WEEKLY SOUTHERN ARTS
"Sometime the boogaloo 
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  • Me and Junior Parker
  • The Republican
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  • Part One: The Monster Is Summoned
  • Like Billy Eckstein Singing to an Empty Club at 1:00 AM on a Saturday Night in 1975.
  • Bent
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  • Why The Devil Don't Come Around No More
  • Hearing Junior Wells “On Tap'' one more Time
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  • 4 More Poems, 4 More Pictures
  • "Are You Freaking People Insane?"
  • 4 Pictures 4 Poems
  • The Ballad of Carlos Slim
  • Pretending What's in Your Head is True
  • The Cognitive Dissonance of a Faithful Democrat
  • The Human Snakepit
  • George Freeman - Unsung Master of the Jazz Guitar
  • The Price of Milk
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  • Man Talk, with Donald Trump pt. 1
  • Man Talk, with Donald Trump pt. 2
  • Brexit Was the Shot Heard Around the World
  • I Love The Dead
  • The Game
  • Goodbye Scotty Moore
  • If a Bluebird Plays the Blues Why Can't it Play Free Jazz
  • When David Slew Goliath
  • Why Cream still Matters 50 Years Later
  • Goodbye Lonnie Mack
  • Black Lies Matter, All Lies Matter
  • The Folly of Foibles
  • The Life of an Imaginary Historian
  • Angel: part 7
  • Wayne Cochran "Going Back to Miami"
  • The Last Damned Healthcare Article You'll Ever Need
  • The Gospel According to Mark
  • Angel: part VI
  • Ted Bundy & The Hunt For The Devil
  • Charlie & Clint: Dead & Deader
  • Trayvon & George : An American Hate Story
  • Jury Duty
  • Little Tommy & The Blues Kings
  • Kayaking "The Big Cypress" with Crocodlies
  • The Birth of The Jazz Guitarist
  • Gay Marriage
  • Garage Band - The 1960's
  • King Arthur, Pelagius and Original Sin
  • The Story of Ricky
  • Hidden Miami
  • I Hate the 60's: A Personal Rock Odyssey
  • Crocodiles and Alligators in Florida: Monsters in our Backyard
  • The Legend of Robert Pete Williams
  • Saturday Night At Big Tinys
  • The Case Of The Infinite Monkeys
  • The American Heritage Series
  • The Moon Is a Harsh Mistress
  • Blue And Green
                           "Search The Whole Damned Site For Whatever Lurks Within"

V.S.O.P Classic Rock Bootlegs 

Rock & Roll Bootlegs didn't really exist until the late 1960's and early 1970's.  Jazz had a few fanatics as far back as the 1940's that would follow Charlie Parker around, recording whatever Bird played, savoring every lick that poured from his horn like manna from heaven.  You can still hear those recordings.  And for that, we should be grateful. The kind of jazz that Parker played wasn't really lucrative, though, so no one much really cared.  Rock & Roll was different.  It was a financial goldmine from the very beginning.  This meant that bootlegs cut into a record labels profits, to say nothing of the band's cash-flow, so if you wanted to record a band or artist, you'd better do it under cover.  There were bands like the Grateful Dead who actually encouraged bootleg recording. Led Zeppelin also accepted this as a reality, or at least the band members did.  Probably not their manager, Peter Grant, a 350 LB  former wrestler who was known to drop the hammer on anyone who treated his boys badly or even indifferently.  But, those who thirst for a version of the music that is live and burning and free from studio restraints, will not be denied.  

My fist bootleg was Led Zeppelin's "Live at Blueberry Hill" a real classic ass-kicker of a record that I purchased back about 1971 from an underground head-shop on Ft. Lauderdale Beach.  A few years later, a fellow band member borrowed it and has held it hostage ever since.  But, the internet has given me back my long lost baby, and a few others, as well.  So, dig these bootlegs my children.  I just knew that you would. 

​The Board of Directors