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RE: Put Your Voice Where Your Mouth Is

No waste, Richard. We're all big boys and girls and can
filter/prioritize our email to manage bandwidth. The main thing is that
we got the article....everything else is water under the bridge.  

And an interesting article it is!  I think the lesson learned for me,
and hopefully others is that we sometimes criticize artists who do
things that we consider less than "artistically genuine" (like lip
syncing), but we then discover that the idea or practice, in principle,
has been around for some time and we've enjoyed the benefits.  Or we
discover that a given practice is on a spectrum of behavior and is a
matter of relativity, where in some cases we practice something on that
same spectrum!  Many things appear to be on a relative spectrum in this
way. Here are some other examples of critical irony:

- Musicians who criticize the use of effects or extra circuitry that
modify the tone of their instrument, but have no problem with the
circuit board inside their solid state or tube amplifier, or with the
sound enhancement and effects that the sound engineer adds to their mix
after they've recorded their so called pure sound (once you've plugged
into an amp, you've already bought into the principle of modifying your
tone...it's all on the same spectrum of tonal alteration)
- Musicians who criticize the use of the guitar synthesizer, but don't
seem to have the same problem with a keyboard player using a
sampler/synthesizer to simulate all sorts of non-keyboard sounds (with
this line of reasoning, all keyboard players should be playing acoustic
uprights or grand pianos)
- Traditional/purist musicians who criticize new and experimental music,
but forget that the origin of their traditional genres was a result of
experimentalism and innovation (e.g., Winford Marsalis getting his
metaphoric ass kicked by John McLaughlin when he - Winton - criticized
Miles Davis for playing fusion, yet when Winton plays he's practically
on his knees in adoration of Miles)

I'm sure there are many other examples that illustrate the same sort of
irony.  It's really difficult to objectively validate any criticism in
music, as an art, not just beause of the degree of relativity, but
because of the emotional criteria.


-----Original Message-----
From: Richard Zvonar [mailto:zvonar@zvonar.com] 
Sent: Wednesday, December 29, 2004 10:54 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Put Your Voice Where Your Mouth Is

At 9:36 AM -0800 12/29/04, Alex Stahl wrote:
>On Dec 29, 2004, at 8:46 AM, Richard Zvonar wrote:
>>At 9:38 AM -0700 12/29/04, Krispen Hartung wrote:
>>Too bad we can't read this without signing up as a member for the New 
>>York Times.  Can you copy the text into an email to the group.  Not 
>>that I can't signup, but it's sort of a pain for one article.
>>Really? It wasn't that way previously. In fact, just last week I
>>sent TImes links to some people without problems.
>It's been that way for years, afaik

I guess the people I customarily send NY Times links to have just 
signed up for the access. It takes about a minute, doesn't cost 
anything, and allows you to receive a daily digest or not, depending 
on your preference.

Obviously it was a mistake for me to post a pointer to what I thought 
was an amusing article about lip-syncing and the history of show 
business. Because of Kripen Hartung's complaint, I revisited the 
article and posted it to the list (a waste of bandwidth in some 
people's opinion, I'm sure), then I investigated the situation by 
first checking my e-mails to see just when I had sent NY Times links 
to some friends who then commented on them (I guess they must have 
signed up), then I went to my wife's computer and checked the link 
and found that indeed Hartung and you are both right about the need 
to sign up in order to read the articles. So I've just wasted several 
minutes, but I've learned two things: 1) the NY Times does indeed 
require that you sign up in order to read their articles, and 2) some 
people will always look a gift horse in the mouth.

Richard Zvonar, PhD
(818) 788-2202