lipi

I assume you've found this already, but just in case: http://www.sidneybechet.org/past-concerts/musicians-list/ Edit to add: the video you linked is an excerpt from this documentary on the recording of the society's first (and only) CD in 1999. Excerpt starts at 7:00.

Like I said, they have done business on Amazon under different names without mentioning the country of origin (edit: and in fact having a Florida address as their US front—I wish I'd kept notes on which one!). Reading the fine print did not and could not help. (I only realized what they were up to when my package arrived and had the same originating address as the Momox ones. I think they have since cut this $&#* out, likely because pissed-off customers like me reported them to Dark Lord Bezos.) Shady AF, y'all. I'm glad you've had good experiences with them, though.

Caveat emptor: I have had terrible experiences with Momox several times and now avoid them. No communication or response to inquiries about missing and damaged orders, and I had to file claims with Amazon directly twice. They also had (or perhaps still have) the incredibly skeevy habit of posting the same item several times on amazon.com, using different seller names, and many of them *not* stating they were shipping from Germany (which would be fine if I didn't live an ocean + a continent away, perhaps). (Maybe they're less awful for European shipments?)

Any ducks?

If we're throwing out names of people who have performed at Disneyland we'll be going for a while. Anyway, here's Kid Ory, and Johnny St. Cyr and some guy on trumpet playing on the riverboat at Disneyland:

Some history no one asked for: Walt Disney picked Dixieland/New Orleans/West Coast Revival/whatevs music for (part of) DIsneyland. New Orleans Square (with the Blue Bayou and the entrance to Pirates of the Caribbean) had trad bands from the very beginning in the mid-fifties, and still has some form of early jazz playing over speakers most of the time. The trad bands have mostly moved to Disney California's Adventure or to Downtown Disney—I know The Reynolds Brothers play there. And Fantasy makes sense. Good Time Jazz eventually ended up in the Fantasy catalogue, and GTJ was founded to issue music by the Firehouse Five Plus Two, which was a trad band made up of Disney Animators. The Stanford archive has some really cool things; one of the curators is a friend and he's waxed poetic. I have the impression that the choice of materials presented on the site isn't entirely up to the curators (oh irony), though.

It is still a thing. Laptops, for instance, usually have one drive slot. If you want to run two operating systems natively (that is, not in a virtual machine like VMware) you will need two partitions. If you want to run Linux or BSD on your laptop, you will also need two partitions, since they use a separate swap partition. (Windows, for historical reasons, does not. It uses a file. There are drawbacks to this, which is why Linux doesn't do it that way.) This is a different (early) use of SSD, when the drives were expensive. This should not be the way things work on any modern machine.

If this is a computer newly bought, I suspect that it's actually two physical drives, not two partitions on one drive. Most computers you are likely to buy will have a primary SSD (smaller, fast) and a secondary HDD (big, slower). The C will be the SSD—the OS will live on that, as will any applications you use frequently and any documents that require very fast disk access (if you do any video editing, this is the place you'll want to store your video files). So the first thing to check is whether you have two drives or two partitions on one drive. You can tell using System Information or whatever MS decided to call the control panel, or you can check your sales receipt and see whether it lists two drives or one. If it is indeed one physical drive with two partitions, you can remove the partition (i.e., repartition the drive) you have to reinstall the OS. You will lose all data on the drive when you do so (so back up). It may not be worth the hassle. Regardless of the 1-or-2 drive situation, it should be fairly simple to set D as the default for Word and any other software you use. (I'd give you exact instructions, but I have been fortunate enough not to have to touch Windows in years. Find yourself a young computer-literate fellow or lass, and have them do it for you.) Re: Word in particular: don't worry too much about it writing to C. Word documents are tiny compared to the size of the OS and whatever else lives on C. You won't notice a difference. (Or, to put it another way, by the time the cumulative mass of Word docs starts to matter, you have bigger problems.)

Thank you! I'm a little disappointed to see that the "yes, you can totally hear a difference" guy references a 10 year old article that doesn't list most of its sources and that doesn't really address the question but skirts around the issue. I'd love to see a source on the "you get tired if you listen to compressed audio because your brain has to do more work" story in particular. But then again, the guy asking the question got what he deserved for failing to define "high quality."

Regarding the letter jumbling, Matt Davis has kept a fairly interesting page about this since the story first went viral (about fifteen years ago). As expected, there are some subtleties to the claim (and the example above has almost certainly been constructed to be easy to read): http://www.mrc-cbu.cam.ac.uk/people/matt.davis/Cmabrigde/ I'm curious what point the author of the audio article was making, though!

Um, no. They don't "tend to default to external drives first", exactly because people boot with drives attached all the time. Should your boot disk become inoperable, you simply enter the BIOS screen on boot to change the boot order. There is no need to default to external drives first.

"Windows 8 is full of bugs"—yes, like any piece of software ever. (Also, Spectre and Meltdown are not viruses, they're hardware vulnerabilities. I'm a little tired of all the misunderstandings about these. Let the record show I deleted a three paragraph polemic in which I patiently explained why worrying about them is not worth your time.) The number of things that can cause this is just too large to reasonably debug remotely, so best advice: find someone nearby who understands/likes computers, and have them look at it. Second best advice: enable boot logging and take a look at ntbtlog.txt. This won't tell you much if you don't know what you're looking at, though, so see suggestion #1 above. Third best advice: remove all extraneous devices (printers, webcams, etc.)—just leave monitor, keyboard, and mouse attached—and boot into safe mode. Did it go quickly? And back to the first piece of advice! My first two suspects would be the hard drive (it may just be old and ready to give up the ghost) and networking (it may be that there's a demon that cannot (for whatever reason) get a connection and is holding everything up), but it can really be hundreds of things.

What an amazing album cover... Is there a "people pretending to fly helicopters while riding rollercoasters (?)" album cover thread yet?

I have that book, and though I've leafed through it before I never read it cover-to-cover. The mention of this album occurs on page 112. Roberts says that NKC recorded an album in Cuba with trumpeter Alfredo "Chocolate" Armenteros. He implies strongly that this was in 1946 (the previous sentence is all about 1946, and so are the next few paragraphs—but he does not explicitly state that the Cole recording was in '46. Some casual searching shows that other sources repeat this claim (The Oxford Companion to Jazz, for instance—I don't know what their source was, though—maybe it was Roberts's book!). If the recording was really in 1946, Armenteros would have been very young (17 or 18), though it's of course not impossible. In "Latin Jazz: the first of the fusions, 1880s to today", a later (1999) book by Roberts I don't own (but now want...), he gives a little more context on page 68. I can only get a snippet from Google Books, I'm afraid: "And, Nat 'King' Cole recorded an album called Rhumba d la King in Cuba with a group that (according to producer/Latin music scholar Rene Lopez) included the great conjunto trumpeter Armando "Chocolate" Armenteros, one of a generation of Cubans who were remaking the old septeto solo style with strong jazz..." This obituary of Armenteros in the Colombian paper El Tiempo (https://www.eltiempo.com/archivo/documento/CMS-16474657) also mentions his recordings with NKC: "El legendario músico, que tocó con los grandes del son y el jazz, [...], que compartió escenarios y grabaciones con Nat King Cole, Paquito de Rivera, Dizzy Gillespie y Charlie Palmieri, está de nuevo en Colombia." No source given, nor explicit mention of the album, I'm afraid. Various other sources (easily Googlifyable) mention his work with Cole, but place it in 1957 (performing at the Tropicana) and 1958 (recording "Cole Español", which does not contain "Rex Rhumba," nor do the two follow-up Spanish-language albums Cole recorded). Some other timelines of Armenteros's life don't have him arriving in Havana till 1948, making a recording session with Cole highly unlikely in 1946. Note that "Rex Rhumba" was released by Capitol as a 78 B side in 1948: https://www.discogs.com/composition/e240e45b-8c84-4128-b8e3-a9f9aea51a6e-Rex-Rhumba It's possible Roberts (or his source) got confused by the 1948 release of the tune, and the 1958 recording of the first Spanish-language LP. I suggest tracking down a copy of the 1999 Roberts book, and seeing whether he gives a source for the Rene Lopez assertion in a footnote or endnote.

Seeing .cda files unfortunately tells you nothing. If you stick a standard red book audio CD in a Windows machine, Windows will generate a .cda file for each track, and show them in the filesystem as if they were on the disc. It is possible that some goofball wrote .cda files to a data disc if they tried to copy an audio CD by dragging files around, but then these .cda files would show up on your Mac as well. Which brings me to: When you say your Macs see the disc "as empty", what does that mean? When you pop it in, does a dialogue pop up asking you what to do with the empty disc? Or does it get mounted on the desktop but Finder shows nothing when you open the disc? If it gets mounted, Get Info on the disc (command-I or right-click->Get Info). What do the fields Capactiy, Available, and Used say? (You'd expect to have about 10MB used for each minute of music, and a properly finalized disc will show 0 for Available.) Edit: Also, to clear up confusion: a .cda file does not contain music. It's simply a link—a reference—to the file that contains the music. So you cannot convert a .cda file; you convert the audio stream, using the .cda files to find your start and end points.

That blogpost can be summarized "I don't like word X, so I propose word Y, with reasons so subjective you cannot argue with me."

In roughly decreasing order of likelihood: Ella Fitzgerald rises from the dead. 1930s big band swing will make a surprise comeback, sweeping the charts. A print of "Fox Movietone Follies of 1929" is found. Mosaic or Bear or similar releases a Complete Edmond Hall set. New Savoy Ballroom airshots are discovered.

It's wikipedia... No need to invent weird etymologies linked to counterfeit: they, eventually, do share the same roots, namely contrafacere (contra + facere, opposite + to make) in Mediaeval Latin. Contrafactum made its way directly into English, while counterfeit made its way into English through Old French. From Merriam-Webster: contrafact noun con·tra·fact | \ˈkän‧trəˌfakt\ variants: or contrafactum \ˈ⸗⸗ˌ⸗təm, ˌ⸗⸗ˈ⸗⸗ \ plural contrafacts\-ts \ or contrafacta\-tə \ Definition of contrafact : a 16th century musical setting of the mass or a chorale or hymn produced by replacing the text of a secular song with religious poetry

It's a term borrowed from classical music (or mediaeval music, rather), and modified to suite the taste of the jazz riff-raff. A contrafactum is a piece of music that has had its lyrics replaced by others: usually a secular song that became a hymn or part of a mass, or vice versa.

Documents is one of the names the German label Membran has operated under (or maybe they're a subsidiary label, who knows). The Membran and Documents output is sketchy, quality-wise. Some sets are clearly straight copies of the Chrono Classics, and, to my ears, sound fine. Other sets are sourced god-knows-where and CEDARed (or similar) to hell and back. My approach has been to avoid their releases unless I really cannot find it anywhere else.

https://www.rainn.org/statistics/victims-sexual-violence RAINN says 1 out of 6 and the WHO shows similar numbers. The Time and New Republic pieces bring up the NCVS survey's much lower estimates. (The NR article is actually OK, though their speculative reasons for the differences are just that: speculative. The Time article was written by Cathy Young, who has an axe she likes to grind. More problematic is that she appears to either misunderstand statistics, or likes to muddy the waters.) Critique of the NCVS survey and its likelihood of undercounting sexual crimes: https://www.nap.edu/catalog/18605/estimating-the-incidence-of-rape-and-sexual-assault On a similar note, the NCVS survey is interview-based, while the CDC numbers appear not to be. Interviews are notoriously bad places to get people to disclose cases of victimhood. See: https://www.nap.edu/read/10581/chapter/3#22 In other words, the NCVS survey is likely to heavily under-report crimes like sexual assault. FWIW, anecdotal evidence (i.e., people I know in my immediate surroundings) suggests (though of course hardly proves) that 20% is much nearer the mark than 2%, and possibly still too low.

The CDC estimates nearly one in five women in the US has been sexually assaulted.

All right, enough. Clearly no one is convincing anyone here. It's a classic clash of morals and ethics. If you truly believe that no work of art should ever be taken off a museum wall or off the radio, you are a more serene person than I and Siddhattha Gotama, and I envy you.

Oy. Slippery slope AND appeal to extremes. Are we turning this thread into a teaching exercise for every single logical fallacy? What you appear to imply is that considering not playing one song means we soon won't be playing any songs. That's ludicrous to the extent that it's not even a helpful rhetorical device. But since we're dealing in extremes, I'll ask: how would you feel about a song celebrating slavery? What about one celebrating pedophiles? One calling for genocide? There's a difference of opinion on where to draw the line, but there *is* a line. (Agree completely on the first paragraph, though. Normalizing coercion and date rape is a serious problem, and songs like this—innocent as they may be or may have been intended to be—further that problem. It's not so much saving sexual assault victims pain, it's about saving sexual assault victims from being assaulted in the first place.)

You [and I realize it's the letter writer and not you mjzee, but you appear to be in agreement with the letter] don't get to say "they're misunderstanding the context" on this. In a college class? Yes. In a historical discussion? Sure. But not in the wider context addressed here. The question is not historical, but social: does this song, today, cause many to experience very unpleasant feelings, and (more serious, to my mind) does it condone pressuring your date into staying a little longer and doing a little more than they might want? If so, there is good reason to at least consider not playing it. And if you're still not getting it, why don't we try this out again on minstrelsy, shall we? "Gosh, those young people today, they just don't get how we are enjoying the jolly capers of those jolly black folk!" WTF. Seriously, W. T. F.