper - Invincible (2007)
Chris Jasper - The Best Of Chris Jasper (2003)
Ernie Isley - High Wire (1990)
Ronald Isley - Here I Am (sings Burt Bacharach) (2003)
Ronald Isley - Mr.I (2010)
with Brooklyn Bridge and Edwin Hawkins: Live At Yankee Stadium (T-Neck 1969)
The Ultimate Isley Brothers (2000)
Take Some Time Out -The Famous Isley Brothers (United Artists 1964)
Doin' Their Thing (Tamla 1969)
Beautiful Ballads (1994)
'Mellow' Isleys (1995)
The RCA Sessions (1996)
Brothers In Soul [The Early Years] (1993)
It's Your Thing (1999) [3Cd Boxset]
For The Love Of You (1993)
Greatest Hits Live (2005)
Summer Breeze: Greatest Hits (2005)
Bedroom Classics Vol 3
The Essential Isley Brothers (2004)
Privilege - Privilege (1969) - produced by the Isleys on T-Neck
Baby Cortez - The Isley Way (1970) - T-Neck keyboardist, solo album covering Isley tracks.
The Isley Brothers at Soulwalking
The Isley Brothers Discography at Rateyourmusic
Labels: Disco, Funk, Funk-Rock, Pop Soul, Psychedelic Soul, Rhythm 'N Blues, Rock 'N Roll, Smooth Soul, Soul
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Blackbyrds, The
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Norman Connors
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Renee Geyer
Sista Monica Parker
Soul Children
Stylistics, The
Temptations, The
Webster Lewis
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Willie Hutch


text:
234 U.S. 167 - Florida East Coast Railway Company v. United States
234 US 167 Florida East Coast Railway Company v. United States
58 L.Ed. 1267
FLORIDA EAST COAST RAILWAY COMPANY, Appt.,
UNITED STATES, Interstate Commerce Commission, Railroad Commissioners of Florida, et al.
Argued January 15 and 16, 1913.
Decided June 8, 1914.
Messrs. Fred. C. Bryan and Alexander St. Clair-Abrams for appellant.
Mr. Blackburn Esterline and Solicitor General Bullitt for the United states.
[Argument of Counsel from Pages 168-171 intentionally omitted]
Mr. Charles W. Needham for the Interstate Commerce Commission.
Mr. Frederick M. Hudson for the Railroad Commissioners of Florida.
[Argument of Counsel from page 172 intentionally omitted]
Mr. A. A. Boggs for intervening appellees.
Mr. Chief Justice White delivered the opinion of the court:
The order of the Interstate Commerce Commission concerning which the appellant, hereafter called the East Coast Line, complained before the court below, and which that court refused to enjoin, was made on a second supplemental petition presented in controversies which had been long pending and twice before decided, such controversies involving many railroads, and being concerned with the rates as to pineapples, citrus fruits, and vegetables from places of production in Florida to exterior points of distribution or consumption. While the report here under consideration, made on the second supplemental petition, deals with only a few of the railroads concerned in the previous inquiries, and with only a part of the controversies involved in the previous cases, yet the reports in the previous cases and the reasons stated by the Commission for its action in those cases are so connected with its action complained of in this case that it is impossible to understand this controversy without recurring to and stating the previous reports of the Commission in the controversies to which we have referred.
We observe before coming to make that statement that none of the testimony taken before the Commission in the cases prior to this one is in the record, it having been stipulated that the facts stated by the Commission in its reports in such previous cases should be taken as the facts of such controversies. For the purpose of the statement which we shall make, the record therefore consists of the reports in such previous cases, of the report in this case, and the testimony taken in this case before the Commission and in the court below. The future application of the facts which we shall state will be facilitated by giving a description of the East Coast Line as stated in the several reports of the Commission to which we shall immediately recur.
The East Coast Line is wholly within the state of Florida, the main line extending from Jacksonville south along the Atlantic coast to Miami, a distance of 366 miles, then to Homestead, 28 miles south, and thence across the Florida Keys to Key West. At the time of the final hearing before the Commission on March 2, 1911, the road was not fully constructed, and was only completed and being operated to Knight's Key, about 83 miles below Homestead. The total mileage of the road was about 583 miles, including 477 miles of main line from Jacksonville to Knight's Key and about 106 miles of branch line above Miami. The cost of the construction from Homestead on was enormous, amounting to nearly $175,000 per mile, and the total cost of the extension from Homestead to Knight's Key, 83 miles, nearly equalled the entire cost of the balance of the road, 500 miles. On July 3, 1907, a petition was filed by the Florida Fruit & Vegetable Shippers' Protective Association against the Atlantic Coast Line, the Seaboard Air Line and Southern Railway Companies and the East Coast Line, complaining of and asking a reduction in interstate rates on pineapples, citrus fruits, and vegetables. The East Coast Line was the only one of the defendant railroads whose traffic was confined to the producing regions in Florida because, while the other lines also undoubtedly penetrated to the area of production, their lines were not confined to Florida, but were trunk lines, carrying not only the product committed to them by producers in Florida, but also the products committed by producers to roads like the East Coast Line, which did not extend beyond Florida, and had therefore to be transshipped if destined to points beyond the state by other roads. In coming to make its report in the case thus referred to, the Commission thus stated the general situation of the railroad traffic of all the roads in Florida concerning the subjects under discussion (No. 1168, 14 Inters. Com. Rep. 483):
'The shape and location of the state of Florida is such that these railroads which handle this traffic from the point of production up to the base point necessarily do but a limited business. They extend south considerable distances through a sparsely settled country which neither originates nor consumes a considerable amount of traffic. Some of them reach the seacoast, but none of them connect or can connect with railroads leading beyond, and the amount of through business handled is extremely light. Their traffic is confined almost entirely to bringing out the products which originate upon their lines, and carrying in the supplies which are consumed in the territory served by them. Fruits and vegetables, lumber, naval stores, and in some cases cotton and phosphate rock are the principal commodities carried, and of these, fruits and vegetables produce the most revenue.'
In the report by which the Commission disposed of this controversy (No. 1168, 14 Inters. Com. Rep. 476) it divided the rates to be considered into two classes: (a) gathering charges from production points in Florida to base points of which Jacksonville was the only one on the East Coast Line, and (b) rates from base points to points of final destination in other states, the sum of the two rates being the joint through rate.
Considering the three products whose traffic charges were under consideration, the Commission said:
(a) Citrus fruits:
'From an examination of the elaborate figures which were introduced upon the trial showing the character of the traffic handled by these Florida roads, the conditions under which it is handled, their earnings, and the cost of operation running through a series of years, it is difficult to see how these railroads can be expected to transport in a suitable way this fruit and vegetable traffic from points of production to these basing points for a less sum than they now receive. It is difficult to see how, even upon the present tariff, those lines can, in the immediate future, expect to pay any considerable return upon their investment. We feel that these local rates, although they are high in comparison with other local rates, are as low as should be established under all the circumstances.'
(b) Vegetables:
'The same observations which have been made upon the orange rates to base points apply with equal pertinency to those upon vegetables. They are named by the railroad commission of Florida. They are made with the understanding that they are really parts of through rates from the point of production to the market of consumption. They are low in comparison with other rates because it is understood that this industry is an important one to the state of Florida, and that a low cost of transportation is essential to its development.
'While these local rates are essentially part of the through charge, and should be dealt with by this Commission as such, it is difficult to see how these Florida railroads can render a proper service upon a lower scale of rates than is now applied. It must be remembered that without the railroad this industry could not exist at all, and that to its satisfactory carrying on the character of the service is fully as important as the rate. It is better that these fruits and vegetables should reach the market on time, and in good condition, than that a few cents per box should be subtracted from the carrying charge. There was very little complaint as to the service; nor did the shippers who testified manifest any desire that these carriers should be required to accept less than reasonable compensation for that service. Our conclusion upon this branch of the case is that the present rates up to the base points, while high in comparison with similar rates in other localities, are as low as they ought to be under the conditions obtaining upon these Florida lines, so that here, as in case of oranges, the real question arises upon the rate from the base point to the northern market.'
(c) Pineapples:
'Pineapples are mainly produced in Florida, upon the line of the Florida East Coast Railway, which extends, as already said, down the east side of Florida. This industry has, within recent years, developed rapidly. Florida pineapples to-day sell in all the markets of the United States in competition with foreign pineapples, usually commanding much higher prices than the foreign article. While the period of production in the United States and in Cuba is not exactly the same, still it may fairly be said that the two products do compete.
'It was said that Jansen might be selected as a typical producing point upon the Florida East Coast Railway. This station is 257 miles south of Jacksonville, and the rate on pineapples is 24 cents per box of 80 pounds. Rates from other points are relatively about the same as from Jansen; somewhat lower, it will be seen, for the same distance, than from most producing points upon oranges.'
Presumably, deeming that the particular situation on the East Coast Line as to the character of its business, its location, its cost, etc., etc., required to be specially pointed out in addition to what was said in the passages quoted, the Commission said:
'The Florida East Coast Railway was built as part of a hotel scheme, and its principal business is the carrying of passengers who frequent these Florida winter resorts. Over 50 per cent of its total receipts are from passenger traffic. Its most important freight business is the transportation of fruits and vegetables, and of these pineapples afford the most considerable amount of revenue. The management of the railroad has paid great attention to the development of this business. In the pineapples region highways are few and transportation by wagon is therefore costly. To relieve this difficulty sidings have been put in the pineapple region at frequent intervals. The traffic representative of this railroad stated that it was possible to load pineapples every half mile upon his line in the pineapple-producing region. When once loaded, great attention is paid to sending the fruit to Jacksonville upon a reliable and expeditious schedule.
'Very elaborate tables were introduced, showing the cost of constructing this railroad and the financial results of its past operations. These statements and tables have been examined by the Commission, but it does not seem necessary to reproduce them here, or to state in detail the grounds of our conclusions. But for this railroad the pineapple industry in Florida would not to-day exist. The quality of the service rendered that industry by this road is not criticized. The shippers of this fruit ought not to object, nor do they object, to paying a fair compensation for the service, and in our opinion the present rates do not exceed such just compensation for the transportation of pineapples from various producing points to Jacksonville, and we so hold.'
And concerning the earnings of the East Coast Line, it was said: 'The total earnings of the Florida East Coast Railway for the same year [ending June 30, 1907] were $5,911 per mile, and its operating expenses $4,502. The greater part of the receipts of this railroad are from its passenger service. The evidence shows that a considerable portion of what little freight revenue it has comes from the transportation of fruits and vegetables. It has given in the past great attention to this service, and has apparently satisfied its patrons in this respect. It makes no through rates, but receives its full local in all cases up to Jacksonville.'
Giving effect to the foregoing, the Commission held that the complaint as to gathering charges was wholly unfounded, and they were maintained. A different conclusion, however, was reached as to charges from the base points to points of distribution or consumption, as to which some reduction was made. It consequently follows that all the other roads who were defendants were subjected to some reduction as to their rates, while the East Coast Line, because of its being a purely gathering road, was subjected to no reduction whatever.
Within a year after this action by the Commission the same complainant commenced a new proceeding (No. 2566) against two hundred railroads, including, among others, the East Coast Line, to establish carload rates from base points in Florida to interstate points. At the same time in No. 1168, which, as we have seen, had been previously passed upon by the Commission and decided in favor of the East Coast Line, a supplemental petition was filed against that road, the sole complaint against the East Coast Line in such petitions being as to its gathering rates on pineapples from points of production to Jacksonville. And it is to be presumed that the complaint as to pineapple-gathering rates was made only against the East Coast Line, because, as we have seen, as stated by the Commission, that road was almost the exclusive carrier of such product, and in fact had virtually built up that industry. The controversy, while it involved a claim of reduction, in its broad aspect presented only a controversy as to whether there should be put in force carload and less-than-carload instead of anyquantity rates in the performance of its duty of gathering pineapples. On the filing of the new and original as well as of the supplemental petition, the Commission directed the rescinding of its previous order concerning the reasonableness of gathering rates, as well as its finding on the subject of rates from base points, and directed the matter to be reheard. Without referring to the conclusion of the Commission concerning the controversy as to the many railroads who were before it as to their interstate rates, we come to state the ruling of the Commission as to the East Coast Line (17 Inters. Com. Rep. 552):
'The evidence produced upon the present hearing suggests no change in what was said so far as that applies to the Florida East Coast Railway. That line operates at the present time 477 miles of main line and 106 miles of branches. It has a first mortgage of $10,000,000, a second mortgage of $20,000,000, and a capital stock of $3,000,000, making in all $33,000,000. This capitalization, with the exception of about $4,000,000, represents an actual cash investment.
'It is urged by the complainant that the portion of the line from Miami south, which has cost some $14,000,000, was not at the present time a paying investment, and that the balance of the line from Jacksonville to Miami, which is used by the growers of pineapples, ought not to be taxed with the cost of this construction. Admitting this to be so, and laying out of view altogether the $14,000,000 which have been invested in that part of the property, it is still true that, during the entire existence of the Florida East Coast Railway, so far as this record shows, that property has never earned in any single year 6 per cent upon the money invested, with the single exception of the year 1909. During much of the time its net earnings have been but little above its operating expenses. We certainly cannot hold that these rates should be reduced because for a single twelve months, under what may be termed abnormal conditions, this railway earned about 6 per cent on the money which has been actually invested in its construction. The years when no return has been received must certainly be given some consideration. Upon no other theory could private capital be induced to invest in the construction of railroads.
'While, however, we adhere to what was said in the previous case, we do think, upon more careful examination, that these rates of the Florida East Coast Railway on pineapples ought to be somewhat revised. They are not consistent with one another, and in our opinion those from the more distant points are too high as compared with rates from nearby points.
'The present rates are in any quantity. About 60 per cent of these pineapples move from the point of origin in carloads, 40 per cent in less than carloads. Carload shipments are stripped and loaded by the shipper, and are not unloaded at Jacksonville, which probably saves the carrier not far from 2 cents per box. The less-than-carload shipment is loaded by the railway and usually unloaded at the station in South Jacksonville or Jacksonville. In our opinion carload rates should be established which are less than the present any-quantity rates by 3 cents per box.
'The establishment of such carload rates will not of a certainty work a decrease in the net earnings of the carriers. It is a false theory of transportation which seeks to force the shipper to avail himself of a less-than-carload service, which is more expensive to render, for the purpose of increasing the gross revenues of the carrier. The true object should be to perform the service in the most economical manner, and to charge for that service reasonable compensation. In the end this makes to the advantage of both the carrier and its patron. The vice president of the Florida East Coast Railway stated that he had always thought that carload rates should be established, and that, in his opinion, to establish carload rates, 3 cents per box less than the present any-quantity rates would not prejudice the net revenues of his company, since he would make up by saving in operating expenses what he lost in gross income.'
The order of the Commission which gave effect to these views entered February 8, 1910, changed gathering charges on pineapples and citrus fruits on the East Coast Line from any-quantity to carload and less-than-carload rates, and modified the mileage basis. On attention being directed to the fact that the complaint related only to pineapples, while the order applied to that product and to citrus fruits, the order was modified and restricted to the subject complained of,—pineapples. The East Coast Line conformed to the order, and, indeed, shortly after doing so, also voluntarily put into effect carload and less-than-carload gathering rates on citrus fruits and vegetables, and although the rates thus fixed were somewhat higher than the rates on pineapples which the Commission had established, they were lower than the citrus fruit and vegetable rates which had been expressly sustained by the Commission.
Some months after this was done the same complainant who had filed the previous petitions presented in No. 1168 a second supplemental complaint against the East Coast Line, and new petitions against the Seaboard Air Line and Atlantic Coast Line Railways (No. 3808). So far as the East Coast Line was concerned, the complaint was against the citrus fruit and vegetablegathering rates, and asked that they be equalized with or made the same as the pineapple rate. The Florida Railroad Commission intervened and asked the same relief. The Commission in effect granted the prayer of this second supplemental complaint, found the rates of the East Coast Line on citrus fruits and vegetables to be unjust and unreasonable, and directed the putting into operation of a lower stated schedule of gathering rates which was made applicable not only to the East Coast Line, but also to the other roads which were parties to the proceeding. And it is this order which the railroad refused to obey, and to enjoin the enforcement of which this suit was brought.
Without going into detail, it suffices to say that the report of the Commission concerning the action just stated did not purport to question the correctness of its previous findings sustaining the citrus fruit and vegetable rates of the East Coast Line, but was based upon what was deemed to be a change in conditions since the previous decisions. After pointing out that it had previously ordered a change from any-quantity to carload and less-than-carload rates on pineapples from gathering points to the base point on the East Coast Line, and on all fruits and vegetables from base points outward, and that on both the Atlantic Coast Line and the Seaboard Air Line anyquantity rates yet remained from gathering points as to all fruits and vegetables, although such was not the case as to the East Coast Line, because of the change which it had voluntarily made, it was said (22 Inters. Com. Rep. 11, 14-16):
'No material change has taken place since then [that is, since the previous decisions], so far as this record discloses, which would lead to a different conclusion if the same subject were before us to-day. The volume of business transacted has increased, but the expenses of operation have also increased to an extent which offsets the greater amount of business.
'It appeared in the original case that citrus fruits to some extent, and vegetables to a much greater extent, were shipped in small lots to Jacksonville, and there reloaded for movement beyond. It was our impression that, in establishing carload rates from the base point, that this would permit the movement in small lots up to the base point and the consolidation at such point, and that the carload movement would in fact be mainly beyond the base point. Such has not been the result. In order to obtain the carload rate beyond the base point it seems to be necessary for the shipper, in actual practice, to present a full carload at the point of origin, and from this it follows that the movement up to the base point at the present time is entirely different from what it was when we approved these any-quantity rates. At that time the loading was by the carrier; now it is mainly by the shipper. The loading of the cars from the point of origin to the base points is much heavier now than formerly. In 1907 the average loading of citrus fruits and pineapples upon the Atlantic Coast Line up to the base point was 215 boxes. In 1910 this loading had increased to 279 boxes. In case of vegetables the increase is even more marked. The number of cars now required to transport the same amount of this traffic from points of origin to base points would be materially less than in 1908. Otherwise stated, it costs the shipper more to handle his business to-day and it costs the railroad less.'
And upon that changed circumstance an order was awarded directing the change from any-quantity to carload and less-than-carload, and fixing a rate which was the same as that previously fixed for pineapples. Of course, as the East Coast Line had voluntarily put in carload and less-than-carload rates, it was only affected by this order to the extent that it lowered the traffic charge as contained in the schedule which had been previously voluntarily established.
It is insisted that the order of the Commission was wrongful, and that the court below erred in not restraining its enforcement for the following reasons: (a) because the order complained of was rendered without any evidence whatever to sustain it; (b) because it confiscated the property of the railway in a twofold aspect; first, by fixing a rate so unreasonably low as to afford no remuneration to the corporation for the use of its property; and second, because, although the Commission, in order to justify the rate which it fixed, took into account the revenue derived from the extended road, it nevertheless declined to at all consider the value of the extended road and the right to earn a return thereon. We come as briefly as possible to consider these contentions separately.
(a) That there was no evidence whatever tending to sustain the reduction of the rates on citrus fruits and vegetables as to the East Coast Line which the Commission ordered.
While a finding of fact made by the Commission concerning a matter within the scope of the authority delegated to it is binding, and may not be re-examined in the courts, it is undoubted that where it is contended that an order whose enforcement is resisted was rendered without any evidence whatever to support it, the consideration of such a question involves not an issue of fact, but one of law, which it is the duty of the courts to examine and decide. Interstate Commerce Commission v. Louisville & N. R. Co. 227 U. S. 88, 91, 92, 57 L. ed. 431, 433, 434, 33 Sup. Ct. Rep. 185, and cases cited.
In view of what we have said concerning the state of the record, the solution of the question must depend upon an examination and analysis of two subjects: the one, the reports of the Commission in the previous cases, and the other, the testimony which was before it and the report made in this case. As to the first, in view of the statements made by the Commission in its report in the original case (No. 1168, 14 Inters. Com. Rep. 476) as to the earning power of the road, the nature of its business, and the reasonableness of its rates, and the express finding that the citrus fruit and vegetable rates were just and reasonable and should not be changed, and the further fact that they were not called in question in the second proceeding, it follows that the inquiry narrows itself to the mere consideration of the testimony taken in this proceeding, and the report of the Commission in such proceeding, and the testimony taken before the court below in so far as it is proper to consider it in connection with the particular question under consideration. But, coming to make a review of the testimony before the Commission on the issue raised by the second supplemental petition, we fail to find the slightest proof tending to sustain the reduction in rates as to the East Coast Line, which was made.
There are only three subjects referred to in the testimony which can in any view be considered as having any possible tendency to show such a change as would cause the rate which was found by the Commission in the past reasonable, and not to justify a change, to be unreasonable and therefore require reduction. The three subjects are these: (a) testimony by the chairman of the Florida Railroad Commission that there had been a considerable increase in the volume of traffic in citrus fruits and vegetables since the previous finding; (b) a further statement or admission made by an officer of the East Coast Line in a colloquy which took place at the hearing in this case, to the effect that, as shippers under carload rates loaded their own cars, there was some difference in cost, to the advantage of the road over the cost of loading when the any-quantity rates prevailed; (c) testimony with reference to the Atlantic Coast Line and the Seaboard Air Line (but none as to the East Coast Line), to the effect that on those roads it had come to pass that there was a saving in expense and an increase in earning capacity because, even under the any-quantity rates, carload shipments had greatly increased, and cars so shipped were much more heavily loaded and moved from the point of production through the base point to their ultimate destination, when such was not the case at the time the previous order was made. Testimony which, as we have seen, was expressly declared by the Commission to be in effect the cause which gave rise to the reduction. But at once it is to be observed that, so far as any inference alone from the difference between carload and less-than-carload rates and any-quantity rates is concerned, it had no application to the East Coast Line, since that road had put in the carload and less-than-carload rates while the other two roads had not. And so far as the consideration of the increased loading is concerned, as stated by the Commission, whatever may have been the proof as to the Seaboard Air Line and the Atlantic Coast Line, it is beyond controversy that no such proof can be found in the record as to the East Coast Line except the vague intimation to which we have referred.
Thus, by analysis, the case comes to this: Did the facts as to the increased loading which the Commission found to exist in the case of the Seaboard Air Line and the Atlantic Coast Line support or tend to support the order as to the East Coast Line in the absence of all testimony in the record concerning the existence of such fact as to the traffic on that road? In other words, the question is, Because there was testimony as to the traffic of those roads, can such testimony be said to tend to establish the same condition on the East Coast Line? Conceding that, from an abstract point of view, an affirmative answer would have to be given to such question, we think such is not the case here for the following reasons: (a) because of the difference in business carried on by the two roads named and the East Coast Line, they being not only gatherers of the local product, but trunk line carriers; (b) because of the difference in the situation and traffic of the two trunk lines named and the East Coast Line, as deduced solely from the peculiar environment and movement of business on that road so aptly stated in the passages from the reports of the Commission which we have quoted. Differences which presumably gave rise to separate statements in the previous reports in considering that road. While we do not say that the conclusion is affirmatively sustained, nevertheless we think the state of the record at least tends to give some support to the suggestion in the argument that the greater magnitude and importance of the consideration of the business and rates of the two trunk line carriers concentrated attention in that direction, and therefore caused the inquiry on that subject and the facts concerning the same to eclipse the distinctions between those lines and the East Coast Line, distinctions which, if otherwise taken under consideration, should have produced a different result.
As it follows from these views that the order in question as to the East Coast Line and its enforcement should have been enjoined by the court below, our duty is to reverse the action of that court, and to remand the case to the proper district court, with directions to grant the prayer of the East Coast Line, and restrain the enforcement of the order in question; and it is so ordered.
Reversed.

redpajama_set_name: RedPajamaCommonCrawl


text:
Irenic Capital Announces Intent to Vote AGAINST Capricorn's Proposed NewMed Merger and FOR All of Palliser's Proposals at Upcoming General Meetings
NEW YORK--(BUSINESS WIRE)--Irenic Capital Management, L.P. (together with its affiliates, "Irenic" or "we"), which has an approximately 2.8% stake in Capricorn Energy plc (LSE: CNE.L) ("Capricorn" or the "Company"), today announced its intent to vote AGAINST the Company's proposed merger with NewMed Energy Limited Partnership ("NewMed") and FOR all of Palliser Capital Master Fund Limited's (together with its affiliates, "Palliser") proposals at the upcoming General Meetings of Shareholders (the "General Meetings").
"Irenic appreciates the proactive steps taken by Capricorn's Board of Directors (the 'Board') to facilitate an orderly transition and reiterates our intent to vote FOR the Palliser nominees at the upcoming Requisitioned General Meeting. Moreover, we reiterate our intent to vote AGAINST the NewMed transaction whenever the reconstituted Board ultimately decides to hold this vote. Since last fall, Irenic has opposed Capricorn's proposed merger with NewMed and has encouraged the Company's Board to terminate the transaction in favor of initiating an objective and speedy review of value-maximizing alternatives.
Today, we encourage Capricorn's reconstituted Board to act in the fiduciary duty of its owners by focusing on an immediate return of excess capital and near-term contingent consideration receipts to shareholders, an immediate reduction in the firm's excessive overhead and speculative exploration spending, as well as the maximization of value from the Company's Egypt assets (including its working capital balance). Irenic firmly believes such steps are the best path forward for Capricorn shareholders."
Greg Marose / Charlotte Kiaie, 646-386-0091


MSX has some sound chips based on FM synthesis. In this article only the detection of MSX-AUDIO, MSX-MUSIC and MoonSound will be described. These are most used and are based on the same type of FM synthesis, which means they all can be used to produce the same sound with the same data up to a point.
MSX-AUDIO is built around the Y8950 chip. It's an OPL1 chip with ADPCM record and play capabilities. It's used in the Philips NMS-1205 Music Module, Toshiba HX-MU900 Synthesizer Unit and Panasonic FS-CA1 MSX-AUDIO Module.
On MSX the Y8950 chip can be accessed through one of 2 port ranges: $C0-$C1 or $C2-$C3. The Philips and Toshiba ones can only be accessed through port range $C0-$C1. The Panasonic one can be accessed through either port range. This is because it's capable of selecting the range it should use. If it hasn't detected an MSX-AUDIO yet, it'll set itself up on port range $C0-$C1. Otherwise it'll set itself up on port range $C2-$C3. This way up to 2 MSX-AUDIOs can be used and only if there's at least 1 Panasonic used. It's possible for the Philips and Toshiba ones to be adapted to run on port range $C2-$C3.
Detecting the availability of MSX-AUDIO, read I/O port $C0. If it returns $06, it's MSX-AUDIO. If it returns $00, it's actually MoonSound with port range $C0-$C3 enabled. For information about MoonSound continue reading this article.
MSX-MUSIC is built around the YM2413 chip. It's an OPLL (a simplified OPL2) chip. Several external variants appeared: FM-PAK (released in Korea and by some Dutch MSX clubs), FM-Stereo-PAK (released by Checkmark, splitting up the MSX-MUSIC melody and rhythm outputs and mixing the latter optionally with the PSG using a seperate input) and the Panasonic SW-M004 FM-PAC (FM Pana Amusement Cartridge). Many MSX2+ and all MSXturboR machines have MSX-MUSIC internally.
On MSX the YM2413 chip can be accessed through port range $7C-$7D. Apart from the FM-PAC it's immediately accessible. When using the FM-PAC, it should be set up first.
Detecting the availability of MSX-MUSIC an identification string should be found. Internal MSX-MUSIC have the string "APRLOPLL" from $4018. External MSX-MUSIC may have different identification strings. However, from $401C the string "OPLL" is required for correct detection. As external MSX-MUSIC may require setting up first (like FM-PAC) a detection method is required.
To successfully detect and set up MSX-MUSIC, parse through all available slots: first check for the "APRLOPLL" string. If this is found, MSX-MUSIC is available and nothing special is required and exit the detection system. Then check for the "OPLL" string. If this is found, set bit 0 of address $7FF6 of the detected slot and exit the detection system.
Something that may become more and more of an issue, is MSX-MUSIC emulated by MSX-AUDIO expansions using recent ROM updates. There are 3 identification strings, all from $4018: "AUD1OPLL" for MSX-AUDIO implementation, "AUD3OPLL" for OPL3 cartridge implementation (Brazilian prototype) and "AUD4OPLL" for MoonSound implementation.
These implementations require the FM-BIOS calls to be used to have the sound played through them, which additionally requires knowledge of that system and unnecessary overhead due to interslot calling. If you only want to have real MSX-MUSIC play (simply by using the MSX-MUSIC I/O ports) you'll need to do specific tests for those identification strings. If you don't add them, MSX-MUSIC will be falsely detected and data will be sent to the MSX-MUSIC I/O ports regardless of the chip itself is actually available to produce the sound.
MoonSound is built around the YMF278B chip. It's an OPL4 chip. It's 100% compatible with OPL1, OPL2 and OPL3. It's designed by Henrik Gilvad and released under this name by Stichting Sunrise.
On MSX the YMF278B can be accessed through port range $C4-$C7. On MoonSound v2 it's also possible to have it emulating MSX-AUDIO without the ADPCM, by adjusting JP1 on the MoonSound PCB.
Detecting the availability of MoonSound, read I/O port $C4. If it returns $00 it's MoonSound, regardless the state of JP1.
Of course it's highly advisable to set a bit or byte for each of the detected sound chips so the program can determine which chip to use. This way it's possible to have a preferred order of use for the program.


text:
Q: Returning a non-value property In javascript, it is possible to define an object's property as a getter/setter rather than just a "plain" value:
Object.defineProperty( obj, 'complex_property', {
    get: function getter() { return this.protected; },
    set: function setter( value ) { this.protected = value; }
} );

Is there any way to return a non-value property of an object without first having its getter function evaluated so that this (or the like) is possible?
obj.property = function( name ) { return this.[ name ]; };

// Doesn't work:
// ReferenceError: invalid assignment left-hand side
obj.property( 'complex_property' ) = 5;

The last line effectively reads 6 = 5 - obviously an error - since this.complex_property is evaluated first, then returned. Combining closures with getter-setter properties is an effective way to simulate "private" properties and validate assignment values without having to use actual get/set functions: one of the nicer features of modern javascript. It'd be even nicer if there was a way to return an unevaluated getter/setter property: is there a way I've missed or is it just not possible? Are we stuck using set( prop, value ) functions?

A: Unfortunately, this isn't possible with JavaScript functions. All JavaScript functions created by user code can only return values, not references (and this won't be possible by code within the browser too, starting from ES6).

A ReturnStatement is evaluated as follows (bold my emphasis):

*

*If the Expression is not present, return (return, undefined, empty).

*Let exprRef be the result of evaluating Expression.

*Return (return, GetValue(exprRef), empty).

The only way to do so is either using a set(property, value) function or creating an actual setter.

A: You can get a property. Well, a property descriptor at least. And it ain't pretty.
var prop = Object.getOwnPropertyDescriptor(obj /* from question */, 'complex_property');
prop.set.call(obj, 5);

edit:
obj.property = function (name) { return Object.getOwnPropertyDescriptor(this, name); }
obj.property('complex_property').set.call(obj, 5);

redpajama_set_name: RedPajamaStackExchange


Wrap your wrist in style with our nautical-inspired sterling silver fishhook and brown double wrap leather bracelet.
XS 15", Small 15 1/2", Medium 16", Large 16 1/2", XL 17"
My mother gave this bracelet to my son for Christmas last year, a few weeks before she passed away. He absolutely loved the design, and more so because it was the last thing she gave him. He came home from school last week sobbing and shaking because he looked down and realized the bracelet was gone. I'm not sure if the rivets came out like other reviewers mentioned or if it just came unfastened & fell off. Either way, it doesn't stay on securely. Very disappointing.
My girlfriend got this bracelet for me on my birthday and I've worn it everyday since. The rivet came undone and it slipped off my wrist and I can't find it. Needs better rivets.
I bought this for my husband. After a few months of him wearing it, the rivet snap broke. For the price I expected better quality. I emailed customer service about repairing it and never heard anything back. I'm very disappointed. I've made many purchases throughout the years and didn't expect this.
Cool bracelet bought for the craftsmanship not necessarily the symbolism.
I truly love James Avery's jewelry however I was a little disappointed in the quality of this bracelet more so in the leather not the hook. I bought this as a gift for a friend and not long after they had it one of the rivets began pulling through the leather. They stopped wearing it so for the price I certainly expected better.
I absolutely love this gift! I'm not a fisherman, but I am a river rat. It wears well and I get a ton of compliments on it.
Received this as a gift to compliment my JA swivel bracelet. The pieces for me signify being a "Fisher of men." I have seen some complaints about the opening for the hook being too large. I took a piece of brown waxed thread and wrapped around the loop a few times then tied it off. There's no issue about it coming off on its own now.
What the perfect testimonial start piece. So many commits about the bracelet, "you must really like to fish?" Not the easiest to put on in the mornings, but well worth the symbolism.
For a cat Collier piece of leather and a cheap looking hook.
Just purchased this bracelet for a friend for Father's Day. Was wondering does it have the same meaning as the Virgin Islands folklore stories?
I bought my boy friend one and he loved it. He in turn bought me one. It's a very simple design, which I like. Very comfortable. Makes a great statement! You will not be disappointed with it!
My daughter and I got these at Christmas and really love them. They are so comfortable and fit well. I have a small wrist and had a hard time getting a leather bracelet to fit. If that I you - try this one - you will not be disappointed!
I just received this in the mail to give as a gift and it is more beautiful than the picture, but the gold grommets that attach the bracelet straps to the silver fish hook really look weird. A stainless steel grommet would look much more attractive against the silver of the cross. If the contrasting colors don't bother you, I highly recommend it - the cross and leather are of great workmanship and quality.