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PostPosted: Fri Dec 21, 2012 2:36 pm 
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    "Most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read."
    – Frank Zappa in the Chicago Tribune, 1978

The quotation is especially applicable to people who have the balls to call themselves "critics" — self-prepossessed sociopaths who apparently are actually proud of the fact that they spend their time criticizing people who do things they could never do themselves. Evidently they are unaware that any humanoid with any shred of common decency regards them as insufferable twits who bring the ignoble pastime of puerile parasitism to new lows.

Not that I am bitter.

:x


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PostPosted: Sat Jan 05, 2013 1:31 am 
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sounds like a fun read

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the final chapter from zappa and the and :

  • explores the extent to which journalistic coverage, through the examination of zappa’s dying and death
  • examines the social functions of journalism’s coverage of zappa’s death through news and obituaries
  • considering the utilisation of news values and ideologies that create our collective memory of zappa’s legacy

fz wrote:
most rock journalism is people who can’t write...
... through an analysis of the news articles of zappa’s last years living with prostate cancer and his obituaries, the chapter will seek to demonstrate how a life is renegotiated in the re-presentation of a particular type of death and how that in turn, is a reflection of society

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PostPosted: Sat Jan 05, 2013 2:11 am 
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Well, based on the summary of the last chapter, I admit that I'm not especially motivated to read it. The description sounds way too impressed with its own sense of self-importance.

Statements like "...the utilisation of news values and ideologies that create our collective memory of zappa’s legacy" raise a red flag for me. It sounds like a statement designed to let the author use words that make him sound "smart"...at the expense of actually making sense and communicating.

I distrust such jargonistic gobbledy- gook. If the author actually has something meaningful to say, and if his purpose is to communicate rather than impress others with his pseudo-erudition, he'd be better off saying it in plain English...at least, if he wants me to read it.

Meanwhile, here's a book that is definitely a fun read:

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8)


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PostPosted: Sat Jan 05, 2013 7:24 am 
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Slime, are you kidding? I just read the latest introduction to the next chapter....it's like a high school student trying to impress a college board or something. "Whilst we take the exemplar of the analyses"...blech.

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PostPosted: Sat Jan 05, 2013 7:45 am 
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calvin2hikers wrote:
Slime, are you kidding? I just read the latest introduction to the next chapter....it's like a high school student trying to impress a college board or something. "Whilst we take the exemplar of the analyses"...blech.

Bingo! :!:


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PostPosted: Sat Jan 05, 2013 11:12 am 
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cal2h wrote:
Slime, are you kidding? ...
$99.95 boy, give 'er a try

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PostPosted: Sat Jan 05, 2013 1:07 pm 
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No.

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PostPosted: Sun Jan 06, 2013 9:39 am 
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I've found an exellent history of this quote:

Quote investigator - Rock Journalism is...

Excellent work!


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PostPosted: Sun Jan 06, 2013 4:06 pm 
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balint:

What a great resource! Thanks for posting that.


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 Post subject: re: ibid
PostPosted: Sat Jan 12, 2013 2:20 pm 
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calvin2hikers wrote:
Slime, are you kidding? ...
ibid [p.7] wrote:
No.
don't judge a book by the quantity of distracting footnotes per page ... don't judge the footnotes by the percentage of ibids



z&t&, ch1 p13 wrote:

... and the immanent (the material reality of the music).121 This
continuum between the means of construction and its subsequent reception ‘do
not necessarily correspond’122 according to Nattiez, and in the case of Zappa, it
is apparent that many casual listeners would not notice the numerous clues he
embeds into his music. Additionally, as noted by Nattiez, ‘the listener will project
configurations upon the work that do not always coincide with the poietic process’,
continuing, the listener ‘may have other ideas about what constitutes the work’s
themes’.123 This comment has resonance to the work of not only Umberto Eco
as outlined above, but also Michel Foucault124 and Roland Barthes125 ...
_______________________________________
121. Nattiez, Music and Discourse: Toward a Semiology of Music
122. Ibid., p. 17
123. Ibid
124. Michel Foucault, ‘What Is An Author?’, in James Faubion (ed.), Essential Works of Foucault, 1954–1984 (New York, 1999),pp. 205–222
125. Barthes, Image Music Text.
126. Ibid p. 228
127. John Blacking, How Musical Is Man (Seattle and London, 1974), p. 26
128. ...

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PostPosted: Sat Jan 12, 2013 2:52 pm 
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It reads like an insurance manual I had to learn. I'm saving my money for an amp, since I never did get that check. :x

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PostPosted: Sat Jan 12, 2013 5:49 pm 
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I have the book "Doctor Who - The Unfolding Text". It does for Doctor Who, what the above book does for Zappa's music..
I closed my eyes, opened the book at a random page, and here is the scan. (The whole book is like this!)

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PostPosted: Sat Jan 12, 2013 9:19 pm 
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The inner trappings of your post preclude any machinations toward a settlement of arcane jargon while not wholly grasping the journalistic tripe that is foreboding with any whoop there it it judging it for it's basic meaning.

For instance, let's take the song "I'm So Cute." Within the shouting schadenfreude of Terry Bozzio's guttural cadence, there is trapped a certain purveyance of egoism that FV Zappa later gave thought to in his systemic and monotheistic tone poem "I'm A Beautiful Guy", suggesting an antidisestablishmentarianismic disassociation that Jung only hinted at in his thesis "Me-me-me: Mental Acrobatics for Self Aggrandizement."

But none of that really matters, the thrust of said analysis of the background of the sonic landscape is to venture forth that I'm some kind of really smart guy, who can use big words and give meaning to stuff that the modern day composer might say to me after perusing said thesis, "Wake up and smell your own shit."

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PostPosted: Sun Jan 13, 2013 4:22 am 
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These authors take themselves way too seriously. Who are they writing to impress?

:roll:


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PostPosted: Sun Jan 13, 2013 12:24 pm 
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Did ya hear? Ass Hat Magazine printed a list of the top 100 guitarists with hats. And Buckethead didn't make the list; because, technically, a bucket isn't a hat.

This sparked furious debate in the hatted guitarist community. Now there's an upswell of support for counting Robert Smith's wig as a hat.

Ass Hat Magazine's circulation has increased by 14%...

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PostPosted: Tue Jan 15, 2013 5:31 pm 
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Location: Pouting for you? Punky Meadows, pouting for you?!!
:mrgreen:

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The way I see it Barry, this should be a very dynamite show.


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