[bksvol-discuss] Re: Two ^p's?
- From: "Christina" <greensleeves1@xxxxxxxxx>
- To: <bksvol-discuss@xxxxxxxxxxxxx>
- Date: Tue, 22 Sep 2009 10:37:55 -0400
Thanks, Cindy.
Christina
----- Original Message -----
From: "Cindy" <popularplace@xxxxxxxxx>
To: <bksvol-discuss@xxxxxxxxxxxxx>
Sent: Tuesday, September 22, 2009 4:25 AM
Subject: [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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