Storage media creep, dismal future, and what if Lincoln had lived

Would Lincoln have run for a third term?

Jaquandor, Buffalo’s favorite blogger, who answered so many of my questions that you’d think I was from New Jersey, writes:
(Sorry to be so late in the game with these!)

You’re not late. One can ask me questions anytime, though I specifically request them periodically. Hey, if anyone else has questions, ask away.

To what degree are you tired of “storage media creep” — meaning, the progression from LPs to CDs to MP3s or from VHS to DVD to Blu-ray to streaming?

I am EXHAUSTED by it. I rant about it periodically, especially when it leads to what I like to call W.W.C.T.G.Y.T.B.N.C.O.S.Y.A.O. (the World Wide Conspiracy To Get You To Buy New Copies Of Stuff You Already Own). This is why I 1) still have an LP player, a CD player, a VHS player, DVD player, and 2) don’t jump on the next technology bandwagon very quickly. I’m not going to get all of those newfangled things, because of cost and some incompatibility with each other. I do have music in the cloud – I have no idea what that means – but it’s mostly stuff I got from Amazon for free or cheap (Lady Gaga’s last album for 99 cents.)

And what do you think of the increasing sense in which when we buy something, we’re not getting ownership of anything for our money, but merely permission to use it?

It angers me. One library vendor decided, after the fact, that library patrons can only take out an e-book, I believe, 28 times, because that’s some average book circulation number. Then the “book” would cease to operate. It’s also true of library databases, where what’s available seems to change from year to year, not to mention soaring prices.

To this day, I get peeved around Neil Diamond’s birthday. I bought his CD, 12 Songs. Then I discovered that SONY had placed essentially malware on its own disc which prevents me from copying an album that I own onto my iTunes or other devices; indeed, I believe that even playing the album on my computer could damage the computer. So I must play it on a CD player. I read, well after the fact, that there was a recall, but I keep the disc as a reminder of corporate copyright overreach.

When you think of the long-term problems we face, which one(s) bother you the most from the perspective of your daughter having to be part of the generation that deals with them?

The environment, clearly. I think that the melting ice caps will mean catastrophic weather. Corporations will dupe people into thinking that hydrofracking is a good thing until some disaster that will make the BP oil spill look like lint on a new pair of pants. I also expect that there will be major wars in the 21st century over potable water, more so than fuel.

We may have already passed the tipping points on global warming, say scientists at the Planet Under Pressure conference. Worse. on March 19, Tennessee became “the fourth state with a legal mandate to incorporate climate change denial as part of the science education curriculum when discussing climate change… The ALEC bill passed as H.B. 368 and S.B. 893, with 70-23 and 24-8 roll call votes, respectively.”

How different do you think the post-Civil War era would have been had Lincoln not been assassinated?

Wow, this is SUCH a good question, because it’s so TOTALLY UNANSWERABLE. Which won’t keep me from trying.

Like an assassinated President a century later, I believe that Lincoln was evolving on civil rights issues. I can only wonder how he would have dealt with the Radical Republicans that drove much of Reconstruction in his absence. Would there have been compensation to slave owners that remained loyal to the Union? Would blacks ex-slaves have gotten their 40 acres and a mule, which Lincoln supported but which Andrew Johnson rescinded? If these two things had taken place, might some of the racial animosity that exists in America today have been better ameliorated?

And here’s yet another question: would Lincoln have run for a third term? I always thought he felt his destiny to serve. It was only tradition, not the Constitution, which barred it at the time. And he may have proved more tolerable terms for Southern states to re-enter the union, without the seceding states feeling totally demoralized. I think it was the quick end to Reconstruction that helped allow for the rise of the Ku Klux Klan, lynchings, and the like.

And I just had a debate with someone online about this, so I’ll ask your opinion: how much does the common usage of the phrase ‘begging the question’ bother you? This to me leads to a lot of interesting issues regarding how languages evolve. Thoughts?

It doesn’t annoy me. It has an ancient construction that most people don’t understand. Maybe because it involves “proof” and “logic”, and those are not elements of modern discourse. Politicians beg the question, in the classic sense, all the time.

Its more modern meaning, “raising the question,” the more pedantic complain about, and I can be rather that way, but not on this. Language changes.

I remember that my good Internet friend Arthur was complaining about those folks in the Guy Fawkes masks not knowing who Fawkes really was, or what he stood for. Didn’t bother me.

Whereas I’m still bugged by it’s/its, et al. And the word among no longer seems to be in use at all. I learned that it was between two, but among three or more, yet between is now being used to the exclusion of among. I’ve pretty much given up that fight.

Jaquandor, this begs the question (modern sense): what was the nature of the debate you were having?

Requiem of the week- Mozart

The last time I sang the Mozart Requiem was on September 11, 2002.

The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart is almost certainly the best known requiem, since its creation (and non-completion) was presented in the 1984 movie Amadeus. Here’s a segment in which Salieri helps Mozart write his Confutatis. Parts of the Requiem show up in some three dozen TV shows and movies, such as The Big Lebowski and Watchmen.

As noted in Wikipedia, it was “composed in Vienna in 1791 and left unfinished at the composer’s death on December 5. A completion by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife’s death. It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death.

“The Sussmayr completion of the Requiem is divided into fourteen movements, with the following structure:
I. Introitus: Requiem aeternam (choir and soprano solo)
II. Kyrie Eleison (choir) {used in commercials, too]
III. Sequentia (text based on sections of the Dies Irae):
Dies irae (choir)
Tuba mirum (soprano, contralto, tenor and bass solo)
Rex tremendae majestatis (choir)
Recordare, Jesu pie (soprano, contralto, tenor and bass solo)
Confutatis maledictis (choir)
Lacrimosa dies illa (choir) [which almost always make me cry]
IV. Offertorium:
Domine Jesu Christe (choir with solo quartet)
Versus: Hostias et preces (choir)
V. Sanctus:
Sanctus Dominus Deus Sabaoth (choir)
Benedictus (solo quartet, then choir)
VI. Agnus Dei (choir)
VII. Communio:
Lux aeterna (soprano solo and choir)”

It is clearly my favorite requiem, as it is one of the two scores I ever purchased so that I can sing along, the other being Messiah by Handel. I have sung this in performance at least thrice. Once was in the spring of 1985 for which I had a now long-long cassette recording. Another time was sometime in the mid-1990s. The last time was on September 11, 2002, when my friends Tim and Gladys, and I crashed the Albany Pro Musica performance to honor the first anniversary of 9/11. (Wasn’t REALLY “crashing” as such.)

Here’s the Wiener Philharmoniker performance, with those nice section breaks. And here are scores and more performances.

Requiem of the Week: Verdi

I have never had the chance to perform the Requiem by my cousin Joe Green, I mean by 19th-century composer Giuseppe Verdi, but I listen to it each year. The piece has an interesting history, with one segment initially written in honor of Rossini’s death, but the project was abandoned. Verdi then wrote the whole requiem in honor of another late colleague.

One can hear the whole piece HERE and I’m sure elsewhere. Probably the most famous segment is the beginning of the Dies Irae which has been used in films and on TV, as this extensive list of Verdi on soundtracks will attest.

K is for Keltner, Jim Keltner

Jim Keltner’s drumming approach was idiosyncratic, loose, and soulful, and helped elevate the studio musician’s role from that of a generic hired hand to an individual who colors the music with personality and style.

Do you know what is generally lost for me in downloading digital music? Reading the liner notes. That’s the info on the LP or CD that tells you who wrote the songs and who played on them, and often a narrative about the artist and/or the recording session.

As an active liner note reader, I well know the name Jim Keltner. If you are not, you probably do not. Here’s just an excerpt from the page about him on Wikipedia.

Keltner is best known for his session work on solo recordings by three of The Beatles, working often with George Harrison, John Lennon…, and Ringo Starr…He, as a free-lance drummer, has also worked with Leon Russell, Gabor Szabo, Delaney Bramlett, Roy Orbison, Harry Nilsson, Jerry Garcia, Eric Clapton, Guthrie Thomas, Steely Dan, Joe Cocker, Van Dyke Parks, the Rolling Stones…, Bob Dylan, Joni Mitchell, Brian Wilson, Roger McGuinn, Seals and Crofts, The Ramones, Bill Frisell…, Crosby, Stills, Nash and Young, Phil Keaggy, Steve Jones, Crowded House, Fiona Apple, Elvis Costello, The Bee Gees, Jackson Browne, The Manhattan Transfer, Randy Newman, Ry Cooder, Sam Phillips, Los Lobos, Pink Floyd, Warren Zevon, Rufus Wainwright, Tom Petty, Gillian Welch, the Steve Miller Band, Alice Cooper, Sheryl Crow and Lucinda Williams among many others. Here’s a discography covering 1969-1998, or this even more extensive list (that loads slowly).

From his Drum Magazine bio: “His drumming approach was idiosyncratic, loose, and soulful, and helped elevate the studio musician’s role from that of a generic hired hand to an individual who colors the music with personality and style. He is known not only for his great feel and sensitivity, but also for bringing a fresh approach to the potentially tedious world of pop music.”

The following are just a handful of the songs he played on
She’s Just My Style – Gary Lewis and the Playboys. Keltner’s first session.
You’re So Vain – Carly Simon.
Knockin’ on Heaven’s Door – Bob Dylan.
Angel Baby – John Lennon
End of the Line – Traveling Wilburys. Keltner is in the video.
Wilbury Twist – Traveling Wilburys. Keltner is in this video, too.
Warren Zevon – Keep Me In Your Heart.
Little Sister – Ry Cooder, John Hiatt, Nick Lowe and Jim Keltner live. These four guys put out a 1992 album called Little Village.
The Drummerworld page for Jim Keltner, featuring more songs.

Also:
How does Jim Keltner earn a living?
LENNONYC: Beyond Broadcast. Episode 3: Jim Keltner

Jim Keltner turns 70 on April 27, 2012, so this is an early happy birthday thanks.

ABC Wednesday – Round 10

Aretha, QoS, is 70

RESPECT by QoS is one of the five greatest cover songs EVER.

When Aretha Franklin burst onto the music scene in 1967, I suspect many people thought she was an overnight success. In fact, she had been signed by Columbia Records back in 1961, but because of the songs she was given to sing (“Rock-a-bye My Baby With A Dixie Melody”?), the producers she had, and/or the label’s promotion, she was unable to break through.

It wasn’t until she moved over to Atlantic Records, and recorded with the Muscle Shoals Sound Rhythm Section, that her true gift came to fruition. And when her period at Atlantic came to an end, changing over to Arista Records in the early 1980s, had a few more hits.

Most of my favorites are from the Atlantic period, though one was from the Columbia era, and one was something else altogether.  Links to each song.

12. Spanish Harlem (#2 in 1971) – this is such a great reworking. And I love the word “BLLACK.”

11. You’re All I Need To Get By (#19 in 1971). The RESPECT reprise is great. (Couldn’t find a studio version; this is LIVE from 1978.)

10. Sisters Are Doin’ It For Themselves (#18 in 1985). With the Eurythmics. Love Annie Lennox and Aretha sharing phrases.

9. I Say a Little Prayer (#10 in 1968). Reworks the Bacharach-David tune to something playfully funky.

8. Eleanor Rigby (#17 in 1969). The first great thing – she tells it in the first person: “I’m Eleanor Rigby.” Secondly, the phraseology is SO not dependent on the original.

7. Rock Steady (#9 in 1971). Love the organ intro. “What it is, what it is, what it is.”

6. Chain Of Fools (#2 in 1968). The bridge is my favorite section.

5. Ain’t No Way (#16 in 1968). Heartfelt ballad with a lovely solo soprano by Cissy Houston, Whitney’s mom.

4. (Sweet Sweet Baby) Since You’ve Been Gone (#5 in 1968). When I used to listen to AM radio in the day, the DJs would often talk over the musical intro, which irritated me greatly. No talking over THIS intro, which was one chord.

3. (You Make Me Feel Like) A Natural Woman (#8 in 1967). The second appearance of this song in this blog in less than two months – previously in my Carole King post.

2. Sweet Bitter Love (1966). This title cut of a Columbia album was written by Van McCoy, who was better known for The Hustle a decade later. I first heard this song on a Columbia compilation album, Our Best To You: Today’s Great Hits… Today’s Great Stars, and loved it instantly. In the right (wrong?) frame of mind, it’ll make me cry.

1. Respect (#1 in 1967). Otis Redding, the original writer/performer of this song, famously said that Aretha “done stole [that song] from me,” making it her own. It became an anthem. One of the five greatest cover versions EVER.

Ramblin' with Roger
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