JSngry

But is it literature?

If you can imagine a normal speech setup where that question would be asked, I think you have to then allow for any damn kind of an accentuation in the answer. That & "I Am The Walrus" easily make my all-time fave LennonBeatleSongs list, but, to use one of my NOT all-time favorite McCartneyBeatleSong, let it be, right? It, and any other number of popular songs, do quite well on their own, they don't need any attempts to "distinguish" them by appealing to established notions of "literature". As that pertains to Dylan, "Ballad Of A Thin Man", jeeeeeezuz, I love that one, went so far as to play a PaulIsDead game and apply it to the first wave of Jerry Jones/Dallas Cowboys collapse. I mean, that sucker hits every bullseye possible as a song,as a Popular Music song. But if you just saw that on a printed page, would it work? Really? If some hipster read it out loud at a slam/reading/etc without lapsing into some kind of song-y cadence, who would buy? And if they did, how much would they be willing to pay? Like, spare change, right? But as a straight up song - words in consideration of music and vice-versa, WHOA, DUDE!!!!! We're talking different things here, songwriting and literature, things that can compliment each other as they evolve, sure, gladly, but are not yet in any way the same thing. I think it's a vision blurrer to try to make them what they into some kind of equivalents,when the real appreciation comes from heightened discernment of their individual uniquenesses. Valuing "diversity" means just that- valuing differences. It is not the same thing as eliminating differences, if only because if you value the differences so much, why would you wish them to not be there? Hey, I value that, now get it out of here. Really? What, your brain doesn't have space for two, so you gotta shrink it down to one? People are getting all bubble-headed about a shrinking world. Your mind gotta get bigger as your world gets smaller. If your world and your brain both get smaller, hey, shrinking brain, NE-ver a GO-od i-DE-a.

Mid-month update/scorecard, for those who play that way. TRACK ONE - Identified. Johnny Otis w/Dorothy Morrison, "Signing Off" from Back To Jazz. TRACK TWO - Identified. Mingus 45 TRACK THREE - Not yet identified. TRACK FOUR - Artist (James Brown), song ("Super Bad") and nature of the specific recording (remix) identified, close enough, but bonus points for anybody who can pin down the exact remix this is, and/or its source. TRACK FIVE - Identified. John Cage, Sonatas & Interludes for Prepared Piano. Bonus points available for identifying the specific performance/recording. TRACK SIX - Not yet identified. TRACK SEVEN - Identified as George Crumb, "Lonesome Road" from one of his American Songbooks series. TRACK EIGHT - Text identified as being by the speaker, Napoleon Hill. TRACK NINE - Not yet identified. TRACK TEN - Identified. Excerpts from Anthony Davis' Tania. TRACK ELEVEN - Identified, Flip side of Track Two. TRACK TWELVE - Identified as Eisenhower and bowling alley. There's more to glom if you want it, and happy hunting if you do. Hints: #s 3, 6, & 9 are all by American composers, two of whom are still alive (the one who's not died in 1998). Two of the these three pieces are 21st Century compositions, the other is from 1957. The text for #3 is a Henry Dumas poem, ca. 1968. # 9 is a movement from a piece for saxophone quartet & orchestra. and is based almost entirely on an animal sound. A common name for this animal is the title of this movement. # 11 has a Frank Sinatra connection. Existing Bonus Points: Direct Star Trek connection to one of the pieces here. Charlie Parker to Carol Burnett in four easy steps using one of the pieces here. Mandatory BFT Existential Question: Do you ever fall asleep in church? Thanks to all who have commented to this point, and warmfuzzies to those who have expressed a liking. Reveal to come, hopefully, on or about the weekend of October 28. Comments still welcome, and playing the Name That Tune game really not needed to play.

And the superior warm gun is being jumped by the happy mother. Overall, it's not a blue baby, so let it bleed, let it bleed, let it bleed yeah, let it bleed.

Point being just that 3 over 4 is a standard emphatic gambit, conversation and musically. Lennon's usage of it no more unorthodox than Smokey's than all the Spector uses of it, it's a common device, and we notice it because of the inherent mathematical tension, not because of of any breakthroughs of expression or anything like that. It's one of those things that seems to be intuitive, perhaps even hardwired. Literate songwriting does not make songwriting literature. Songwriting is music. I'm all for evolutionary synergism, and when we get to a time where people set out to and then achieve a sung novel, a work requires the melding of disciplines to exist instead of allowing a deconstruction of it's elements to present, hey, look, it's a pop song, but it also has poetic imagery and rhyme, gee, it's literature too!, then we can talk about it. But this is not that time. Larry, your premise seems to be linked to the notion that the words "strawberry fields forever" would be spoken in that order, together as a phrase, as a part of "normal speech", and...huh? Where does that happen?

Hawk all the way.

Also, this whole "voice of a generation" thing...I really dislike that, because, yeah, ok, Dylan was cool, but he was not, and is not "my voice". So either I'm not in the generation I think I am, or else not all of us had the same voice, or both. Hell, Donna Summer might well be the voice of my generation, and I'm ok with that. She worked hard for the money. “Listening to Sonny Rollins at the Five-Spot,” Paul Blackburn There will be many other nights like be standing here with someone, some one someone some-one some some some some some some one there will be other songs a-nother fall, another—spring, but there will never be a-noth, noth anoth noth anoth-er noth-er noth-er Other lips that I may kiss, but they won’t thrill me like thrill me like like yours used to dream a million dreams but how can they come when there never be a-noth— ( Collected Poems , 316) https://www.coursehero.com/file/6005709/Blackburn-Paul-Selections/

My smile is my makeup I wear since my breakup with you?

Hey, Mario Rivera. That cat could play.

Reward diminished proportionate to traffic hassles. Friday is perhaps not as good a night as Saturday for sitting down with the expectation that just showing up will get it done. OTOH, good band, played well.

Comic strips are literature. Ad copy is literature. Job applications are literature. Work orders are literature. Get busy, Nobel peoples!

Song lyrics are generally made in consideration of being sung...in a song. I'm not saying it's a lesser art or anything, far from it. But it's not the same thing. Take any great poem form any era, even a Psalm, which was supposedly made to be sung. You can put melody to anything, but "song" as we currently understand it sets up expectations of repetitive, symmetrical structures, predictable cadences, etc. Variances from those expectations are often noted, and seldom really radical. Not for a while now do we have the same set of allowances for poetry. Or for music in general, really. Arias, great arias with all kinds of lyrical examinations and melodic developments, are those "songs" by today's expectations of song? Probably not? If Sondheim got a Noble for Literature, would that be considered standard? None of this a dis on Dylan, when he got me, he got me hard (and when he didn't...not even close), just wondering what's going on with the merging of "values", if this is going to be a real thing going forth, or if this Nobel is some kind of "lifetime achievement award for...just because" kind of thing. In the end, it don't mean shit other than money and marketing, in the end its just an award, but money and marketing matter in the world where money and marketing matters, and that's a big world.

This is the prize invented by the guy who invented dynamite or something, right? I've dug enough of Dylan enough of the time to see why this award might feel "appropriate"...not sure if it actually is or not, but what's done is done. I do wonder, though, if "songwriting" was a true equivalency to "literature" or even "poetry", is that something that just now happened?

Tonight @ DSO. Nothing I really "want" to hear here, so just going to enjoy a good band playing well, reward enough, really.

Plenty of good to great playing, I'd anticipate. As far as "great music", at least great in the sense of gaining traction and forming an ongoing trail that moves beyond itself...Kenny Garret, for sure, Stefon Harris, to a degree, Dave Douglas, if you need that in your life (and many do), and...a lot of good to great playing otherwise. The Lovano side that seems to have been slept on is Friendly Fire, with Greg Osby, Jason Moran, Cameron Brown, & Idris Muhammad. That one gets frisky and rope-walky, downright noisy at times. More of that type thing in general, music that forces you to have an opinion, would have been good.

https://ranblake.com/discography/ The recent recordings are excellent. Not really any "conventional" quartets or such, but plenty with additional instruments.

I like the record a lot. The Ford/Blake paring never fails. I was especially taken, at the time, by the inclusion of two numbers from the Stan Kenton book. That seemed odd-ish to me then, now, not so much. I pretty much like all Ran Blake records. Like 'em a lot. I chose this one because I figured that it was readily available, either individually or in a box, and that by nature of it's format it was one of the more "accessible" Ran Blake records out there. Tenor, piano, bass, drums, tunes. There are two more days if anybody has anything to say.

What's the best Bird Dial or Savoy album? What the best Jelly Roll Morton album? What's the best Commodore album, period? I bought the Columbia Louis LPs of the 78s, but always viewed them as collections, "albums" meant something else to me. Columbia did that well, Robert Johnson, Charlie Christian, long runs in the catalog, but although the material lives on, the albums? Blue Note early on gave you albums of their 78s, kept them as albums. Monk, red and green. Bud, that big head, twice. You could buy those in 1957, 1967, 1977, they were standard catalog. But Bird...Verve albums, Everest albums (the first one maybe making this list), but Dial...Charlie Parker Records, at best. The City Kids showed up with Spotlite, finally, I schlepped into Dallas one day th score the WB box. Savoy? Yeah... Now these kids today with their CDs, they might have a different wallpaper on their walls. Me, I love this one, and it was an "album", but where is it today? The music still compels. And it stayed in the catalog for a good while (but just that one, other RCA collections did not). If you find it, buy it, even if you already have it on CD, just because. But any Album List that that one shows up on is predicated on Huh? What? Why not___instead?

Yeah, there are some graphics programs where the word "dither" or "dithering" is actually used somewhere in the menu/settings. I don't do a lot of that stuff, but the word sounds familiar in that context. And yes, distorting the original for the purpose of ultimately clarifying it.

Yeah, but how many compilations do we reflexively think of, not as great albums, but as Great Albums. It's a carryover from the pop roots most of us have, I think. Here would be one: but does anybody think of that as an "album" the same way as this? Should they? Are they really the same type of "album"?

"Analog source" = the instruments, or the recording? When I referenced ""source recording", I was referring to the in-studio performance. Perhaps dither is used during the actual recording? It would then carry on through subsequent stages of production/post-production, I think. Which is to say, I don't know that it would be at all relevant to copying extant finished recordings, as the OP mentioned. Not unless you wanted to play games, and then that's something else altogether.

I can't find a linkable image of the 45 label, but the actual # is 45-5008. Side One is given as A-4922-1, Side Two as A-4923-1. I have this 45 with a blue/grey Atlantic label, but it also appears to exist with the black/white label, indicating promo/dj/jukebox/etc. copy. View them all here: http://www.45cat.com/record/455008us Previously unklnown to me was this issue of the song as a Swedish EP, with "Bird Food" on the other side. See that one here: http://www.45cat.com/record/atlep80035

That singles are not albums?

mjzee included this link, but let me highlight it. The article and, especially, the comments go into more than enough detail for me: http://www.earlevel.com/main/1996/10/20/what-is-dither/ As I understand it, the point is not to increase the dynamic range, but to "blur" the quieter ranges to create just enough "fuzziness" to make them more easily processed by the ear. The auditory/visual equivalencies might not be exact, but the basic idea seems right to me. In both worlds, "fuzziness" is more difficult to ignore than "transparency". I would like to hear Chuck's or Jim A's thoughts on the matter, because it (dither) seems to be something more relevant to higher end source recordings of a wide dynamic range than it is to any duplication of existing recordings.