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Found a scrap of paper with this sentence fragment in not completely legible handwriting:

"arguments against unmoored maus aren't interesting 'cause there aren't"



Found another scrap, "The riff he's singing goes mi-sol-mi, fa-fa-fa-fa do do mi. Then La Do-la-do la do do re do – but it might actually be in another key." This was less useful than one would hope, in that the rhythm is not well-indicated. I tried to sing it, but the tune didn't ring a bell (as they say).

Perhaps it is the melody to "Unmoored Maus." No lyrics seem to be available.

CROSSPOSTS: HTTPS://KOGANBOT.LIVEJOURNAL.COM/384832.HTML

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I posted the following comment to David Cooper Moore's Favourite 50 at rockcritics.com:

My affinity list continues with David Cooper Moore: t.A.T.u.'s "Cosmos (Outer Space)," except I voted for "Kosmos,"* the Russian-language version – since I don't speak Russian, though, and the lyrics are a good part of the emotional wallop for me, I don't know why I didn't choose the English version. I guess once I get the basic meaning – "Another time, another place, another world"** – the wallop is in full effect no matter which language I'm hearing.

—Checking Google Translate, the idea is definitely the same – "Our home forever is outer space" vs. "We'll meet forever in space" – but there do seem to be pretty big differences, actually; the Russian version has nothing like my favorite line in the English, "Black stars and endless seas, outer space," but meanwhile the English, "Bridges burnt, fingers crossed... Same before, same again," simply can't compete with, "Tails are torn off, the legs are unscrewed, but – all the same, all the same," in the Russian.

Anyway, knowing both versions you get more meaning and better-confuted meaning!

*Тату's "Космос," if I want to go all Cyrillic.

**Pulled a fast one on you, didn't I? "Another time, another place, another world" isn't from "Cosmos," it's from Margaret Berger's "Robot Song"; like Dave, I'll sometimes put "Cosmos" back-to-back with "Robot Song" on playlists, the two songs of forbidden love.

[nb: Dave puts "Robot Song" and "Cosmos (Outer Space)" side-by-side on his list as numbers 4 and 5.]



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Also:



And:

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Dave posted this on Tumblr:

I seem to be subconsciously looking for the closest thing I can find to the vibe of “My Teenage Dream Ended” each year (last year it was Jenny Wilson's EXORCISM).

This year it appears to be Mahawam: Is an Island, which is very brief and very good.

I replied:

Dave, I just checked YouTube to find that Farrah Abraham has taken down all her vids from My Teenage Dream Ended. Still has "Blowin'," a more conventionally song-like track from a couple of years later, and she continues to put vlogs and the like on her YouTube channel (some contributed by her daughter, she says on her "About" page). Haven't explored them yet. [EDIT: It's possible that there's some other explanation for the absence of the videos than "Farrah Abraham has taken down all the vids." But I can't think of what another explanation would be, since I don't know who else would or could take them down or if someone else could claim some authority or ownership over them. Publisher? MTV?]

My guess is that, unfortunately, she must have internalized all the criticism and hatred that was thrown at her for her absolutely odd and original music. The music's still up in bits and pieces, posted by one fan here, another there, sometimes creating their own videos. In the meantime, no one's made music like it, before or since.



(I realize that it's hard to explain or justify that last sentence, since any description I'd give — "singing, but not melodically, the words being scraps of images, confession, events, feelings, some rhythm but no attempt at meter or rhyme" — could describe at least some, for instance, spoken word, improv, jazz poetry, hip-hop (the latter probably something of an inspiration; she may be an outsider but that doesn't mean she's from Mars*). So the conception isn't radical. She's not going rhythmically against meter and line, it's just that her rhythms and repetition don't come from there, come from speech instead, but with dancebeat music backing her she's not constrained by the coherence of normal conversation either; nor by poetry. So it's the result that's radically different.)

(Dave and I once talked about some related Farrah issues on LiveJournal ("I'm In With The Out Crowd"), and Dave and lots of others talked about her all over the place at the time, Dave even getting a piece into The Atlantic.)

*And it wouldn't hurt modern Soundcloud rappers to give her a listen. I bet you some would get ideas.
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Closed my 2017 Top 100 on March 3, giving myself a sigh of relief that "Gummo" and "The Race" were near misses and I wouldn't have to write about them. But here those guys are anyway, 6ix9ine and Tay-K, sure things on this list for "Billy" and "After You." And I still haven't done my writeup for 2017. Probably don't have much more to say about those guys other than that they're acting tough while the music cries tears behind them — "cries tears" is in reference to the stark and edgy beauty of the musical settings, while in front 6ix9ine is saying "Whole squad full of fuckin' killers, I'm a killer too/Sending shots, shots, shots, shots, shots, nigga/Everybody gettin' pop, pop, popped, nigga." Meanwhile Tay-K may be losing his race, in jail for capital murder for allegedly taking part in a drug robbery that resulted in the death of a dealer, was 16 when the killing happened though last I heard the state of Texas wants to charge him as an adult. "Hands in the air like a statue, I shoot you in a classroom (fucking classroom)," which one of the readers at genius.com explains, "No matter the situation Tay-K will shoot and he doesn't care where it takes place." And the keyboard sounds like sad little bubbles rising to the sky, as if it knows better, though I doubt it does.*

Ongoing Singles Playlist, 2018


hemming and hawing, dearth over thirty, males, Ninety One )

Bhad Bhabie is a messed-up 14-year-old who rose to prominence being exploited on a Dr. Phil freakshow and got the phrase "Cash Me Outside" sampled effectively in hip-hop and turns out to have a lot of talent in her own right. You wonder though — I wonder — if being famous will be good for her psyche at all. It's not like her ability disappears if she waits until she's 22. But maybe nursing a budding career is just the thing for her to pull herself together. How would I know? In the vid for "Gucci Flip Flops" she runs a hoary milkman gag: the milkman knocks, "Hey little girl, you're so cute; is your mommy home?" She tells him: "Bitch, I am my own mommy, the fuck!" That's incredibly sad, if you think about it; but for the girl who says it, it's got the joy of her declaring her own adventure.

footnotes )

Here's the list, and more commentary beneath it. (Ongoing playlist here.)

Singles First Third 2018 (actually I can do arithmetic and I know it's really the first five-twelfths, but I meant to do this a month ago):

1. Cassie "Don't Play It Safe"
2. Bhad Bhabie ft. YBN Nahmir, Rich The Kid, Asian Doll "Hi Bich (Remix)"
3. Ninety One "Ah!Yah!Ma!"
4. Fairies "HEY HEY ~Light Me Up~"
5. Bhad Bhabie "Both Of Em"



6. Boy Tag ft. Tala A. Marie "Talla"
7. Royal KD "Swagchy"
8. Tay-K "After You"
9. KeshYou & Baller "Swala La La"
10. 6ix9ine "Billy"



11. Tenor "Alain Parfait (Á L'Imparfait)"
12. The EastLight. "Don't Stop"
13. MHD "Moula Gang" (AFRO TRAP Part.10)
14. Cardi B "Be Careful"
15. Yella Beezy ft. Lil Baby "Up One"
16. Niniola "Saro"



17. Bhad Bhabie ft. Lil Yachty "Gucci Flip Flops"
18. Lil Pump "i Shyne"
18. Mylène Farmer "Rolling Stone"
20. Chi Pu "Talk To Me"
21 (Burna Boy) through 37 (Tia) )

Commentary, Cassie, Boy Tag )





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Crayon Pop seem to be occupying a social space that doesn't exist in America: not of the mainstream but with no apparent estrangement from the mainstream either, not even to the extent that the mainstream itself is estranged from the mainstream (being estranged from the mainstream is a mainstream attitude). And while Crayon Pop gathered a fanatic core audience before they hit big — people who traveled miles to the Crayon Pop appearances and chanted along with the guerrilla street performances — that audience seemed to be doting-uncle types, not connoisseur types. But then, what counts as "connoisseur" isn't set in stone. For instance, Sunday evenings are an unofficial car show in the parking lots along Federal Blvd. on Denver's Hispanic west side, people hopping into their vehicles and finding spots to show off. There are many venues for discerning eyes.

In any event, Crayon Pop seem to be into music more for the art of it and the process than for fame and fortune or even a career.* Going "trot" this year with "Uh-ee" (and dressing like aunties) fits this: the attitude is "What can we try next?" Makes me think of the otherwise very different "Gentleman," by Psy: not a followup to "Gangnam Style" so much as "What can I do to shift around and fake you out?" But Psy is coming from a well-trod social territory, the outsider hip-hop guy who breaks big but still wants to set the terms of discussion. Whereas with Crayon Pop it's more like, "What color should we paint our house now?" At least that's how Crayon Pop come across. So even if they are secret bohemians (Way did got to art school, for instance), that's not where they live in the public landscape.

Whether or not you think I'm right about Crayon Pop, and even if you don't pay attention to K-pop, I have this question:

Who else — anywhere, present or past — seems to be occupying a social space similar to the one I describe for Crayon Pop?

I'm thinking that certain potential stuff wouldn't count, the reason being it has too much of a chip on its shoulder and too much outsider status: early hip-hop dj's in the Seventies, for instance, or the custom car shows and stock-car races and demolition derbies of the early Sixties that Tom Wolfe analyzed and celebrated in The Kandy-Kolored Tangerine-Flake Streamline Baby. Or maybe I'm wrong, and we should count these things.

Anyway, bohemia from nowhere near bohemia.

Also, we need a new term. "Bohemia" is played out. Care to coin one?

As delinquent lollipop girls in "Bing Bing," five months before fame [EDIT: Had embedded the Feb. 15 show at Music Bank but it's no longer on YouTube, so substituting Music Core from a couple weeks earlier, Crayon Pop dismayingly without lollipops; RE-EDIT but here's a link to Show Champion on Feb. 27 where they've got the lollipop, though the presentation is not quite as slinky and delinquent as I remember Feb. 15's being]:


Disco trot Hey Mister )

Opening for Gaga in Milwaukee )
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Although Wikipedia says Richard Rodgers took out full-page ads urging people not to buy the Marcels' version of "Full Moon," the article cited, by Marv Goldberg, contains an update in which Goldberg states he can't find any such ads and that Rodgers' wife Dorothy said in a 1982 Billboard interview that he loved the Marcels' version. In half an hour on Google I'm seeing the story of the ads repeated but no citations, no identification of where the ads appeared (though some specify "UK trade papers"), copy-cat wording in the claim (the word "urging," for instance), and no quoted text from the ads. Also, the claims are all posted after Goldberg's original 2006 posting. Good reasons to be skeptical.



Speaking of blue moons and debunkery: According to two pieces in Sky & Telescope, the phrase "blue moon," meaning "rare or improbable occurrence," goes back 400 years, but the supposed derivation from "second full moon of the month," based on a misreading of a Maine almanac, only comes into existence in 1946 and doesn't become widespread until the 1980s.
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Although the powers that be are transliterating the title, "어이," of the forthcoming Crayon Pop single as "Uh-ee," that's very wrong: first, in pronunciation it's "Aw-ee" not "Uh-ee" if you separate out each syllable as written; and second, Crayon Pop shout it out fast without separating the syllables, and clearly they're saying "Oy"!

The title is "Oy"! The title is "Oy"! The title is "Oy"! We should circulate a petition.

May they do a trot version of "Hava Nagila" shortly.



David Frazer has taken to calling them Crayon Trot in the New Digs thread (which has become a thread about what he and I are digging, incl. not just the new Crayon Pop but also tracks by Tren-D, Vixx, PungDeng-E, LPG, and Dal★shabet; also contains the interesting information that Crayon Pop will open for Lady Gaga* for about a month of Gaga's North American tour this summer), the "Oy" rhythm definitely being trot. Crayon Pop are also deliberately crossing us up sartorially, donning elegant duds in the teaser (away with the cute speed racer helmets) and then crossing us up further with old-woman ajumma costumes in promo photos and onstage. [UPDATE: Turns out it's not them in the elegant duds, but rather upper-crust "clubgoers," audience members in the video whose elegant boredom is disrupted by Crayon Pop's ajumma act and are then won over.]

Had to look up "ajumma" in Wikip when David dropped the term on us; "is a Korean word meaning 'aunt' literally, however, it is used for calling name of 'married woman,' which is generally only used to refer to women who are middle-aged or older, and working-class." "The Lonely Planet guide to Seoul describes ajumma as a term of respect, but most other sources say it is mildly pejorative. An ajumma is often a restaurant worker, street vendor, or housewife. Ajumma has connotations of pushiness, with ajumma described as hard-working and aggressive people who 'push and shove their way through a crowd to find a seat in the bus or subway,' 'grab you by the arm and try to get you to eat at their place,' or 'push' friends and relatives to buy insurance."

Crayon Pop in it for the art of it )

*Whom they expect to mash with, er, mesh with.
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Okay, "consensus" isn't and shouldn't be an exact synonym for "unanimity," but the way I use it and dictionaries define it is far closer to "unanimity" than to "some people sometimes have similar opinions on something with some overlap as to who has similar opinions and some overlap as to what the opinions are." The latter seems to be how Robert Christgau and Glenn McDonald and Jack Thompson and probably a myriad others are using it in response to this year's Pazz & Jop poll.

I'm raising this issue not because I think we should always stick with the meanings that were in effect back when there were hula hoops but rather because the word "consensus" in its hula-hoop days (and potentially still) does something good that the new, added usage could well obliterate, which is to describe the process or behavior of an entire group, as a group.

That in the previous Pazz & Jop both Christgau and I and a handful of others put Neil Young's Americana in our respective top tens doesn't mean he and I and they have some sort of consensus on the album. We're not acting as a group and our coming together in this way doesn't meaningfully constitute a group (though maybe the ten of us could get together once a year for a party or something).

I use "consensus" in two basic ways:

(1) Regarding how a group makes a decision, to decide by "consensus" means that everyone or near everyone in the room signs off on the decision. Not everyone necessarily will be 100 percent happy with all aspects of the decision: it might be arrived at through discussion, argument, negotiation, and compromise. But everyone is on board with it. If someone disagrees strongly with a position or course of action, that person in effect has a veto. The word "consensus" here specifically and precisely distinguishes this mode of decision-making from other forms of decision-making, such as a vote in which the majority or plurality of voters carry the day; or a decision by a manager, or owner. In a consensus decision, the process by which the decision is reached may include straw polls, but a minority or faction can't be overridden in the way that it can be in a decision by majority or plurality vote or in a command decision.

Decisions by juries are often by consensus. Decisions by legislatures rarely are.

P&J isn't an election or a decision (though it has the feel of an odd combination of election and opinion poll), but you can see how talking about consensus or lack of consensus among the voters does violence to this meaning of "consensus."

(2) Regarding people's opinions or attributes, a consensus would mean something like "the general opinion of a community or group." So if 97% of climate scientists think global warming is real and man-made, then there's consensus. 80% wouldn't be enough to claim consensus (IMO), even if those 80% are right and the other 20% have no good reason to disagree.

That 65% of P&J voters didn't put Yeezus in their top ten (and presumably it wasn't number one for most who did, so let's say that somewhere between 80% and 95% of voters didn't make it their number one (I don't want to spend the time getting an exact number)), shows how ridiculous it is to say that the strong showing of Yeezus is a sign of some sort of consensus. (And it'd just be babble to turn this around and say that there's a consensus that e.g. most albums outside the top ten aren't the album of the year.)

I think the reason that "consensus" has wandered to include a new meaning — vaguely, to note that there are some criss-crossing similarities among some individuals, some things in common — is that there isn't some other shorthand that's available to wave at such similarities. So the word "consensus" gets to be the shorthand, even if this new meaning takes out the far more useful old meanings. But a shorthand is no good if there isn't real, actual consensus as to what the shorthand is short for. If there isn't general understanding, you shouldn't use the shorthand, unless there's at least some common sense of how to take the disagreements further. (E.g., there's certainly no general agreement as to whether Macklemore & Ryan Lewis are real hip-hop, but people know that there's no general agreement here, and using the word "hip-hop" doesn't paper over such disagreements.) In any event — this is a somewhat different complaint — "consensus" is becoming a buzzword, people waving at ideas they've not actually worked out, trying to quickly communicate thoughts they don't yet have.
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What's the name of the new T-ara single?

In aggregate it seems to be "Do You Know Me?" at least in translation. But the first track (ballad) and second (dance) have different Korean names, with the title "What Should I Do?" sometimes showing up on YouTube. Since the vid uses both versions, I'm not really separating out which is which. Maybe Wikipedia will eventually figure it out. In the meantime I'm going with "1977 Do You Know Me?" for the ballad and "What Should I Do?" for the dance. Google Translate is its usual pickled self, giving us "I Do Not Remember 1977" for "1977 기억 안나" and "I Cram" for "나 어떡해." [UPDATE: Melodically, the two parts are mostly, but not entirely, the same basic song. Combined version is off YouTube, so I've embedded the two parts separately. Google Translate now gives "What Should I Do? Chinese dance version" or "What To Do With Me MV Chinese dance version" as the second part's title, though notice the English caption on the vid is "Do You Know Me? M/V china dance ver"]

Also — the k-pop news 'n' entertainment sites are not clear on this — is there some 1977 input or origin for the song?





It seems to be a flop right out of the gate (fewer than 450,000 views for both streams after four full days), but I love it from the first instant. I still fear for the future of Jiyeon's unique aura and bearing if she continues to emote (her former uninflectedness and detachment being a form of evocative resistance, at least in my hopes), but nonetheless, in the present, I love how she and they — non-"impressive" singers — so easily brush every poignancy button, and then reprise it all as a romp.

Glad they're ending the year strong.
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Made a YouTube playlist of my favorite tracks from K-pop's lower commercial tiers.



In ascending order. As you can see, I like both it and that:

Leader'S "Hope" (2011). The song is called "Hope" but the sound is heartache 24/7. I left NYC several years before Hot 97 or whatever it was came in with a Latin freestyle format, but I can imagine this humid emotion emanating daily from car radios and bodegas on my block (I lived on the northern end of Mott Street, which was nominally still part of Little Italy, but the Italians had mostly moved to more well-to-do neighborhoods, being replaced by immigrants from the Dominican Republic).

D-Unit ft. Vasco "Stay Alive" (2013). Produced by Zico of Block B, this is a lot more natural than his own group ever was at creating a hip-hop idol sound, emphatic rapping with a backdrop that's half dreamy and half disorienting.

Chi Chi "Sexy Doll" (2012). A come-on that sounds at least as ominous as it is salacious.

Z.Hera "Peacock" (2013). Haven't yet discovered who wrote this, but it's someone with a far better understanding than I of Chopin or whomever, the track moving along towards inevitable bliss, while the singer uses the strain in her voice to suggest struggle and uneasiness. She just debuted, and I'm hoping for great things.

Clinah "So What If" (2011). Fractured power pop. It feels Japanese.

Tiny G "Minimanimo" (2013). I wonder if Bo Diddley had the least inkling in 1955 that he was setting the beat not just for buckets 'n' guts, but for sprites and nymphs.

Miss $ "Physical Or Emotional" (2012). Back to the dark Bodega wail. Miss $ had been a so-what r&b act for several years until they suddenly blossomed into passion.

Evol "Get Up" (2013). Get ur twisty little freak on, and take it to the disco.

GLAM "I Like That" (2013). Samples New York City sorrow, then pushes towards a joy most complicated.

Flashe "Drop It" (2012). A lot like "Bo Peep Bo Peep" in the way it teases and nags you.

New.F.O "Bounce" (2011). While the video apes 2NE1-style imperiousness, the band bubbles and bounces.

ChoColat "I Like It" (2011). Young Melanie wants it all, with a massive voice of promise and pain.

Crayon Pop "Bar Bar Bar" (2013). Perhaps they're lucky not to be stars. They get to spray everyone in their audience with water pistols.

E.via (now calling herself Tymee) "Pick Up! U!" (2010). The queen of the lower reaches, she can be anything from a severe art bitch to the cutest and quickest of the wild spirits. Here she gives us fractured power pop, fractured dance pop, fractured Poképop.

Fat Cat "My Love Bad Boy" (2011). Putatively cute and catchy, our heroine breaks her voice into scrapes, sparks, and splatters, and the sort of hooks that rip flesh.

Honorable mentions: Gangkiz "Honey Honey," A-Jax "Hot Game," MYNAME "Just That Little Thing," Blady "Spark Spark," Delight "Mega Yak," X-Cross "Crazy."

Steerage )

I crossposted this on ILM's K-pop 2013.
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Fancam of forthcoming track from Crayon Pop, "Bar Bar Bar." CRAYON POP DO NOT DISAPPOINT. I had to get out of my chair: I was laughing so hard I was afraid I'd hurt myself. I think those are toboggan helmets. Anyway, I can't wait on this. (H/t to David Frazer, as usual, for all things Crayon Pop.)



Subtract the visuals and there's still a great little song, a girl chant that's an earworm with harmonies (or harmonic something, anyway; I would welcome a musical analysis).
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Posted this on Freaky Trigger:

I am here to report that it took me till age 59 to notice that invalid ("being without foundation or force in fact, truth, or law; logically inconsequent") and invalid ("suffering from disease or disability; sickly; of, relating to, or suited to one that is sick") are both spelled the same.

The only rhyming word that Merriam Webster could unearth is "corn salad."

Do the British say "corn" or "maize"?

British recipes maize = About 20,300,000 results (0.39 seconds); British recipes corn = About 1,560,000 results (0.32 seconds). But the first hit on each is Cooks.com English Pea Corn Salad, whose first link is Shoe Peg Corn Salad. First hit when I Google boot heel corn salad is "Missouri's Bootheel Region is Fertile Ground." First hit when I Google yummy shoe tree dessert is "Vidal, California: Shoe Tree - Gone," but I believe that Google believed that I actually meant "desert." Here are photos. Hot boot polish sundae gets us arts and crafts projects where sundae and shoe polish are different items, the former only linked. No boot mentioned, so Google lied.

Minami 2

Feb. 10th, 2013 02:07 pm
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Starting this second thread regarding the Minami incident to forestall Livejournal's terrifying collapsed-thread syndrome encroaching on the previous thread (here).



My guess is that it'd be hard for any fan to endorse Minami's self-abasement. Even those who support idol "purity" and manage to link it to being sex-free and boyfriend-free will have that overridden by the sense that Minami is a damsel in distress. In fact, those people might especially be the ones who will have their "damsel in distress" buttons bumped, and will be genuinely torn.

The rest of my thoughts are about K-pop, since I know next to nothing about J-pop:

Is the no-dating rule all that pervasive? )

What do you mean by this word SCANDAL? )

Conspiracy theory )
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Posting again on a subject I don't understand and never will: what physicists mean by "information." My brain balks at mathematical symbols, but I'm good at concepts; so my guess is that if some articulate physicist were to wander by, he or she could explain "conservation of information" in a way that doesn't totally leave me at sea. Wikipedia hasn't succeeded*, but this passage from the entry on "Black hole information paradox" is useful:

There are two main principles in play:

--Quantum determinism means that given a present wave function, its future changes are uniquely determined by the evolution operator.
--Reversibility refers to the fact that the evolution operator has an inverse, meaning that the past wave functions are similarly unique.

The combination of the two means that information must always be preserved.
What I gather from this is that: (i) any present "state" must have a unique past; you can't have two pasts leading to the same present; and (ii) the present can't lead to multiple futures. Am I interpreting this right? So a quantum waveform (?) version of a Laplace Demon** could reconstitute the past or forecast the future (or maybe, this being quanta, could reconstitute past probability wave something-or-other and forecast future probability wave something-or-other) based on what's known now. Hence information is preserved. So, however you twist it, you'll always have the same information.

Black holes seem to pose a problem for the principle )

The question I posed last time is, "When physicists say that information is preserved even after everything's been absorbed into black holes that have subsequently evaporated, do they mean that, e.g., 'The test tomorrow is at 1:00 PM' is preserved?" Certainly in my everyday use of the term "information," "the test tomorrow is at 1:00 PM" is information. So I can simplify my question down to this:

Is "The test tomorrow is at 1:00 PM" preserved (by the principle of conservation of information)? If not, what is preserved?

Changed my mind since last time )

I continue to have little idea what I'm talking about. But right now I'd reformulate the question as:

If all physical information is preserved, how can "The test tomorrow is at 1:00 PM" not be preserved?

And a corollary to that one would be:

If all physical information is preserved, and this — somehow — does not include "The test tomorrow is at 1:00 PM" being preserved, then how is it possible that "The test tomorrow is at 1:00 PM" exists even now?

So, to convince myself that all information can be preserved while "The test tomorrow is at 1:00 PM" is not preserved, I'd have to have an explanation for why "The test tomorrow is at 1:00 PM" isn't preserved. And to do that, I'd have to have an explanation for how it can exist now without being physical information. We as physical beings sure seem to have the information that the test tomorrow is at 1:00 PM. So far I can't counter this, can't come up with an explanation of how physical beings can have nonphysical information, or what "nonphysical information" would even mean. I don't think physicists, to the extent that they've thought about it, disbelieve that "mental" and "cultural" information can be conveyed by physical information, or that the latter two sorts of information are different in kind from the former. Actually, I don't know what they think. But how would they even potentially explain the existence of "cultural information" at all if such information is not conveyable physically?

That's what I would need to explain, if I wanted to preserve the principle of "conservation of information" while denying the conservation of "The test tomorrow is at 1:00 PM." Not that I necessarily want to deny that "The test tomorrow is at 1:00 PM" can be preserved. What I'm saying is that I don't know how not to preserve it without destroying the principle of conservation of (physical) information — which for all I know is a wrong principle, but to half understand what physicists mean by it, I'm acting as if it's right. Quantum physics guys seem to believe it needs to be right. So, for the moment at least, I'm counting "The test tomorrow is at 1:00 PM" as physical information, hence preservable by "conservation of information."

So, to reiterate, I think the crucial question here, this time in bold, is: How can "The test tomorrow is at 1:00 PM" exist now without being physical information?

I'm deciding for the time being that it can't, and that therefore it is physical information.

No dif in physical status between things and conventions )

Social info has same physical status as any other info )

Footnotes )
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David McHugh of the Associated Press ("After 3 bumpy years, Europe turns corner on crisis"):

The worst of Europe's financial crisis appears to be over.

European leaders have taken steps to ease the panic that has plagued the region for three turbulent years. Financial markets are no longer in a state of emergency over Europe's high government debts and weak banks. And this gives politicians from the 17 countries that use the euro breathing room to fix their remaining problems.
McHugh does go on to say that Europe's economy is likely to get worse before it gets better, then quotes Holger Schmieding, chief economist at Berenberg Bank in London, as saying "coming waves of turmoil will be less severe." (Article seems to be conflating the receding fear of imminent defaults and a Eurozone breakup, on the one hand, and nonimmediate prospects on the other.)

Tim Duy, on his blog Tim Duy's Fed Watch ("Europe's Back In The Spotlight"):

We are now looking at another year of dismal growth in the Eurozone. This crisis seems to have no end in sight.

To be sure, a little relief today as the Greek parliament pushed through the latest austerity package, throwing the bailout back to the Troika. But the relief was short-lived....

I am guessing that the Troika increasingly sees no way out for the Greek economy, at least under the current policy path. Does anyone really expect this to be anything more than just another effort to kick the can down the road? Everything to date has simply intensified what Ambrose Evans-Pritchard described as the "Greek death spiral."

Spain too )
To be precise, Duy isn't predicting a default or breakup, just another year that's worse than the last, with unemployment that's already depression-size in Greece and Spain getting worse.

My understanding (or not) )
koganbot: (Default)
Best track on HyunA's Melting is the rough 'n' tough "Don't Fall Apart";* starts with a martial beat and a voice commanding "Attention!" Wikip credits words and music to Beatamin, who seem to be the duo Nassun and Zenda Fakteri. A flick of the wrist on YouTube, and we find them working with Kikaflo on his "Attention" (2011), which is, as they say, slammin':



A bit more searching, and there's Kikaflo's recent Kick A Flow Mixtape: 20 Minute Spits, lead track "Look At Me":

Look At Me )

Though I'm tired of guys acting hard, Kikaflo's got the sound to at least make the hardness strong. Mixtape seems to be legally available for free through the hip-hop collective Yeizon. Four strong songs, the rest pretty good. I don't know if Beatamin are players on it, though Nassun's credited with "additional lyrics."

Nassun's highest visibility was as the goofy guest rapper on Lee Hyori's light-of-spirit "U-Go-Girl." He's the funny boho boy on that one; on "Attention" he's the scary well-cheekboned Mr. Zebra Pants, singing the break.

Nassun's own recent release, Under The Sun, goes more for beauty, instrumental versions being better than original versions.

*[UPDATE: Wait. Now Wikip is calling the HyunA song "Straight Up!" in English, presumably the record company deciding that that's the best title for marketing the song outside Korea. But "Ice Cream" is the single, so why should they care what this one's called? Song is still "흐트러지지 마" in Korean, which the ever creative Google Translate renders as "Do undisturbed."]
koganbot: (Default)
Here's HyunA displaying her Pikachu voice (segment begins 26 seconds in), anticipating how a year later she tells Psy he's just her style. But what's striking me now about the clip is Jihyun saying, right at the start, "We're famous for not having talents." I can't tell if this is just a quick quip, a "talent" merely meaning a special side attribute, or if the comment is coming from somewhere deeper.



There's a TV clip a bit later (here, and continues here) of their discussing how they deal with harsh comments, the guys who told them, "It's okay, just get your faces done first" (i.e., told them that their performance wasn't bad but that before they debut they ought to all have plastic surgery*), and people later who called them "deud minute," an acronym for "I couldn't even listen to or see 4minute." Those of you who've been following this longer and more attentively than I have: Are 4minute's looks considered a challenge to typical idol-girl faces and fashion? HyunA, of course, is Sex Symbol Of The Moment in K-pop, and she seems a master at being able to switch from goofball and brat in one second to total command in the next, donning and shucking off cuteness at will, while nonetheless coming across as fundamentally warm and spontaneous, and a light-hearted attention grabber. (If you stick with the Mr. Teacher vid beyond Pikachu, you'll see a funny sequence where HyunA's videoing the rest of 4minute head-on as they walk along a Kuala Lumpur street, but complains that it's scary for her to walk backwards, so makes all of them walk backwards so that she can be walking forward while continuing to work the camera.) But I wonder if the rest are considered non-idol-style in their looks and demeanor (and if that's felt to be a plus by their fans). Gayoon's face looks squashed-in, and Jihyun's can fall into a weary or sardonic droop, though I don't think that makes either of them unattractive.

I also wonder if HyunA's quick image switches make the general K-pop audience uneasy; to me she's thoroughly coherent and has done a smooth job of disarming the opposition.

Update: All hail Jiyoon )

*I gather that their label president encouraged them not to. And as Jihyun says, it's too late now anyway, since everyone knows their faces.
koganbot: (Default)
With only a couple of furlongs left, DJ Bedbugs is a nose ahead in the quest for his second consecutive title.

TOP NONSINGLES Through Third Quarter 2012:
1. DJ Bedbugs "Hella Hollup"
2. E.via "Night Blooming Roses"
3. Neil Young & Crazy Horse "Oh Susannah"
4. After School "Eyeline"
5. T-ara "T-aratic Magic Music"
6. DJ Bedbugs "Aaron's Party Rocking"
7. Neil Young & Crazy Horse "Wayfarin' Stranger"
8. TaeTiSeo "Baby Steps"
9. DJ Bedbugs "Come Out And K"
10. DJ Bedbugs "Ready To Greenlight"
11. Neon Bunny "First Love"
12. DJ Bedbugs "Your Mann"
13. After School "Broken Heart"

Number 5 and number 13 are in Japanese.

What Is A "Single," And, By Negation, A "Nonsingle"?

Something's a single if it acts like a single or gets treated like a single, no matter what it is (even if it's a 50-minute webrip of a symphony). So "Gimme Shelter" is a single, "Stairway To Heaven" in its long version is a single, "Takeover" is a single, though none of those three was on an actual physical single. And certainly if it's promoted by the label as an album's or EP's "emphasis track" or "focus track" it's a single.

If it doesn't act like a single, it nonetheless can be a single if... )


"T-aratic Magic Music"
koganbot: (Default)
Mark, or someone, why is the harmonic minor scale called the harmonic minor scale? How is it any more harmonic than the natural minor scale? Wikip:

"One More Day" is composed in the key of A harmonic minor, meaning though in A minor, it has a G#, an accidental, at the end of the chorus and the end of the second verse. The vocals span around an octave and a half, from C4 to E5. It is written in verse-chorus form, with a bridge section in a rap-form, featuring Sung Hyo Ram from XCROSS as the guest rapper, before the last repeated chorus.


Wikip explains "harmonic" in the name like this:

The scale is so named because it is a common foundation for harmonies (chords) used in a minor key. For example, in the key of A minor, the V chord (the triad built on the note E) is normally a major triad that includes the raised seventh degree of the scale: G♯, as opposed to the unraised G♮ which would make a minor triad.
What confuses me about this explanation is that it assumes that, if your i is a minor, then V is somehow more "harmonic" than v is. (That is, that the major chord that's a fifth above the chord that establishes the key is, when the key is minor, more "harmonic" than the minor chord that's the fifth above the original chord.) Now I get that Wikip is saying that the major V is more "normal" or "common" than the minor v. (Where? Among whom?) Is that because it's — somehow — more harmonically related? Is it because of that "leading-tone" business Wikip mentions?

Here's a natural (rather than harmonic) minor for the v, which sounds fine to me:

Sistar Zukie )

Yes, I'm never likely to master music theory. Other stuff is taking my time.

Another reason for this post is that you — especially you who are named "Mark" — may enjoy the ChoColat track for how its harpsichord and melody recall the classic She'kspere/Kandi days of TLC, Destiny's Child, and Pink. Maybe you, more than I, will be able to explain what the melody has in common with those melodies of yore (if I'm right that it does).

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