[bksvol-discuss] Re: Two ^p's?

Yes. I don't remeber ever seeing onw that didn't--but sometimes they skip 
lines, too, like the book I'm proofing now

A new paragraph is supposed to start when there is a *slight* change of 
subject. If there is  big change of subject, a book might both skip a linr and 
indent.

I'll past two examples from the book I'm now proofing, Kind of Blue--but it is 
unusual in that it does that--Although I think Jimmy's in the Well might have 
done that, too. (That's in the collection, so yuo can check it out.

Here are two paragaphs with no space. Note that there is a slight change of 
subject

But when, in 1944, a big band led by vocalist Billy Eckstine and featuring alto 
saxophonist Charlie Parker and trumpeter Dizzy Gillespie hit town, Miles was 
awestruck. The sounds he heard from Bird and Diz were the earliest rumblings of 
the bebop revolution—intense, unbridled solos rife with harmonic invention. 
Miles's future was sealed. Before the year was out he headed for New York City, 
ostensibly to get a musical education at Juilliard. But when he arrived, he 
made a beeline for the bebop scene on 52nd Street and uptown in Harlem; that 
world had been his destination from the start. "I spent my first week in New 
York looking for Bird and Dizzy," Davis recalled.
The brashness was typical of Miles. He forged the shield of a tough, outer 
persona to pursue the extremely public and financially insecure profession of a 
musician. "Miles talks rough—you hear him use all kinds of rough words," Dizzy 
Gillespie told jazz historian Dan Morgenstern years after meeting Davis. "[But] 
his music reflects his true character ... Miles is shy. He is super-shy. A lot 
of people don't believe that, but I have known him for a long, long time." 
Miles maintained the front throughout his life. Quincy Jones recalls, "He had 
that little cold exterior, you know. But he was the sweetest dude in the world."
Another trait that came to identify Davis, even in these early years, was his 
contradictory nature. In conversation—at times, in the same conversation—he 
might emphatically argue two entirely opposite viewpoints. Davis's 
autobiography provides a characteristic example from his first few months


Here is where the subject changes sharply and there  is a space as well as 
indentation (I pit in the asterisks to indicate that)

Now on that break that Bird made, man, it was so hard for us to count it 
because we weren't used to listening and everybody wasn't coming in right. So 
Miles said "I tell you what, I'll go over here by the piano, I'll put my finger 
in my ear and on the first beat of the seventeenth bar when you're supposed to 
come in, I'll bring my hand down." That's how it was made.
**
But there was trouble in bebop paradise. Parker's penchant for the high life in 
general—and his heroin addiction in particular—led to a series of irksome 
problems. Insufficient rehearsals, miscues and general foolish behavior 
onstage, and having to chase after his pay were Miles's biggest complaints. By 
the end of 1948, as Parker's drug habit deepened and his mid-performance antics 
increased, Miles had quit Bird's band.
Davis was resolved never to play the attention-grabbing entertainer, even in 
the more professional manner of Louis Armstrong, Cab Calloway or Dizzy 
Gillespie. He would not allow himself to descend to that level. "I love Dizzy, 
but I hated that clowning shit he did for them white folks ... I decided ... 
when people came to hear me, they were going to be coming to hear my music, 
only."
***
Davis's outlook—fierce, determined, proud—was becoming common in the jazz 
world. A wave of jazz musicians were striving not just to be listened to 
attentively, but to receive the respect and rewards appropriate to the highest 
forms of artistic expression. In the clubs, they demanded attention and silence 
from their fans. "For the younger musicians," John Lewis told critic Nat 
Hentoff, "this was the way to react against the attitude that Negroes were 
supposed to entertain people. The new attitude was ... 'Either you listen to me 
on the basis of what I actually do or forget it.'"
Miles was at the forefront of this group, and with the advantage of his tenure 
with Charlie Parker earned the respect of jazz fans and fellow musicians alike 
for his stance. Quincy Jones was a young trumpeter from Seattle who first 
worshipped the members of the bebop vanguard from afar and eventually became an 
integral part of the jazz scene during the fifties. But even before moving to 
New York in 1951, he was acutely aware of the mentality of the new breed of 
jazz musicians and Miles's stature within that pack:

There was something about the times then where it was so unhip to be accepted. 
[TV comedian and former jazz musician] Sid Caesar used to do this parody of a 
bebop band—"We got a nine-piece band where the ninth member plays radar to let 
us know if we get too close to the melody." That's where we were... . You just 
wanted to know the tunes that Miles knew and Bird knew. That's all you cared 
about.
***
When Miles departed Parker's band, he already had other projects cooking. He, 
George Russell and John Lewis had intersected again, and were




Wish List (i.e., books wanted added to the collection) and books-being-scanned 
list available at sites below



Wish List: https://wiki.benetech.org/display/BSO/Bookshare+Wish+List

Books Being Scanned List: 
https://wiki.benetech.org/display/BSO/Books+Being+Scanned+List


--- On Mon, 9/21/09, Bob <rwiley@xxxxxxxxxxxxx> wrote:

> From: Bob <rwiley@xxxxxxxxxxxxx>
> Subject: [bksvol-discuss] Re: Two ^p's?
> To: bksvol-discuss@xxxxxxxxxxxxx
> Date: Monday, September 21, 2009, 6:15 PM
> Then do all books indent their
> paragraphs?
> 
> Bob
> "We know the future will outlast all of us, but I believe
> that all of us will live on in the future we make,"
> Senator Edward M. Kennedy
> ----- Original Message ----- From: "Judy s." <cherryjam@xxxxxxxxxxxxxxxx>
> To: <bksvol-discuss@xxxxxxxxxxxxx>
> Sent: Monday, September 21, 2009 7:51 PM
> Subject: [bksvol-discuss] Re: Two ^p's?
> 
> 
> > Hi Christina,  You've got it exactly right. 
> One paragraph mark is just a new line, but not a blank
> line.
> > 
> > For the sighted reader, printed books do not have a
> blank line between paragraphs.  However, they do have a
> blank line between page numbers and text because that makes
> it easier for the eye to scan and sort of ignore page
> numbers without interruption in the flow of the text, while
> still having them there if you need them, if that makes any
> sense.
> > 
> > Hmm, how to translate that into something that sort of
> makes sense... how about this?
> > 
> > Putting a blank line between a page number and the
> contents of a page is sort of like the pause in music
> between the main verse and the refrain. You really don't pay
> attention to the pause, but it's there if you need it, and
> sort of helps your ear and brain distinguish the verse from
> the refrain.  It maintains continuity without breaking
> up the flow or running them together.
> > 
> > Judy s.
> > Christina wrote:
> >> Hi, Mayrie.
> >> Thanks for the info.
> >>  So, one paragraph mark is just a new line
> but not a blank one then?  And two are an actual blank
> line?
> >> Think I've got it now.
> >> Thanks.
> >> Christina
> >>  ----- Original Message -----
> >>     *From:* Mayrie ReNae
> <mailto:mayrierenae@xxxxxxxxx>
> >>     *To:* bksvol-discuss@xxxxxxxxxxxxx
> >>     <mailto:bksvol-discuss@xxxxxxxxxxxxx>
> >>     *Sent:* Monday, September
> 21, 2009 6:01 PM
> >>     *Subject:*
> [bksvol-discuss] Re: Two ^p's?
> >> 
> >>     Hi Christina,
> >>      It is not necessary to have
> two paragraph markers in a row.  You
> >>     are right that two in a
> row creats a blank line between lines of text.
> >>      Not all books use a blank line
> between paragraphs.  In fact, I
> >>     think that most
> don't.  Generally, I think that a blank line between
> >>     blocks of text is reserved
> for scene changes denoted by white space,
> >>     or between the running
> header and the text on the page, or the
> >>     chapter heading and the
> text on the page. To answer your question directly, no, we
> do not need to have blank
> >>     lines between paragraphs
> in scans for bookshare.
> >>      Perhaps Judy and Valerie, and
> Cindy can comment on what they see in
> >>     books and on their screens
> when proofreading scanned books regarding
> >>     paragraph marks if it is
> different from my experience.  They deal
> >>     with printed text every
> day in its book format so would know best
> >>     what they encounter.
> >>      I can tell you that scans done
> with Open Book are more likely,
> >>     in my experience, to have
> blank lines, or two paragraph marks
> >>     between paragraphs than
> any other scanning and OCR software whose
> >>     scans I've proofread.
> >>      Mayrie
> >>     
> ------------------------------------------------------------------------
> >>     *From:* bksvol-discuss-bounce@xxxxxxxxxxxxx
> >>     [mailto:bksvol-discuss-bounce@xxxxxxxxxxxxx]
> *On Behalf Of *Christina
> >>     *Sent:* Monday, September
> 21, 2009 1:26 PM
> >>     *To:* bksvol-discuss@xxxxxxxxxxxxx
> >>     *Subject:*
> [bksvol-discuss] Two ^p's?
> >> 
> >>     Hi, guys.
> >>     I'm confused about
> something.
> >>     In Word, is there a need
> for two ^p's I.E. paragraph markers in a
> >>     row?  I know they're
> in the print copies but do we need them in our
> >>     scans/proofread copies?
> >>     When there are two in a
> row, it just looks like a blank line to me.
> >>     So, my question is, how
> are two different from one?
> >>     Thanks.
> >>     Christina
> >> 
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> > 
> 
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> 
> 


      
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