<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">n.p. Brian Eno and J. Peter Schwalm: Drawn from Life
<BR></BLOCKQUOTE>
<BR></FONT><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">What is this one?
<BR>
<BR>Dale.
<BR></FONT></HTML>
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Date: Mon, 14 May 2001 11:39:29 -0400
From: "Dave Smey" <dsmey@mindspring.com>
Subject: Re: more [gay] stuff
> > From: "Jeton Ademaj" <jeton@hotmail.com>
> >
> > That still doesn't answer the
> > question of hostility- who cares if someone speculates about Dolphy n
> Mingus
> > being hot for each other? History benefits from truth and truth benefits
> > from inquiry, so the better question is, who loses when truth gets out?
Or
> > even when it gets mucked(?) with in some tiny context in some ivory
tower
> > somewhere?
As someone who frequents ivory towers myself, I assert that *I* care what
happens because I'm in the audience. I go to a conference, say, and people
get up to read papers. Ostensibly, they are getting up to share some idea
they've developed that they think I might find interesting, right?
Otherwise, what are we doing there? Yet the paper turns out to be, as my
wife would say, "a big wank." The author has made no effort to explain his
or her assumptions to someone who doesn't already share them -- rather the
argument operates solely on the level of inference and innuendo. Of course
if the author isn't disconnected from reality (s)he KNOWS that much if not
most of the audience does not share the assumptions about what's important
or interesting, how society works, how music relates to society, or how the
listener should relate to music. He or she really has a high hurdle to get
over if this paper is going to be convincing. But does he or she respond to
that challenge with careful definitions of terms, real engagement of
contrary arguments, etc? Nah, take the short cut instead -- blame the
audience! If you don't buy it, it's because you are elitist, racist,
classist, sexist, homophobic (usually this is implied right in the paper).
Show palpable glee, and use the phrase "just doesn't get it" to dismiss your
critics. This, I assert, is indeed a real pisser.
(I was actually inspired to join this list because I recently heard a
colleage rehash her "Zorn is an Asiatophile, the music is Asiophilic, and
therefore you shouldn't listen to it" paper.)
(And, speaking of my assumptions, it seems to me that the word "fag" remains
pejorative, no matter how cheerfully you co-opt it. I'd rather shoot for a
world where nobody says it rather than everybody.)
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Date: Mon, 14 May 2001 13:13:52 -0400
From: "George Scala" <gscala@carolina.rr.com>
Subject: Re: dixon
I just received my copy of "Odyssey" and it does indeed include the entirety
of the "Collection" 2-LP set on Cadence. This fits onto one cd plus a
little more so there is almost 5 CDs of previously unissued material.
George Scala
http://www.mindspring.com/~scala
- ----- Original Message -----
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Get your free @yahoo.com address at http://mail.yahoo.com
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Date: Mon, 14 May 2001 15:48:29 EDT
From: Nudeants@aol.com
Subject: toy music
As far as music utilizing toy instruments, there's a rock band out there called Self. Fairly Prince-influenced in conception, albums are quite varied from song to song. Their newest album, Gizmodgery, happens to be recorded exclusively using toy instruments. Drums, Keyboards, Guitars, Basses, noisemakers, all of the toy variety. All originals, with the exception of What of Fool Believes by the Doobies, and its a really good version of that tune. I'd recommend for the pop-inclined among you.
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Date: Mon, 14 May 2001 13:03:31 -0700
From: Jim Flannery <newgrange@sfo.com>
Subject: Re: Death of a Toy Piano ?
Skip Heller wrote:
>
> Does anyone know of any ensembles that record exclusively on toy
> instruments?
Aside from the others already mentioned, NYC in the early 80s: Y-Pants
(lp on Neutral (7" on ???? (sorry, I'm at work))).
- --
Jim Flannery
np: Upsilon Acrux, _In the Acrux of the Upsilon King_
nr: nothing
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Date: Mon, 14 May 2001 16:57:24 -0500
From: Herb Levy <herb@eskimo.com>
Subject: Keith Tippett/Julie Tippetts?
I've just been listening to the CD re-issue of Company: Epiphany on
Incus and as I read over the booklet I was reminded of a question
that I've always had and have never gotten an answer to: How come
Keith Tippett & Julie Tippetts, husband & wife, have different last
names?
Their two names are spelled like this on almost every recording I've
seen by them, as well as other sources for which it seems as if there
would be personal input as to the correct spellings of their names.
After a quick Sherlock search online, I came up with forty references
to Julie Tippett and forty references to Julie Tippetts; forty for
Keith Tippett & eleven for Keith Tippetts (but then Web sites are not
exactly known for perfect spelling). Even on the page for Keith
Tippett on Peter Sheffield's exemplary European Free Improvising
site, Julie Tippetts name is spelled with a final "s" all but one of
the times she's mentioned.
Anyone out there have any insights on this odd minor point?
Bests,
Herb
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Date: Mon, 14 May 2001 18:41:01 EDT
From: DKuper9200@aol.com
Subject: Re: Death of a Toy Piano ?
In a message dated 5/14/2001 1:53:22 PM, velaires@earthlink.net writes:
<<
Does anyone know of any ensembles that record exclusively on toy
instruments?
There is a New York City based group - "Music for Homemade Instruments" -
they have a few recordings, e.g. "The Pick of the Litter" and "Detritus." I
obtained them directly from the ensemble. Their address is:
262 Bowery
New York, NY 10012-3501
Is "homemade instruments" synonymous with "toy instruments?" I don't know,
but maybe you would be interested.
Regards,
David K.
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