Frogman, my opinion of Mr. John Coltrane, or his music has not changed one iota since that night. You do an awful lot of writing about something you have never heard, because he only went on those excursions on live sets, which you have never been on. What I mentioned was only released for the at home audience recently, because no one had a high opinion of it; but you can now purchase it and give your review. If McCoy Tyner, and Elvin Jones didn't know where he was, how could me or the audience know. Aficionados, I don't know how long that marvelous live set lasted, but his journey (by himself) into the outer galaxies only lasted for a few minutes, maybe less than 3 ( but it seemed like a long time) Although that was 50 years ago, my present rig sounds fuzzy compared to that live set; that soprano sax "live" was absolutely unforgettable. His journeys into the outer galaxies was much talked about, but only heard if you went to a live set, not available on records until long after his death. I enjoy every note of "Trane's" music now as much as I did then, which is to say, a lot; he has such an awesome variety, including those incredible solos when he was with Miles, that I can never get tired of "Trane's" music. Naturally "My Favorite Things" sounds like squat on CD after that night, because his soprano sax seemed to be resonating in my ear, making the recorded version sound dull and lifeless, but everything else still sounds good. Here's a seldom talked about side of "Trane". https://www.youtube.com/watch?v=r594pxUjcz4Enjoy the music. |
O-1O, this is one of those times that our discussions lose focus and I frankly don't know just what it is we are talking about. No, I never heard Coltrane live but I have heard just about every recording of his extended "excursions" so I know what it is you are talking about. I don't want to get bogged down and go in circles and risk getting into a contentious argument. Here's the issue:
This has been discussed/debated here about half a dozen times now and we are very familiar with the account of that night. This discussion began when you stated the opinion that only musicians understood or understamd (now on recordings) what Coltrane was doing during those "trips into outer space". Moreover, you have often expressed the opinion that this was a period in his career when Coltrane "went too far" and this has been stated with a negative slant. I disagree. I have known non-musicians who do like and understand what he was doing. I see that as a positive and don't uunderstand why you see it as a negative in spite of the fact that you don't like it or appreciate it. You had a wonderful experience hearing Trane live that night; good for you and I wish I had. Fortunately for fans those live sets are well documented on record. My point is simply that audiences today would have a different reaction than they would have 50 years ago when nothing like that had been heard previously for all the reasons that I explained in my previous post. Perhaps I'm not understanding but your comments suggest that the very set that you heard that night was recorded and released. Would love to hear it. Can you tell us what recording that is? Thanks again for the personal account.
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Ghosthouse, J.C. Thomas' "Chasin' The Trane" is a great and very readable Coltrane biography. Very accessible and focuses on his life without much by way of musical technicalities. Highly recommended!
Thanks for one of my favorite tunes from Sunken Condos. Really like that record and John Herrington always kills me with that great guitar sound. One can never have too much light 😎 |
"I don't want to get bogged down and go in circles and risk getting into a contentious argument."
So Frogman, why do you always risk it?
This has been discussed/debated here about half a dozen times now and we are very familiar with the account of that night.
Since you always misunderstand, you are not familiar enough with that night.
Moreover, you have often expressed the opinion that this was a period in his career when Coltrane "went too far" and this has been stated with a negative slant.
This was in 63, and he never quit doing what I described, he was still doing it late in his career, even more.
Frogman, since you are so aware of what I'm talking about, why don't you find an example of this on "you tube" and all of us can debate it.
No, that set was not recorded.
That audience had followed "Trane" for all those years he was with Miles, and since he started his own independent career; they were not the least unfamiliar with "Trane", that's why they put down decent bucks to see him, he was not a new item in 63.
I hope I have addressed all your comments. Please find a "you tube" that will exemplify what I'm speaking of, that you claim to be so aware of, in order for "our audience" to make their own independent determinations.
I hate to be so blunt, but put up, or shut up.
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O-10, sorry, but I’m not going to go down that road of contentiousness again and for the umpteenth time. It’s too bad that you always seem to need to turn things nasty when faced with simple disagreement. I believe my comments have been perfectly clear and I don’t think it is I who is not understanding. As always I’m willing and would be glad to discuss further with civility. Until then or if not, peace! I respectfully suggest you put the brakes on . Btw, you yourself have posted examples of the Trane’s playing from the period in question as examples of how he "took it too far", so they are already here on this thread. |
Frogman, Orpheus - Seems to me this might be another example of that objectivist/subjectivist music dynamic that generates much discussion on this thread...or at least that’s how I interpret it. You two are Yin & Yang, two sides of the same coin.
I’ve NO problem with Orpheus recollection of his and the audience’s reaction to that Coltrane performance OR Frogman’s comments about JC’s work in that period. F’s 7:03PM 6/7 post makes a lot of sense to me and seems to be consistent with and explain what Orpheus witnessed. Even though audiences might have known JC from his work with Miles, that didn’t necessarily prepare them for what he might get into on any given night once he started performing with his own band. McCoy Tyner in that interview talks about how he was always exploring and experimenting, preferring not to do the same thing twice. The audience that O was part of might well have witnessed something they weren’t totally ready for. Heck, maybe it wasn’t even one of John’s more successful explorations.
I certainly do not understand what is provoking any ill-humor.
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Exactly right, Ghosthouse. The concept of changing/evolving audience tastes and perception is well documented and practically indisputable. Like you and as I wrote previously, I don't doubt that O-10's account of the audience reaction was accurate; and yes, that probably wasn't even JC's "most successful exploration". No need for ill-humor. I would also venture a guess and say that there probably was one jazz-geek in that crowd that, if only privately, said to himself: "That was awesome!".....there always is. |
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Thank you very much Acman; I consider that very appropriate for the present conversation.
"Trane", McCoy Tyner and Elvin Jones, are like one musically. The sound of the soprano sax, is the sound of India, and projects the Eastern groove "Trane" was in at that time.
Track 1 India, was recorded live at the Village Vanguard in 61; his live tracks are longer, and they have a different feel; that's because of audience feedback, which gives the performance high energy.
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Ghosthouse, the crowd was almost every professional musician in St. Louis, and serious aficionados; a lot of whom I knew. That was a very big jazz event that no one serious about the music would miss.
For sure his performance didn't sound like the records they (we) had at home, but that's not what we came to see. What I spoke of, that someone is inferring was what the whole performance consisted of, was probably less than three minutes, and neither McCoy Tyner nor Elvin Jones were prepared for it. This was mentioned about most live performances after that one.
Enjoy the music.
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Nice to hear from you, Alex. Great clip and of my favorite things on YouTube. There are two others that I (and I think acman3 as well) posted a while back. Here's another: https://m.youtube.com/watch?v=HE9bRhUwELE |
Hi guys - still lurking and glad to see that the conversations are generally more civil again. Ghosthouse, I want to respond to your yin-yang comparison of Frogman and Orpheus. I will state first that I also do not doubt that Orpheus accurately judged the audience reaction, etc., and I also want to say that I very much appreciate his stories - they are great contributions to this thread. This post is not about either of those things.
I just want to say that they are not yin/yang, or two sides of the same coin. This would imply that they have the same knowledge/understanding, but different approaches/outlooks, if either is the right word. But this is simply not the case. Although they both unquestionably love music, one has studied it extensively all his life and has made it his profession (and very successfully so!), and writes about it very clearly. The other has openly expressed contempt for the very idea of studying music, and has no real understanding of how it works. However, he seems to think that the fact that he loves it so much gives him the same kind of authority in speaking about it. He has every right to think that, and write whatever he wants to here, and I have told him I am not going to argue with him anymore about the subject, or attempt to educate him anymore (though I do admire Frogman's efforts, and they are far more successful than mine were). This basic difference is the source of the unfortunate ill-humor you speak of, and why they cannot be considered yin and yang. It is a shame. But, despite some of the rancor expressed here from time to time, this is still the best long-running thread on this site. I have learned a great deal here, and I'm sure will continue to as long as it lasts, and I very much appreciate Orpheus as the originator of this thread. |
Learsfool, the title of this thread is jazz for aficionados, not music 101. I have suggested to you and Frogman many times, if you want to start a music class thread, you both have my blessings.
You and he both have taught some music on this thread; the problem arose when at the same time, you and he decided to teach me music, and I stated feel free to teach, and those who want to learn can do so, but if I want music lessons, I'll find a music school.
An "Aficionado" is a person who is very knowledgeable and enthusiastic about an activity, subject, or pastime; in this case, sharing the best jazz music available, whether it be on record, CD or live. Nowhere does that include learning music; however, I will appreciate any comments you have, that you feel are appropriate to sharing an appreciation of listening to music.
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Someone mentioned a tribute to Mingus, before I got sidetracked, and the question was; did it capture the essence of Charles Mingus. That was a huge task for sure; he would have to carefully divide the works of Mingus by category, and not by time. Some artists, Miles Davis in particular, changed in regard to time frame. Mingus chose various subjects that he painted on his musical canvas. The "Sanctified Church" was a recurring them; https://www.youtube.com/watch?v=dvj1E7xyWsg https://www.youtube.com/watch?v=x1WQR8Ti1vk"Goodbye Pork Pie Hat" was released on his album Mingus Ah Um. Mingus wrote it as an elegy for saxophonist Lester Young, who had died two months prior to the recording session, and was known to wear a broad-brimmed pork pie hat. It is one of Mingus's best-known compositions and has been recorded by many jazz and jazz fusion artists. https://www.youtube.com/watch?v=5IsNHDuwJrMEnjoy the music. |
I too had an issue (albeit minor) with the yin-yang characterization. However, I did not make an issue of it in part because I think I know that what Ghosthouse means is the reliance primarily on a personal observational and emotional reaction to music or event when making commentary vs making commentary that is rooted in a generally accepted factual reality: subjective/objective...yin/yang. Please correct me if I am misconstruing.
I have no interest in claiming any superiority or authority when participating here. I participate and make comments, agree or disagree, based on what I believe (or know) to be factual and anyone who cares can decide whether what I write has any merit or not. However, this does not mean that I will be yielding to what I believe is incorrect or incomplete information. As always, I think the key is to do all this in a civil and respectful way regardless of which side one is coming from. I also don't claim to never have failed in being civil, but I believe that anyone who cares to look at how the exchanges here transpire will find that things get derailed when the commentary from the yin side turns personal and often nasty when the yang disagrees and won't yield. I believe the most recent exchange between yin and yang is a fine example of this.
Now, the main reason I had an issue with the yin-yang characterization is what I think is the most important message in all of this for all of us. The emotional and subjective aspect of the music listening experience cannot and should not be entirely separated from the factual reality; or vice versa. The two can and should live side by side. One of the reasons for "ill-humor" here has been the suggestion or insistence by some on the yin side that the simple fact that a listener acknowledges the factual (yang) means that that there is somehow less appreciation of or openness to the emotional (yin). Nothing could be further from the truth. In fact, and as I have suggested before, the understanding of the factual can enhance the emotional experience. Whether this can work for any one individual is a personal matter however. ( Example, and speaking for myself: I can acknowledge the craft and technical excellence of the music of Richard Wilson, but I still can't stand it. Or, I can point to all the flaws in Elvis Costello's voice and still really like his singing).
The most recent ill-humor was luckily relatively minor and I would like to respectfully point out to O-10 that there was no attempt of any kind to "teach" anything; certainly not music. Again, the problem stemmed from simple disagreement with a statement that he made about.....musicians. That only musicians are capable of understanding late period Trane. Frankly, it all seems a little ironic to me.
(Speaking of facts and relating to much of the above. Glad to see attention paid to this sort of detail on the part of acman3 when he refers to the chord changes of "Impressions". Perhaps the notes are incorrect but the changes of "Impressions" are the same as the tune "So What" not to "KOB".)
Nice Mingus clips, O-10. One of the geniuses of the music.
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That only musicians are capable of understanding late period Trane. Frankly, it all seems a little ironic to me. That statement is slightly incorrect because you stated "Period "Trane", when I was referring to those 3 minutes when he lost McCoy Tyner and Elvin Jones on that set that the professional drummer at the table explained. Maybe this is the late period "Trane" you are referring to; this is "Trane's" last concert, which you can explain if you care to. https://www.youtube.com/watch?v=oQ7fC3vnPYI&t=1265sBeing a musician, you have the ability to explain this technically, and I'm looking forward to your explanation. |
"...what Ghosthouse means is the reliance primarily on a personal observational and emotional reaction to music or event when making commentary vs making commentary that is rooted in a generally accepted factual reality: subjective/objective...yin/yang. Please correct me if I am misconstruing."
That is absolutely correct, Frogman and your further comments are exactly right too. I’m merely attempting to characterize the two "opposite" points of view that often result in much needlessly contentious discussion! I put "opposite" in quotes because they are not at all mutually exclusive. Fuller enjoyment of the music results when both are present. Given the subjectivist side is capably represented by Orpheus, you are often put in the role of providing the other perspective. I absolutely did not intend to imply your appreciation was defined solely by objectivist /intellectual analysis. That was an inference I did not foresee.
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And we are not always aware of our emotions , our society and our place
in it usually becomes a "comfort food" for our emotional state when we hear this or that without us knowing why or to what degree .
IMO, jazz fans are often folks who like to swim against the tide .
I myself grew up devouring history books, studied academically same for
ten years and still read it daily .
Took me a long time to get it that some of my love of classical is because
I can put myself mentally anywhere, anytime, with anybody in western history since early medieval times and have been doing so in music unawares for many decades .
I got interested in jazz because of the way Mingus used music to express the horrors of racism in the USA . |
Schubert, the tide swims against jazz folks, consequently they're going backwards by just standing still. |
Ghosthouse, when I made that inference you were not on my mind at all; had absolutely nothing to do with your comments which were clear and evenhanded. You are relatively new to this thread and were not part of prior arguments in which that assertion was made by some; primarily those wanting to rock the boat of reasonableness 😉
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Here's a winner I haven't seen; https://www.youtube.com/watch?v=E2i-vAINqUgBass – Ike Isaacs Drums – Elvin Jones Piano – Sonny Clark Recorded By – Rudy Van Gelder Tenor Saxophone – Billy Root, Jug Trombone – Bennie Green There's that Jones fellow again. |
O-10
One of the 4-5 things I know for certain is " if you ain't getting better you're getting worse " . |
Learsfool, I want you to know that in no way am I challenging Frogmans authority to explain "Trane's" last period, because I know he has studied extensively and can write about it very clearly, and it's his profession. (Did I leave anything out? if so I'll include it in my next post)
Is this civil enough? BTW, I just looked up "Rancor", that is one ugly word; never let it said that I have been "Rancorous", and with that, I'll get some pop corn and await Frogman's explanation of "Trane's" last period.
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O-10, I think it's time to move on.
**** Is this civil enough? ****
Nope. |
Under the current circumstances, and considering how long I have waited for this NOPE!
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O-10,
Send a nice check, pro's get paid for what they know, ask any therapist . |
Frogman, the silence has been heard; it's time to move on forever more.
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Not sure what the "forever more" part means, but as I said previously I think it’s time to move on. For me, perhaps it was last night’s performance of Shostakovich’s Symphony #5 that helped me let the dust of contention settle and move on to offer some thoughts on what you are asking, O-10. I don’t think that it takes much to understand that my reticence to respond had everything to do with the sarcasm embedded in your request (🍿); but, that’s ok....the healing power of music and in this case, Shostakovich.
The healing power of music is, I think, entirely relevant to the issue of "late-period Trane"; although there on a much larger and more important scale. I mentioned previously that I found a certain irony in all this. There is an even bigger irony in respect to the request for an "explanation" of late-period Trane in terms of the musical fact/details; especially when one considers that the rub (and now the request) seems to always be between the approach to listening that relies purely on the emotional (subjective/yin) and the approach that considers the factual (objective/yang). The reason that I find irony in this is that the truth is that there is really very little to talk about concerning the music details in factual terms. Late-period Trane is almost purely about emotion....that’s the irony. Of course, were there at least some interest on the part of some listeners in considering the factual, this would be perfectly clear...how can one recognize what isn’t there if one can’t recognize it when it is there?
What is this business about the healing power of music? The recording that was submitted for "analysis" as an example of late-period Trane (The Olatunji Concert) was his very last recorded performance and the second to last public performance. He was dying of liver cancer and would pass three months later. Much has been written and discussed here about Trane’s constant search for new sounds of expression as clearly documented in all the records that led up to this final recording (not officially sanctioned by his label Blue Note, btw). Many of those records lend themselves much more to analysis of the music details simply because there is much more there to analyze. His tune "Giant Steps" with its complicated and very fast changing harmonies has received more analysis than just about any other jazz tune that I can think of.
I think it can be fairly said that Trane was on a mission or quest for spiritual awakening; the most notable example of this being his recording "A Love Supreme" discussed here recently. Put this against the bigger and less personal backdrop of what was going on in American culture as a whole during that time... war, social upheaval and racial tension. If Trane’s music during this period is not the best example of the premise that great art reflects the time of its creation, I don’t know what is. As Schubert characterized him recently...a great artist.
Trane’s constant search led him to abandon just about every traditional notion of what music (jazz in this case) was. Dissonance and chaos, not the coziness of consonance and easily followed and understood musical lines and harmonies, ruled the day. Clearly difficult music for the listener to take in, but as far as I’m concerned the intensity of emotion and pain in the squeals and honks is obvious; and should not be surprising coming from an artist who was dying and had only three months to live; and knew it. I don’t think it’s much of a stretch to say that it was an attempt at self-healing through music. Now, the listener can (and many do) dismiss this music as simply mindless noise and screeching, but it would be a shame to do so, imo. I don’t listen to much late-period Trane. Not because I think it’s ugly, noise or bs; I just find too hard to take in on emotional grounds and almost disturbing. That’s one of the things that good art sometimes aims to do. Nothing wrong with bringing things down to simply "I like, or I don’t like"; as always, a personal call. However, I think that what gives our personal likes and dislikes relevance and meaning in the larger scheme of what art is all about requires that one consider things of this nature.
(Btw, and I’m sure you are aware of this, O-10, much of the blowing including the very first solo after Trane’s wonderful opening bluesy statement is not by Trane, but by Pharoah Sanders...there were two tenor players in that performance).
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Frogman, I understood the music better than I understood your post.
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Truth is, when you hear "ahead of his time" perk your ears up, you might just hear someone with one of the rarest of all human traits, the courage to be in his time . |
"The sarcasm embedded in my request"? Could you expand that? "Forevermore" means the opposite of what we're doing now; it meant let it rest until the devil starts looking for his long johns. "How can one recognize what isn’t there if one can’t recognize it when it is there? Is that anything like the sound of one hand clapping? "His tune "Giant Steps" with its complicated and very fast changing harmonies has received more analysis than just about any other jazz tune that I can think of." What did "Giant Steps" have to do with this piece of music? This is not about John Coltrane, it's about "The Olatunji Concert". Our debate began as a result of 3 minutes of extended improvisation that went past where most people wish it had stopped in the Winter of 63. "However, I think that what gives our personal likes and dislikes relevance and meaning in the larger scheme of what art is all about requires that one consider things of this nature." I have already considered it, I was asking for your consideration? This is about this piece of music; https://www.youtube.com/watch?v=YDiKea1r7sw&t=309s |
**** Frogman, I understood the music better than I understood your post.****
Unfortunate, but not the least bit surprising. |
**** Truth is, when you hear "ahead of his time" perk your ears up, you might just hear someone with one of the rarest of all human traits, the courage to be in his time . ****
Very true and interesting comment. |
Love the classics but I mostly listen to living artists. I will listen to anything featuring: - Steve Kuhn.(love piano trios)
- Buster Williams
- Miroslav Vitous
- Michael Franks
- Celso Fonseca (Brazil)
- Rick Braun
- Al Jarreau (so sad he has left us)
- Eliane Elias (Brazil)
- Maysa
- Brian Simpson
- Dianne Reeves
- Basia
I could make a really big list but these are off the top of my head. I have a great piano trio recording of a fella named Alfredo Cardim where the bass is actually properly miked! (Bossa Blues I believe it is called.) If you have not heard Buster Williams check out
The Big Push – Larry Willis (HighNote, 2006) or his work with Steve Kuhn on
Love Walked In ( Venus, 2003). |
Martyfriedman, I liked your list: Basia, Dianne Reeves, Eliane Ellis, Al Jarreau, are artists that are extensively represented in my collection.
Somehow I've had a hard time finding classical music that I like, but the strangest thing is that when I'm looking at a movie, where one of the characters is listening to classical, I like it.
Post some of your favorite classical along with the jazz.
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Nothing strange about it you’re listening to someone else’s yang so your yin
allows your yang to dig whats going on .
Try,
Ralph Vaughn-Williams "The Lark Ascending" , many think this is the most perfect piece of music ever written ..
A Lark takes off in ever increasing winding circles , not straight lines like other bird's , an O-10 with feathers . |
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There are more than usual the number of jazz reviews in "Stereophile" this month: Chicago/London Underground, A Night Walking Through Mirrors; Gerald Clayton, Tributary Tales; Chris Pottter, The Dreamer is The Dream; Jason Rigby & Detroit-Cleveland Trio; followed by Ralph Towner, My Foolish Heart.
Since I have a busy weekend, feel free to review and inform us of any of those that you choose.
Enjoy the music.
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Thanks acman3; we can always count on you. Still laughing. |
I just got turned on to Karen Souza who I am listening to round the clock. She does covers of popular music with a decidedly jazz spin. |
Acman, liked the last Tequilla 'shot' too. Make me think of another one...its not jazz, but its fine... https://youtu.be/Uedw8ErZ3akFrogman, well written post. Still, one sentence made me want to add the thought.... It is when you mentioned the '
coziness of consonance and easily followed and understood musical lines and harmonies' and the way the Coltrane played before the death. Another sax player came to my mind, Ike Quebec and his last album, recorded in the almost same sad sitauation as Coltrane's. Of course, they played 'different' style of music, but Quebec chose to record 'Soul Samba', which to uninformed listener may sound exactly the way you describe time that was absent when Coltrane played. And, yet, I have a same feeling about it, like you have with Coltrane's last work. Almost reluctance to listen it, aldo is one of my favorite albums, becuse of such profound emotions that are 'packed' in and effect they have on me. What I wanted to say is that sometimes the form can be 'simple' like drinking cup of tea, but that still can be a zen experience. Sometimes I like to think (perhaps I am wrong) that many records and music transcends its original form, because of emotion, artistry or just inspiration of that moment and it allows us to feel the hidden depths of 'beauty and soul' It is very seductive feeling and I am very aware of it, looking at it from 'bigger picture' of what else music may represent, but also I think it is the basic root behind of all your and Orpheus 'discussion' |
Heavy Soul was recorded November 26, 1961; his death was in January of 63. Soul Samba was recorded in 1962, released in 1962; both albums were released in 1962, but Soul Samba was also recorded in 1962 Heavy Soul was released in mid March of 62, and I remember owning it in the Summer of 63; but I can't remember if I had Ike Quebec before the "Trane" set or not. Winter; was it before or after January, I can't remember; Winter 62 or 63, can be days apart. if it was after January it was 63. Since my mind tells time by the four seasons; Summer, Winter, Spring, and Fall; first I have to pinpoint the season the event occurred in. (that's the way my memory works, confusing, ain't it) I thought "Heavy Soul" was the last album, because the artists knew Ike had cancer, you can even hear it in the music; especially in Freddie Roach's organ, but it wasn't. https://www.youtube.com/watch?v=x7h85fVLvG8Enjoy the music. |
Thanks, Alex; likewise. You make some very good points. There can be profound beauty in utter simplicity and art doesn't require complexity to convey deep emotion. You mention the simplicity in tea and the zen experience. I will never forget the experience of a meal at a restaurant in Kyoto, Japan where all that is served is tofu. The setting and presentation added to the experience, but it was the perfection in the simplicity of the food itself that made the experience so memorable. Difficult to describe something that had practically no taste of its own, but it was like eating clouds and strangely satisfying.
**** Sometimes I like to think (perhaps I am wrong) that many records and music transcends its original form, because of emotion, artistry or just inspiration of that moment and it allows us to feel the hidden depths of 'beauty and soul ****
I don't think you are wrong at all. |
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Schubert, that thing you have in your hand when using a computer is called a "Mouse". https://en.wikipedia.org/wiki/Computer_mouseFirst "left" click on "You tube". After "you tube" pops up, type in the heading what you want to hear: Ralph Vaughn-Williams "The Lark Ascending" Once you have typed in the heading what you want to hear, "left" click on that circle at the end of the you tube heading. After you have done this, you will be given options of which "Vaughn Williams" you want to hear. "Left" click on that selection, and it will begin to play. While it's playing, go to the heading, and hold the left clicker down, while moving the "mouse" across the page over the heading until it's "Blue". (both actions at the same time) hold left clicker down while moving the "mouse" across the page until it turns "Blue". Now go all the way to the top right of the page where you will click on (customize google) it's a drop down box that will have options in it, "Left" click on "copy". After you have done all that, you can "paste" it onto your response box in " Audiogon" This is done by left clicking onto the response box. When you see the line in the left corner flashing, that means you can "paste" your "you tube" entry into the response box. Now we use the "right" clicker on your mouse to do this. Click on "right" (while the line is flashing in the "response" box, and a selection box will drop down. Out of all the options you select "Paste". Once you select "Paste", like magic, your click on from "you tube" will appear in the response box, and we can all hear Ralph Vaughn-Williams "The Lark Ascending" . After you get used to doing this, you can do it in less than a minute; get busy. |
