From: owner-ecto-digest@smoe.org (ecto-digest) To: ecto-digest@smoe.org Subject: ecto-digest V11 #119 Reply-To: ecto@smoe.org Sender: owner-ecto-digest@smoe.org Errors-To: owner-ecto-digest@smoe.org Precedence: bulk ecto-digest Saturday, April 30 2005 Volume 11 : Number 119 Today's Subjects: ----------------- starter cds [anna maria "stjärnell" ] Mariachi? [ken_d.lists@comcast.net] Re: radio and 70's music [Michael Pearce ] Re: judging art - long ["Tom Ditto" ] Re: Jeff Buckley as sound track for NBC Dateline w/ Stone Philips ["Joe C] Re: Any web stats geeks around? (access logs) [Chip Lueck Subject: starter cds hi.. how about.. tori little earthqaukes kate the dreaming cocteau twins blue bell knoll breeders last splash happy equipoise sarah mclachlan fumbling stina nordenstam memories of a color rickie lee jones pirates peter gabriel his first solo one david bowie diamond dogs or low david sylvian secrets of the beehive virginia astley from the gardens where we feel secure sinead lion and the cobra anna maria Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Date: Fri, 29 Apr 2005 15:05:28 +0000 From: ken_d.lists@comcast.net Subject: Mariachi? Not your typical ecto fare, but can anyone recommend some mariachi music? Are there any instrumental only CDs out there? - -Ken ------------------------------ Date: Fri, 29 Apr 2005 08:45:52 -0700 From: Michael Pearce Subject: Re: radio and 70's music At 1:55 AM -0400 4/28/05, breinheimer@webtv.net (bill) wrote: >Isn't most of the criticism of 70's music focused on top 40 and so >called commercial radio. And for anyone old enough (and serious enough >about music) to have "outgrown" this kind of thing, isn't that a >legitamate complaint >about radio regardless of the era? Absolutely. Only in the earliest days did Top 40 radio expose people to new music. Because it focused on hits instead of genre, there was rock, blues, country, easy listening and even jazz. >Renassaince- could we have really failed to mention this? Started in 1969. >Marianne Faithful- got her start that decade No, she started in 1965 and had burned out by 1971. It wasn't until the end of the '70s that she was reincarnated as a whiskey-voiced punk singer ("Broken English" and the accompanying LP) to be followed by her 3rd and 4th incarnation as a lounge chanteuse and what she does now. >And it's not music but didn't Firesign Theatre do so much for 70's radio? They started in the mid-'60s too and simply continued their career through part of the '70s. Then they disappeared until the Internet brought them back. But even more than Monty Python, they reinvented audio theater. Carole King started her solo career in 1970, although she had been writing for years before that. Really, one needs to view the '60s as the period from 1966 through 1973 and cluster the mid- to late-70s as another. (Not really relevant, but Dr. Demento started his radio show in 1970.) Michael ------------------------------ Date: Fri, 29 Apr 2005 11:34:33 -0400 From: "Tom Ditto" Subject: Re: judging art - long > Date: Thu, 28 Apr 2005 13:04:31 -0400 > From: gordodo@optonline.net > Subject: Re: judging art > > "The BBC Symphony Orchestra gave a performance of composer John Cage's > seminal piece 4'33", which does not contain a single note." > > http://news.bbc.co.uk/1/hi/entertainment/music/3401901.stm > > is it music? is it philosophy? is it art? does it matter? Art is like sex. It is something we enjoy while we reproduce. The reproduction of art is culture. If you enjoy a work of art from another epoch, you can experience the world as it was when the art was made. By experiencing a distant period of time, its past culture is reproduced in the present tense. To the extent that form dictates this function, art must achieve a level of value great enough for people to want to preserve it. This may be a simple cultural phenomenon where objects without any intrinsic aesthetic merit are regarded as sacred, but objets d'art have aesthetic merit that perpetuate their existence. In general, these works of art possess beauty that rewards their audience with pleasure. John Cage is a cultural phenomenon. His silent music is a sacred ritual that is preserved not for its beauty but by peer pressure to uphold the church of "high art." A similar observation can be made about Rothko's contemporaneous black canvases. In point of fact, Rothko painted these for a chapel. According to my Monty Pythonian theory of 20th century art history, art was very thick on one side, very thin in the middle and very thick again on the other end. At the end of the nineteenth century, the rules of harmony were so well understood that they could be exploited to the hilt or broken with dissonance to make a compelling point. In the latter case we have the orchestral masterworks of Stravinsky and the piano works of Satie. Harmony taken to the hilt might be seen in late Mahler and early Schoenberg. In painting there is some parallel between Schoenberg and Picasso in that the early Blue and Rose periods of Picasso were deeply romantic as was Schoenberg's early music, exampled by Verkldrte Nacht. Both artists then made radical departures from their initial aesthetics to academic disciplines. Cubism and the 12 tone row have intellectual constructs that contravene any motivation for expressing beauty. Picasso's famous Les Demoiselles d'Avignon is excruciatingly ugly while encompassing a preliminary expression of cubism. It set in motion the extinction of painting in the black hole of Rothko's canvases. Similarly, Schoenberg's 12 tone row discipline redirected Stravinsky from his instinct for harmony into the gravitational collapse that was finally achieved by Cage's silence. These academic disciplines and standards became de rigor, and artists who heard melodies or saw visions in their heads were driven from high art to be relegated to the popular and commercial art sectors. After mid-century we find sanctioned high art expressions that rediscover beauty as a foundation. The Beatles' Sergeant Pepper's Lonely Hearts Club Band blew the cover off of the cognoscenti's guilty pleasure that had been hidden away after Gershwin's premature death in 1937. Phillip Glass's simplistic pentatonic progressions that would have been laughed out of the academy prior to the mid-century were now embraced as legitimate high art. Critical to the reemergence of beauty as a criterion in art were new technologies that came with computers. The Rolling Stones' 1967 "Two Thousand Light Years from Home" used innovative board mixes and synthesis. A quarter of a century later I was commissioned to make 3D computer graphics for a music video of a live version taped during their Steel Wheels tour. This music and hopefully the resulting video will find legs in the future not based on the hero worship surrounding Mick Jagger but on the intrinsic beauty of the music and subsequent video art. Preserved solely for pleasure, future generations will experience both the twentieth century dream of space exploration as well as the Rolling Stones pop phenomenon. As we left the 20th century, a growing body of beautiful music made it possible to endorse a wide range of composers as legitimate high artists. We can distinguish between them using a criterion I call the "shock of recognition," by which I mean that we understand this music the first time we hear their music and appreciate the music all the more as we listen to it again and again. This is why I became interested in the music of such artists as Happy Rhodes and Kevin Bartlett. Tom Ditto When in excess More is less, But less is less And more is more When keeping score. ------------------------------ Date: Fri, 29 Apr 2005 13:39:25 -0400 From: "Joe Casadonte" Subject: Re: Jeff Buckley as sound track for NBC Dateline w/ Stone Philips On Mon, 25 Apr 2005, Xenu's Sister wrote: > I want Happy to perform "Hallelujah." Oh my. That never occurred to me before. That would be amazingly lovely! From your fingertips to Happy's eyes..... - -- Regards, joe Joe Casadonte jcasadonte@northbound-train.com - ------------------------------------------------------------------------------ Llama Fresh Farms => http://www.northbound-train.com Gay Media Resource List => http://www.northbound-train.com/gaymedia.html Perl for Win32 => http://www.northbound-train.com/perlwin32.html Emacs Stuff => http://www.northbound-train.com/emacs.html Music CD Trading => http://www.northbound-train.com/cdr.html - ------------------------------------------------------------------------------ Live Free, that's the message! - ------------------------------------------------------------------------------ ------------------------------ Date: Fri, 29 Apr 2005 12:39:15 -0500 From: Chip Lueck Subject: Re: Any web stats geeks around? (access logs) Steve VanDevender wrote: > Xenu's Sister writes: > > Also, what's a /favicon.ico? > > It's a file for a website-speific icon that can appear next to the > site's URL in certain browsers. I think that one is mostly specific to > Internet Exploder. And the fact that your log shows "404", it means that your guest's browser requested it, but your server didn't have it (so the only bandwidth used up was the bandwidth to tell the requester's browser "Hey, I don't got that"). I'm guessing you care most about how much bandwidth you are using, so look at the lines with a "200" after the get. (200 means "ok -- file served", and the number directly after the 200 is the number of bytes transferred.) You can see http://www.w3.org/Protocols/rfc2616/rfc2616-sec10.html for a list of what all those status codes mean (the three-digit number after the GET file name) - -Another geek ------------------------------ End of ecto-digest V11 #119 ***************************