1,831 Matching Annotations
  1. Jul 2023
    1. https://www.youtube.com/watch?v=b1_RKu-ESCY

      Lots of controversy over this music video this past week or so.

      In addition to some of the double entendre meanings of "we take care of our own", I'm most appalled about the tacit support of the mythology that small towns are "good" and large cities are "bad" (or otherwise scary, crime-ridden, or dangerous).

      What are the crime statistics per capita about the safety of small versus large?

      Availability bias of violence and crime in the big cities are overly sampled by most media (newspapers, radio, and television). This video plays heavily into this bias.

      There's also an opposing availability bias going on with respect to the positive aspects of small communities "taking care of their own" when in general, from an institutional perspective small towns are patently not taking care of each other or when they do its very selective and/or in-crowd based rather than across the board.

      Note also that all the news clips and chyrons are from Fox News in this piece.

      Alternately where are the musicians singing about and focusing on the positive aspects of cities and their cultures.

    1. To compare the Garnett and the Pevear-Volokhonsky translations of “The Brothers Karamazov” is to alight on hundreds of subtle differences in tone, word choice, word order, and rhythm.“These changes seem small, but they are essential. They accumulate,” Pevear said. “It’s like a musical composition and a musician, an interpretation. If your fingers are too heavy or too light, the piece can be distorted.”“It can also be compared to restoring a painting,” Volokhonsky said. “You can’t overdo it, but you have to be true to the thing.”
  2. Jun 2023
    1. Wow, I didn't know there was a song with "Idyll" in the Last Samurai. (this is big coindence, because I am writing an essay on Tennyson's Idylls of the King)

    1. Shepherd’s music also contain American jazz elements, including as bebop linesin his improvisations and his approach to harmonic progressions reminiscent of Keith Jarrett’s.His experiments with irregular meter connect with West African music practices. Theseattributes preclude a simple reading of the artists’ work ‘South African’ in a singular sense,and rather reminds us that the notion of a ‘South African’ jazz is in a continuing dialogue othermusic practices – whether this is with American jazz (which has historically powerfullyinformed South African jazz and continues to do so) or musics from other places or genres