AI and Music

 I have been using Suno AI (https://suno.com/) for about a month, month and a half now. I started off with a free membership, but eventually subscribed to the Pro level, $10/month ($8/month if you pay an entire year subscription up front).

For anyone who doesn't know what Suno AI is, it's a song-generating website that uses artificial intelligence to create the music and vocals. All you have to do is put lyrics into the text field and, through the use of meta tags and prompts, tell it what you want to do with those lyrics.

As I have over 1500 poems stashed away, I figured I'd have no shortage of lyricw to use and to date have created around 200 songs. Not all poems work well as songs, but many I wrote as if they were supposed to be put to music with verses, choruses and even a bridge in some instances.

I did modify some of the poems to make them work in song format as well.

After spending some time on Suno, I realized that it really is just another social media site as people follow you and you follow them back, as people like (thumbs up) songs you publish and you reciprocate. It's social media with a unique feature.

If you use the free Suno, then it claims possession of the music it created for your lyrics and restricts it from commercial use. How it enforces that restriction is unknown to me. However, if you pay a subscription fee, it says you own the commercial rights to the music.

A lot of people use Suno as well as other sites like Songer, ElevenLabs, Mureka, to name a few. I haven't looked into any of those.
It would be interesting, though, to see how differently they treat lyrics to songs I've already generated through Suno.

The results I have gotten through Suno vary. Many turned out really good and others were mediocre. Part of that has to do with the instructions the user gives it, but I believe that the AI is taking cues from the lyrics as well.

Suno is not without its downfalls though. Often it just didn't follow my instructions and that is irritating. For example, I had one song that was supposed to be Samson and Delilah going back and forth in rather humorous dialogue. About 2/3 of the way through, the AI reversed the roles so Samson was singing Delilah's part and vice versa. The second example Suno provided was just all male vocal.

Sometimes a song can get rather glitchy with part of it being muffled. This can be due to several reasons according to a Google search I did.

Also, I told Suno that I wanted a drum intro to a song and a walking bass line throughout. It didn't do either.

One way I have discovered to get more desired results is to record myself singing a particular melody or playing a chord progression then uploading these to make a cover. The AI will use those uploads and create a polished facsimile using the chords and riffs in the recording as the basis for the song.

This link gives and example and I was really pleased with the result.

All Many Such on YouTube

There's a lot more I could say about AI-generated music - the legal issues, the competitive issues. But for me, AI has generated new life in what I've written and I'm not looking to commercialize any of it. 

I'm satisfied with what I have gotten from it.

Grok Refutes Dispensationalism

 I told Grok to write a 300-500 word article refuting dispensationalism. This is what it came up with.

Refuting Dispensationalism: A Biblical Perspective

Dispensationalism, a theological framework popularized in the 19th century by John Nelson Darby, divides history into distinct periods or "dispensations" where God interacts with humanity in unique ways. While influential in evangelical circles, this system faces significant biblical and theological challenges that warrant critical examination.

Firstly, dispensationalism’s rigid segmentation of history into dispensations lacks clear scriptural support. Proponents claim God’s dealings with humanity change across eras, such as the "Dispensation of Law" or "Dispensation of Grace." However, the Bible presents a unified narrative of God’s redemptive plan, consistent from Genesis to Revelation. For instance, Galatians 3:8 states that the gospel was preached to Abraham, suggesting continuity in God’s promise of salvation through faith, not a shift between dispensations. The idea of separate covenants for Israel and the Church artificially divides God’s people, ignoring passages like Romans 11:17-24, where Gentiles are grafted into Israel’s olive tree, indicating one unified body of believers.

Another concern is dispensationalism’s emphasis on a literal, futuristic interpretation of prophecy, particularly regarding Israel’s role in end-times events. This approach often prioritizes the modern nation-state of Israel over the spiritual reality of the Church as the fulfillment of God’s promises. However, Jesus redefines the concept of Israel in the New Testament. In John 15:1-5, He presents Himself as the true vine, suggesting that true Israel consists of those who abide in Him, not merely ethnic Jews. Similarly, 1 Peter 2:9-10 applies Old Testament language about Israel to the Church, calling believers a “chosen people” and a “holy nation.” This undermines dispensationalism’s claim that God has distinct plans for national Israel and the Church.

Dispensationalism’s pre-tribulation rapture doctrine also raises issues. The idea that believers will be secretly removed before a seven-year tribulation relies heavily on a specific reading of 1 Thessalonians 4:16-17 and Revelation. Yet, the New Testament consistently teaches that Christians will face tribulation (John 16:33; Acts 14:22). The rapture, as described, is better understood as occurring at Christ’s second coming, not as a separate event. The absence of explicit scriptural support for a pre-tribulation rapture weakens this cornerstone of dispensational theology.

Finally, dispensationalism’s focus on literalism can obscure the Bible’s deeper spiritual truths. For example, the promise of the land to Abraham (Genesis 12:7) finds its ultimate fulfillment in the new heavens and new earth (Revelation 21:1-3), not merely a geographic region. By prioritizing literal interpretations, dispensationalism risks missing the typological and christological richness of Scripture.

In conclusion, while dispensationalism offers a structured approach to biblical interpretation, its divisions of history, separation of Israel and the Church, and speculative eschatology lack robust biblical grounding. A covenantal reading, emphasizing the unity of God’s redemptive plan through Christ, better aligns with Scripture’s overarching narrative.

Song Associations

 In my younger days when the dark was dramatic and so richly felt there were two songs that for years afterward sparked memories of being on the road at night, particularly going to specific places. 

On my journey from Maine to Quincy, Massachusetts or home to college the song "Do you Remember When" by the J. Geils Band became strongly, and perhaps strangely, associated with it. Hearing it would evoke images of Rt 1 (the Northeast Expressway) through Saugus, Revere and Chelsea into the city of Boston on the Central Artery through the South Station Tunnel and out the other side onto the Southeast Expressway.

It was all very heady for a while. And "Do You Remember When" with its rolling beat and lyrics which reminded me of lost loves at school was perfect narration for the drive. I can't say that I actually heard the song on the radio while taking the trip, but it still connected me to that time period.

The other song was "Driver's Seat" by Sniff 'n the Tears which made me think of Savannah, Georgia and heading there after a day in the Army at Fort Stewart. We used to go down to River Street and hit Kevin Barry's Irish pub which was still there in 2016 when my wife and I traveled to that part of the country for our 30th anniversary. You see, we met at Stewart and I proposed to her on Tybee Island, so the area has special meaning.

Once again, I'm not sure why Driver's Seat took me back to those days. Maybe it played in the car on the way and created the association that way. Or it may just be my imagination.

But I always saw both songs as being dark. I don't necessarily mean in their messaging or music so much. But like some people experience synesthesia as a sensory crossover, I tend to see some songs as darker or lighter.

It's not surprising, really, as I believe that the composers of music have intention of projecting those sort of traits.

The connection those two songs had for a while has now vanished, and I can listen to them without bringing back the memories.

I suppose that's one of the erasing functions of time. Associations fade away with the passage of enough years. Maybe new ones are created, maybe not. 

But I can't forget those two particular songs and how they would bring up memories of two periods of my life back when the night was dramatic.

A more richly felt.

Midnight in the Garden Follow Up

It happened to occur to me several days after my Midnight in the Garden of Good and Evil post that I think I know what the draw of the story is and why it has been popular.

Sure, there was the murder that still begs a firm reason beyond speculation no matter how rational. And, yes, the story is full of colorful characters, the most obvious being the city of Savannah itself.

But really, when you break it down to its fundamentals, parts of it read much like a Penthouse forum submission. It's a very sexual story, all of it illicit.

The sensuality of Savannah is quite feminine and I suppose that's rather true about much of the south. Hot, humid, lush, dark, gardens fragramt... need I go on? Compare that to the usually frigid north (albeit a different, less pleasant sexual picture) and you can start to see the allusion that can be painted with the descriptives.

Additionally, here is some info re: main characters:

Jim Williams was gay, though he didn't come out and admit it except for during the trials when he testified about sleeping with his assistant and victim, Danny Hansford. I did see an interview a day or two ago where the interviewee (I think it was Dep Kirkland who wrote Lawyer Games: After Midnight in the Garden of Good and Evil) stated that Williams used to pay an assistant to go into the projects and offer money to kids to come to Mercer House for sex play which makes him a pedophile.

Danny Hansford was a male prostitute who would do anyone for money and that's apparently why he "worked" for Jim Williams. But even though he would be gay for pay, Hansford was a hetersexual. There were two sex scenes in the book of Hansford with a girl he had just met. After the second time, which took place in a cemetery, he asked her to marry him. She, of course, refused and this set off one of his rage responses.

Turns out Joe Odom, a major character in the story, was gay as well. It was implied that he and Mandy were a couple, but the real-life person Nancy Hillis negated that by saying Odom was gay. In fact, Odom died of AIDS in 1991 at the age of 43.

Joe Goodman, whose name was mentioned a few times, but not much detail had been sexually connected to Jim Williams as well.

Barry Thomas, another fellow who worked for Williams, died of AIDs in 1992.

Let us not forget the Lady Chablis, Empress of Savannah, the flamboyant drag queen who got weekly hormone shots but never had the surgery to finish the transition. He/she showed the author her real breasts that came about by regular estrogen injections.

And it was mentioned that unfaithful spouses were kind of the norm in that society. Infidelity was winked at but never reprimanded.

So, with this strong thread of sexuality woven throughout Midnight in the Garden of Good and Evil, I can only surmise that it's a sex story that includes a murder.

* * * * * * * * **

Since reading the book and writing these blog posts, I watched the movie directed by Clint Eastwood and released in 1997.

As movies usually do (because of the different story-telling format) it took some liberties with the timeline established in the book, which itself also took liberties with the timeline based on actual events.

Where I thought perhaps the movie would visually portray the landscape of the city in depth, in reality, it didn't. The actors all did a fine job, including Kevin Spacey who played Jim Williams.

But I was disappointed by the lack of establishing the atmosphere I thought necessary to fill out the movie. In that regard, it came across as rather flat to me.

Midnight in the Garden of Good and Evil.

 SPOILERS FOLLOW

In 1981, Jim Williams, a middle-aged antiques dealer, shot and killed his live-in employee and paramour, Danny Hansford. Hansford was less than half Williams' age.

The reason Williams gave for the shooting was self-defense. which he maintained up until his death in 1990 from pneumonia. He was 59 when he died.

There were four trials. Williams was convicted of murder in the first two, but the conviction was overturned both times for various reasons. The third trial ended in a hung jury. The fourth trial was moved to a different city after it was decided that an impartial jury pool didn't exist anymore after the well-publicized three trials. The jury in the new venue acquitted Williams of murder and he became a free man.  His freedom was short-lived, though, as he died 8 months later.

This is the basic plot of the nonfiction novel Midnight in the Garden of Good and Evil by John Berendt.

Midnight in the Garden of Good and Evil sounds like a crime mystery, right? But there was no mystery. After shooting Hansford, Williams rearranged some of his study where it took place, then called the police to report it.

Courtroom drama perhaps?

There was some drama, but not near as much as would be expected to deserve that label.

Love story? Triangle?

Neither.

So, what was Midnight in the Garden of Good and Evil.

In my opinion, it was a study. A study in character, personality, insular society, and, predominantly, historic Savannah, Georgia, which is where most ot the story occurs.

I read the story for three reasons.

The first reason was that I was captivated by the title. In fact, I referenced it in one of the essays in my book, Lean to the Write. That chapter is called The Power of the Title. I wrote it back in 2010 when I was more active on my blog.

The second reason is that I'm a fan of Pat Conroy and his lush descriptions of the south and how he incorporates the elites of southern society in his tales.

The third and most relevant reason is that I love Savannah. The Army sent me to Fort Stewart, Georgia which abuts Hinesville. Both places are mentioned once int he book. I have been all over Savannah, River Street, the historic district, the Oglethorpe Mall. I proposed to my wife out on Tybee Island.

The city calls to me in ways that other cities don't. Its zeitgeist remains strong to this day. My wife and I returned to Savannah for our 30th wedding anniversary. We toured Fort Stewart, which was where we met and went out to Tybee Island. I would like to have explored the lovely  squares except we were limited in time. We did make it to River Street and stopped in at Kevin Barry's Irish Pub which appears to be closed now. I took a number of pictures.

I also took pictures back in the 80s, but I'm not so sure where they are at this time.

Besides Savannah and its rich environs, the eccentricities of the characters in the book are on full display. From Lady Chablis, the transgender drag queen performer, to Joe Odom who never really seemed to have a financial stake in where he lived but kept a revolving door of visitors coming in and going out all hours of day and night, to Lee Adler and his wife, mortal enemies of Jim Williams, to Williams himself who threw the socialite event of the year with an exclusive guest list - a yearly Christmas party.

And speaking of eccentric, the victim of the shooting, Danny Hansford, was reportedly a male prostitute out hustling men and women in and around the squares (if you don't know what I mean by squares, look it up on the internet). Hansford had a hair trigger temper and was known to threaten people at the drop of a hat.

Many of the people mentioned in the book have since passed away; some still live. But the two main players are gone and there no witnesses to the killing, so motivation has to have been assumed all these years. After all, there was only Jim Williams' word about it.

Charleston, SC seems to be a similar city in many ways. Pat Conroy writes about it in Lords of Discipline. In Charleston, much of the wealth is concentrated south of Broad Street. However, in Savannah, the line of demarcation for social status is north of Gaston Street (NOG). Today, one is able to buy tickets to a tour of hidden gardens NOG.

The title Midnight in the Garden of Good and Evil actually refers to a hoodoo belief that good magic happens in the half hour leading up to midnight and evil magic in the half hour after midnight and is practiced in a cemetery.

But even with this specific reference, it fits very well with the Savannahian lifestyle north of Gaston. The hubris, envy, prejudice, the peccadilloes winked at all seem very expected to the point of trope or cliche.

For those who suspect that the underside of wealth and civility is quite filthy won't be disappointed by Midnight in the Garden of Good and Evil