13 Matching Annotations
  1. Jun 2024
    1. KDLT has conducted more than 30 AARs

      It could be helpful to have a process to learn from these cross-team AARs, respecting privacy appropriately.

  2. Jun 2023
    1. Chapter 26 provides an analysis of Lennie Tristano’s “Line Up.” Based on this analysis,specific elements of his style of improvisation are codified

      no note: break up tristano style into atomic jazz style elements

    2. Playing OutsideAlong with rhythmic displacement, playing outside of the underlying tonality is anotherhallmark feature of Tristano’s style of improvisation and results in his highly originalapproach to chromaticism. In “Line Up,” the use of chromaticism is pervasive, yet themanner in which Tristano controls it deserves attention. Just like his use of rhythmicdisplacements, Tristano’s use of chromaticism is elegant and logical. When his linestemporarily leave the underlying tonal area and venture into a chromatic space, they retainstrong melodic and harmonic identities and remain inside of the outside key areas. Figure26.3 compares two phrases from mm. 25–27 and 63–68.“LINE UP” 395

      side-slipping bitonality

    3. The expressiveness of the blues comes from the melodic inflections added to particularnotes. When we listen to various vocal or guitar renditions of the blues, these inflectionsare easily recognizable; they stand out because of their emotional charge and slightly “outof tune” sound. 1 The so-called blues scale approximates the sound of these pitchinflections by altering ^3, ^5, and ^7 of the major scale. Figure 9.3 illustrates the content ofthe blues scale and its derivation from the major scale.The blues scale is a six-note collection with the “blue” notes on ≤3, ≤5, and ≤7. Althoughthe presence of ≤7th suggests a chord–scale relationship with the dominant 7th chord,the use of the blues scale is not limited to this chord only. In the context of the bluesscale, the pitches ≤3 and ≤5 constitute expressive embellishments not bound by anyparticular harmonic function or chord type. The blues scale, then, is an androgynous
    4. rhythmic displacement using different improvisationalstrategies, such as phrase displacement, metric displacement, manipulation of phraseaccents, and melodic interpolations. Phrase displacement occurs when the phrase is shiftedby a beat (or more) and creates a dissonance with the underlying harmonic and metricstructure. Probably the most effective use of this technique occurs in m. 77 where theline begins on beat 2 with a downward arpeggiation of the E major upper-structure triadover the structural B≤7 and is further emphasized with a strong accent on the first quarternote, EΩ4. The manipulation of phrase accents shifts regular metrical accents, therebycreating metric ambiguity. This technique occurs when the phrase temporarily rendersbeats 2 and 4 as beats 1 and 3. The phrase in mm. 159–160 illustrates these features.Notice how beat 4 in m. 159 influences the perception of beat 2 in the next measure.Metric displacement implies the use of cross rhythm to create a characteristic rhythmic joltand increase in tension within the phrase. The phrase in mm. 81–83 displays thesecharacteristics. The distribution of accents and phrase groupings in mm. 81–83 createsan interesting superimposition of 3/4, 3/8, 2/4, and 4/4 respectively. Notice how theuse of 3/8 influences the metric location of sub-phrases in 2/4 and 4/4 in mm. 82–83,and how the perception of the meter in the ensuing measures is constantly beingchallenged

      forms of rhythmic displacement

  3. May 2023
    1. taxation without representation

      No taxation without representation is a major quote from this time period, I can think of a handful of movies, books, and plays I’ve watch that depict the colonies during the American Revolution that depict this saying. The patriot film is the first one that comes to mind.

  4. Mar 2023
    1. Mentioned this to someone who moved to Bushwick and kept saying "I wish more of Brooklyn was like this" with a rebuttal saying "this is why the people who made it attractive to you aren't here anymore" and got the "it's not my problem" shit. https://twitter.com/hollley/status/1641149981678530560. I think that's where being a "transplant" into a different place becomes violent - your presence IMMEDIATELY disrupts the environments you're in (and because of that, you have an obligation to minimize it as much as possible).
  5. Jul 2020
    1. Mel Brooks

      Here's his Wikipedia page. From it:

      Mel Brooks (born Melvin Kaminsky; June 28, 1926) is an American director, writer, actor, comedian, producer and composer. He is known as a creator of broad film farces and comedic parodies. Brooks began his career as a comic and a writer for Sid Caesar's variety show Your Show of Shows (1950–54) alongside Woody Allen, Neil Simon, and Larry Gelbart. Together with Carl Reiner, he created the comic character The 2000 Year Old Man. He wrote, with Buck Henry, the hit television comedy series Get Smart, which ran from 1965 to 1970.

      In middle age, Brooks became one of the most successful film directors of the 1970s, with many of his films being among the top 10 moneymakers of the year they were released. His best-known films include The Producers (1967), The Twelve Chairs (1970), Blazing Saddles (1974), Young Frankenstein (1974), Silent Movie (1976), High Anxiety (1977), History of the World, Part I (1981), Spaceballs (1987), and Robin Hood: Men in Tights (1993). A musical adaptation of his first film, The Producers, ran on Broadway from 2001 to 2007, and was remade into a musical film in 2005 by Brooks himself.

      In 2001, having previously won an Emmy, a Grammy and an Oscar, he joined a small list of EGOT winners with his Tony Award wins for The Producers. He received a Kennedy Center Honor in 2009, a Hollywood Walk of Fame star in 2010, the 41st AFI Life Achievement Award in June 2013, a British Film Institute Fellowship in March 2015, a National Medal of Arts in September 2016, and a BAFTA Fellowship in February 2017. Three of his films ranked in the American Film Institute's list of the top 100 comedy films of the past 100 years (1900–2000), all of which ranked in the top 15 of the list: Blazing Saddles at number 6, The Producers at number 11, and Young Frankenstein at number 13.

    2. Your Show Of Shows

      From the Wikipedia page:

      Your Show of Shows is a live 90-minute variety show that was broadcast weekly in the United States on NBC from February 25, 1950, through June 5, 1954, featuring Sid Caesar and Imogene Coca. Other featured performers were Carl Reiner, Howard Morris, Bill Hayes, baritone Jack Russell (singer), Judy Johnson, The Hamilton Trio and the soprano Marguerite Piazza. José Ferrer made several guest appearances on the series.

      In 2002, Your Show of Shows was ranked #30 on TV Guide's 50 Greatest TV Shows of All Time.[1] In 2013, it was ranked #37 on TV Guide's 60 Best Series of All Time.[2]

      In 2013, Your Show of Shows was ranked #10 on Entertainment Weekly’s Top 100 Greatest TV Shows of All Time.