Christopher Smith wrote:
[snip] Wow, six days late! I just got this now after posting on March 29th!
Makes me sound like I never check my email, or are always commenting on
something someone said before but now the conversation has moved on...
Christopher
Yeah, I've noticed some
On Mar 29, 2008, at 7:50 AM, Christopher Smith wrote:
On Mar 29, 2008, at 1:41 AM, Darcy James Argue wrote:
I don't love all of the music that comes out of the local indie
rock scene. In fact, I think, oh, say, about 90% of it is pretty
bad. But 10% of it is brilliant.
Nice post.
But
[EMAIL PROTECTED] wrote:
And how is that that P. T. Barnum had it? No one ever went broke
understimating the taste of the American people?
That of course supposes there is some level of taste which is some sort
of threshold, implying that there is higher taste and lower taste which
would be
On Mar 29, 2008, at 1:41 AM, Darcy James Argue wrote:
I don't love all of the music that comes out of the local indie
rock scene. In fact, I think, oh, say, about 90% of it is pretty
bad. But 10% of it is brilliant.
Nice post.
But there is one thing I realised fairly early on in my own
At 2:30 PM -0400 3/28/08, Darcy James Argue wrote:
while the songs that made Elvis a household word--none of them
written by him--have faded into history.
John, due respect, but if your impression is that Heartbreak Hotel
and Love Me Tender have faded into history, you inhabit a very
David W. Fenton wrote:
[snip] Nobody eats bubble gum for nutrition, but it's quite fun for
entertainment.
I guess I'm saying that even crap has its place.
You get no argument from me on that point.
But then would something that shines at being crap be the worst of
American Pop or the best
And how is that that P. T. Barnum had it? No one ever went broke
understimating the taste of the American people?
David W. Fenton wrote:
[snip] Nobody eats bubble gum for nutrition, but it's quite fun for
entertainment.
I guess I'm saying that even crap has its place.
You get no argument
David W. Fenton wrote:
On 27 Mar 2008 at 12:53, Chuck Israels wrote:
This was an unusual period
of sophisticated common practice in the world of American popular
music and jazz, and I believe that there was a considerably higher
percentage of good quality, durable music than Sturgeon's
On Mar 28, 2008, at 3:49 AM, dhbailey wrote:
David W. Fenton wrote:
On 27 Mar 2008 at 12:53, Chuck Israels wrote:
This was an unusual period of sophisticated common practice in
the world of American popular music and jazz, and I believe that
there was a considerably higher percentage
Of course, I cannot measure this, and I don't know all the the bad
songs, movie music, musicals, revues, and jazz compositions and
performances of this period, but the indelible impression remains that
this period of American popular music was an unusually fecund one.
Chuck
I agree with
On 27-Mar-08, at 3:18 PM, A-NO-NE Music wrote:
I believe my compositions are much better than most of whatever I hear
commercially, yet I have this strong feeling my compositions will die
when I die :-(
Wow, how depressing. Yet, most likely realistic. 8-(
Christopher
At 10:02 AM -0700 3/28/08, Michael Greensill wrote:
Of course, I cannot measure this, and I don't know all the the bad
songs, movie music, musicals, revues, and jazz compositions and
performances of this period, but the indelible impression remains
that this period of American popular music
Michael Greensill wrote:
[snip] Of course there's both sides to a story - the professionals in the
1950's, like Mitch Miller brought us amazing crap that probably ushered
in the excesses of the rock era.
How dare you throw such an insult at the man with the guts to take a
couple of oboe solos
while the songs that made Elvis a household word--none of them
written by him--have faded into history.
John, due respect, but if your impression is that Heartbreak Hotel
and Love Me Tender have faded into history, you inhabit a very
different musical world than most people. Hell, even
How dare you throw such an insult at the man with the guts to take a
couple of oboe solos on the Charlie Parker With Strings sessions? ;-)
That's the weird thing about him. He was a hip guy. All the stuff did
did for Alec Wilder.
But then he made Rosie Clooney sing Come on-a My House.
Michael Greensill wrote:
How dare you throw such an insult at the man with the guts to take a
couple of oboe solos on the Charlie Parker With Strings sessions? ;-)
That's the weird thing about him. He was a hip guy. All the stuff did
did for Alec Wilder.
But then he made Rosie Clooney sing
On 28 Mar 2008 at 17:03, dhbailey wrote:
Who's to say that it was the worst in American pop -- if a lot of people
like something in the arts who is to say it's a bad thing?
I think you're mixing apples and oranges. Sturgeon's law doesn't say
anything about popularity, only about (presumed)
I've been trying to hold my peace, here, but there seems to be a knee-
jerk assumption amongst many here on the list that certain genres
(including huge swaths of popular music) are inherently inferior,
simply by virtue of being dissimilar to the genre of music one is most
comfortable with.
At 12:39 PM -0700 3/28/08, Michael Greensill wrote:
How dare you throw such an insult at the man with the guts to take
a couple of oboe solos on the Charlie Parker With Strings sessions?
;-)
That's the weird thing about him. He was a hip guy. All the stuff
did did for Alec Wilder.
But then
Heck, when a composer dies is when (mahleureusement) his music often
starts to live.
ajr
On 27-Mar-08, at 3:18 PM, A-NO-NE Music wrote:
I believe my compositions are much better than most of whatever I hear
commercially, yet I have this strong feeling my compositions will die
when I die
On 28 Mar 2008 at 19:25, Darcy James Argue wrote:
I've been trying to hold my peace, here, but there seems to be a knee-
jerk assumption amongst many here on the list that certain genres
(including huge swaths of popular music) are inherently inferior,
simply by virtue of being
On Mar 28, 2008, at 8:07 PM, David W. Fenton wrote:
On 28 Mar 2008 at 19:25, Darcy James Argue wrote:
I've been trying to hold my peace, here, but there seems to be a
knee-
jerk assumption amongst many here on the list that certain genres
(including huge swaths of popular music) are
On Mar 27, 2008, at 3:28 AM, dhbailey wrote:
Most music appreciation classes leave the class members with the
impression that the historical music history periods all produced
only masterworks by superior composers and fail to address the fact
that much of what was written during those
Chuck Israels wrote:
On Mar 27, 2008, at 3:28 AM, dhbailey wrote:
Most music appreciation classes leave the class members with the
impression that the historical music history periods all produced only
masterworks by superior composers and fail to address the fact that
much of what was
I believe my compositions are much better than most of whatever I hear
commercially, yet I have this strong feeling my compositions will die
when I die :-(
--
- Hiro
Hiroaki Honshuku, A-NO-NE Music, Boston, MA
http://a-no-ne.com http://anonemusic.com
On Mar 27, 2008, at 12:18 PM, A-NO-NE Music wrote:
I believe my compositions are much better than most of whatever I hear
commercially, yet I have this strong feeling my compositions will die
when I die :-(
Yes, it's so hard to find a good patron these days!
Dick H
At 7:29 AM -0700 3/27/08, Chuck Israels wrote:
Not to make too strong a case or say that the law was completely
suspended, but it does seem to me that, in reference to American
popular music of (approximately) the first half of the 20th Century,
Sturgeon's percentages need adjustment.
Up
Am certain that your music probably is as good, as great, or even
better than 95% of popular serious music. The only reason that it
may not last is because you have not had the
good fortune, or the means, to have it published, to have it
performed countless times, and played hundreds of
On 27 Mar 2008 at 12:53, Chuck Israels wrote:
This was an unusual period
of sophisticated common practice in the world of American popular
music and jazz, and I believe that there was a considerably higher
percentage of good quality, durable music than Sturgeon's Law would
predict.
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