desired dreams
Sunday, November 30, 2003
yes i did go see TM Revolution.
i <3 Takanori Nishikawa
i haven't blogged in here in years... most of my recent doings have been on livejournal.
who reads this any more any way?
Tuesday, July 01, 2003
nov 30, 2003 - edited out fanime pictures since it's a waste of space.
TM REVOLUTION iS GOING TO BE AT OTAKON!!!
is anyone going to Otakon? will someone go with me? I love TM Revolution so much... and my parents are saying no... that i can't go... and yet i love TMR so much... what do i do? i love TM Revolution. *sighs*
Thursday, June 05, 2003
http://music.asu.edu/e-Notes/Spring2002/mendez.html
Rafael Méndez was born on March 26, 1906, in Jiquilpan, Michoacan, Mexico. One of 15 children, Méndez began playing the cornet as a youngster in order to perform with the family orchestra led by his father, Maximino.
When Rafael was 10 years old, the Méndez Orchestra played for the Mexican revolutionist, General Pancho Villa, who "invited" the group to travel with him. After a few months, all the members of the orchestra were sent home, except for Rafael who had become Villa's favorite musician. He stayed on for another six months before being sent home.
At the age of 20, Méndez moved to the U.S., settling in Detroit, Michigan where he worked in an automobile factory and also played trumpet professionally with bands and orchestras area. During that time, he met and married Amor Rodriguez Fernandez.
In 1932 while playing at the Fox Theatre, he was accidentally hit in the mouth by a swinging door. Unable to play the trumpet, Mendez returned to Mexico for advice and instruction from his father. Following months of rehabilitation, Méndez returned to Detroit where he caught the attention of well-known bandleader Rudy Valle.
Méndez moved to New York City in 1934 to join the Rudy Valle Orchestra. There he met a number of prominent bandleaders and entertainers, including David Rose, Xavier Cugat, and Carlos Molino. In 1937, Méndez and Rose were offered jobs in Los Angels for KHL Radio. That same year, Rafael and Amor had twin sons, Robert and Rafael, Jr. During this time, Méndez was often featured as soloist on radio programs, and he began composing and arranging trumpet solos.
In 1941, Méndez became first trumpet in the MGM studio orchestra, a position that he held for eight years. While with MGM, he developed his solo repertoire and was a guest performer on dozens of television shows. He was also featured at the Hollywood Bowl and on soundtracks for major motion pictures. During this time, Méndez also began recording 78-rpm records for small labels, such as Coast, Azteca and Eleayz.
Méndez was signed by Decca Records in 1945, and over the next 20 years, he recorded 12 LP records (which were re-mastered for a commemorative set). He also began publishing many of his solos through Koff Music Company and Carol Fischer, Inc. In 1949, Méndez left MGM to devote much of his time to touring and performing with thousands of high school and college bands and orchestras, and professional ensembles. His summers were spent as music director for Roy Rogers, Red Skelton and other celebrities.
Enjoying a reputation unequaled in the classical trumpet world and hailed as the "Heifetz of the Trumpet," Méndez retired from the concert stage in 1975 due to respiratory problems. He died in 1981. During his lifetime, he composed or arranged more than 300 trumpet solos or trios. Posthumously, Méndez received a star on Hollywood's Walk of Fame in 1983.
http://abel.hive.no/trumpet/mendez/meeting/Mendez_Olson.html
I joined F.E. Olds and Son, Inc. in early January, 1961 as Director of Research. I had completed a Masters degree in trumpet performance at University of North Texas and private study with Renold Schilke prior to my position with Olds.
Upon joining Olds (at the age of 25)
I became very close to a number of well known "Hollywood", or Los Angeles, studio players whom I had long admired from a distance. Rafael (or "Ralph" as we called him) was among that group. Also were Uan Rasey, Bud Brisbois, Manny Klein, etc.
The Mendez model trumpet had long been in production prior to my arrival at Olds. In the early 1960s Zig Kanstul and I worked together on the design of a lightweight trumpet called the "Custom". This horn was produced with a variety of different leadpipes and bells.
Ralph and I played duets at his home in Encino, California and, on one occasion, we switched trumpets. It was imperative that Ralph actually play the Mendez model due to the rampant rumors that he really played a Besson (which was not accurate). For an upcoming concert tour, Ralph asked if he could play my horn. Although I was happy to lend him the trumpet, the management at CMI (Chicago Musical Instrument Co., the parent company of Olds), felt otherwise. So, Ralph left for the tour using his own Mendez trumpet.
A day or so into the tour, I received a call from him that he had damaged his Mendez and was sending it to the factory for repair. While there, he again asked if he could use my trumpet. I quickly sent it to him and he used it the remainder of the tour, much to the consternation of CMI.
Upon his return, he gave me my trumpet and, as a thank-you gift, a French Besson the Besson factory had given to him years before. I still have that Besson in my collection.
I also have a "reel-to-reel" tape recording with Ralph, a trumpet player named Al Vezina, and me playing the Albert Mancini trios. The recording was made in Ralph's living room, is of poor quality, and the playing reflects just what it was....three guys playing trios in an informal setting.
Although I have a copy of Prelude to Brass Playing given to me by Mendez, I never asked Ralph to sign it. The only photograph I have of the two of us together is one of the backs of our heads, apparently looking into a store front of a music store.
Ralph and I shared many late night cocktails together. He was the most dilligent "practicer" I have ever met, often playing virtually all day without even stopping to eat. He was a gentleman, an absolutely marvelous trumpet player, and a credit to our world.
Thanks for your interest in Ralph.
R. Dale Olson
http://abel.hive.no/trumpet/mendez/
http://spot.colorado.edu/%7Estanleyw/RMBI.htm
Monday, June 02, 2003
searching for a comapanion -> relationship person:
gender: girl or guy
must be: a musician of some type (prefering horn player... or brass player..)
must like: classical music, and open to new music
optional brownie pts: if you like travelling, sight-seeing, anime, japanese culture, intro to new cultures. exploring the world.
if interested please email me lilusako@japanimation.com
Sunday, June 01, 2003
*prods her blog*
i guess i'm kinda alive. i keep on saying that in all my blogs... ljs or whatever.
everything has been super busy. its crazy. i have a big cut on my leg... damn metal rulers.
i dislike plaster... *kills it*
yeah. i want to talk about things but i'm a bit lazy.
i really want to talk to someone special... but i doubt i ever will. -_-;;;
i'm exhausted. i should work on homework. *kills it*
Tuesday, May 06, 2003
Saturday, April 12, 2003
I've been really busy... taking 21 units is so crazy! But i'm having a great time along the way!
this has been a crazy crazy weekend... and i know that this whole week will be crazy!
I like that word... crazy. heh.
So last night i saw the LA Phil again! :D
Tchaikovski's 5th Symphony... (and a new contemporary peice by Levinson... called five fires)
Levinson's Five Fires:
It was weird. weird. more weird. But, I really liked his concept of how he came to compose the peice. liking the actual peice - that was a different story. His music is based on the music he's heard when he lived in Bali. How Balinese music has the 5 key scale. Thus the peice called Five Fires is based on the pentonic scale in Bali. In addition, its called the five fires because it was believed (according to myths) that 5 gods gave them the magic tones, and thus the reason of the pentonic scale. The actually peice was... interesting. like the Bassoonist said, "It's a contemporary peice that gives the percussionists something to do" WHICH IS SO TRUE. There were like 5 or 6 percussionists for that peice... and then one for the Tch. 5. Interesting ne? Overall it sounded like a new peice. Again the use of string pulling and banging against the basses. It's hard to describe, it makes this weeeeeeeeeird sound. I remember when i saw the Planets, that contemporary peice did the same thing. A strange trend no?
Tchaikovsky's 5th:
Also known as the "Tch. 5" bwahahaha. it was good. i'd have to say... the horn solo wasnt too bad. it was very good. :D mucho kudos. other then that i'm not so sure what to say about it... if you haven't heard it... then go get the cd or something. :P
Thursday night:
My first time at a NIGHTCLUB
My first time in HOLLYWOOD
My first time at PERVERSION
I had fun... i got in for free too! Met up w/ Juushi @ Little Tokyo, and then we went to the Civic Center Red Line station, took the subway to Hollywood... and slowly made way to the night club. got there before they opened... and they had a special "Come in at 9:30 w/ an email printout and u can get in for free" SO. That's what we did. :D I had TONS of fun. ^^; Saw some damn hot cute goth guys.. *drools* too bad i didn't get to bring any home. sux0rs. ah well. it was all great :D
phew. i'm exhausted... i want to lay in bed now... hehe. :D
