#Gibson Reverse Flying V

[deebeeus]

Well, it's been a while since I photographed (a real!) one of these!

1967 Gibson Flying V in sparkling burgundy finish, with stinger. Photographed with @michaelsegui at @dlott65 & @chriswstringer8's Union Sound '24 event.

You don't see many actual Vs around. The original 1958/59 model run was under 100 units, but what most people don't realize is that the '67model is almost as rare, with only ~175 units produced. Seeing one of these in person is almost as rare an event as seeing a '58! And seeing one in (one of) Gibson's coolest custom finishes is just the icing on the cake. No wait...the stinger is the icing on the cake. No wait...just having the privilege to be in the same room as a real vintage V is the icing on the cake!

If you zoom, you can see some foolish former owner drilled this one for a stop tail, but that mod has been reversed. The finish on the back is less faded and shows more what the top would have looked like originally.

A dream guitar. I'm so lucky to have friends that keep letting me photograph their incredible instruments!

[gregarnott]

Johnny Depp’s Guitar Collection

1956 Fender Telecaster

Fender Stratocaster Electric Guitar

Duesenberg Johnny Depp Artist Series Electric Guitar

Gibson Les Paul Standard Electric Guitar

Gretsch G5441T Double Jet with Bigsby RW Firebird Red

Gibson Custom Joe Perry Boneyard Les Paul Electric Guitar

Gibson Les Paul Special Double-Cut Electric Guitar

Ibanez 2459 Destroyer

Duesenberg Johnny Depp Unique “Wooden Fence” Guitar

Paoletti Leonardo 500 IL Giglio

Echopark La Carne

Gibson Flying V Electric Guitar

Gibson SG Junior

Duesenberg Alliance Mike Campbell I

Gibson Les Paul Custom Electric Guitar

Vintage Gibson L3 Acoustic Guitar

Gibson Les Paul Junior Double-Cut TV Yellow

Gretsch G5021WPE Rancher Penguin Acoustic

Echopark Ghetto Bird

Gibson Reverse Flying V

Gibson Explorer Electric Guitar

Gibson Joe Perry Axcess Les Paul

Duesenberg Caribou

Gibson SG Junior 60’s Electric Guitar

[jeffcbliss]

David William Logan "Davey" Johnstone, playing with Elton John: Farewell Yellow Brick Road Tour - T-Mobile Arena; Las Vegas, CA (9-7-19). @eltonofficial #daveyjohnstone

Photo: Jeff Bliss

[chordsykat]

Can you explain what type of guitars and speakers someone like Toki might use when he's on stage? I'm a noob and don't play at all, but, want to write some music scenes into a story. Sorry if this question is dumb.....

No such thing as a dumb question around here, OP -- just dumb answers because it's me. :D

And apologies that it took me a while to come back around to this one. Talking guitars gets the neurodivergent side of my brain all sex-crazy, so you're in for a ride. And so, I'm proud to present:

A Semi-Competent Explanation of Gear for Metalocalypse-Inclined Persons Who Might Not Speak Guitar-Weirdo.

Strap in and learn a thing, kids!

The Guitar: Toki uses a Gibson Flying-V and in later seasons, he's shown using an Epiphone Snow Falcon Flying-V. Gibson is a guitar manufacturer that's been around for a longass time, and they actually own Epiphone these days. Generally speaking, Gibson makes high-end guitars and the Epiphone division makes more affordable versions of those guitars.

Though they've steadily lost some ground to competition from other brands, (ESP/LTD/Jackson to name a few) Gibson/Epiphone Flying-V's are still a common sight and a favorite guitar amongst metal artists. The author of this guide finds them to be more balanced than the Gibson Explorer, and notes they allow better fret access than even a Gibson Les Paul. In fact, I have no idea why Skwisgaar chooses to play an Explorer (except the whole aesthetic/James Hetfied thing - I get it, I do)... given the choice between Explorer, V, and LP, I'd go with the Les Paul or the Flying-V over the Explorer for playability, alone. But that's me.

(Side note/bitch: Eden's Reverse Flying-V? Much as I love how they look, I have no idea how anyone ever managed to think making such a thing was a good idea... Yowza. :D)

The Pickups: If you're not already aware, pickups are the little "soap bars" that hang out in the middle of the instrument which are responsible for "picking up" the vibrations of the strings and converting them into an electrical signal which an amplifier can translate into "guitar sounds."

Dethklok uses EMG pickups, and according to Skwisgaar's interviews, they're probably 81/85's. These are active pickups, which means they have a battery they hook into in order to work. This also makes them louder than traditional magnetic humbuckers. 81's are usually positioned at the bridge (lower on the guitar) and are a preferred lead pickup for heavy metal artists especially. 85's are the all-around reliable rhythm humbucker most often paired in the neck position, but some artists also use a second 81 (I wouldn't be surprised if Magnus, king over-overdoing everything, does this) for rhythm. Less commonly, metal artists might use an 89 in the neck position, which can be setup to toggle between a humbucker or olschool single-coil mode (Caj uses an 81-89 setup). There's also an EMG 60, which produces a super clean tone in the rhythm position.

The Amplifiers: If you're going to end war and stuff, you gotta play loud. Dethklok used to play Krank amps but have since moved on to Marshall. Unfortunately, Krank seems to have gone out of business as of 2013, which is a real shame, because in the early-aughts, they were (in my opinion) setting themselves up to shake up the gear industry in some very innovative ways. I remember getting into them and Orange at the same time, having only known Marshalls, for the most part.

But Dethklok now uses Marshalls exclusively, so no reason for me to be getting all reminisc-y. Typically, guitarists of a professional capacity will use tube amps - so named for the vacuum tubes they use to get their sound. The alternative, solid state amps, work well enough... but they don't sound half as good when they get loud.

Pedals and Junk: Not really sure what pedals Dethklok might be using, specifically. I'm sure there's the usual wahs, choruses and distortions. You're better off asking Brendon about this one. :D

Anyway -- hope this was helpful, OP. It's not a lot but if you want more details about how any of these things work, hit me up and I'll do my best to be a resource for your music-related questions.

Sorry it took me a while to respond!

[chordophoneoftheday]

Gibson reverse flying V Guitar

[doomedandstoned]

Conan Bring Cold Blackened Violence to France

~By Clem Helvete~

For the penultimate show of a European tour that lasted over a month, CONAN played the Westill Festival in Vallet, France. For the occasion, I reached out to Jon and asked him if him and Dave (who was playing bass on this tour) would have a minute to answer a few questions. Although they were both quite tired from a month of hopping from one city to the other, they still managed to make time to talk about the tour, Blackskull Services, guitars, pedals, and amps. We nerded out about gear for a bit, right before Conan went on stage and literally blew up the PA. And I literally mean literally...

So, how did the tour go?

Jon: We’re two shows from the end now, and I could probably still go on a few more shows. I’m a bit tired but we’ve been out a whole month. We’ve been to fifteen countries or more all across Europe. So, it’s been good.

Dave: The tour was great. I haven't done anything like this for 25 years when Fudge Tunnel was touring. The whole thing was fine though, well organised and we had Un and Sixes from the USA along on all but the last two shows so we all made a lot of friends.

Dave, how did you end up playing bass in Conan to occasionally replace Chris?

Dave: I got to know Jon a little via Facebook, as he's a big fan of my old band Fudge Tunnel. Last year he asked me if I fancied filling in on bass for a couple of shows while Chris got married. That went OK, and he asked me to do a few more shows that Chris couldn't make due to his producing commitments. Then earlier this year he asked if I could do a whole four week european tour. Chris and his wife just had a baby, so I'm like "maternity cover" this time out.

Does it bring a different vibe to Conan to have Dave on bass?

Jon: It is a tiny bit different and it’s interesting. Dave and his band have alway been idols to me, so being on stage with him is really great. We’re very comfortable playing and working together, and we get along great. So, it’s brilliant.

You toured with Un and Sixes, which are two bands who have releases on Jon’s label, Black Bow Records. In addition, the whole thing was booked through Blackskull, right?

Jon: I released the first Un album on CD and digital and I think Translation Loss has picked them up for the subsequent release. I distributed Sixes’ more recent album in Europe.

Between Black Bow records, Blackskull Services and Conan, which is a very active band, how do you manage all of this?

Jon: With some difficulty, but it’s fun. I enjoy it, so I keep busy with it. I don’t do everything on my own. Blackskull is myself and my other half, Sarah. There are other people who work within Blackskull, who do the booking. On this particular tour Marie, who does some of the booking with Blackskull, handled all of that. So I can’t take any credit for that really. The tour is going really well and that’s because of Marie, really. She’s been really good at booking everything.

You basically started the booking agency and the name Conan has gotten some momentum, to say the least, over the last few years. It feels like you’re giving back by helping smaller bands.

Jon: I always get asked for advice, and I’m not an expert on everything by any means, but there are a lot of ways that you can help bands get over some of the hurdles, particularly in the early stages. That’s really why it was set up, just to help bands move forward. Obviously there are more serious aspects of what we do, such as negotiating with labels, booking tours, all the transactional things that we do. But on the other hand, we’re here for advice and guidance. I wish I had someone like this when Conan was starting out. There are certain things that we probably wouldn’t have done if we had the correct advice. So you can pass on your experience to other bands and we decided to make a business out of it.

Can you tell us about the bass and guitar you're using in Conan?

Dave: Up until this tour I had been borrowing Chris's Dunable Thunderclapper, which is a beautiful instrument. Conan plays in drop-F and his bass was custom made with that in mind, longer scale etc. As we were going away for a lot longer this time I put something off my own together. It's a P-bass body which I stripped down and re-finished. I put in a DiMarzio DP122 pickup and upgraded the wiring. it has a Gotoh bridge which I set back an extra inch to lengthen the scale. The neck is a fairly cheap jazz style thing which I got on eBay. To make a bass that plays in drop-F you need to use extra thick strings, Rotosound Dropzone+. The thickest string is a 175 and it still flops about and slaps on the fretboard.

I believe Jon started out playing Gibsons and then moved on to EGCs for a while, is that correct?

Jon: The first guitar I started using in Conan was by a British company called Gordon Smith. I had an SG and I recorded the first two albums on that. Over time I’ve used different guitars, I used to have an early ‘80s silverburst Les Paul custom. It’s a beautiful guitar but I didn’t really like the way the strap is bent at a sharp angle the way I wear it. There was once or twice where it actually popped-out of the strap pin. Not cool on a guitar that’s worth about £2,000. Around that time I had an Electrical Guitar Company all aluminium, which is a bit trendy I guess. They are great instruments, but I didn’t want to have two guitars that are worth so much money on the road. I sold that and I ended up noticing Dunable Guitars from Los Angeles, so I bought a couple from him. I have a Dunable R2, I have a Flying V, and I have another guitar that’s being made for me at the moment. It’s like a reverse body clone of a Guild S200. I’ve always loved the shape of this guitar, but not necessary all the switches that are on it. So I wanted that shape but with something more traditional in terms of options, just two pickups, tone and volume.

What about the scale?

Jon: These are not baritones, they are Fender scale [ed. 25.5”]. I’ve always had the Fender scale. The Gibson Les Paul obviously isn't a Fender scale, and the Gordon Smith was also a Gibson scale [ed. 24.75”].

Do you find the Dunables more comfortable to play due to the scale or is it more of an overall thing?

Jon: I find the overall comfortable enough and they hold the tune a little bit better.

Which is important since you guys are way down-tuned.

Jon: Yes, we’re dropped tuned to F. So it’s important that the strings are tight enough so they sound clear enough when you’re playing. So, that little bit of extra length on the neck definitely helps.

What string gauge do you use?

Jon: The bottom one is a .8 and then I go through to 14 I think. Right now I’m using Ernie Ball heavy gauge strings. They do an 8 strings set, which goes from 80 to 11. I use the first four wound strings and then I don’t remember what the 2 thinnest strings are. I don’t really worry about changing them because I don’t really use them when I’m playing. The other day, I replaced all my strings and just did the first four because they’re the only ones I use, like a poor man’s Max Cavalera.

Dave, I assume your rig is a bit different from what you were using in Fudge Tunnel. Are you trying to get close to Chris's sound or are you really just going for your own thing?

Dave: In Fudge Tunnel I used a very different sound. Much more top end, and standard tuning. So I mostly used Marshall solid states or Ampeg SVTs with Fender Jazz, Musician or Rickenbacker. When I play in Conan, I try to make it sound good to my ears. Chris is a producer and has much better ears than me, so it probably doesn't sound the same. He also has a much better beard.

I believe you are using an Orange OB1-300 and QSC RMX 850a (I could be wrong on this one) both rack mounted. Can you tell us a bit about this pairing and how it came to be ?

Dave: My Orange amp is an OB-500, which I really like. It's ridiculously loud and a bit more reliable than a full-on tube amp. The power amp is there just to run the Peavey cab, which is a 1x18. It's Conan's cab, and it's just there for the low end (there's a lot of low end). As far as I know all the speakers are stock. The 8x10 is one that we bought on the road, towards the start of the tour in Copenhagen. The one we brought over was a little worn out, and I managed to blow three of the speakers (oops!), so we upgraded. All three bands were using the 8x10 every night so it had to be done.

I saw that the guitar rig you’re using on this tour is different from the one that you’ve been using for a while now. Can you tell us about your current touring rig?

Jon: Very early on in this tour there was a signal problem with it. I haven’t tried it since so maybe it was my cables. But because of that I’ve switched it to two old Peaveys amps. I’ve had these Peaveys in the studio for years now and I’ve never really used them, but I had to bring them out of retirement for this tour. I actually had them fully overhauled and serviced just before we started the tour. I must have had some sort of premonition or something, like I knew this was going to happen. I started using them in Hamburg, which was only the 4th or 5th show on this tour and I’ve got two shows left and so far it’s been good.

I have the Hilbish rig at home and I’ve got the Peaveys now that all of a sudden have caught my attention, but I’ve just taken delivery of a valve rig made of a separate preamp and a power amp.

Are you going back to tube amps?

Jon: I’m just going to try it and see. I’ve got another band, Ungraven, in which I want to run two full stacks with two 8x10s. For that set up, I’m going to run two full stacks with this new rigs if it sound good. It’s a Mesa Boogie Studio preamp, the same one that Kurt Cobain used, and that is going to be run into a Mesa Boogie 295 power amplifier. This is a stereo power amplifier and each channel is 95 watts. That’s all tube. I’m interested to see how that sounds, I think it’ll sound cool. Then I’ll use the Hilbish or the Peaveys through 8x10s. I’d rather use the Hilbish if I figure out what’s wrong with it. That rig could run two 8x10s very easily so that’s what I’d rather use.

What made you decide that you would switch from tube to solid state? This is not a very popular move within the doom scene.

Jon: On our last album I used the Hilbish rig in which I ran a Boss HM-2 clone. I’m not using that pedal live right now, but I’ve been using it quite a lot. I don’t really know why people would have an issue with solid-state. Some of the coolest albums were recorded and played live with solid-state amps. In Crowbar Kirk uses the Orange solid-state 100 watts head, Jimmy Bower from Eyehategod uses a Randall solid-state. Buzz from the Melvins uses the exact same Hilbish rig I have, it was through him that I’ve heard of this amplifier. I like the versatility of it, I love solid-state.

Speaking of amplification, do you have any issues with volume restrictions? France and Belgium are known for having fairly low limitations.

Jon: It has been an issue in some places. Yesterday in France we were a bit louder than they would have liked. It was around 109 decibels and their limit was 102 or 103dB. Some of the shows it’s a little bit of a restriction but nothing too crazy. We played at this place called Fundbureau in Hamburg, which is actually a techno club, and the PA in there is for techno. It was the most powerful PA we’ve ever played through. Our sound guy is good at making us sound good while respecting the dB restrictions, but when he’s let loose on a loud PA it’s awesome. The sound in this venu was crazy. When we were playing the floor and the stage were vibrating all the time. After the set my feet were tingling. I’m not sure if I enjoyed how it felt but it sounded amazing.

Gear is an important component of your sound, so how do you make sure you have the gear you want when touring the US or Asia for example?

Jon: In America we’ve got our own cabs and I’ve got two Hilbish rigs out there. Friends of ours in a band called Serial Hawk in Seattle keep all of our gear in a storage room. We have a bass rig and two guitar rigs out there. We have three 4x12s and an 8x10. So when we go in America on tour it’s all there for us. It costs us less than we spent renting gear on the first two tours. So it makes sense. Rather than spending a fortune renting it I’d rather have some consistency. A lot of bands use Orange amps, and they’re great amplifiers. If I ever have to rent it, I’d rent Orange for sure. I like owning what I use. I can maintain it myself and I know that nobody abused it a week before. Touring through Asia, we played Japan one time and I just used two Marshall JCM 900 full stacks and on bass we used an Ampeg and an 8x10. Australia and New Zealand we just rent whatever’s there. Last time we went over it was Marshall. But if we can specify what we use, we just go for a cleanish sound and two full stacks. So Marshall can do, Orange would do.

Basically a loud pedal platform.

Jon: Yes, my pedalboard comes with me no matter where we play, so I know that’s always consistent. For distortion I’m using a Fuzzthrone, which is a really high gain Big Muff. It works really well for Metal, it works really well for slow, drony parts. I’ve got it dialed in quite well. Although, when I change my strings it sounds a little bit brighter than normal, so the last couple of shows was a struggle to get the feedback swell the way I like it. As long as it’s a clean sounding, loud amplifier I can probably sound quite consistent through them.

So let’s talk about your pedalboard. You’ve worked with Dunwich Amplification for the Fuzzthrone, how was that?

Jon: It’s a Fuzzface stacked up on a Big Muff tone, but I just told him what my favorite sound was and he made it, but louder and with more power to push the amplifier a little bit more.

You tried out prototypes?

Jon: Yes, he sent me a prototype, then I used that and he sent me the real thing. Since then I’ve had three or four different ones and they all sounded the same. He’s a great pedal builder. Right now I’ve got a Fuzzthrone and I’ve got a Nihilist, which is an HM-2 clone. It’s the same pedal I use on the album. The one I use right now has a clean blend, I think it would make for an amazing bass distortion pedal. I don’t use the clean blend for guitar, though.

I’m guessing your pedalboard hasn’t really changed since what you showed in the video you made a few years back.

Jon: Yes, it’s the same thing.

c/o The Doom Doc (2017)

What about bass effects?

Dave: My pedalboard is pretty simple. I use a T-Rex power supply, MXR bass compressor, Boss tuner and a SansAmp bass driver. There's also a Boss Bass Overdrive just in case the SansAmp dies.

I saw on social media that you picked up Ground FX pedals. Are you using them on this tour?

Jon: No, when we played in Hamburg we went to my friend’s music store and we stayed just above it. This music shop is like a treasure trove. He has amazing instruments in there. I got to play on a late 60s Fender Jaguar and he’s got loads of cool Hiwatt, Orange, and Roost amplifiers. My friend Christian, who runs a festival called Droneburg, told me a friend of his made a couple different pedals and wanted me to try them. So I got one which is a bass distortion and one that is like a Sunn Model T preamp. I tried them out there and it sounded cool, but I wasn’t using my gear. So I’m going to try them once I go back in the UK and see if I can maybe use them on a record.

What piece of gear would you say is at the heart of your sound?

Dave: The modified bass is essential, along with unusual amounts of volume and drive. I wouldn't want to go "unplugged" in Conan.

Jon: Without a doubt the Fuzzthrone. I’ve been using that since Blood Eagle. I love how it sounds and it makes me play a certain way. It’s taken a new lease of life with these Peaveys that I’m using now, which I didn’t really expect. I love how it sounds. It’s a simple pedal and I have my sound dialed in so it stays pretty consistent no matter what amp I use it with.

You don’t play around much with pedals in studio then? Aside from the HM-2 clone on your last album, would you say that you don’t really stray from your sound?

Jon: I used the HM-2 clone mixed with a fuzz pedal. I didn’t use the Fuzzthrone on the last album at all, I used a Meathead [ed. by D*A*M]. I like mixing things up, maybe on this new album I’ll use the Fuzzthrone because it sounds pretty cool at the moment.

Is the new album ready to go?

Jon: Yes, I got some songs written. We just need to rehearse them a little bit and get them ready for the studio.

It’s impressive how active you guys are. It is something a lot of musicians can look up to.

Jon: It’s something I’ve always been interested in since my mid teens. Writing music has always been a goal of mine. Performing kind of took over and became a thing all of its own. I’ve never had any idea of what it would be like to go on tour, I’d never thought for a minute that we’d do that. We tour quite a lot, we’re very lucky. I don’t have a day job holding me back, neither does Chris. He runs his own studio so he’s flexible. Johnny is also very flexible with his work, so the three of us are lucky. It’s like the stars have aligned most of the time. When Chris isn’t available we can call Dave, which is great.

Thanks again to Jon and Dave for their time and for being so friendly and accessible after driving around Europe for a month. It goes without saying, but Conan played loud and hard and I’m very much looking forward to their next show in our neck of the woods.

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[stone-man-warrior]

There is very little time left to protect what little freedom remains for people on Earth.

It's a "Row, row, row your Joe, gently down the stream" event of some kind, where the "row" is the British kind, a heated discussion, and, there are two-Joe's. The "Cup of Joe, runneth over" is also included in there, a "Covfefe" event, in duplicity.

Two cups of Joe, will usually result in at least one visit to a restroom, so, it's also a "Holy Shit" moment, in some way, at the White House.

The "Row your boat song", is what is called a "Canon" in musical terms. That is an important component to the terror comm presented here with that Holy Shit news.

The events that are said to be taking place at the WH today, with Bahrain, UAE, and Israel, considering what is being reported, turns the whole thing into a "Holy Bullshit Moment" at the WH, one that comes with a Canon, and a peice prize... a "Two-Piece Prize", with events that happened deep inside the WH as the Middle Eastern Leaders were invited, an inside job, invitational, all internal.

A "Canon", is also a "Fugue" when composed by Johan Sebastian Bach.

Assessment: There is a Royal Sodomy occurring at the White House today, in three part "Harm-Money", Trump leading the trio.

"Manage a Twah", or whatever.

When Trump mounts the stage, it turns into a "Quart-Tit", or, Alpha Breast filled with a vat of denominations.

Vatican Bank.

Maybe Dave Grohl will write a song called "Vatican Bank" soon, by the Foo Fighters.

Eastwood Guitars mailer from Justin Trudeau HQ says that you can play a Base Guitar through your existing Guitar amplifier rig. I am skeptical.

What they are saying, is the equivalent of trying to shove ten pounds of shit, into a five pound bag.... it won't work, and everyone gets covered in shit.

The Eastwood terror comm from Trudeau says that since their Base Guitar is equipped with a "blade" style pick-up, the base will work through the regular guitar amplifier.

It's sabotage. They are bringing a blade, to cut through the guitar rig. Assessment:The election, is rigged. The system, is sabotaged. The terror base, will play through, with screaming high's, and moaning lows. A French horn disguised as a Trumpet, all brass canon, played through a Marshall Stack... comes with a "Fox Hunt" today also, in search of "four hours of Row"... a quartet, or, "Quart-Tit Alpha Breast" dispensary.

All eyes should be on Mnuchin today, the Vat Lady might sing, Wagner at the Opera, German style. The "Vat Lady", is where that "Nobel Peace Prize" is said to have been nominated from. (Wagner is pronounced "Vaugner")

The Guitar, is a 1958 Flying V, Gibson. This one, is a base V, four strings. The money will be flying out of the federal reserve, and treasury, when the bottom of that five pound bag of shit, is cut with that blade that comes standard on that Eastwood Trudeau base.

I have a feeling that there is a stealth B-2 being transferred to a new owner, as a bonus in the WH invitational Royal Sodomy that is happening today. The airplane, is not being sold, it is being given to the Vatican.

That's my read.

That Base Flying V, has only four strings, the way the comm reads. The two strings that are missing, as a Flyning V is a six string instrument, are the "E", and the "B" strings. Those, are the two Highest note strings on the guitar. E = Vatican Power. Energy. Trinity arms projecting horizontally, from one, common stance.

B = B-2 Bomber.

The strings are missing = stealth.

Also: B = Two Breasts projecting horizontally from one common stance. Treasury and Reserve. The stance, are Stanza's, and are part of the Canon being played by the Vatican Choir.

(add here recent news about "Astra Zenica" to see the reversal of the AZ componant, and also consider Arizona recent news, all part of the set-up so that terror opera-tives in the field can read this story about the two Joe's, as the terror comm, that it truly is.

The A and the Z are part of the Stanza's, the ones that are derived of those common "Stance" on the "E" and "B" string of that Flying V.

(Presidential terror communications are complicated, but are not impossible to read, when presented on Twitter, through Google, to SAG, from Britain)

Leasure Suit Larry Kudlow is also going to be one to watch as this unfolds.

===========================================

More dastardly reading of this set of comm is... heart breaking.

My read, includes the recent news that 8,000 jumbo jets are required to deliver a vaccine to the world, to "combat corona virus, globally.

My read, includes that the "grounded Boeing 737 MAX airplanes, many hundreds or maybe thousands of them around the world, have been custom fitted for containment and release of poison gas, maybe nitrous oxide/medazolam as has been used as a weapon for fifty years, but more likely to be a more asphyxiating chemical, one that has no odor, no color, no taste, like the Nitrous gas is.

As I have been reporting for many years, we only had until January of 2020 to stop the terror coup. Now, we are far beyond that date, that deadline has passed. The terror coup of the world, may be unstoppable at this point. January 2020 came, and it brought with it, the emergence of the sleeping giant, the people who are all wearing masks, insisting that there is a horrible plague that is killing hundreds of thousands of people world-wide.

That, is the distraction, and the preparation for that massive extermination that will take place.

A Christian Cleansing.

The world population, will be reduced to only very few select survivors. I was there in 1971 when this plan was revealed in California. I was at the table, where the British leaders were meeting with the musicians of Hollywood, and of Britain. At that time, the plan was that only 500,000 people would be selected to survive at the end of the terror cleansing. The plan, was a fifty years plan, and they are right on schedule.

I think that half-million survivor number may have been updated to include more selected survivors, but, maybe not. So far, I have not seen anything that suggests there has been any compromising in the details of the original plan I was privy to being part of at that table. I was about nine, or ten years old at the time, and I was there, and I remember.

"With two sqirrels and an owl, we can rule the world" ~Elizabeth Windsor, in my living room, 1971.

She was referring to the ease of which the terror takeover is done, with the invisible gas, nitrous oxide. Later, the addition of the drug Medazolam, created a super-gas, capable of eliminating the possibility that any witnesses, will remember anything that they saw when the mass murders began in the shopping centers.

January 2020, came and went.

Now what?

September Fifteenth, Two-Thousand-Twenty: 2:39 pm.

[kippangel]

Vegan Monster Kipp Angel...My Gibson Limited reverse flying V have played it once pulled it out of the studio today @eastons_guitar_shackorama @burgerguitarworx @thatguygregorio @rockstarguitar @gruhnguitars @cartervintageguitars @carolinahempcompany @guitarplayer @fckfmgirls @fckfm69 @guitarworldmagazine @guitar @guitarsdaily @vintageguitarnerds @imperial_vintage @vintageguitarmagazine @voxamplification @mesaengineering @marshallamps_uk @splawnamplification @vpicksguitarpicks @impactpicks @michaelanthonyalago @lennykravitz #gibson #gibsonguitars #gibsonlespaul #gibsonsg #gibsonexplorer #gibsones335 #gibsonfirebird #gibsonguitar #gibsonflyingv #gibsoncustomshop #noexcuses #nofucksgiven #lovedogs #nativeamerican https://www.instagram.com/p/CARMxsAhOyQ/?igshid=1qtezoh5e0bcf

[gibsunday]

Explorer, Flying V and a Non Reverse Firebird from @zpennare! Happy #gibsunday everyone! #gibson #tonethrone #gear #geartalk #gearpost #gearwire #geartone #guitar #sinasoid #gearacquisitionsyndrome #cleantone #knowyourtone #gearybusey #toneculture #notpedalbored #tonefordays #guitarsalldayguitarsallnight #bootsandboards #gearslutz #gearnerds #gearporn #rigoftheday #tonalrecall #toeachhistone #tonnesoftone http://ift.tt/2y3wJ0F

[sustainpunch]

12 Unusual and Weird Guitar Designs

Unusual guitar designs never get old, they do, however, get more creative and a lot stranger.

From the bigfoot guitar to guitars built from Legos, and steampunk to Star Wars guitars, maybe not all of them sound great but they are definitely fun to look at.

What do you think of weird, crazy designs when it comes to your axe? Would you play a guitar that doubles as a sword?

There are hundreds of unusual designs for guitars throughout history, some play nicely, some never intended to actually been strummed yet all were a vision of an artist and we can appreciate that.

These are just a few of our favorites in no particular order that we think you will Enjoy!

Real Lego Guitar

The black Lego guitar is actually a fully functioning instrument with the complete case made out of the favorite childhood building blocks.

You can jam out with your friends, and if a block of the guitar falls off, just snap it back together.

The Lego guitar comes complete including pick-ups, bridge, and all of the functioning parts, all this beauty needs are some strings.

Seeing how Legos have been around for many decades I’m sure you have some in the attic so why not build your own?

Star Wars Guitars

While we’re on the subject of toys from childhood, how about some Star Wars guitars?

Designers and fans of the epic saga have found a way to incorporate Star Wars into just about anything, so guitars should come as no surprise. And we have to admit, they are kind of awesome.

Depending if you choose to play your (han) solo, or just rip off some C (3PO) cords there is no doubt you’ll be a force to be reckoned with.

Ultimate Steampunk Guitar

Steampunk is still as popular these days as the 1960s and 1970s, so it’s not surprising to find a few guitars out there made in this style.

These can get pretty elaborate, and they look great. Thunder Eagle guitars made a fun looking guitar from copper pipes and gears.

Complete with pipes and gauges and beautiful gears – the Thunder Eagle amazingly it sounds as good as it looks.

The creator modified a Rhodes Jackson V, using copper plating, some pickups, re-facing the gauge, and adding some wonderful paint effects.

Bigfoot Guitar

From the famous guitar maker George Marlin comes the magnificent BigFoot guitar, which he displayed at the Miami Beach Guitar Festival.

This original Sasquatch sound box is actually just the foot of Bigfoot.

An earlier attempt by Marlin at a full size Bigfoot guitar, was found to be too difficult to hold (at 10 feet long) and it was apparently scaring off the neighborhood kids as well.

Not sure how it sounds, but in rock n’ roll, image is most of the show and this guitar looks pretty freakin’ gnarly.

Swiss Guitar

Ron Thal, aka Bumblefoot, is famous for his stint with Guns N’ Roses. His custom Vigier double-neck better known as Double Foot and of course the Vigier Flying Foot guitar.

But it was his Ibanez Roadster Swiss Cheese Guitar that first gained him fame as an iconic designer.

Vigier even did a limited edition of replica “Swiss Cheese Guitars” which sold out quickly, even if it was a bit “cheesy”

Sword Guitar

Many guitars have taken a ‘stab’ at being designed around the concept of a sword. One of our favorites is the VLINE.

The unique VLINE ‘SWORD’ was made by Vincent Berton, a French Avant garde luthier in the early 1980s, who worked on the famous Paris guitar road – the Rue De Douai.

It looks like something from out of the Excalibur days. Can you imagine if King Arthur pulled this bad boy out of the stone and ripped off some riffs? 

Mermaid Guitar

This one also happens to be a beautifully crafted guitar.

Andy Mason, the artist and musician responsible for this gorgeous yet completely bizarre, fully-functional guitar in the shape of a mermaid, built his first guitar in 1967 using whatever materials he was able to find in his father’s garage.

Ever since, the incredibly talented craftsman has made everything from lutes to mandolins—as well as a series of guitars for John Paul Jones and Jimmy Page.

A few of which, were of the elegantly double-necked variety that Page was especially well-known for playing.

Not exactly for Ariel fans, Mason’s life-sized “Mermaid” guitar took three years to build and is comprised of nineteen different types of wood.

And, according to Mason requires a guitarist with “sensuous posture” to be successfully played.

Prince Guitars

If you stop and think about musicians with the weirdest guitars, it probably won’t take too long until you get to this famous guy.

Not only was Prince a truly talented musician, he also happened to like playing weird, cool guitars.

Prince played a variety of unique guitars from his custom-built purple guitar, shaped like the symbol he once replaced his name with, to the Cloud Guitar and what is known as Purple Special, his final guitar.

Map Guitar

Now, this is where Gibson got really, really weird. Gibson’s Map guitar is shaped like the map of the United States of America.

Yes, somebody actually had that idea in mind. Although it was produced by Gibson, the original builder of this guitar was James Hutchins, and it was first sold under the Epiphone brand.

Surprisingly enough, it actually sold well. And after witnessing its success, Gibson decided to put their name on the headstock.

Aside from its non-ergonomic shape, the guitar has classic features, like two volume and two tone knobs, and two humbuckers.

There were, however, certain versions with three knobs. These were produced back in 1983 and 1984 and featured mahogany bodies and maple necks.

I guess if you’re touring the country and get lost you can just check your instrument for directions to your next gig.

Reverse Flying V

A Gibson classic, made in 2007 and 2008, the Reverse Flying V was manufactured in honor of the Flying V’s 50th anniversary.

Despite the odd shape, the guitar was a rather successful seller. After the initial series of 400 guitars, Gibson made an additional 900 pieces in 2008, 300 each in: Classic White, Natural, and Ebony Black.

The guitar’s headstock was “borrowed” from the old Futura/Explorer design conceived back in the late 1950s; it somehow went well with the reverse V shape.

The rest of the features are the same as the classic V, although there were some minor differences between the 2007 and 2008 series.

The Pikasso Guitar

Talk about a piece of art! Four necks. Two sound holes. 42 strings. Two access doors; one on the upper player’s side and one at the tail block.

Created by luthier Linda Manzer for guitarist Pat Metheny, the instrument took 2 years to build (approximately 1000 hours).

When the 42 strings are strung up to high tension, the Pikasso is under approximately 1000 lbs of pressure. It weighs 6.7 kg or 14 3/4 lbs.

The Pikasso Guitar was specially built for jazz fusion virtuoso Pat Metheny, who can play that stringed Escher painting better than the rest of us can do most things.

The body is tapered so that the side closest to the player is thinner than the side that rests on the player’s knee, thus leaning the top, back towards the player for a more aerial view. This is also more comfortable under the player’s arm.

The instrument is outfitted with a complete state of the art piezo pickup system. This included a hexaphonic pickup on the 6 string section.

This feature allowed Metheny to access his Syclavier computer system thus triggering any sound in the system, including sampled sounds.

Two mounting holes are placed on the treble side (knee side) so that the guitar can be mounted on internal brass insets and attached to a stand, leaving hands free for playing or viewing.

The Multi-Neck Guitar

Cheap Trick’s lead guitarist Rick Nielsen looks at your feeble double-neck guitar with its puny, two little necks, and just shakes his head.

Now we’ve seen multi-neck guitars before, but this one takes the cake.

Not sure any of us mortals could actually jam on this guy but we know Rick could play it or maybe it’s made for an octopus.

Conclusion

We realize that thousands of unusual guitars have been created and this is a small sample of what is out there and who is known for the weird guitars they played but our goal was to entice you to dig deeper into the realm of oddities out there and what is possible to turn into a jamming axe that is uniquely your own.

What is your favorite weird guitar out there and who plays it? Let us know in the comments below. 

The post 12 Unusual and Weird Guitar Designs appeared first on Sustain Punch.

source https://www.sustainpunch.com/unusual-guitars/

[mutoidman]

Mutoid Man’s Pedals & Creative Process // Delicious Audio

PC: Jammi York 

Sludgy, frenetic, and surprisingly melodic, Mutoid Man serves up nasty, heavy jams with a side of skilled riffage. Their latest release, War Moans, is 12-tracks worth of head spinning metal aptitude, so of course, we here at the Deli were very curious as to what kind of gear went into making their signature gut-busting sound. – by Olivia Sisinni

What feelings, events, people, records, inspired your latest album War Moans?

Feelings of joy, persistence, happiness, and gleeful rage are all present on War Moans. We found lots of musical inspiration from our peers on the road last year, sharing the stage with Baroness, Gwar, Converge, etc… and of course, when Chelsea Wolfe and Marty Friedman are down to collab on your album, it’s hard not to be stoked.

Can you talk a bit about the themes that encompass this release?

The perversion of sex occupies our day-to-day in some shape or form, from product advertising to the the fact that any type of porn is accessible within seconds on our handheld devices. War Moansacknowledges this perversion and celebrates it having a home in the world of rock ‘n’ roll, continuing the tradition of this being a perfectly acceptable place for all forms of sexual expression.

Was there a person outside the band that had an important role in shaping your sound?

Kurt Ballou who recorded War Moans and also our previous album Bleeder is a good suck filter – we welcome his oftentimes blunt manner of guiding the production and occasional song writing, which usually leads to us doing better work.

Did you guys work on a new or improved guitar sound for this record, and, if so, what made everything click?

I played an Aria Pro II XX-MS 1985 Flying V with stock pick ups that I bought last year. It’s built for speed and really helps me wrangle the faster tempo stuff. We used the same amp on War Moans as we did with Bleeder – a Gibson Titan from the 60’s. This time we added more soundproofing foam in the live room to give the drum tracks greater isolation, and I think you can hear noticeable improvement in the overall mix.

How much of your distortion is amp and how much of it is pedals?

I like to dial in amp gain to the point of it sounding like speakers breaking up naturally, then I’ll add the external overdrive. If need be, I’ll push the amp gain harder when the floor needs extra shaking.

Tell us about your first time with… a guitar pedal. How old were you and what did you stomp on?

I started playing an acoustic guitar at age 12 and quickly became impatient to crank things up a notch with an electric. I remember driving with my folks to buy a used Rickenbacker practice amp… this thing was tiny and very basic but it didn’t matter – I was so excited to play through it, thinking “finally I’ll sound just like of all my favorite rock n roll and metal albums!” Of course when I plugged in, the sound was way cleaner than I’d hoped and the only way to get any gain was to pin every knob to 10 and strum the guitar as hard as possible – even then it provided soft gain at best. Several broken strings later, I’d managed to savesome paper route money and bought my first distortion pedal – the DOD American Metal, which I still own to this day. Game changer for sure! Recently I listened back to some cassette boombox recordings I’d made around that time and thought “This tone would be right at home on those early Hellhammer and Darkthrone albums”, both of which were way off my radar in 1993!

I still get nostalgic for the old Yamaha stereo Flanger pedal sound from the 80’s. It was the first “effect” pedal I owned and that was my way of exploring the feeling of how Nirvana used stereo chorus on “Nevermind”. Later on, I’d say discovering the Boss PS-3 was a major revelation, as it contains a particular setting which mirrors a distinct shimmery sound that’s existed deep in my musical imagination for several years. My band Cave In obviously exploited this sound to the degree in which Kurt Ballou now calls that pedal the “Caveinator” haha.

What do you have on your pedalboard these days?

Pictured above is my basic set up for Mutoid Man. Yellow tape arrows indicate the [Boss PS-5] Super Shifter quick octave up for piercing eardrums and a slowdiving octave down for brown note central. There’s a reverse delay for mild trippy ambience, flanger, octave down laser-like sonic intensity mimicking some intergalactic bass playing alien phenom , a sampler pedal for when I get lonely as the lone guitar player in a band and want some loopy company, octave up for more sharp frequency violence upon unsuspecting eardrums, and a (sexual) organ simulator for me to launch into “take me out to the ballgame” at any given moment.

What’s your favorite pedal on your board right now?

The [Electro-Harmonix] B-9 is pretty great as it tracks one’s playing super well – it’s also a happy medium for all the years I’ve said how badly I wanna take piano lessons.

Are there any stompboxes you are itching to buy?

I’m looking to pick up an Eterna [a reverb from Mr. Black]. Also we used the Boss Vocoder all over War Moans to the point where it might actually be busted haha – I dig it so much that I’ll prolly buy a new one if that’s the case. Strymon is making some cool stuff. Also been getting back into messing around with envelope filter – I’m sure technology has come leaps and bounds since the DOD version from the early 90’s.

Are there any up-and-coming New York bands that you’re really excited about?

I think Sarahbeth from the band Tower has one of the most killer voices in the entire city.

FULL ARTICLE 

[afishtrap]

The following is the product of one of the two ‘Special Topics’ classes taught during the spring of 2012 in Maritime Archaeology at the University of Southern Denmark. The theme of the work is the application of techniques from naval architecture on ancient boats. The seven authors of this book also represent seven countries, and almost as many different traditions of archaeological practice. Even after running this programme for several years it is still an eye-opener and a challenge to your every professional preconception to work in an environment like ours. The chronological and spatial diversity of the boats presented here may also be a reflection of the wide scope of our student’s interests.

Ejstrud, B (editor). SEVEN BOATS: Assessing the performance of ancient boats. Maritime Archaeology Programme, University of Southern Denmark, Esbjerg 2012. Electronic publication.

Although Singaporean sampans have appeared often in paintings and memories of western visitors in Singapore, only in 1906 in the “Mast and Sail in Europe and Asia” by Warington Smyth (1906: 335), is it possible to find a brief account on this boat. Smyth refers to the Singapore Sampan as “high-sided Chinese junk” which was only able to sail along the coast between October and February, when the weather otherwise does not allow local navigation. Furthermore Smyth classified these small craft as a member of the Chinese Sampans family, describing them as:

“[…] gaily painted, two-tailed boats […] great beam, flat bottom, and deep rudder, they are good carriers and rapid sailors, but their best point of sailing is undoubtedly a 'soldier's wind” (1906:418).

Even though Smyth reports about the sailing properties of this sampan, often the most used source of propelling is human force, as clearly visible in several illustrations of the Singapore harbour, with a crew of maximum three (Gibson-Hill 1950: 163).

[...]

Gibson-Hill in his article The fishing Boats operated from Singapore Islands (1950: 160-165) outlines better the occurrence, placing them in the “Chinese Keelless Boats” family, and outlining the distribution area of the Sampans Kotak which is limited to the Singapore Islands. Although the general design lines are followed, there is a considerable local variation in the form and size from sampan to sampan, and the largest reach a maximum length of about 10 meters and a maximum beam of 3 meters. Furthermore, Gibson-Hill (1950: 163) claims that generally the larger models, despite the wide beam and gently flat bottom, are too heavy to be beached and are left in the water, while the smaller specimens are beached or moored where the receding tide could leave them grounded.

The main role of this vessel is to transport goods or passengers, as suggested by its Malaysian name “Kotak” that means “container”, around the Singapore harbour from the large ships stationed off the port and the harbour warehouse or quays (Jayapal 1992: 31). This procedure was, and still is, caused by the condition of the seabed, as it will be explained later, that does not allow the access of the harbour to large vessel. The small examples are also used for fishing off Singapore Island (Gibson-Hill 1950: 165).

[...]

The Singaporean Sampan is of flush-strake construction with a wide round beam and transom raked both bow and stern. Examining the shape of this traditional craft the first noticeable characteristics, in contrast with the other Sampan-like constructions, are the slender breadth lines and the triangular short bow. As in line with the “Chinese Keel-less Boat” tradition, the Singapore Sampan has a rockered bottom provided with a false keel of 5 cm sided, attached at the centreline from the bow to the stern end section.

From the body plan is visible that the boat starts in a V-section at the bow, the lines evolving in a gentle rounded shape at mid-section with a flattish bottom, a usual shape for small-crafts that are frequently hauled up on the beach. The waterlines show a modern design, since the bow is fine and the widest section is aft the amidships ending with a full stern. This design is actually used by modern day cruisers, characterizing displacement and semi-displacement hull (Brewer 1994: 22).

The elegant rocked shape of the sheer plan ends at the stern with a high double tail, a similar feature is visible on Shanghai Sampans, while the prominent prow is ornamented on both sides by the typical “oculi”.

The flush-laid planking of 2 cm of thickness develops till the gunwale delimited by a semi-circular wale, with a height at amidships of about 50 cm. The freeboard of this sampan is increased thanks to an internal extension; a 10 cm high coaming connected to the gunwale by side-decks of 10 cm in width. This extended coaming is kept in place by a sort of hanging knee fixed on the bulkheads and the futtocks.

[...]

The “flying proa” of the Caroline Islands archipelago ought to be looked at as a self-integrated body. This view is generated by the unique fashion in developing and evolving the design of the single outrigger canoe. Lacking any substantial contact with either Polynesia or Indonesia – inasmuch as cultural human relations are concerned – a long period of comparative isolation has been the backbone for shaping the Caroline Islands – and possibly the entire Micronesian – flying proa development process.

[...]

What defines the flying proa is the presence of the single outrigger – which is encountered likewise in the Marianas but the complexity of its attachments has attained an increased level on Puluwat, in the Carolines. As the outrigger is fitted always on is weather side, the lee side is fitted with a platform which serves as counter balance applying the cantilever principle against the weight of the outrigger and its decking.

The hull of the Carolinian wa is axially asymmetrical. Due to the presence of the single outrigger, the type is inherently asymmetrical, with the outrigger on the weather side (Doran 1981: 30). But even the main hull itself is – as a general rule of thumb- not symmetrical, as the outrigger side is fuller than the opposing lee platform side. The difference can be more or less marked in different parts of the Pacific, and sometimes the lee side is almost completely flat. The Carolingian Proas are somewhat fuller, but still noticeably asymmetrical (Haddon & Hornell 1991: 377).

The boats are, however, symmetrical on an athwartships axis, and there is no fixed bow or stern as the two ends are identical. This allows the boat to shunt; rather than tacking or wearing, this boat will turn by simply reversing direction. Shunting keeps the outrigger on the weather side.

[...]

A Puluwatan sailing canoe comprises four essential elements: the hull, the outrigger, the lee platform, and the rigging and the sail. As the drawings show (Figure 67; Figure 68), the hull is narrow and deep forming (a cross-sectional) V at the bottom. As noted above, the end-to-end symmetry is preferred. The weather side is designed to be a bit higher in order to conform with the upward slope of the heavy outrigger booms where they manage to intersect the hull. The dimensions of the boats are described by Gladwin (1970). Hulls around Puluwat average 7.92 m (26’) in length. The wa Mikael is 7.85 m in length when measured from the base of the V-shaped ornament at each end. The waterline length measurements will generally be 0.76 m (:2.5’) shorter. There is some variation in width. The average will be found somewhere in the region of shortly over 0.9 m at the top of the hull. What is more interesting is the variation in L:B ratios of the Pusuluwatan canoes – with some being broader and other showing increased levels of narrowness. Basically the builder may either opt for speed – narrowness – sacrificing cargo room, or vice versa, while he is also limited by the breadfruit tree trunk’s availability. Consequently this ratio varies from nine to as high as twenty; while beam-to-depth can go as low as 0.5 (Gladwin 1970: 76). According to Gladwin, the wa Mikael has a L:B ratio of twelve. Our calculation however yields a number of less than eight. In both cases this can be interpreted as a cargo oriented canoe.

A system of proportional measurements determines the size of the elements which are to constitute the hull. Pursuant to all considerations on the design of the boat, the builder starts by defining the keel piece which constitutes the backbone of the hull. The keel piece is a single piece of wood which is shaped and hollowed to form the lower half of the hull running the full length. The breadfruit of choice for this operation will determine the size of the canoe – which is why choosing a proper trunk is a hallmark operation. From this logboat base the hull is built up from planks – of the same wood, or some other type, if breadfruit is scarce – which are to match the contours of the keel piece. As all voyaging canoes have freeboards greater than 0.76 metres (2.5’) this makes them safe to face most sea conditions. (Gladwin 1970: 76).

[instapicsil3]

Who doesn't love a little life in reverse, this #Gibson Reverse Flying V in Black is about ready to fly off the shelf! Catch it before it takes flight. . . . . #chicagomusicexchange #geartalk #guitar #guitarsdaily #guitars #gear #cme #sick #rocknroll #gearnuts #gibson #gibsonguitar #gibsonflyingv #reversev http://bit.ly/2FkyaL3

[jedimouseketeer]

Gibsunday rocks with an Epiphone Moderne and Gibson Reverse Flying V. 🎸🎶 . . . #epiphone #gibson #gibsongram #gibsonsofinstagram #gibsunday #guitar #epiphonemoderne #flyingv #gibsonflyingv #reverseflyingv #epiphonesofinstagram https://www.instagram.com/p/BrMNm7LHJaA/?utm_source=ig_tumblr_share&igshid=1htl8jg2872gs

[pointofgeeks]

New Post has been published on http://www.pointofgeeks.com/the-joker-origin-film-martin-scorsese-producing-todd-phillips-directing-heres-the-details/

The Joker Origin Film: Martin Scorsese Producing, Todd Phillips Directing & Here's the Details

This year Warner Bros reversed their superhero fortunes with their smash-hit Wonder Woman, by entrusting the property to auteur director Patty Jenkins and allowing her bring her vision to life. DC Films’ previous efforts, including Batman v Superman and Suicide Squad, fell short critically and in the eyes of many DC Comics’ fans. The overwhelming consensus has been that those movies were hindered by studio inference during post-production, however it seem that things are finally changing on the WB lot.

The studio has abandoned their original 10-film slate and are in the process of modifying their upcoming releases on the fly. In recent months we’ve learned that they are intent on expanding the “world” of Gotham City, by focusing films on Nightwing, Batgirl, and Gotham City Sirens, while nabbing high-profile directors for the projects including Chris McKay and Joss Whedon. Once you consider that the studio almost lured Mel Gibson into directing Suicide Squad 2, it’s clear that they are making a lot of movies that will be paired with directors with distinct voices.

Just when things seemed to just start making sense in the DC universe, we have been thrown another curve ball courtesy of Deadline. The trade reports that an origin story for The Joker is currently being crafted by The Hangover writer and director Todd Phillips. Phillips will be at the helm of the movie and is co-writing the script with Scott Silver (8 Mile) And here’s the kicker… None other than film legend Martin Scorsese will be producing the upcoming film that’s being described as such:

The intention is to make a gritty and grounded hard-boiled crime film set in early-’80s Gotham City that isn’t meant to feel like a DC movie as much as one of Scorsese’s films from that era, like Taxi Driver, Raging Bull or The King Of Comedy. I’m told that Phillips and Silver are writing already, but there is nothing firm on where this will fit into the DC schedule.

Up until this point, Scorsese has shown little interest in the superhero genre. But grounding the period piece as a hard-edged mob drama sounds like the perfect material for him to oversee. The mob movie has lost its popularity at the movie theaters in recent years, with much of its influence diffused into quality television programming, with shows like The Sopranos and Breaking Bad, scratching the familiar itch that Scorsese mastered decades prior. 

Now here is where things get interesting…

The origin movie won’t star Jared Leto and another actor will be taking on the role of the Joker. However, Leto will return for the Suicide Squad sequel as well as the upcoming Harley Quinn spin-off movie as needed. The movie also will not be connected to any other DC Films’ production to date. This is part of a larger effort by Warner Bros to diversify their DC Comics’ library on film. According to the trade, the Joker origin movie “will be the first film under a new banner that has yet to be named in which WB can expand the canon of DC properties and create unique storylines with different actors playing the iconic characters.”

This actually sheds light on a lot of the recent moves by the studio and also explains how they can continue milking the Batman brand, even if Ben Affleck retires from wearing the cape and cowl. This “new banner” more than likely will be the home for more mature comic book films, that are not connected to the DC Extended Universe. Apparently, Warner Bros will be mimicking the comics and creating their own cinematic multiverse for fans to follow. 

Phillips isn’t known for hard-hitting dramas, however with the guidance of Scorsese this could be a fresh addition to the medium. While Christopher Nolan leaned into the mob elements of the Batman lore as well, the story was from the viewpoint of Bruce Wayne and was closer to The Untouchables, than Goodfellas. However, the Joker and his gang of goons could certainly fill that vacuum and in the process, give the movie a chance to be transcendent.

In the past couple of years there have been several success stories for adult comic book fare, highlighted by Deadpool and Logan. If the Joker origin movie is handled with the same level of authenticity and focus on making a solid mafia-style movie, this could be memorable. It’s unclear if Batman will appear in the film, however in most iterations the Bat is at least tangentially involved in the super-villain’s creation. If so, it’s hard to imagine that he would be seen in the Bruce Wayne persona, however with a Venom and Silver and Black movies on the way without Spider-Man, we will see if the creative team has a solid take. 

There isn’t a finished script or release date, however it’s hard to imagine Scorsese jumping on board without an incredibly compelling story that’s already been outlined. There’s a lot more to come on this one, as this could shape up to be one of the biggest movies in whatever year it’s released. 

There is not a release date for yet for the Joker origin film.

What do you think of this news? Who should they cast as the young Joker? Let us know on the comment boards, Facebook, Instagram, and Twitter! Share our stories by simply clicking your favorite social media below!

Source: Slashfilm 

[mountaincatguitars]

A first at Mountain cat!! Gibson reverse Flying V!! Super Flamey korina!!! #guitarsofinstagram #flyingv #reverseflyingv #gibsonreverseflyingv #gearporn #gear