Having seen what happens when the healthcare and insurance rackets are given a free hand (see Paddington's overview here), I remain in favour of a system where medical treatment is free (or at least, affordable by everyone) at the point of delivery.
But there needs to be some way of getting people to treat the National Health Service responsibly.
My dentist in the Seventies was an old hand who remembered the introduction of the NHS in 1948. At last common people could have free expert help with their dental and optical (anybody else remember the tell-tale NHS blue plastic spectacle frames?) problems.
One man came to him requiring dentures. The dentist took casts and sent them to the manufacturing lab. Then came the second appointment, to check with the patient that the plates fitted well.
The man was delighted: "These are the best of the lot!"
"What do you mean?"
The man held up a bag of "choppers", garnered from visiting every dentist in the area.
After all, it was a free service.
What rules should we have? What should be included in the offer, as of right, and what not?
While the ransomware business continues to afflict the NHS, an informant tells me of another way Europe's biggest employer is being needlessly inconvenienced: kinky eroticism.
A man comes in with not one, but two large carrots driven serially into his rectum by his wife, puncturing his colon and requiring a partial colostomy. The vegetables are surgically removed and, as per protocol, returned to their owner.
Another arrives with a similar difficulty, explaining that he has "fallen on the lavatory brush". Good thing it wasn't Carmen Miranda's hat.
Women can be that stupid, too: one presents herself at the hospital with a whole apple in her back passage - so deep that staff can't remove it without a major operation (the patient finally manages to expel it herself, somehow). The fruit is a variety called Pink Lady.
Turning to the front bottom: a young man from the Eastern Med turns up with a nasty infection because he has injected his penis with Vaseline to enlarge the head. Apparently this is not an unknown practice back home.
The biggest challenge of all for doctors and nurses is preserving a professional straight face.
The sheer explosion in popularity of the big bands lead to a huge number of outfits performing during the thirties and forties. Many of the earlier twenties bands faded away as the swing era came in but many of the thirties bands stayed the course, even managing to survive in the rock era.
Many of those that stayed the course changed styles, changed personnel and instrument line-ups, and some changed the whole direction of their music. Ellington is the best known and probably the most revered of all the bands and his music evolved continuously over decades. He also almost certainly did more work as a soloist and with other musicians than any other bandleader, as did Kenton who as seen and heard in the previous piece pushed the boundaries as far as anyone; Basie less so, yet stayed at the top right to the end such was his popularity.
Here I am simply going to put up some pieces from a selection of bands in various styles to illustrate that variation and how they changed.
This early Ellington rendition of “Mood Indigo” shows Ellington had a piano style even then that traversed the ages and yet had Russell Procope on clarinet soloing, an instrument that diminished in usage as a front liner soon afterwards.
By 1943 Ellington had written this but it was not well received at the time, so he shortened the suites into six parts, one of which is here, and when re-released in ‘58 it became a classic, from Black Brown and Beige:
Kenton made his name with a huge swinging style and a run of popular numbers such as Artistry in Rhytmn and the Peanut Vendor and this from ‘62 “Malaguena” with its Latin theme and sumptuous brass section:
City of Glass I featured in the last piece but Kenton pushed the boundaries of big band music in other numbers and albums. This is a live ‘68 video of Kenton just back from a serious illness with Intermission Riff, big bands don’t get much better than this:
and then in ‘72 for contrast, “Here’s that Rainy Day”:
Kenton's Innovation Orchestra of 1950 was putting out some numbers that were advanced for the time and his delving into Latin American music predated the Bossa Nova period, plus albums like MacArthur Park added to his broad based output.
Always a slightly underrated outfit Terry Gibbs had various bands, this is his ‘Dream Band’, not underrated himself by anyone with knowledge of music; a long and successful career. "Don’t be that Way":
A very current big band the Amazing Keystone Big Band with Quincy Jones as arranger shows the big bands have not entirely disappeared, here in a Latin vein playing “Manteca” in 2014:
A classic number “A Child is Born” here played by the Thad Jones-Mel Lewis Jazz Orchestra, featuring Thad as arranger and playing flugelhorn. This was the resident band at the Village Vanguard NYC during the seventies, not as well known over here as they should be:
This is interesting. Oliver Nelson, musician-composer-arranger is one of my favourite jazz artists who went on to various strands of music with huge success. Here he is with a big band Jazz Interactions Orchestra the album Jazzhattan Suite and the number “Complex City” released in ‘68. To my mind the whole album is based on Kenton's “City of Glass” and has the same lush brass section - this also was not a complete success but an attempt, again in my view, to succeed where Kenton failed ? The similarities are too obvious.
Oliver Nelson will figure in more depth my next piece.
About 20 years ago, our political leaders finally became aware that the well-paid industrial jobs were becoming much more technical, and fewer in number. They looked at the famous statistic that college graduates earn more over a lifetime than non-college-graduates, confused correlation with causation, and pressured the education system to increase the number and percentage of graduates, and the quality of them.
The last is impossible, but it was quite easy to increase the number and percentage of graduates, simply by watering the coursework down.
However, there are disciplines where actual mastery matters, including Nursing and Engineering.
I contend that it is only a matter of time before we separate 'real' degrees from the others.
This leaves the question of how to designate the other degrees. Since B.S. is already taken, I would suggest B.E. (Bachelor's of Equality), B.F. (Bachelor's of Feelgood), or B.N.P. (Bachelor's of Nothing in Particular).
He wrote his first song at the age of seven and started performong at the age of 10 according to Wiki which is why he seems to have been around forever. He is still writing songs and performing. His latest album, released earlier this year, is called "God's Problem Child " Two of the songs are included here including a very whimsical "Still Not Dead" which he wrote in response to internet rumours that he had died in 2015!
Starting out in Nashville as a clean cut 'all American boy' writing and peforming, his most well known song is 'Crazy' which Patsy Cline turned into a huge hit. Willie then left Nashville and went home to Texas where he grew his hair long and became an 'outlaw' heading off in a different musical direction in a very successful partnership with Waylon Jennings.
He also developed a very distinctive sound and style on his very battered old acoustic guitar explained in a short video here and along the way he has recorded with artists as diverse as Julio Iglesias and Ray Charles.
Sackerson has asked me to
write a short piece on the effects of the Affordable Care Act, based on my 39
years of fighting insurance companies in the US.
Since this is primarily
for readers in the UK, it helps to understand that many Americans do not
consider healthcare to be a right, or even an issue of infrastructure. The fact
that it is referred to as the 'healthcare industry' should show that the emphasis
is on the money.
There are many different
programs for it, including:
·Veteran's Administration – a completely separate
set of doctors, hospitals and testing facilities, paid through the Defense
budget, only for those who have served in the Armed Forces. In the past two
decades, its funding has been reduced by conservatives. The inevitable problems
which have arisen during two wars have been used as justification that the
system should be privatized.
·Medicare – a federal program for
the elderly and disabled, paid by payroll taxes. Ever since it was introduced
by President Johnson in his Great Society initiative, it has been another
target of conservatives.
·Medicaid – for the poor, paid by a
mixture of state funds and payroll taxes. Also introduced in the Great Society
and yet another target for anti-government conservatives.
·Group insurance through
employers
– lose your job, lose your coverage. Only available if you work enough hours.
·Group insurance through
unions –
rapidly going away as the unions do.
·Group insurance through
small business co-ops – typically expensive.
·Personal purchase – very expensive.
Most of these offer
multiple plans, requiring specific doctors and hospitals (or a hefty financial
penalty),with assorted co-pays, lifetime maximum benefits and deductibles. I
have three degrees in Mathematics, and I still cannot figure out what
procedures other than basic office visits will cost, as the bills dribble in,
sometimes for a whole year.
That said, here are some
of the changes that have taken place:
More people covered
Before: An estimated 31 million or more uninsured.
After: Over 20 million people with affordable insurance.
Insurers' profits capped
Before: Insurance companies kept up to 54% of all premiums.
After: Insurance companies restricted to 20% of premiums.
Fewer health-related bankruptcies
Before: Medical bills were the #1 reason for bankruptcy.
After: Medical bankruptcies down 90% or more.
Less misuse of emergency services
Before: People without coverage used Emergency Rooms for primary care,
paid by increased hospital costs for everyone else. Hospitals are required by
law to treat critical patients.
After: Much less pressure and cost for many of those hospitals. Better
outcomes for those with chronic conditions.
Extended coverage for dependent children
Before: Dependent children age 18+ not in college, or 22+ in college lost
coverage on their parents' policies.
After: Coverage for dependent children up to age 26.
Birth control
Before: Many policies did not cover any birth control, although most
covered viagra.
After: All policies cover birth control.
Cover for pre-existing conditions
Before: People with pre-existing conditions, from arthritis to cancer and
much more, could either be refused coverage for those conditions, refused any
coverage, or made to pay for much higher risk and higher cost policies.
After: Pre-existing conditions covered with no penalty.
Benefit caps removed
Before: Most systems had a lifetime maximum benefit, typically around $1
million, which could be exhausted in a couple of months of intensive care.
After: No lifetime maximum.
DRAWBACK: unintended effect on work contracts
Before: Small companies (around 50 people) could offer as many hours to
their workers as they wished without offering benefits.
After: Part-time workers with over 30 hours per week must be offered
coverage, so many people had their hours cut back.
The big band era had one overwhelming effect on jazz: the sheer popularity of those bands, equivalent today to pop groups, brought the music to a whole new swathe of the population of the USA and later abroad. It also launched the careers of numerous vocalists to international stardom that without the big bands as a vehicle it would be difficult to imagine happening.
Their popularity continued right up to the age of rock when jazz in general not just the big bands suffered from a drop of interest and struggled for recognition and survival all through the seventies and the eighties. Only then did jazz start to come back as a music form that people recognised. The big bands, sadly (mainly because of the sheer cost of keeping them on the road) have largely disappeared; the “Golden Age” for them was indeed over.
Big bands emerged as the popular music in the mid twenties. The difference then as later was that the smaller jazz groups improvised whereas the big bands were highly arranged - even the solos had a tight script with a few noteworthy exceptions - so it was a different kind of jazz and swing was the first name attached to these outfits.
We are talking here of the first bands such as Paul Whiteman and Ted Lewis who “were” popular music up to the swing era, playing to ballroom dance crowds; some embraced it, some disappeared.
Swing itself started in 1930 and took of after ‘35, but a change in the style of big band jazz had already started in the late twenties with more improvisation and better arrangements when Duke Ellington and Cab Calloway started to change the musical make-up.
The popularity of the big bands was further enhanced in the thirties by their appearance and exposure in movies and on radio. This period saw hundreds of bands emerge giving versions of swing from Dixieland to hard and relaxed swing, and the lead instrumentalists and vocalists in many cases became famous household names in their own right as did many of the bandleaders.
These bands dominated popular music to such an extent that small groups faded away and that included the likes of King Oliver and Jelly Roll Morton. It was the young that supported the big bands, dancing to their music, attending their concerts and buying their recordings and swooning over their idols such as Frank Sinatra - no change there, then.
The second world war had several effects on the bands. At first many raised troops' morale by touring and became even more famous like Goodman, and secondly it saw the start of a change in musical tastes. Many of the vocalists struck out as solo performers and many of the bands lost key personnel in the war and found it difficult to start over, and the coup de grace was the recording strike in ‘42 that finished many big bands off.
In the forties be bop emerged and the bands lost further ground to the new music. Be bop was not the end of the big bands, they were less in number, but took on different forms with the likes of Gillespie, Krupa, Rich, Gil Evans and on to Mingus, Oliver Nelson, Thad Jones/Mel Lewis and others, performing but few touring as of old - only the likes of Ellington , Basie, Herman, Kenton and a few others could continue profitably in that vein.
Most of the bands today with the demise of the founders are either tribute bands or in rare cases those that somehow still survive swimming against the tide. In that respect Jools Holland in this country does a sterling job keeping people employed and music played, it is not an easy way these days to make a living.
In no particular chronological order...
Tommy Dorsey with Sinatra, Connie Haines and the “Pied Pipers” as typical of the era as anything:
Oh Look at me Now
Louis Armstrong in ‘42 “Swinging on Nothing” with Velma Middleton proving size is no barrier to having a good time, go girl !
And here Cab Calloway and Jumpin' Jive with the greatest dance pair of all time, the Nicolas Brothers:
The three above show the swing era at its zenith, huge rhythm and lots of extras. All was soon to change as the former prewar band styles started to disappear or change their styles. Ellington of course simply adapted as time progressed, he never stood still.
This ‘42 version of C Jam Blues:
and how the same number evolved under him here in a live concert in ‘69:
Another who started a bit later than many of his contemporaries but also went with the trends successfully was Woody Herman. His early “Herds” were firmly in the swing era but that never stopped him experimenting, as here with him on soprano sax in “Fanfare for the Common Man” in ‘69:
I am going to stick with the big bands post swing as the obvious candidates including even Basie are well covered in other sections that I have done or are due further exposure in later pieces, so some of the more “progressive” pieces are the last choices.
Stan Kenton was known for the Artistry in Rhythm album as much as anything else, yet he pushed the limits of big band improvisation and arranging endlessly. His album “City of Glass” was not a total success either for the critics or those who followed Kenton, and I who actually purchased the album have never really come to terms with it, but it deserves a hearing as nothing else comes near, and his fans went in the opposite direction when this was played - Schoenberg ?
All the pieces were by Kenton's arranger Bob Graettinger who wrote the piece in ‘47 but it was ‘51 when it was recorded on a 10” LP. His arranger was worth a paragraph on is own but there is not space here. Kenton himself later said this about it, "Well, I tell ya, it was either the greatest music the band ever presented, or the biggest pile of crap we ever played, and I still do not know which."
“Everything Happens to Me”, a more subdued number with June Christy adding some measure of composure:
Charles Mingus was always an innovator, probably as much as anyone from be bop onwards. His music is still performed by the Mingus Big Band and others. This is from that wonderful Ah Um album of ‘59, Fables of Faubus that had a hidden undertone of protest at the Little Rock 9 in Little Rock, Arkansas. The Supreme Court unanimously decided that the nine black school children should be integrated into Little Rock's school system, but Governor Faubus brought in the National Guard to stop them anyways.
Cool jazz extended beyond the West Coast groups and Gil Evans incorporated it in big bands. One of the great arranger-composer band leaders, his work with Miles Davis is legendary. A Canadian by birth, Evans started arranging for Claude Thornhill and then from his NY apartment he started with arrangements with Parker, Mulligan and Davis on scores that went out beyond the current be bop sound and style.
The Davis group was a nonet - the bigger bands had become unviable by then for anything other than the established ones. Capitol Records recorded 12 titles between ‘49 -53 and in ‘57 put them all together for the “Birth of the Cool.” Three other albums under the same record banner with Davis using Evans as arranger followed, all became classics: Milestones, Porgy and Bess, and Sketches of Spain.
The score for Gershwin's Porgy and Bess was phenomenally complicated but considered to be as fine as any interpretation of Gershwin's music, if not the best.
Working with Evans also saw Davis extend his music outside of jazz, something that was not wholly successful.
After this period he recorded under his name and as time passed moved into what was a kind of fusion of Latin and other forms, using electronic instruments and recording Jimi Hendrix numbers. He was to have actually recorded with Hendrix but the guitarist died a few days before the date.
Here from Birth of the Cool, “Jeru”:
and from Porgy and Bess with Miles Davis on flugelhorn and trumpet, “It Ain’t Necessarily So”:
