Lipton’s Journal/December 1, 1954/8 - Revision history

Grlucas: Tweaked.

2021-07-14T21:38:39Z

Tweaked.

← Older revision		Revision as of 17:38, 14 July 2021
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	In modern jazz,~~<ref>~~During the {{date\|1950}}s and {{date\|1960}}s, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis\|Miles Davis]], [[w:Charlie Mingus\|Charlie Mingus]], [[w:Dizzy Gillespie\|Dizzy Gillespie]], [[w:Dave Brubeck\|Dave Brubeck]], [[w:Thelonious Monk\|Thelonious Monk]], and [[w:Sonny Stitt\|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with ~~NM’s~~ fourth wife [[w:Beverly Bentley\|Beverly Bentley]] ({{daterange\|1930\|2018}}), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' ({{date\|1965}}).~~</ref>~~ one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.		In modern jazz,{{refn\|During the {{date\|1950}}s and {{date\|1960}}s, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis\|Miles Davis]], [[w:Charlie Mingus\|Charlie Mingus]], [[w:Dizzy Gillespie\|Dizzy Gillespie]], [[w:Dave Brubeck\|Dave Brubeck]], [[w:Thelonious Monk\|Thelonious Monk]], and [[w:Sonny Stitt\|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with Mailer’s fourth wife [[w:Beverly Bentley\|Beverly Bentley]] ({{daterange\|1930\|2018}}), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' ({{date\|1965}}).}} one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.

	~~{{Notes\|title=Note\|width=60em}}~~

			{{Notes\|title=note\|width=60em}}
	{{LJnav}}		{{LJnav}}
	[[Category:December 1, 1954]]		[[Category:December 1, 1954]]

Grlucas: Tweaks.

2021-07-11T22:15:06Z

Tweaks.

← Older revision		Revision as of 18:15, 11 July 2021
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	In modern jazz,<ref>During the ~~1950s~~ and ~~1960s~~, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis\|Miles Davis]], [[w:Charlie Mingus\|Charlie Mingus]], [[w:Dizzy Gillespie\|Dizzy Gillespie]], [[w:Dave Brubeck\|Dave Brubeck]], [[w:Thelonious Monk\|Thelonious Monk]], and [[w:Sonny Stitt\|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with NM’s fourth wife [[w:Beverly Bentley\|Beverly Bentley]] (~~1930–2018~~), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' (1965).</ref> one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.		In modern jazz,<ref>During the {{date\|1950}}s and {{date\|1960}}s, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis\|Miles Davis]], [[w:Charlie Mingus\|Charlie Mingus]], [[w:Dizzy Gillespie\|Dizzy Gillespie]], [[w:Dave Brubeck\|Dave Brubeck]], [[w:Thelonious Monk\|Thelonious Monk]], and [[w:Sonny Stitt\|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with NM’s fourth wife [[w:Beverly Bentley\|Beverly Bentley]] ({{daterange\|1930\|2018}}), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' ({{date\|1965}}).</ref> one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.

	{{Notes\|title=Note\|width=60em}}		{{Notes\|title=Note\|width=60em}}

Grlucas: Corrected date.

2021-04-03T18:33:56Z

Corrected date.

← Older revision		Revision as of 14:33, 3 April 2021
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	In modern jazz,<ref>During the 1950s and 1960s, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis\|Miles Davis]], [[w:Charlie Mingus\|Charlie Mingus]], [[w:Dizzy Gillespie\|Dizzy Gillespie]], [[w:Dave Brubeck\|Dave Brubeck]], [[w:Thelonious Monk\|Thelonious Monk]], and [[w:Sonny Stitt\|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with NM’s fourth wife [[w:Beverly Bentley\|Beverly Bentley]] (~~b. 1930~~), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' (1965).</ref> one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.		In modern jazz,<ref>During the 1950s and 1960s, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis\|Miles Davis]], [[w:Charlie Mingus\|Charlie Mingus]], [[w:Dizzy Gillespie\|Dizzy Gillespie]], [[w:Dave Brubeck\|Dave Brubeck]], [[w:Thelonious Monk\|Thelonious Monk]], and [[w:Sonny Stitt\|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with NM’s fourth wife [[w:Beverly Bentley\|Beverly Bentley]] (1930–2018), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' (1965).</ref> one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.

	{{Notes\|title=Note\|width=60em}}		{{Notes\|title=Note\|width=60em}}

Grlucas: Updated note.

2021-03-01T14:32:13Z

Updated note.

← Older revision		Revision as of 10:32, 1 March 2021
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	In modern jazz,<ref>During the 1950s and 1960s, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis\|Miles Davis]], [[w:Charlie Mingus\|Charlie Mingus]], [[w:Dizzy Gillespie\|Dizzy Gillespie]], [[w:Dave Brubeck\|Dave Brubeck]], [[w:Thelonious Monk\|Thelonious Monk]], and [[w:Sonny Stitt\|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with NM’s fourth wife [[w:Beverly Bentley\|Beverly Bentley]] (b. 1930), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' (1965).</ref> one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.		In modern jazz,<ref>During the 1950s and 1960s, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis\|Miles Davis]], [[w:Charlie Mingus\|Charlie Mingus]], [[w:Dizzy Gillespie\|Dizzy Gillespie]], [[w:Dave Brubeck\|Dave Brubeck]], [[w:Thelonious Monk\|Thelonious Monk]], and [[w:Sonny Stitt\|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with NM’s fourth wife [[w:Beverly Bentley\|Beverly Bentley]] (b. 1930), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' (1965).</ref> one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.

	===Note===		{{Notes\|title=Note\|width=60em}}
	~~{{Reflist~~}}

	{{LJnav}}		{{LJnav}}
	[[Category:December 1, 1954]]		[[Category:December 1, 1954]]

Grlucas: Fixed typo.

2020-07-04T20:42:35Z

Fixed typo.

← Older revision		Revision as of 16:42, 4 July 2020
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	In modern jazz,<ref>During the 1950s and 1960s, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis\|Miles Davis]], [[w:Charlie Mingus\|Charlie Mingus]], [[w:Dizzy Gillespie\|Dizzy Gillespie]], [[w:Dave Brubeck\|Dave Brubeck]], [[w:Thelonious Monk\|Thelonious Monk]], and [[w:Sonny Stitt\|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with NM’s fourth wife [[w:Beverly Bentley\|Beverly Bentley]] (b. 1930), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' (1965).</ref> one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.		In modern jazz,<ref>During the 1950s and 1960s, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis\|Miles Davis]], [[w:Charlie Mingus\|Charlie Mingus]], [[w:Dizzy Gillespie\|Dizzy Gillespie]], [[w:Dave Brubeck\|Dave Brubeck]], [[w:Thelonious Monk\|Thelonious Monk]], and [[w:Sonny Stitt\|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with NM’s fourth wife [[w:Beverly Bentley\|Beverly Bentley]] (b. 1930), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' (1965).</ref> one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.

	===~~Notes~~===		===Note===
	{{Reflist}}		{{Reflist}}

	{{LJnav}}		{{LJnav}}
	[[Category:December 1, 1954]]		[[Category:December 1, 1954]]

Grlucas: Created page.

2020-07-04T20:42:10Z

Created page.

New page

{{LJtop}}
In modern jazz,<ref>During the 1950s and 1960s, {{NM}} went to clubs in Greenwich Village and heard all the great jazz musicians: [[w:Miles Davis|Miles Davis]], [[w:Charlie Mingus|Charlie Mingus]], [[w:Dizzy Gillespie|Dizzy Gillespie]], [[w:Dave Brubeck|Dave Brubeck]], [[w:Thelonious Monk|Thelonious Monk]], and [[w:Sonny Stitt|Sonny Stitt]], who became a friend. In both “Lipton’s” and “[[The White Negro]],” jazz is linked with marijuana, sex and the lives of hipsters in the demimonde. Miles Davis, who had a long relationship with NM’s fourth wife [[w:Beverly Bentley|Beverly Bentley]] (b. 1930), was a model for Shago Martin, the jazz singer in ''[[An American Dream]]'' (1965).</ref> one feels a key to aesthetics. Because modern jazz consists almost entirely of surprising one’s expectation, and it is in the degree, small or great, with which each successive expectation is startled, that the artistry lies. But modern jazz has risen to share the crisis of modern painting. It is a self-accelerating process for the audience’s expectations are changed almost nightly (that is, the tight critical yeast of the true aficionados) and so questions of “beauty” disappear before the dilemma—last night’s innovation is tomorrow’s banality. What is suggested is a movement across the arts, each of them engaging the other in order to find new startlings of old expectations until the arts blend, possibly in mathematics, the only art where the expectations of expectations of expectations, etc. can approach infinity.

===Notes===
{{Reflist}}

{{LJnav}}
[[Category:December 1, 1954]]