HDTenEightyP/NetNews huggingface dataset:
From: sasghm@theseus.unx.sas.com (Gary Merrill)
Subject: Re: government and the arts
    <2179@transfer.stratus.com>
Organization: SAS Institute Inc.
Date: Tue, 14 Apr 1992 17:11:10 GMT
Distribution: na
Originator: sasghm@theseus.unx.sas.com
X-Bytes: 1819

In article <2179@transfer.stratus.com>, jmann@vineland.pubs.stratus.com (Jim Mann) writes:
|> In article <1992Apr11.005446.8595@acsu.buffalo.edu>  
|> henning@acsu.buffalo.edu (Karl inflexible Henning) writes:
|> > 
|> > Just for fun ... for "artists", above, substitute "dubious
|> > space-oriented weapons research", and "national security" for
|> > "national culture".  There;  feel better?  I'm sure /I/ do ....
|> > 
|> 
|> There is one big difference here, though.  We can try to encourage
|> our representatives in Congress to vote against those military
|> programs (or ____ programs, fill in the blank) and our Congress can
|> do so. More importantly, nobody will try to say that Congress
|> does not have the RIGHT to decide which military programs it
|> should fund and which it shouldn't.   (Some folks may complain
|> that Congress chose the wrong ones, but nobody will say they
|> don't have the RIGHT to make this mistake.)  Support of the
|> arts is different, though.  When Congress tries to make

There is even more to this than a *right* of congress, and the
difference is even bigger.  Unless I am very much mistaken, the
constitution *requires* our support of the military -- and indeed
it could be argued (going back even to Hobbes and Locke) that providing
for the national defense is the most fundamental role of government.
So there is an explicit constitutional requirement for military
support that does not exist for support of the arts.  I suppose one
might argue that the arts should be supported under the vague
"pursuit of happiness" sentiment, but almost any alternative
argument would be stronger.

-- 
Gary H. Merrill  [Principal Systems Developer, C Compiler Development]
SAS Institute Inc. / SAS Campus Dr. / Cary, NC  27513 / (919) 677-8000
sasghm@unx.sas.com ... !mcnc!sas!sasghm
Xref: sparky rec.music.classical:5879 comp.music:2431
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Newsgroups: rec.music.classical,comp.music
Subject: Re: Help, which instrument?
Date: 15 Apr 92 05:31:53 GMT
Organization: Princeton University
Originator: news@ernie.Princeton.EDU

In article <1992Apr15.030528.22310@cunixf.cc.columbia.edu>
 hyx1@cunixa.cc.columbia.edu (Harry Y Xu) writes:
>Hi,
>	I plan to put up an effort to learn an instrument over the Summer.
>I just want to entain my ear (amongst other body parts); just want to learn
>an easy-to-pick-up instrument.

Easy-to-pick-up WHAT?  8-)  Yes, it's a great way to meet people, too...

>	Can somebody give me advise on which instrument is the easiest to 
>learn?  I know the Q might sound stupid, but can't think of better wording.

>PS.	I sort of like woodwind and brass, but not sure.

Recorder, then.  Cheap, most of the music isn't too hairy, and you can
carry it around with you.

>	I have no musical potential/intellence.

DEFINITELY recorder.  8-)

No, seriously, what do you mean by the above?

>	I'm a poor college student without much $ to spend on it.

"Since singing is so good a thing,
 I wish all men would learn to sing."
  -- Thomas Morley
From: gwb@cbnews.cb.att.com (gregory.blum)
Newsgroups: rec.music.classical
Subject: Music from 'The Double Life of Veronique'
Date: 14 Apr 92 20:05:50 GMT
Distribution: usa
Organization: AT&T

I recently saw the rather odd French/Polish movie The Double Life of
Veronique.  In it, there was this extremely haunting rather classical
sounding piece of music that kept recurring.  Within the plot, one
of the characters describes it (in a classroom setting) as the music of
a little known Dutch composer from about 200 years ago;  however, from
what I could parse of the French credits that rolled rapidly by at the
end, all of the music was by a gentleman with a most definitely Polish
name that I couldn't commit to memory before it slipped off the screen.

Anyone know who the composer is?  How about the song title, the name of
the soprano involved, and any recordings available?  If you saw the
movie, I'm sure you know the piece I mean since it ran throughout the film.
Any help would be GREATLY appreciated.  I am really haunted by this piece
of music..... though I'm not entirely sure whether it's the theme itself
or the very unusual voice quality of the singer.

Thanks,
Greg Blum
From: givler@bermuda (Greg Givler)
Newsgroups: rec.music.classical
Subject: Re: Music from Excalibur
Date: 10 Apr 92 18:51:56 GMT
Article-I.D.: cbmvax.30250
Organization: Another Amiga UNIX System

In article <t+rjj1#.ladasky@netcom.com> ladasky@netcom.com (John J. Ladasky II) writes:
>In article <1992Apr8.082651.1@tesla.njit.edu> kpm8447@tesla.njit.edu writes:
>>Does anyone have the Excalibur soundtrack or know which songs are on it?
>>[...]
>A question for all of you... was there ANY original music written for 
>Excalibur?
>

If I remember correctly it was nomintated for Best Adapted Filmscore 
by the Academy the year it was released. This would tend to make me think
that there was NO original music in Excalibur.

>-- 
>-----------------------------------------------------------------------------
>John J. Ladasky II 					(ladasky@netcom.COM)
>
>Netcom - Online Communication Services San Jose, CA
>-----------------------------------------------------------------------------


-- 
Greg Givler                 | "If you're not going to kill me,
Commodore Product Assurance | I have things to do." - From Darkman
givler@cbmvax.commodore.com |
===============================================================================
From: cb@tamarack12.timbuk (Chris Brewster)
Subject: Re: HOLOCAUST MYTHS
Followup-To: rec.music.classical
In-reply-to: phoogenboom@eagle.wesleyan.edu's message of 12 Apr 92 00:40:38 EDT
Organization: pubs
	<1992Apr12.004038.1@eagle.wesleyan.edu>
Date: 13 Apr 92 12:05:34 CDT


Could we PLEASE move this discussion off of rec.music.classical!

Chris Brewster
Newsgroups: rec.music.classical
From: martino@wpi.WPI.EDU (Robert Paul Martino Jr)
Subject: Any good pre-Baroque compilations?
Organization: Worcester Polytechnic Institute
Date: Mon, 13 Apr 1992 17:12:45 GMT

I was wondering if anyone knew of any good pre-baroque CD sets or something
like that that are available, I've recently been getting into guys like
Monteverdi, Scarlatti, Bonelli, etc. (gee I wonder if any of them are 
Italian) whose music really fascinates me, there's something different
about these composers that make them sound different than Bach, Handel, etc.
Sorry if I sound like I don't know much about classical music, I'm only
vaguely familiar with different eras like Romantic, Baroque, etc.  Any
other good pre-Baroque stuff appreciated also. Thanks!

Rob

-- 
Rob Martino                          |     (clever or particularly funny
martino@wpi.wpi.edu                  |      philosophical quote here)
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: FCC Deregulation? Re: Sorry State of Classical Radio
Date: 6 Apr 1992 11:15:54 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

In article <1992Apr6.050909.3446@cgh.cgh.com> paul@cgh.cgh.com (Paul Homchick) writes:
>
>It seems obvious that NPR stations dump the classical format and take
>up news because it make it easier to raise funds.  With the
>non-commercial stations, advertising isn't the driving force, but
>money is still important.  The classical audience is either too small
>or too poor to support stations that rely on contributions for
>significant portions of their budgets.
>
>So why should the government have anything to do with this?  It isn't
>equitable for me to lobby for government action to FORCE these
>stations to provide classical programming.  Why should my preferences
>cause a financial hardship for station owners?  And if the government
>can force classical programming, what's to stop it from forcing Spike
>Jones programming, or 24-hour Doors programming?
>
I think that the answer is the very reason for the existence of public
radio. Market forces tend to give disproportionate airtime to whatever
is the most popular at the given moment. Minority preferences and 
community programming also deserve media access, even if advertisers
won't support it.

What deregulation has done is to force public stations to depend more
and more on listenership and therefore on the same kinds of market
forces that drive privately-owned radio. Since you brought up Los
Angeles, the spirit of commercial classical station KFAC now lives as
KKGO, the manager of which said in a recent Times article about the
tumultous changes in LA classical radio that he couldn't afford to
program unknown or avant-garde pieces. "That is really the job of
public radio." [Paraphrasing].

However Wally Smith, manager of KUSC, the public classical station
announced a year or so ago that KUSC devoted too much time to unusual
pieces and from now on it was going to be much more "Beethoven and
Mozart" (as he put it) in drive-time prime-time. At the same time, he
began programming "Music from the Hearts of Space" (to attract younger
listeners, he said) and recently stopped publishing the monthly pro-
gramming guide.

The article was mainly about how KUSC adopted the chatty (and rather
affected IMO) manner of Bonnie Grice, who spends proportionately
about the same amount of time talking and joking as top-40 drive-
time jocks. Supposedly this is meant to engage younger listeners who
are put off by somber, snobby dj's. (Why then do they still have 
Jim Svejda and why have they lost Rich Caparella, one might ask.)

That said, I agree that the ultimate answer is much better arts edu-
cation. Unfortunately, that seems to be the first thing to go in times
like these. Due to state funding cutbacks, one LA area school district
plans to cut ALL extra-curricular activities including music, drama,
art, even sports. Either that or go bankrupt I suppose.

Bill Alves
Newsgroups: rec.music.classical
From: phd_ct@gsbacd.uchicago.edu
Subject: Re: Stravinsky and Prokofiev
Organization: 
Date: Thu, 9 Apr 1992 06:10:29 GMT


c60c-4bl@web-4b.berkeley.edu writes


> Hi, I'd like some recommendations and comments about recordings of 
> [...] Prokofiev's two sonatas for piano and violin. [...]
> As for the Prokofiev, there doesn't seem to be many recordings of the 
> sonatas out in the CD market.  Any suggestions for these pieces?
> Thanks in advance.  Appreciated.

> -Demian

A 1991 Virgin Classics release has the pieces you're looking
for.  The performers are: Dmitry Sitkovetsky (violin) and
Pavel Gililov (piano).  In addition to the two sonatas, it also 
contains the sonata for solo violin (op. 115) and Cinq Melodies 
(op. 35b) (clocking in at almost 78 minutes...).

I have no basis for comparing it to other performances, but I do 
quite enjoy this disk.

Anyway, it's Virgin Classics VC 91191-2.  Hope this helps.

Keith Bockus
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.music.classical
Subject: Re: Ivo Pogorelich (sp?)
Date: 6 Apr 92 16:52:31 GMT
Organization: University of Delaware

In article <kt7jtiINNdlu@mizar.usc.edu> adolphso@mizar.usc.edu (adolphson) writes:

["Cute" classical music performers.]

>Dmitri what's his name, the Siberian bass.  

Hvorastovsky.  And he's a (highish) baritone, not a bass.  But yep, he
is certainly being marketed this way.  He even did a "video" of a
Tchaikovsky song (promotional only, I think) in which he broods
soulfully.

Musicians today who are being marketed as sexy or at least pleasing to
look upon include Joshua Bell, the ubiquitous LaDreck sisters, Thomas
Hampson, Sam Ramey, Liona Boyd...the list goes on.

Jon Alan Conrad
From: smoliar@hilbert.iss.nus.sg (stephen smoliar)
Newsgroups: rec.music.classical
Subject: Re: government and the arts
Date: 17 Apr 92 01:09:31 GMT
Article-I.D.: nuscc.1992Apr17.010931.5641
Reply-To: smoliar@iss.nus.sg (stephen smoliar)
Organization: Institute of Systems Science, NUS, Singapore

In article <2227@transfer.stratus.com> jmann@vineland.pubs.stratus.com writes:
>In article <1992Apr15.121438.15671@nuscc.nus.sg>  
>smoliar@hilbert.iss.nus.sg (stephen smoliar) writes:
>>   Ultimately, I  
>think we
>> need more INCENTIVE for those who are in a position to serve as patrons  
>of the
>> arts to a greater or lesser degree.  Therefore, I would like have the  
>ability
>> to claim a TAX CREDIT, rather than a deduction from my income, for the  
>money
>> to choose to give to the arts;  and I would like to have greater  
>flexibility
>> in the money I can claim for such purposes.  For example, if I buy my  
>own copy
>> of "Piss Christ," I would certainly like to take a credit on that  
>investment,
>> just as I would for a contribution of $5000 to the Metropolitan Opera
>> (particularly since I shall be able to enjoy the Serrano effort over
>> a much longer period of time).
>> 
>
>God, would this open a can of worms (and make a real shambles
>of the tax code).

You say this as if the tax code were not already in a shambles!

>  Does this mean I should be able to deduct
>money for any CDs I buy? How about the kid next store, who wants
>to buy the latest Guns and Roses CDs?  How about the guy down
>the street who buy an Elvis on black velvet painting?  Where do
>you draw the line on what qualifies?
>
It DOES mean that you are going to have some level of regulation, however much
that may offend certain libertarian sensibilities.  Probably the best place to
draw the line is in terms of profit.  If Guns and Roses is turning a major
profit based on concert performances and straight record sales, then they
are not in need of subsidy.  The problem with the Chicago Symphony Orchestra
is that, for all of Solti's awards and sold-out houses, they still are in
danger of running a loss every season, as are most other symphony orchestras.
Perhaps if there were a tax incentive to buy more recordings of those
ensembles, they might ultimately turn into a more significant source
of revenue.  (Did someone say something about the profits "trickling
down" to the performers?  Perhaps he should consider the benefits of
a career in performance art.  If nothing else, it may be a useful preparation
for law school, according to the latest word from Gary Trudeau.)
-- 
Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg
Newsgroups: rec.music.classical
From: vlad@netcom.com (Vladimir Kuznetsov)
Subject: Re: Best Mahler cds?
Date: Sat, 11 Apr 92 19:33:22 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

I'm ssurprised that nobody even mentioned Bernstein's recordings 
with New York Philarmonics from mid 60's. He was at peack of his
talent at that time and lucky to work with one of the best
orchestras in a world. The result is an incredible set of Mahler
symphonie's recordings.

If you really want to understand Mahler's music then this set is 
a 'must'. But of course if tape hiss absence or "DDD" are of equal
importance than probably you should not listen Mahler symphonies at
all

Now, go and flame me, but at least try to listen these recordings.

vlad

-- 
Vladimir Kuznetsov                         (408)252-5455
Natural Intelligence Consulting            vlad@netcom.COM
                                           73437,3344@compuserve.com
From: cjr@otter.hpl.hp.com (Chris Robson)
Date: Wed, 8 Apr 1992 20:47:16 GMT
Subject: Re: Pampering your CDs.
Organization: Hewlett-Packard Laboratories, Bristol, UK.
Newsgroups: rec.music.classical

In rec.music.classical, ray@gawain.cif.rochester.edu (Raymond Sunessen Tuttle) writes:

> In article <1992Apr2.152040.1@woods.ulowell.edu> grayku@woods.ulowell.edu writes:
> >
> >      Now that you've mentioned car wax for removing scratches on CDs,
> > I've also heard you can clean them with toothpaste. (?) 
> > Anyone out here have any other household tips on CD care? I would

> I've polished out CD scratches and restored perfect tracking using Brasso,
> the "multipurpose metal polish." I don't have THAT many belt buckles!

Just to confirm that toothpaste _does_ work for some relatively deep scratches.
I recently dropped a CD and it scratched against the jewel box on the way
down. I washed it in water first, which is normally the only thing necessary.
That didn;t work - it was still jumping badly, so I decided I had nothing to
loose and tried toothpaste. Basicly I gently polished the wet CD radially with
my finger and a little toothpaste. It took about 15 minutes, but eventually
I got the scratch out. The CD is now in 'mint' condition 8-). So it is
worth trying, but probably only after all else fails!

			Chris. xxx.
From: roger@phoenix.Princeton.EDU (Roger Lustig)
Subject: Re: SHUBERT
Originator: news@ernie.Princeton.EDU
Organization: Princeton University
Date: Tue, 14 Apr 1992 05:00:48 GMT

In article <1992Apr13.203717.649@acsu.buffalo.edu>
 v123ptyu@ubvmsb.cc.buffalo.edu (Sungwoo Kim) writes:

>	I just wanted to ask any who remembers of 
>	Shubert's very first musical piece.
>	It's theme, if I remember correctly, was
>	something to deal with Evil dark force.

You're probably thinking of the song _Erlkoenig_, Op. 1.

This is not Schubert's first piece by any means, however, just his first
publication.  In the chronological list of his works (including
fragments), it's no. 328, and, yes, he was 18 years old.  He had already
written the astonishing "Gretchen am Spinnrade" a year before, as well
as many other songs, operas, and instrumental music.  

Roger
Z
From: shell@gandalf.Berkeley.EDU (Shelly Culbertson)
Newsgroups: rec.music.phish
Subject: Re: rec.music.phish FAQ?
Date: 15 Apr 1992 05:41:56 GMT
Organization: Dept. of Statistics, U. C. Berkeley
NNTP-Posting-Host: gandalf.berkeley.edu

And, to try to answer the rest of Brian's question(s): 

April

15: Variety Arts Theatre, Los Angeles, CA (all ages) 
16: Anaconda Theatre, Santa Barbara, CA (all ages) 
17: Warfield Theatre, San Francisco, CA (all ages) 
    on sale now at Bass 
19: The Catalyst, Santa Cruz, CA (16+)  
    on sale now at the venue 
21: Redwood Acres, Eureka, CA (all ages)
    on sale now at local outlets (call me for info: (707) 443-1172) 
22: Hilton Ballroom, Eugene, OR (all ages)  
23: Oz Niteclub, Seattle, WA (18+)
    on sale now through TicketMaster 
24: Roseland Theatre, Portland, OR (all ages)  
    on sale now through TicketMaster 
25: Evergreen College, Olympia, WA (all ages) 
    on sale now through TicketMaster 
29: First Avenue, Minneapolis, MN (all ages) 
30: Barrymore Theater, Madison, WI (with Aquarium Rescue Unit) (all ages) 
    on sale now through venue box office: (608) 241-8633 

May:

 1: The Rave, Central Park (2401 W. Wisconsin), Milwaukee, WI 8 pm (all ages) 
    $10 adv. / $12.50 door  TicketMaster, or venue: (414) 276-4545 
 2: Cabaret Metro, Chicago, IL (with Aquarium Rescue Unit) (all ages) 
 3: Michigan State University Union Ballroom, East Lansing, MI (all ages)  
 5: Bogart's, Cinncinnati, OH (all ages) 
 6: St. Andrew's Hall, Detroit, MI (18+) 
    Tickets $12.50, on sale April 8 at TicketMaster: (313) 645-6666 
 7: The Agora, 5000 Euclid Ave, Cleveland, OH (all ages) 
    tickets $10.00 at TicketMaster or venue: (216) 881-6911 
 8: The Riviera, North Tondawana, NY (all ages) 
    tickets $12, on sale through TicketMaster April 28 
 9: The Syracuse Armory, Syracuse, NY (all ages) 
10: Spring Concert, University of Massachusetts
    tix $10, on sale soon - contact John Greene, s3583045@titan.ucc.umass.edu 
14: The Capitol Theater, Port Chester, NY (all ages) 
16: The Orpheum, Boston, MA (all ages) 
    tickets $22.50, on sale now through Ticketmaster 

Hope to see you there! (wherever "there" may be ;-) 
Shelly

Newsgroups: rec.music.phish
From: "Greg J. Pryzby" <gjp%virtech@uunet.uu.net>
Subject: MONDO 2000, info available
Reply-To: gjp%virtech@uunet.uu.net
Organization: The Internet
Date: Tue, 7 Apr 1992 15:30:41 GMT

I have no relationship with MONDO 200 except being a happy reader.

I just received issues 3 and 4 (back issues) of MONDO 2000 and was very 
impressed. David Gans and John Perry Barlow both contribute (ODC ;^) in
issue 3 (I am still reading issue 3, so I don't know if they are in issue 4
also.) 

I also received information concerning back issues that are now available.
A few of the Reality Hackers issues and issue 1 and 2 of MONDO 2000. 

The reason I am posting this information is that if you are interested in
computer issues these magazines contain a wealth of information.

Issue 6 got back from the printers over the weekend and should be available
on the newsstands soon (from a conversation with MONDO 2000 on 4/3.) 

If you want specifics concerning price and ordering info for past/present/future
issues, email me.

-- 
Greg Pryzby                                             uunet!virtech!gjp
Virtual Technologies, Inc.
Herbivores ate well cause their food didn't never run. -- Jonathan Fishman
From: btdy@vax5.cit.cornell.edu
Newsgroups: rec.music.phish
Subject: The PhAQ and other useful info...
Date: 14 Apr 92 12:07:04 EDT
Distribution: rec
Organization: Cornell University


Greetings!

When Lee compiles his Dolby article and posts it, why don't we include it
in the FAQ.  But as far as collecting info on tape decks, I think there's
far too many brands, models, and price ranges to make it worthwile.  Besides,
opinions vary, and any survey that's not done my one person will not
be consistent (see the EQUIP. REVIEW RESULTS string in rec.audio).  I don't
think it would be useful to go to all the work to summarize the discussion,
except maybe to reduce the bandwith from people like me who love to babble
endlessly about audio equipment.  :-)

The DAT-heads FAQ has a lot on info on taping.  Anyone who wants it can
e-mail me 'BTDY@vax5.cit.cornell.edu' or 'Maggard@msc.cornell.edu' but
I would like to warn y'all--it's rather LONG! (a thousand or so).

I can phish out a couple of the key questions and answers and put 'em 
the PhAQ if anyone's interested--let me know.

- Jeff

Newsgroups: rec.music.phish
From: jamie@access.digex.com (James Treworgy)
Subject: Re: Phish review in Musician magazine
Organization: Express Access Public Access UNIX, Greenbelt, Maryland USA
Date: Wed, 8 Apr 1992 03:04:14 GMT

In article <1992Apr6.023521.29201@uvaarpa.Virginia.EDU> AFOSTER@cmcvx1.claremont.edu writes:
>I don't think this has been posted before...this is a review of the boys in
>the April issue of Musician:
...
>	and the audience gets involved.  We do it in two songs; the crowd
>	knows they're the trampoline songs."  Is "Bouncing Around the Room" one
>	of them?  "No," McConnell chuckles.  Leave it to these guys not to do
>	the obvious.
>
>Well, there it is...sorry it's so long.  I thought it was pretty interesting,
>except that one of my roommates has been to several Phish shows and says that
>"Bouncing" is one of the songs for which they use the trampolines.  Dunno.
>This was written by some guy named Mac Randall.

Thanks for the post!! Musician huh? Can RS be far away :-O anyway about
bouncing, in my experience, they aren't on trampolines, since they are
all singing throughout the whole song!! But they do kind of gently bob
up and down, and lots of people in the audience like to jump during that
song (myself included).

My all time favorite is Mike's Song though..
-- 
James A. Treworgy    "And it all would be so crystal clear, if it wasn't for
jamie@digex.com         the foam..."          (jamie@sun.astro.wesleyan.edu)
Xref: sparky rec.music.phish:889 talk.rumors:693