May 11th, 2007
|03:27 pm - Groovin' down the Path|
Today's Jimmy Buffett Oracle is pretty straightforward:
64. I'll put on my Bob Marley tape and practice what I preach.I happen to know exactly what that means.
This morning, I updated my Liturgy Practicum 1 journal for what I hope is the final time (*fingers crossed*). . . there's a space for a final essay, but it's not required, and I'd like more time to reflect on the journal before I actually do it: it's only been about 5 months since I finished the course, and I'm very happy with how it worked out, but I want more "space" before I start trying to analyze and distill the lessons.
At lunch today, I found myself wondering about two questions in particular:
I also re-started my re-working of my Dedicant work today at lunch, and I began with the eight High Days. I expect to retain my old, original work on my website, but I will make a very clear demarcation between the "good stuff" and the "original crappy stuff".
- Is there some code among girls that, if a guy makes you a mixed CD or mixed tape, he's "totally into you"?
- Why do I have no Patsy Cline in my entire music collection? How has it taken me this long to notice?
So far, I'm finished with Imbolc and Autumnal Equinox. A key change I've made to the format of my previous submissions of High Days is to use the actual ADF terminology for the "Eight ADF High Days" (see Article 4 of the ADF Constitution). Well, close to it, as I numbered the "crossquarters" as "first crossquarter" and such, and also indicated the season the astronomical phenomenon fell in like "winter solstice". And I included both the "modern Neo-Pagan name" for each and the "Gaulish name" (from Ariotanos Iuranantantios' work).
I'm really enjoying the mental exercise of going back to the basics here. I've said, time and again, that anyone can gain from walking the Dedicant Path. I've been a major influence on lots of DP's in the past four years, and I'm finding a lot of worth in going back to re-do it.
And for all those Dedicants who have the habit of telling me that I'm somehow inspiring, I'd like to point out that it's your work that inspired me to go back and re-work my own DP. And I mean that.
Current Location: Southeast of Disorder
Current Mood: happy
Current Music: "Cinco de Mayo in Memphis", -JB
Is there some code among girls that, if a guy makes you a mixed CD or mixed tape, he's "totally into you"?
I think it's probably more prevalent sinceHigh Fidelity
, as referenced by duriyah
I'm going to be a terrible, horrible, sexist person (or, perhaps, simply a realist - reader's call) and say that within living memory it took more technological fiddling to make a mix compilation than it does today. Such technological fiddling was stereotypically seen to be more of a guy
thing, so girls would a.) be less likely to do it, and therefore possibly b.) think it was harder than it was and so believe the gesture to be more significant than maybe it really was. . . .
That sociological set of observations delivered, I'll put on my female-audio-engineer hat and say, I've made slightly more mixes for people I was "totally into" than not. If you add the ones I made sheerly for my own enjoyment to the number I made for simply-friends, however, the number balances out.
But then, I'm some strange female animal who relates to people strongly through music and really likes messing with complex recording equipment. Most people's mileage may vary. ;)
This is true. The first time I made a mixed tape, it took me something like 2 hours or so to cue up all the music, set the tape recorder, and get the damn thing moving.
Of course, I generally only did it for myself back then. Making a mixed tape for a girl never occurred to me, at least not until it got easy :)
Come to think of it, I kinda stopped when CD burning technology started spreading. Maybe it just wasn't enough of a challenge anymore. ;)
I did make one mix CD in 2001. But there was this guy, you see. . .
Not *that* much technological fiddling- just the knowledge of how to hit the pause button on the tape recorder-- & having a dual tape deck helped, too, otherwise you were limited to your records & couldn't pull something off another tape. Unless you mean mixing tapes with segueways & adjusted audio levels, which would take some better equipment than any of my friends had (although now I know some folks with recording studios in their basements)
Most of the other girls around weren't much into it, now that you mention it, but then they had the annoying tendency to be more into clothes & make-up, which was never a compelling interest for me.
Most of the technological fiddling for me was in remembering how to patch all the components of my system together again after a move so that signal flow worked right for recording, not just listening.
"So, Tape One out to Tape Two in, Tape Two out to Amplifier in. . . where do I put the CD out again? Grr. . ."
(Aside: why is it that pro gear admits you need to see what you're doing to patch connections properly but consumer stuff makes it as inconvenient as possible?)
I also definitely rode the volume control when recording, to prevent any volume shifts that would be TOO dramatic. Hate hate hate that.
I did do some digital editing on that last mix re: segues and such, but not much.