Re: tab characters in the source code

[Valentin Villenave]

2009/4/11 Graham Percival <address@hidden>:
> ... WTM?!  There actually *is* a "GNU Zebra" project?!?!  It does
> TCP/IP routing.

And wait, once we've founded our new group and taken over the world,
they'll have to call themselves ZEBRA Zebra" :-)

> Ok, over the summer we'll try to come up with the history of
> PLATIPUS/LilyPond in a series of arias and duets.  The end of Act
> 1 will be a dramatic retelling of all the wiki flamewars.  Acts
> normally end with a big confusing quartet with everybody saying
> different things at once, right?

Yes. I think the GUI/non-GUI flamewars would be good too.

> The fifths comment was a reference to "power chords", which
> actually aren't chords at all, but are just called that by
> ignorance rock guitarists.  It's just a fifth (possibly including
> an octave as well).  Used in heavy metal and punk rock.  Almost
> always used in succession, which would give a harmony instructor a
> heart attack from all the parallel fifths.

Yeah, I know about these. This is generally a fun part when I explain
my students that paralell fifth are only allowed in medieval music
/and/ rock (this is where I usually play the "smoke on the water"
riff).

> BTW, my knowledge of such terms comes entirely from
> questionablecontent.net, which is a webcomic vaguely like XKCD but
> for indie rock geekery.  Before reading that webcomic, I knew
> almost nothing about indie rock.  But QC is just /dripping/ in the
> same amount of geekery as XKCD does, so I had to keep on reading
> it (and looking up terms in wikipedia).

I didn't know this webcomic. I much prefer XKCD's graphic style, but
I'll keep a look on this one as well.

2009/4/11 Jonathan Kulp <address@hidden>:
> I want in on this, too!  All I've been lacking to have a go at writing an
> opera is a libretto.  :)

OK, let's start a composers team then, but you'll have to find a good
name for it :-)

As for the need of a libretto, I have to say that this was quite a
story for me. (It's off-topic, but I'm afraid we're way past that by
now).

  For a couple of years, I've been looking for a good libretto,
reading many plays, getting in touch with various playwrights.
Everything I found was too verbose, too serious. I was about to give
up...
  At this time, I was a literature student, and I was writing a thesis
on Lewis Trondheim, a comic books author I had been fond of since I
was a child; then some day I thought "hey, this is the guy I need!"
  Of course, he was twice my age, and was some kind of a world-famous star.
  Nevertheless, I sent him a mail: "greetings, I'm a 20-years-old
piano teacher, so far I have done nothing with my life, would you be
interested in writing an opera with me?"
  He immediately answered: "Well, it's a funny coincidence, yesterday
I was walking in the street, near the Opera House, and I thought:
"Operas are mostly old or boring, it's a pity young people do not take
some action and do something about it..." So, let's do this!"
  And this is how I got started. He wrote the libretto without being
paid a dime, sending me each scene after another, accepting every
modifications I suggested; for two years we never met nor call each
other, and worked only by e-mail; the very first time he heard _any_
music of mine was at the opera's rehearsal four years later. And as
soon as we got out, he told me: "OK, let's write a new opera now. And
this time, I want some zombies in it!"

Cheers,
Valentin