TERRELL'S SOUND WORLD PLAYLIST

Sunday, May 22, 2005
KSFR, Santa Fe, N.M.
Now Webcasting
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
The Sky is a Poisonous Garden by Concrete Blonde
Eve Future by The Mekons
Debaser by The Pixies
Freedom by J. Mascis & The Fog
Panthers by Wilco
Cosmic Highway by Les Claypool

Johnny Gillette by Simon Stokes
Love to Burn by Neil Young & Crazy Horse
My Little Problem by The Replacements with Johnette Napolitano
People Who Died by The Jim Carrol Band
Sex With the Devil by Anne Magnuson

Puzzlin' Evidence by The Talking Heads
Under the Waves by Heavy Trash
Don't Step on the Grass by Steppenwolf
You Are What You Is by Frank Zappa
Detachable Penis by King Missile
Touch Sensitive by The Fall
South Street by The Orlons

Back on the Chain Gang by The Pretenders
Isis by Bob Dylan
We Both Go Down Together by The Decemberists
Here Come the Choppers by Loudon Wainwright III
Poison by Susan James
The House Where Nobody Lives by Tom Waits
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

THE SANTA FE OPRY PLAYLIST

Friday, May 20, 2005
KSFR, Santa Fe, NM
Now Webcasting
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell

OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Georgia Hard by Robbie Fulks
Blame the Vain by Dwight Yoakam
I Thought I'd Die by Karen Hudson
Dirty Little Town (Too Late For Prayer) by Jay Ruffin
Jamie Was A Boozer by Joe West
Blood, Sweat & Murder by Scott H. Biram
Cat Squirrel by John Schooley
I Ain't Got Nobody by Emmett Miller
Jimmy Martin Set
All Songs by Jimmy Martin except where noted
Grand Old Opry Song
I'm Sittin' on Top of the World
Hold Whatcha Got
My Walkin' Shoes
Tennessee by The Last Mile Ramblers
Save It Save
Losin' You (Might Be the Best Thing Yet)
Will the Circle Be Unbroken by The Nitty Gritty Dirt Band & Guests (Jimmy Martin plays guitar)

Charlie Poole set
All Songs by Charlie Poole except where noted
Shootin' Creek
Moving Day by Arthur Collins
It's Moving Day
He Rambled
If the River Was Whiskey
May I Sleep In Your Barn Tonight, Mister
May I Sleep In Your Barn Tonight, Mister by Hank Thompson
Can I Sleep in Your Arms by Willie Nelson
Goodbye Booze

All Go Hungry Hash House by Norman Blake
Hank and Fred by Loudon Wainwright III
The Other Side of Town by John Prine
You Wouldn't Know Love by Billy Joe Shaver
Summer Wages by David Bromberg
Baby Mine by Michelle Shocked
Take Me by George Jones
CLOSING THEME: Comin' Down by The Meat Puppets

Steve Terrell is proud to report to the monthly Freeform American Roots Radio list

OH HAVE YOU SEEN THE MUFFLER MAN?

My daughter Molly sent me this link to this site devoted to the strange phenomenon of The Muffler Man, the fiberglass giant that appears in scattered places throughout this great land of ours.

There's even mention here of the Lumberjack at Central and Louisiana in Albuquerque near my favorite Vietnamese restaurant, the May Cafe.

This is part of the amazing Roadside America site, where it's easy to get lost for hours.

TERRELL'S TUNEUP: THE WORLD OF CHARLIE POOLE

As published in The Santa Fe New Mexican
May 20, 2005

So you thought country music was invented in 1927 when Jimmie Rodgers and The Carter Family recorded for Ralph Peer in Bristol, Tenn.? So you thought that Hank Williams was the original drunken driver on the Lost Highway and that Waylon and Willie were the original country outlaws?

Then get yourself familiar with Charlie Poole, a North Carolina banjo man whose unjustly short musical career and helped build the foundation for country music and whose short tragic life -- his drunken indulgences, his scrapes with the law -- became an early blueprint for rock ‘n’ roll excess.

Though scattered Poole compilations have been available through the years, Columbia Legacy this week released a three-disc Charlie Poole box set, You Ain’t Talkin’ To Me: Charlie Poole and The Roots of Country Music, with a classic R. Crumb cover and impressive liner notes by Hank Sapoznik, (a klezmer musician as well as author and scholar.)

But this 72-song box isn’t just a collection of Poole recordings. While Disc One is all Charlie, the subsequent discs include Poole tunes along with versions that preceded those recordings, and/or later versions by those who followed Poole. There’s even a song by a guy who bought Poole’s banjo when Charlie needed the cash in 1930. (This was Preston Young, who, with Buster Carter, recorded their version of “Roll in My Sweet Baby’s Arms” years before Flatt & Scruggs.) In other words, you can hear what inspired him as well as who he inspired. It’s a glimpse of Poole’s entire musical word.

So who is this Charlie Poole character?

Born in 1892 in Eden, N.C., Poole was a mill worker, a bootlegger and a baseball player. According to Sapoznik, Poole’s three-finger banjo style developed from a baseball injury -- a drunken Poole made a bet that he could catch a ball without a glove no matter how hard it was thrown. He ended up breaking his fingers.

Poole began playing a self-made banjo fashioned from a gourd at the age of eight. He eventually was able to afford a proper store-bought banjo with his profits from running an illegal moonshine still.

In the early to mid 20s, Poole’s band The North Carolina Ramblers did their share of rambling. They gigged out west in Montana and as far north as Canada. Poole and company traveled to New York in 1925 -- two years before the Bristol sessions -- where they got a contract with Columbia Records. From that original recording session that July, Poole had his first 78 rpm hit : “Don’t Let Your Deal Go Down Blues” backed with “Can I Sleep in Your Barn Tonight, Mister.”

“Deal” went on to become a Flatt & Scruggs bluegrass classic. “Sleep in Your Barn,” which has the basic melody of “Red River Valley” is a hobo song later recorded by bluegrass great Mac Wiseman and honky-tonk titan Hank Thompson. Country-western songwriter Hank Cochran refashioned it into a romantic ballad, “Can I Sleep in Your Arms.” which Willie Nelson included in his landmark Red Headed Stranger.

Sapoznik‘s description of Poole‘s live performances reads like something that would make Howlin’ Wolf or even Jerry Lee Lewis jealous: “By all reports, a Poole show was something to see. Punctuating sly twists on familiar songs with his rat-a-tat picking style, Poole would leap over chairs, turn cartwheels, clog dance on his hands, and shake up audiences with repertoire that was just as surprising. Typical sets would careen from prim, cautionary heart songs to a ditty usually reserved for bawdy house anterooms to fiddle tunes to over-the-top renditions of popular songs, before drawing to a close with a contemplative hymn.”

Indeed, Poole was no purist. He put his stamp on hoary old folk songs as well as Tin Pan Alley pop hits. He could sing historical ballads like “White House Blues” ( a remarkably un-mournful account of the assassination of President McKinley), maudlin sentimental tunes like “Husband and Wife Were Angry One Night” (in which a little girl pleads with her parents not to divorce), funny tunes like “The Hungry Hash House” and “The Man Who Rode a Mule Around the World,” drinking songs like “If the River Was Whiskey” and a call for temperance called “Goodbye Booze,” (which unfortunately Poole didn’t heed.)

And Poole took “coon songs” -- minstrel show novelty songs that made fun of Black people -- and scrubbed them of their racial overtones.

One such case was “It’s Moving Day.” Originally recorded in 1906 by Arthur Collins, it’s a “comically” take on a poor Black getting evicted by a landlord. But when Poole recorded it in 1930, evictions were commonplace for all races. Poole retains the song’s gentle humor, but shucks all of Collins’ shuck-and-jive.

Sapoznik’s description of Poole shouting down talkative audience members (“Did you people come here to talk or to listen?”) reminds one of a volatile scene from Elvis Presley’s movie Jailhouse Rock.

And in a description in the liner notes of a barroom bust by a Rorer descendant, Poole makes 50 Cent look like a wimp.

“One of the officers nabbed Poole. ‘Consider yourself under arrest,’ he told him. Never having been one to run from a fight, Poole replied, ‘Consider, hell!’ and came down across the officer’s head with his banjo, the instrument neck hanging down his front like a necktie. Another policeman pulled a revolver on Poole, who grabbed it as the two wrestled across the floor. The officer managed to get the barrel of the pistol in Charlie’s ear but as he pulled the trigger to kill him, Poole shoved the gun away so that it went off near his mouth. The explosion chipped his front teeth and left his lips bloodied and badly burned.”

The Depression killed Poole’s music career and booze killed Poole. He lost his recording contract by 1931. He died later that year, following a three-month booze spree, which Sapoznik says began as a celebration of an offer to appear in a Hollywood film.

The life and music of Charlie Poole seems like a worthy subject for a film.

TAG! I'M IT!

Marlee MacLeod, bless her heart, sent me this little musical questionnaire game of tag. I've got to answer some seemingly harmless questions about music on my blog, then forward it to five other blogsters, who are obligated by some secret Code of the Web to post their answers and pass it on to five other blogsters. Kind of like a chain letter I guess, though the promise of riches and happiness and the threat of ruin and humiliation are only implied.

Check out Marlee's answers at her blog.

The last CD I bought was: I think I might be forgetting something I picked up in some bargain bin somewhere, but the last ones I remember were the new re-issue of Don't Slander Me by Roky Erickson and Sonic Youth's Sonic Nurse, which I bought on the same day. I think this was after I won The Q People, A Tribute to NRBQ on E-bay.

Song playing right now: "Some Humans Ain't Human" by John Prine. (On shuffle mode right now are Prine's Fair & Square, Georgia Hard by Robbie Fulks and The Appalachians (Companion to the Public Television Series.)

Five songs I listen to a lot, or that mean a lot to me:
1) "Rag Doll" by The Four Seasons
2) "Freddy's Dead" by Curtis Mayfield
3) "It Is No Secret What God Can Do" by Elvis Presley
4 ) "Georgia Lee" by Tom Waits
5) "All Apologies" by Nirvana
5 and a half) "Touch of Evil" by Tom Russell


Five people to whom I'm passing the baton (and who I hope forgive me):

1) Mike at The Unruly Servant
2) Ken at New Mexiken
3) Mary at Tua's Corner
4) Julia at Julia Goldberg's Blog
5) Tom at The Donegal Express

ROUNDHOUSE ROUND-UP: EVERYTHING'S COMING UP ROSES

As published in The Santa Fe New Mexican
May 19, 2005

Gov. Bill Richardson had some rosy news Wednesday. The state Tourism Department will have a float in the annual Tournament of Roses Parade on New Year’s Day.

That parade, which is part of the annual Rose Bowl game, is in Pasadena, Calif. — coincidentally the city where Richardson was born.

The state’s float will cost an estimated $125,000 to $150,000 Richardson spokesman Pahl Shipley said. Although the state might seek private donors, it’s already part of the Tourism Department’s budget, Shipley said.

Last year an estimated 22 million households around the country tuned into the parade, a news release from Tourism said. “This even will allow us to become a stronger presence in southern California, which has always been one of our major markets,” Tourism Secretary Mike Cerletti said in the release.

Could this be a ploy for more national exposure for the governor?

“He wants to go to the game but not be in the parade,” Shipley said.

No word yet on a Bill Richardson balloon for the Macy’s Thanksgiving Day Parade.

California roses: Speaking of a stronger New Mexico presence in southern California, six staffers from the state Democratic Party hopped in a van and headed to Los Angeles to help out in the successful mayoral campaign of Antonio Villaraigosa, who ousted incumbent L.A. Mayor James Hahn by a landslide vote Tuesday.

“This was our field staff,” party spokesman Matt Farrauto said. “We viewed that election as an exciting opportunity for our field organizers to get on-the-ground, real-world experience.”

Villaraigosa is the first Hispanic mayor of L.A. since 1872.

A story in Wednesday’s Los Angeles Times said, “In an instant, his victory Tuesday bestowed on him the prominence of the (Democratic) party's highest-ranking Latinos, among them New Mexico Gov. Bill Richardson and Sen. Ken Salazar of Colorado.”

While Farrauto downplayed talk of Richardson himself sending the staff to California, he said he might have first heard the idea from Richardson’s political director Amanda Cooper. Cooper couldn’t be reached for comment Wednesday.

While nobody’s claiming the New Mexico Six were pivotal in Villaraigosa’s election, it almost certainly would be viewed as a friendly gesture. And someone running for, say, president, surely wouldn’t mind the mayor of the second-largest city in the U.S. on his side.

More fun with campaign contributions: The Richardson campaign contribution report is the gift that keeps on giving.

One contributor with a Beverly Hills address who nobody has paid much attention to is Kirk Kerkorian, an 87-year-old billionaire investor.

According to a recent story in The Associated Press, Kerkorian “bought and sold MGM three times, changed management more than once and dealt away major assets, including the studio’s soundstages and much of its film library, including such classics as Gone With the Wind.

“He built some of the largest hotel-casinos in Las Vegas, including the MGM Grand. He sold his empire there once, then returned to buy out rival casino mogul Steve Wynn.”

But though, according to Forbes magazine Kerkorian is worth around $8.9 billion, he only gave Richardson’s re-election $2,000. Perhaps Kerkorian is watching his budget due to his current $870 million offer to double his investment in General Motors Corp. If successful that would boost Kerkorian company’s holdings to about 9 percent and make him one of the auto maker’s largest shareholders.

Last week in this column I listed several of Richardson’s entertainment industry contributors, including singer Andy Williams and Virginia Mancini, widow of composer Henry Mancini, who wrote Williams’ greatest hit, “Moon River.”

But there’s another Williams/Mancini connection, one that involves Richardson’s biggest contributor so far, Univision honcho Jerry Perenchio.

An August 2004 feature in Business Week Online says this of Richardson’s benefactor: “He's a jet-hopping, 73-year-old former boxing promoter who pals around with George Bush (41 and 43) and lives in the sprawling Bel Air (Calif.) mansion featured in the 1960s sitcom The Beverly Hillbillies. He loves throwing lavish parties — once he even flew in Henry Mancini and Andy Williams to perform at his son's 1981 wedding.”

GOODBYE PARAMOUNT

Somehow my story in this morning's New Mexican didn't make it on to the free Web site (Don't get me started here ...), so I'll post it here.

By the way, in the Fan Man e-mail I quote in the article Jamie Lenfesty asks club patrons to e-mail him favorite memories of the Paramount.

I have a few of my own. I have fond memories of playing there, opening for Jonathan Richman and Jimmy Carl Black's German blues group (The Farrell & Black Band) and for last year's Bonnie Hearne benefit with half the musicians I know in Santa Fe.

But probably my favorite show there was the Concrete Blonde show in 2002. Not only was I happy that Johnette and the boys were together again and playing as ferociously as ever, but that was my daughter's 21st birthday. It was the first time I took her to a club show without having to make arrangements with the management to get her in.

So e-mail Jamie your stories and read the story below:

As published in The Santa Fe New Mexican
May 18, 2005


After bringing popular music acts to downtown Santa Fe since late 1998, The Paramount Lounge and Nightclub will close at the end of next month.

In a mass e-mail to club patrons sent Tuesday, music promoter Jamie Lenfesty wrote, “After almost seven years I am very saddened to say that it does indeed appear that The Paramount, the best nightclub that Santa Fe has ever had, is going to close at the end of June.”

The e-mail says the closing is due to “a variety of factors,” including the health of owner Donalee Goodbrod. “Her guidance and energy kept the Paramount going and the loss of that energy was a blow from which the club was never able to recover,” Lenfesty wrote.

Goodbrod, who suffered a stroke last year, couldn’t be reached for comment Tuesday.
Referring to the final two shows he has booked at the Paramount — Antibalas Afrobeat Orchestra on May 24 and alternative country singer Kathleen Edwards on June 15 — Lenfesty wrote, “please come out and show your appreciation for the Paramount and enjoy what will be the last big club shows in Santa Fe at least for awawhile.”

Doug Roberts of Phase One Realty, which has listed the Paramount’s site at 331 Sandoval St., said Tuesday that his agency is trying to sell or lease the building, which is owned by a company called Dogleg LLC.

“There’s been a lot of interest,” he said, both local operators and folks from out of town.”

Roberts said one party has discussed making office space out of the building, but the others would like to operate a restaurant and/or a nightclub in the building.

According to Phase One’s Web site, the owners would sell the 9,100-square foot building for $2 million.

A Phase One brochure for the property says, “Originally built as architectural offices in 1988, the building was extensively renovated for a high-end restaurant. Since that time property has housed several successful restaurants, the most recent of which were the Paramount nightclub, (Bar B) and Paramount Pizza.”

Before it became The Paramount, the building housed a short-lived nightclub called Cowboy. Before that, the building was the Double A restaurant, which closed in February 1997. A story in this paper at that time described it as a “Los Angeles-style glitter dome.” The Double A operators spent $5 million to remodel the building for the restaurant that lasted less than two years.


In his e-mail Lenfesty recalled many of the nationally known acts that played the Paramount. Among those to play there were Lucinda Williams, Los Lobos, Warren Zevon, Ralph Stanley, Bo Diddley, R.L. Burnside, Rickie Lee Jones, Concrete Blonde, They Might Be Giants, Ozomatli , Toots & The Maytals, Gillian Welch, The Flatlanders, Alejandro Escovedo, Stan Ridgway, Terry Allen and Junior Brown.

There are few other Santa Fe venues for national popular music acts. The Lensic Performing Arts Center brings in several name acts, but it’s a theater and not set up for dancing. WilLee’s Blues Club on South Guadalupe St. has been booking national blues artists like Ian Moore and Mem Shannon (scheduled to play there May 28). But that club is much smaller than the Paramount.

The Paramount opened about a year after the closing of a downtown spot called Santa Fe Music Hall. At that time there was much discussion and hand-wringing in the popular music community about why Santa Fe has such a hard time keeping music clubs going.

Some said at the time it was because of a slump in the tourist industry. Some noted that people don’t drink as much alcohol as they did in the ‘70s and ‘80s. Some said Santa Fe has a scarcity of people in their early 20s and that baby boomers don’t go out at night as much as they used to.

Lenfesty, in an interview Tuesday, said that whoever runs the next big music club here should explore doing more “all-ages shows” with an enclosed area for those who are too young to drink but come to hear the music.

“They have it in Albuquerque, I don’t see why we couldn’t have it hear,” he said. “It’s young people and college kids who really support live music.”

Lenfesty said the Paramount was able to work for so many years because it didn’t cater to one particular crowd. “There was live music, there were DJs,” he said. “You’ve got to be everything to everybody. You had hard rock shows, country, blues, reggae ... Bar B was more loungy. The DJs attracted gays and straights. You can’t just cater to one group and make it in Santa Fe.

“The Paramount worked for a long time and it would still work except for the loss of Donalee’s guidance,” he said. “When she got sick, that was the end.”



THE CHARRED REMAINS at THE PARAMOUNT
1999

BAD JOHN AND ME

Joe Monahan today writes about Gov. Bill Richardson's recent blasts at the bloggers.

He's talking about recent Richardson speeches that have criticized some unspecified blogs for inaccuracies.

It should be noted that the governor gave these speeches before a new local blog launched. I'm sure that whatever irked the gov about the blogs he'd read was mild compared with Fat Bill and Me.

Fat Bill, which debuted Monday, is the creation of John Coventry, a longtime (20 years? 25 years?) City Hall agitator and frequent, if no longer perennial, City Council candidate. (He told me the other day he's considering a run for mayor next year.)

Richardson is the main target of the blog, which seems to be a natural extension of Coventry's ire-inspiring comments on The New Mexican's Web site in recent months.

It's outrageous. It's obscene. It's probably libelous.

But it's pure Coventry, which means it's kind of fun in a twisted way -- unless you're the target of one of his rants.

Which I have been in the past. About 20 years ago he threatened to punch me in the nose because I called him a "gadfly" in print. I told him I could have chosen another annoying insect.

Then back during the whole Clinton sex scandal, Coventry had a gig with former Municipal Judge Tom Fiorina's old radio show on KTRC (or was it KVSF?) as a roving "reporter." One day during the show, Coventry was at The New Mexican fielding live ambush "interviews" with reporters and editors. He stuck a cell phone in my face and barked, "Steve Terrell, how much perverted sex do you have?"

I could only answer honestly. "Not nearly enough," I told Coventry and his radio audience.

For the record, I'm not the "journeyman reporter" quoted in Fat Bill who warned Coventry about the governor's state police detail. I know most those officers and while they are very serious about their duty, I wouldn't describe any of them as humorless.

My advice to Richardson and anyone else who gets the treatment on Coventry's little corner of cyber space: If working on his blog makes him miss just one City Council meeting, it's all worth it.

PALAST IN SANTA FE

As published in the Santa Fe New Mexican
May 17, 2005

Gov. Bill Richardson usually is treated with chummy deference when he makes one of his frequent appearances on national news shows. In fact some say the national media tends to fawn over Richardson, even conservative commentators.

So it must have been a shock for the governor two years ago when making the rounds on the talking-head circuit after the New York blackout, a fellow guest on The O’Reilly Factor accused Richardson, a former energy secretary of being a party to “the snake oil of deregulation” and described the governor’s observations as “wonderful blather.”

That other guest was Greg Palast, an American investigative reporter whose work is featured on the British Broadcasting Corporation, The Observer and The Guardian, Harper’s magazine, and who authored the 2002 book The Best Democracy Money Can Buy.Don’t bet on Richardson showing up Saturday when Palast speaks at Cloudcliff Cafe and Art Space about his work.

In a telephone interview last week, Palast said he’s coming to New Mexico to investigate what he and several progressive activists in the state say are problems with the presidential election here last November. President Bush beat Democrat John Kerry by less than one percent here according to official results.

“I’m coming here more to investigate than talk,” Palast said.

It won’t be his first time here. In the 1980s, Palast said, he assisted then state Attorney General Paul Bardacke in an investigation of Public Service Company of New Mexico and the now defunct Southern Union Gas Company.

Working for The Observer, he also investigated the Geo Group, then known as Wackenhut, the private prison company that operates facilities in Santa Rosa and Hobbs. The story focused on the 1999 killing of Ralph Garcia, a Wackenhut guard killed during an inmate uprising.

Palast said he plans to talk Saturday about some of his recent investigations, including a Harper’s story about Pentagon documents he uncovered indicating the Bush administration — long before the Iraq invasion — was considering two very different plans for Iraq’s oil fields. One plan called for privatizing Iraq’s oil, a move that would have damaged the Organization for Petroleum Exporting Countries. But, Palast said, American oil producers balked at this plan. So instead, the administration went with a plan in which the Iraqi government owns a single oil company. Under this plan, OPEC and American oil companies continue to prosper.

He also intends to talk about “the smoking gun memo,” a top-secret British government document written by a foreign policy adviser to Prime Minister Tony Blair describing a July 2002 meeting between Blair and the head of British intelligence.

“Military action was now seen as inevitable,” the memo said. “Bush wanted to remove Saddam through military action justified by the conjunction of terrorism and WMD. But the intelligence and facts were being fixed around the policy.”

But it’s Palast’s views on the election that local organizers are stressing.

After all, one of Palast’s best-known investigations concerned the 2000 presidential election — specifically Florida state officials’ purging voting rolls of alleged felons, a move some critics say tipped the election to George W. Bush.

Then last year, Palast created a noisy Internet buzz in a widely circulated article published only days after the election. There Palast wrote, “... it's my job to tell you who got the most votes in the deciding states. Tuesday, in Ohio and New Mexico, it was John Kerry.”

The culprit, Palast argued was “spoilage” — ballots from old punch card machines that were unreadable and provisional ballots that were cast but never counted.

“Hispanic voters in the Enchanted State, who voted more than two to one for Kerry, are five times as likely to have their vote spoil as a white voter,” Palast wrote Counting these uncounted votes would easily overtake the Bush ‘plurality.’”

Palast’s numbers were challenged in Salon.com by writer Farhad Manjoo in a “debate” published in that online magazine.

Palast said last week he wants to look at why there was such a high “undervote” — ballots that were cast but showed no choice for president — in this state and why so many of those tended to be in high Hispanic or American Indian areas.

The statewide undervote rate was 2.45 percent. According to a study for a national organization advocating a recount, Indian precincts in New Mexico had an undervote rate of 6.7 percent , while Hispanic precincts had a 3.5 percent undervote rate.

According to a report by Scripps-Howard News Service New Mexico was one of only four states with an undervote of more than 2 percent in 2004.

Election errors are often just due to “a goofball factor,” Palast said. “I don’t look at it as Dick Cheney in his bunker calling up Diebold.”

But he said that voting machines seem to break down and have problems mainly in poor and minority districts. “If it happened in Republican country club districts, it would be fixed,” he said.

Palast is scheduled to speak 5 p.m. Saturday at Cloudcliff Cafe and Art Space, 1805 Second Street in Santa Fe. Tickets are $15. For more details CLICK HERE

TERRELL'S SOUND WORLD PLAYLIST

Sunday, May 15, 2005
KSFR, Santa Fe, N.M.
Now Webcasting
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Haunt by Roky Erikson
Murder in the Graveyard by Screaming Lord Sutch
I Ain't Nothin' But a Gorehound by The Cramps
The Ballad of Dwight Frye by Alice Cooper
TV Eye by Iggy Pop
Do You Swing? by The Fleshtones
The Hump by Heavy Trash
Needles and Pins by The Ramones

The Mariner's Revenge Song by The Decemberists
The Black Freighter by Steeleye Span
The Deserter by Fairport Convention
Room 229 by Ian Moore
Killer Inside Me by MC 900-Foot Jesus

BLUES FOR UZBEKISTAN
Recordings by Jack Clift in Uzbekistan, 2004
(19-minute improvisation) by Jadoo
The Hankerchief is Gone by Baxhi Sashok
You Are My Ray of Light Sevarra

Gim Git (Silence) by MC Mario with Jadoo featuring Greg Leisz
Laka Baluk by Jadoo
Uzbeksky Capitan by Baxhi Sashok
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis