Chalkhills Digest, Volume 14, Number 14 Tuesday, 22 April 2008 Topics: movie news We_Are_Amused,_Plus_Ca_Change_Division The 10th best new wave band? Tripping Over Shakespeare Administrivia: To UNSUBSCRIBE from the Chalkhills mailing list, send a message to <chalkhills-request@chalkhills.org> with the following command: unsubscribe For all other administrative issues, send a message to: <chalkhills-request@chalkhills.org> Please remember to send your Chalkhills postings to: <chalkhills@chalkhills.org> World Wide Web: <http://chalkhills.org/> The views expressed herein are those of the individual authors. Chalkhills is compiled with Digest 3.8f (John Relph <relph@tmbg.org>). They use the head, and not the fist.
---------------------------------------------------------------------- Date: Mon, 14 Apr 2008 04:47:02 -1000 From: Jim Smart <jimsmart1@mac.com> Subject: movie news Message-ID: <129535A3-A129-46B5-B42E-A2AD9BA23A2B@mac.com> "Searching for Colin Moulding" Plot summary: Josh Waitzkin is just a typical American boy interested in baseball when one day he discovers his father's XTC music collection. Showing unusual precocity on the bass at the outdoor open mike afternoons at Washington Square in New York City, he quickly makes friends with a hustler named Vinnie who teaches him XTC bas riffs. Josh's parents hire a renowned bass coach, Bruce, and together they search England for Colin Moulding, the famous XTC bass prodigy who disappeared some years before. Along the way Josh becomes tired of Bruce's system and bass in general and purposely misses a gig, leaving the prospects of ever finding the elusive Mr. Moulding in serious jeopardy. aloha, Jim http://www.familysmart.blogspot.com/ http://myspace.com/jimsmartsongs
------------------------------ Date: Mon, 14 Apr 2008 11:00:28 -0400 From: Harrison Sherwood <hbsherwood@aol.com> Subject: We_Are_Amused,_Plus_Ca_Change_Division Message-ID: <253BC2D1-89CF-4C65-A0EA-14A5CB0C2970@aol.com> While perusing Wikipedia, brushing up on the development of audio technology for a little project I'm working on, I came across this passage (original at http://en.wikipedia.org/wiki/Vinyl_record#LP_versus_CD) : "a... review of RCA Dynagroove recordings notes that "some listeners object to the ultra-smooth sound as ... sterile ... such distortion- forming sounds as those produced by loud brasses are eliminated at the expense of fidelity. They prefer for a climactic fortissimo to blast their machines ..." That review was published in 1963. I dunno. When I listen to music, I hear notes-n-lyrics-n-stuff. I like it to be clear, I like a nice, roomy reverberation, I like a banjo to sound like a well-set-up banjo and not a plunky little thumpy gut- stringed cigar-box. But good music is good music. Bad music is bad music. No amount of production trickery or compression or equalization is going to rescue bad music, or degrade good music. If I think a record sucks, I think it sucks because the notes-n-lyrics-n-stuff suck, not because there's a microscopic distortion at a frequency only my dog can hear. It's like complaining about an edition of Shakespeare because you don't like the choice of typeface. Are you reading words-words-words, or are you looking at 10/12 Garamond Premier under a magnifying glass and tutting because Adobe's version skimped on the serifs by a thousandth of a pica? It may as well be that modern production induces anomie -- I am no expert on the matter -- but surely that anomie is dwarfed by that produced by one's realization that the music, you know, sucks? Spoken as a guy who hasn't listened seriously to a contemporarily- produced record in years, o' course. And I'm stuck deeply in the 1920s at the moment, for professional reasons. Them old Okeh 78s, Fiddlin' John Carson, Charlie Poole, nothin' ever sounded better. Harrison "Even in MP3" Sherwood
------------------------------ Date: Thu, 17 Apr 2008 09:05:12 +0200 From: "Sandahl Martin " <Martin.Sandahl@saabgroup.com> Subject: The 10th best new wave band? Message-ID: <2C1D5FF8E6DB8341919062DF78DC323E014A7518@celebes.sid.earl> http://www.rollingstone.com/rockdaily/index.php/2008/04/14/readers-rock-list-eighties-new-wave/ The list must be upside down... Cheers, Martin Sandahl Sweden
------------------------------ Date: Thu, 17 Apr 2008 12:50:54 +0000 From: <homefrontradio@hotmail.com> Subject: Tripping Over Shakespeare Message-ID: <BAY128-W3336BFA688914DE36BEEC1D0E50@phx.gbl> DM happened to bring up Trip Shakespeare's 'Lulu', which is considered their best album, but is the only album in their short discography, (1988-1991), I was never able to physically find a copy of. Back before the ease of locating albums via Ebay or Amazon, it took a lot more legwork to turn things up, and by the time the technology was there, they'd fallen off my radar. The coincidences here are starting to feel bizarre, due to this chain of events: My fandom of Michigan band 'Great Lakes Myth Society' made me investigate the solo album by one of the singers, Timothy Monger, who wrote a passionate piece of writing explaining how important Trip Shakespeare was to him as a young musician. This made me dig out their 1990 release 'Across The Universe', which i haven't heard for years, and, due to my recent mastering experiments, be blown away by how great the cd sounded. The vocal prescence and instrumental seperation on the first track 'Turtledove', sounded vibrant and exciting, so much so that i *had* no choice but to analyse it. (Average RMS -15.28 dBs, 51.55 dBs dynamic range) At the same time, i'd read a promising review of Dan Wilson's 'Free Life', and ordered it offline. I was particularly taken with the song 'Against History', but noted my inability to play it really loud and get through the entire song without feeling tired, even though i loved it. It's a shame because the songwriting and performances are solid, but the CD is simply mastered too loud. (Average RMS -8.54 dBs, 39.5 dBs dynamic range, with 253 clips, causing regular Random Harmonics - the longest gap being 0.249 ms - hence my obvious 'fatigue' response when listening loud). Anyway, it was only reading DM's post today that i made the connection: Dan Wilson was Trip Shakespeare's Dan Wilson. The article made no mention of it. I didn't think I remembered his name - I bought those albums a *long* time ago. I was confused as to why i even bought 'Free Life' in the first place. I guess i made the unconcious connection. But how weird that two albums released 18 years apart by what i thought were two unrelated artists but weren't happened to be two I particularly focused upon during my recent mastering experiments? Now of course, i'm wondering why this chain of events is happening. Is it vitally important that I complete the set and finally hear 'Lulu', 17 years after the fact? Given DM's rave review, and the fact that there's seemingly hardly any modern cds being sold that are designed to be actively listened to, rather than just annoying and tiring you, means that i probably have no other viable music option anyway, other than making it myself. I guess I'd better take the plunge, or I get the feeling Mr. Wilson might turn up on my doorstep.
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