_I find interesting_ (personal)
_can be understood_ (general)
delusions of grandeur
and then the non sequitur as general statement, coyly delivered
delusions of wit
when I was long ago in the world of men and women who were doing important
things - they told me so - I found many of them spoke indirectly, perhaps to
give a semblance of significance to what was otherwise empty of
significance; and with a sneer, perhaps to imply superiority, but with a
clear further implication that such superiority was at the service of all
_proles_ gives away your age... and provides other clues
and how strange to have stayed on a list you hardly ever find interesting
L
----- Original Message -----
From: "Patrick McManus" <[log in to unmask]>
To: "Alan Halsey" <[log in to unmask]>; "Douglas Clark"
<[log in to unmask]>
Cc: "British-poets" <[log in to unmask]>
Sent: 13 October 2000 18:35
Subject: Re: limen
| gosh an e-mail from the brit pos that I find interesting (and can be
| understood)
| when I was long ago an architect I found many of them wrote obscurely to
| keep out the proles
| could this ever be levelled at Brit Pos?????????
|
| I would like to have Dylan on a 78 on better a cylinder-------wow
| thanks for info on Dylan ----------prob gives my age away
|
| ----- Original Message -----
| From: Alan Halsey <[log in to unmask]>
| To: Douglas Clark <[log in to unmask]>
| Cc: British-poets <[log in to unmask]>
| Sent: Friday, October 13, 2000 2:12 PM
| Subject: Re: limen
|
|
| > In message <[log in to unmask]>, Douglas Clark
| > <[log in to unmask]> writes
| > >
| > >Ruth Padel was also on the reviewing panel on Radio 3 last week
| > >for Dylan's Wembley concert. She seemed quite shocked at the damage
| > >he is inflicting on his songs nowadays to escape the trap of recreating
| > >his vinyl. I sympathise with her cos the two live tracks from 2000
| > >accompanying 'Best of Bob Dylan Volume 2' seem atrocious to me.
| > >But Sarah Brains Dunant was quite ecstatitic about the performance
| > >in LOndon so I dont know.
| > >
| > Well he put on a good show in Sheffield. It seems strange to me that
| > people get upset that his live performances don't attempt to reproduce
| > the 'original' recorded sound - on the face of it there's no reason to
| > privilege one version over another. Of course the _recordings_ of live
| > performances are often worse than studio ones but that's a different
| > matter. Dylan has obviously become increasingly preoccupied with the
| > _liveness_ of performance itself & the possibilities of variation in his
| > own work & the song tradition he draws on. As far as the performance
| > aspect is concerned the same applies as to all performance, it belongs
| > to the moment.
| >
| > I've often thought that the recordings of the older blues singers are
| > misleading in that we usually have only one or two versions & those
| > versions are clearly channelled into the 78 format & yet we talk of say
| > Johnson's Hellhound as if it were the one & only. He must have sung it
| > hundreds of times & I bet with many a variation. Johnson live must have
| > been pretty wild. There were some transcribed accounts by Sun House &
| > others in (I think) Alcheringa years ago.
| >
| > All this with some relevance to textual variants in poetry, live &
| > studio readings, etc.
| >
| > Best, A
| >
|
|
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