Well Doxa thanks for that! I can happily disagree with your well-put and stimulating account. I'll even give another try to Modern Times in case I finally see the light.
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I never said that. But I think that you are not in good faith, or you are simply misreading. James Joyce practices stream of consciousness (but not always: Ulysses and FInnegan's Wake are examples of stream of consciousness, but Dubliners isn't). Similarily, Dylan does it sometimes but not others. Now as explained above, Stream of Consciousness is a specific type of writing with specif
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Oh dear. Yes that is standard enough. And while agreeing that Dylan is a master of this technique, I am saying that contrary to what you suggested, "I'm reading James Joyce" cannot be considered as a example of this practice. Is that clear enough? Or am I missing the point again? Well, I said I'd stop and this is really turning to hair splitting, so...
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Well T&A, I don't think I missed the point. And if you open Joyce, for instance - surely the master of Stream of consciousness - you will see that the statements contained therein have odd syntax, associative vocabulary, and are characteristically not self-descriptive in the way "I'm reading James Joyce" is. So perhaps you used the expression stream of consciousness in
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Oh and I add - sorry for the silly attempt at covering all bases - a word on "stream of consciousness". Stream of consciousness is an attempt to short-cut preformated descriptive statements: rather than describe, one expresses what goes on in his mind. Now by definition, reflexive statements can hardly belong to a "stream of consciousness". "James Joyce delights me
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Wow! Just to clarify and pacify: - Gazza: I never said that one should only write about what one is doing. On the contrary, I mean that it doesn't matter what one is doing; that "I'm reading Joyce" must be understood as an element in the song's athmosphere, not as a report on what Dylan is doing. - And the discussion helped me clarify my own thoughts: although I do th
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If someone calls me up and asks me what I'm doing and it happens that i'm reading Joyce, i'll answer "I'm reading James Joyce". But to put a name in a song is not a means of informing someone of what you're doing, for Christ's sake. Dylan, at the time when he's writing this, is not reading James Joyce. To insert a name in a song is an element in bui
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Aaah Doxa what a silly sophism...
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Saying "I'm reading James Joyce" is snobbish name-dropping, which I find annoying anywhere. In a way, I'd rather he discreetly inserted a quote; a least there would be a real relation to Joyce and not just the name of the elite's favourite writer. That with mention of Billy Joe Shaver makes a mixture of "I got roots and culture too" which has been the essence
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- "I'm listening to Billy Joe Shaver/And I'm reading James Joyce/Some people tell me I got the blood of the land in my voice," That's got to be the year's most pompous, self-satisfied sentence. Almost as bad as "She opened a book of poem... written by an Italian poet of the 13th century" and "your loyalty is not to me but to the stars above".
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These days I'm not in a big Stones mood - and only, when that's the case, Still Life is the album I play most often. I think it's just the right length so that we are left wanting more (which, you know, is a GOOD thing!), I love the song selection and order. I also agree with Craven that it's much better than the boots. The boots have great moments but it's often loos
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I really enjoy these... Even Doo doo doo sounds good! Which is not too often. Mick is in AWESOME voice, and Sympathy takes off really fine, with a very strong Keith. Such a long time ago already... Odd to be nostalgic about 1994! Thanks!
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"who stormed the American charts in the Sixties" Ouch. Said in such an inocuous way, it hurts...
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Beast of burden studio version, as well as some 94 live versions.
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That been said, I just watch the San Diego videos kindly posted by UrbanSteel... they're just so good on All over now and Love is strong, and even Out of Tears - and that's 2 new songs (at the time) out of 3, so - I guess I'd mark the beginning of the decline after that.
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Timbernardis, I struggle to think you're not joking. If you're not, then you really should attend a class of elementary logics soon. I love the way you attacked Doxa for not "proving" stuff, implying that only an omniscient deity could ever legitimately asserting anything (while all his points are perceptive and well backed-up) before flying into the most delirious fancy, rely
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Why do you ask if he can talk? He's shy, for sure, but articulate and interesting.
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Hey T&A, I insist: Sam is the greater man! :-) Other amazing soul voices (sticking to the males): Jimmy Holiday - oh dear God! Listen to the growl on Poor Boy and the pathos on How Can I Forget Ronnie Isley, stunning in the motown years of the Brothers. All because I love you, Take me in your arms...
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Oh forgot to say, yes of course I know Mina. Although - so sorry - was never a big fan. My italian friends struggle to forgive me. I don't know, something a little metallic in the voice. But hey, I am even rather fond of Elio e le storietese!
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PalaceRevolution, I am French, living in UK, but have lots of Italian friends and spend quite some time there, so this explains that. Yes, Anna indeed... I have the "Le Avventure di Battisti e Mogol" CDs, they're pretty good. But I also have the first album, which includes my all-time fav: La Mia Canzone per Maria, and Nel Sole, Nel vento, Nel Sorriso, Nel Pianto which I feel is th
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Wow, BATTISTI!! Are you italian, PalaceRevolution? I am not, but I LOVE Battisti. Rare enough to be mentioned. Nel sole, nel vento, nel sorriso, nel pianto-o-oooo... :-) If he was born in Memphis he would have become one of the giants of soul. But he's great as he is!
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UrbanSteel, so nice from you to share! And so painful for me to watch... That version of JJF is just as low as it sinks.
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Jumping Jack Flash or Honky Tonk Women, because it is both directly related to the blues & soul of the roots, and has this take-it-one-step-further in terms of arrangements and lyrics. I also think the tone of Keith on the intro, and his shattered rhythm playing in the two couplets define his style perfectly.
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Crazy Mama indeed feels like a rehearsal - so does Shame, I think. But that's kinda nice. Nothing earth-shattering here, but a good nice groove. More appealing than a lot of empty stadium performances, I enjoyed this, thanks!
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34000 people loose their jobs and you are thinking of the sales.
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HO-rrible. Soulless. tasteless. Ugly. yuk yuk yuk. On the basis of that kind of stuff alone, Mick would be nobody.
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thanks J.B. Goode!
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Anyone knows what that format is? Is there a big audio loss? Say, is it better or worst than mp3? Thanks!
Forum: Buy/Sell/Trade

"One way or another, these two have become powerful symbols to some people." Wow. Cultural studies really have gone crazy. So two events, which perhaps bear no relation one to the other, of which the latter perhaps has no major intrinsic significance, have come to been considered, perhaps, by some people, as two symbols (but not realities) in relation to two historical phenomena whic
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Great fun, but I agree regarding Bernard. The problem is that the intentions are wrong! He sings the first line of Honky tonk women like it was some deeply serious psychodrama, hellooo???? She tried to take me upstairs for a ride?? He could be singing "Nobody knows the trouble i've seen, glory hallelujah" and sing it just the same way.
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