#Zappa Scale

[gear-project]

I'm not sure if this is asked before but the part in Strive's story prior to waking Nagoriyuki up, when Happy Chaos snapped his fingers to create that huge explosion. Was that explosion an Information Flare or...just a regular explosion caused by magic? The fact that he can just do it so easily isn't something that anyone can just do in Guilty Gear, at least to me.

If it was a straight-up Information Flare, Zappa's Zappa Scale would've picked it up and detected it. That's how advanced the Zappa Scale system is, more or less.

Nope. Unlike the Universal Will, Happy Chaos wasn't exactly TRYING to destroy humanity all at once.

More than likely Happy Chaos also knew that Axl Low would save everyone in the building as well, since he basically warned Axl Low ahead of time when Axl "sensed him".

It's almost as if Happy Chaos just wanted to blow up a building just for the heck of it (since he could just as well have used Teleport Magic to warp Nagoriyuki out from the seal).

Interestingly enough, Zappa "detected" the very moment when I-No cast her "world affecting Magic" (and became a giant illusion of herself).

It's more than likely that Chaos just wanted the "drama" to entertain himself with.

[sivavakkiyar]

Zappa’s absolute last interview was about Nicolas Slonimsky, who compiled the Thesaurus of Scales and Melodic Patterns that thousands of musicians have studied afterwards: including John Coltrane and Yusef Lateef, whose own collection is a kind of practical arrangement of a lot of the Slonimsky. He premiered Ives, Cowell, and championed Varese.

Zappa says:

[cherrylng]

100 Albums To Understand Muse - Part 3 [STYLE Series #004 - Muse (August 2010)]

THE CURE Wish (1992) Although they are regarded as one of the original Goth representatives in the history of music, their songs have always been coloured with a distinctive pop feel, with the exception of some of their early works and the ‘Dark Trilogy’ (albums 4, 8 and 11). This ninth album, too, presents a sound world that is light, heavy, glittering and dignified, with a hint of melancholy. Matthew's brother was a big fan of theirs. -I

DAVID BOWIE The Rise & Fall Of Ziggy Stardust & Spiders From Mars (1972) A classic of 70's British glam rock. This concept album tells the story of a fictional rock star, Ziggy Stardust (actually an alien), who tries to spread love and hope to save the Earth from destruction in five years' time, but ends up dying. The album's neat sound, which makes use of acoustic guitars, pianos and winds, and the aesthetic appeal of the singer's voice are timeless. -I

DEPECHE MODE Violator (1990) The influence of this world's greatest electro band can be heard throughout Muse's songs. In fact, ‘Enjoy the Silence’ bears a striking resemblance to ‘Map of the Problematique’ and ‘Personal Jesus’ to ‘Uprising’. A masterpiece with Dave Gahn's deep voice, lyrics by Martin Gore and a perfect balance of synths and guitars. -S

DEUS Worst Case Scenario (1994) Matthew used to listen to Belgian bands such as Soulwax and Evil Superstars, and this experimental band from Antwerp was one of them. There are glimpses of avant-garde jazz and Frank Zappa influences, as well as brainy hardcore parts and mellow, poetic elements. Twin vocals are also an attraction!!! -S

DINOSAUR JR Where You Been (1993) Fifth album in total. This is the record behind the scenes that comes closest to the ‘subversive lyricism’ of Neil Young. The key point is the fusion of thundering guitars that mix hard rock and punk with pastoral folk-inspired breakneck melodies. The weepy ‘Get Me’ is one of the best songs of their career, and it tears my heart out every time I listen to it." -K

ECHO & THE BUNNYMEN Porcupine (1983) The third album by a band from Liverpool, UK, who led the New Wave/neo-psychedelic scene in the 1980s. Their mellow fourth album ‘Ocean Rain’, which introduced a lot of graceful orchestral music, became a revival boom in the late 2000s, but here we have a brilliant sound world with melancholy and shadow, sometimes sharp, sometimes ethereal, with guitars that cut through. -I

EMERSON, LAKE & PALMER Pictures At An Exhibition (1972) Recently, it has become well-known as the background music for the TV show "What's This? A Hundred Strange Scenes? (Nanikore Chin Hyakkei (ナニコレ珍百景))" (laughs) This is a classic prog-rock interpretation of a famous classical song that everyone has heard at least once. In addition to the fusion of tradition and innovation, the band shares with Muse the big-scale orientation of the soundscape and the fact that they are in fact a live band. -M

ENNIO MORRICONE Nuovo Cinema Paradiso: Original Motion Picture Soundtrack (1989) An undisputed master of 20th century film music. He has produced many soundtracks for masterpieces that have left their mark on film history, and this one in particular is so perfect in its theme tune that it is no exaggeration to say that the music made it a masterpiece. It seems that Muse learned a lot from him in terms of ‘dramaturgy of sound’. -M

[yesterdays-xkcd]

Sometimes I try to picture what everything would look like if the whole spectrum were compressed into the visible spectrum. Also sometimes I try to picture your sister naked.

Electromagnetic Spectrum [Explained]

Transcript

The Electromagnetic Spectrum These waves travel through the electromagnetic field. They were formerly carried by the aether, which was decommissioned in 1897 due to budget cuts. Other waves:

Slinky waves [Cueball and Megan hold the ends of a tangled slinky.]

Sound waves [There is a snippet of a frequency band. Between 20 Hz and 20 KHz is labeled "Audible Sound." Towards the top is a line labeled "That high-pitched noise in empty rooms."]

The wave [A row of people does a wave.]

[Three parallel scales are across the bottom. The first is lambda (m), ranging from 100Mm to 100fm; second is f (Hz), which starts at 1 Hz and reaches 100 THz about 2/3 of the way along, after which the labels read "other entertaining greek prefixes like peta- exa- and zappa-;" last is Q (Gal^2/Coloumb), whose labels are 17, 117, pi, 17, 42, phi, e^pi-pi, -2, 540^50, and 11^2. Above the scales and lined up accurately with the first two are the following:]

Power & Telephone (100Mm to 1km)

Radio & TV (1km to somewhere between 1m and 10cm); above that are many boxes showing subranges (AM, VHF, UHF, 24/7 NPR pledge drives, a very thin band for the space rays controlling Steve Ballmer, 99.3 "The Fox," 101.5 "The Badger," 106.3 "The Frightened Squirrel," cell phone cancer rays, CIA, ham radio, kosher radio, shouting car dealership commercials.)

Microwaves (a bit more than 10cm to a bit more than 1mm); it also has subranges (aliens, just below SETI, wifi, FHF, brain waves, sulawesi, gravity)

Toasters (about 1mm to about 100 micrometers)

IR (about 100 micrometers to somewhere between 1 micrometer and 1 nm); above that is a bell graph labeled "Superman"s heat vision," with a motorcycle driving up the left side labeled "Jack Black's Heat Vision."

Visible light (and, under it, visible dark); above that is a bell graph labeled "sunlight." There's a breakout chart above it showing the visible spectrum from 700nm (red) to 450nm (violet). There's an arrow pointing to where octarine would be, somewhere off to the side. Above that are bars showing the absorption spectra for hydrogen, helium, Depends(R) (yellow only), and Tampax(R) (red only).

UV (about 100nm to about 10nm)

Miller Light (a thin bar around 10nm)

An unlabeled section with a thin line above it showing the frequency of the main death star laser

A blocked-off portion labeled "Censored Under Patriot Act."

X-rays (from about 1nm to about 10pm); a line above shows the frequency of mail-order x-ray glasses. Somewhere vaguely above the 10pm mark is a potato.

Gamma/cosmic rays (10pm and smaller); above that is a bar marked Sinister Google Projects that also trails off into higher frequencies, and blogorays, which are slightly lower.

[larissaligus]

During the lesson, Froosh’s soon-to-be-ex-teacher cited Tommy Bolin and Steve Vai as examples of ‘good’ guitarists, lending him Vai’s 1984 debut album, Flex-Able. Frusciante never returned the record, and devoured the virtuoso’s playing style – both solo and with Frank Zappa – to make himself bulletproof to criticism.

“It [Vai’s guitar playing] became my benchmark,” Frusciante says. “I’d already started to get into some of Frank Zappa’s music, but I knew that Steve Vai had been in Frank Zappa’s band playing guitar. It was around that time Frank Zappa and Steve Vai just became my favorite thing. I think I’m about 16 by this point. And I just started learning every complicated Frank Zappa piece of instrumental music that he’d written.”

This put Frusciante on what he sees as the wrong path: prioritizing blinding scales over his natural expression as a player.

“I told him [the teacher], ‘I can’t figure out whether to be a textural guitarist or a flashy guitarist,’” Froosch recalls. “He said, ‘Of course flashy guitar player, because flashy guitar players can do whatever they want, but the textural guitar player can’t do what a flashy guitar player does.’ And that was his logic – I suppose on some level I saw the logic of what he was saying, but at the same time, I saw that different people have different things to say.”

With hindsight, the guitarist was able to look back at these events and reflect on how different players have different approaches – and that there is no such thing as a ‘bad’ guitar player, as long as they are being true to themselves.

[unmeisenshi]

After hurrying Phoebe and Cadenza out, Morello closed the door for a short discussion. "Zane... You doing okay?"

As if to signify, Zane doubled over in pain, and the wound that was on their chest began to glow a bright silver. "Rrgh! What's happening to..." Their scales felt as if they were about to rip apart and explode. After a few moments, the glowing stopped and Zane was left out of breath.

The Lycanroc looked Zane over, concern spread across his face. "What just happened!?"

"I... I don't know!" Zane looked around. "I need to speak to Arceus about this..."

"Not until you get the clear from Avett, you're not." Morello hugged Zane, being careful to not disturb their injury. "Just hold out for a little bit longer. Once you're better, you'll go."

Zane remained quiet. They'd wait, but with what just happened, they might not have much time left to wait.

-

It would be weeks before Zane was discharged from the hospital. During those weeks, it only felt like the burning pain from whatever was happening to them got worse and worse. But once they were out, the Marowak immediately went to Arceus, flying high into the sky where things could be a bit quieter.

"Arceus?" Zane called out. "Can we speak? It's urgent."

Out from the clouds came the large deer, mimicking a running motion until they stopped in front of Zane. "Zane? I wasn't expecting-" Arceus immediately went quiet, staring at the Marowak's stitches.

Zane cleared their throat. "It's about this." They motioned in a circle with their hand around their body. "The wound from Ritornello isn't healing, but I'm also experiencing some... Odd pains. Occasionally my body feels like it's about to rip apart at the seams, and my scarring begins to glow, but then it disappears."

Arceus listened intently, and eventually closed their eyes. "Oh my..." They muttered. "Zane... I don't know how else to word this, so I'll be blunt with you. Do you remember when you fought Necrozma, and we destroyed its core?" When Zane nodded, the deer continued. "Since you are part Necrozma, you too have a core. It seems that Ritornello hit your core."

Zane's eye widened. "So... What you're saying is..."

"Your core is compromised, and is on the verge of destruction. Once it goes, it's taking you with it."

The Marowak looked down in stunned silence. Even though they had died once, it still hurt them to hear they would die again. And this time with no way back. It was during this time that Zane had another fit of pain, and was screaming in agony from how it felt. After it subsided, Zane looked back to Arceus. "How long... Do I have...?"

After seeing what happened to them, Arceus closed their eyes. "Judging by what I had just seen, it could only be a matter of days... Maybe no longer than a week."

Zane was breathing heavily, but remained completely silent. This was it. Their last days on the planet. Looking back down for a moment, Zane eventually spoke again. "Can I ask you to do me a favor? One last one...?"

"Anything, Zane."

"Can you take a small part of my soul, and put it into a Cubone egg? Then once I... Go..., Give it to Morello and my family?"

Arceus nodded. "I will. You have my word." As Zane was about to fly away, Arceus stopped the Marowak for a moment. "And Zane? It was good to get to know you, these years. The people of Flora thank you for your service. You won't be forgotten."

Hearing those words made Zane tear up, and they chuckled. "Thank you. I'm glad I got to know you too, Arceus."

"Please... Call me Zappa."

Zane was taken aback, having finally heard Arceus' true name, but eventually nodded. "Right, got it." After a few beats of silence, Zane turned back around. "Well, see you around Zappa."

As Zane flew away, Zappa could only sit in silence as they watched them leave. A few tears of their own rolled down their face, before they turned and flew away, giving one last parting sentence to Zane.

"So long... Old friend."

[daimonclub]

A short history of pop music

Ariana Grande A short history of pop music, from blues, soul, gospel and jazz music, through rock, hip hop, funky and disco to modern commercial, and rap music. And now that is summer time you can visit our page about The most beautiful summer songs from 1960 to 2024, many famous of them in Italian! Music washes away from the soul the dust of everyday life. Berthold Auerbach One good thing about music, when it hits you, you feel no pain.” Bob Marley The only truth is music. Jack Kerouac Without music, life would be a mistake. Friedrich Nietzsche If I had my life to live over again, I would have made a rule to read some poetry and listen to some music at least once every week. Charles Darwin Music makes one feel so romantic – at least it always gets on one’s nerves – which is the same thing nowadays. Oscar Wilde Without deviation from the norm, progress is not possible. Frank Zappa Music... can name the unnameable and communicate the unknowable. Leonard Bernstein After silence, that which comes nearest to expressing the inexpressible is music. Aldous Huxley Where words leave off, music begins. Heinrich Heine To understand where pop music comes from we have to start from Blues. This is a genre and musical form that originated in African-American communities in the “Deep South” of the United States around the end of the 19th century. The genre developed from a fusion of traditional African music and European folk music, that incorporated spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads.

A short history of pop music The blues form, ubiquitous in jazz, rhythm and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. The blue notes (or “worried notes”) which are often thirds or fifths which are flatter in pitch than in other music styles, are also an important part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect called a groove. The origins of the blues are also closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is often dated to after emancipation of slavery and, later, the development of juke joints. It is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century. The first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta and Piedmont, as well as urban blues styles such as Chicago and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a hybrid form called blues rock evolved. Now we can pass to soul music. This is also a genre of African American popular music that led to many later genres, from funk and dance music to hip hop and contemporary R&B. It developed in the USA in the late 1950s from African American church music called “gospel music”. After slavery ended in 1865, African Americans weren’t welcome in the churches of white Americans, so they built their own churches and sang Christian songs with African-American vocal styles and rhythms. They sang joyful, up-tempo gospel songs while clapping and moving to the beat, and they sang slower gospel songs that expressed deep feelings like yearning for God’s love. These different styles led to the two main styles of soul music. https://www.youtube.com/watch?v=a3w8I8boc_I The first soul songs were created when gospel songs were changed into secular songs by rewriting the lyrics. Joyful, up-tempo gospel songs became up-tempo soul songs, while slower gospel songs became romantic love songs. An example of the up-tempo style is R&B artist Ray Charles’ 1954 song I’ve Got a Woman (Way Across Town), a secular version of the old gospel song I’ve Got a Savior (Way Across Jordan). Another example is Ray’s first crossover hit What’d I Say in which he uses a gospel-music call and response to exchange sexy “oohs” and “aahs” with the Raelettes, his female backing singers. An example of the slower style is former gospel singer James Brown’s 1956 song Please, Please, Please in which he changed a gospel song about yearning for God’s love into a song about yearning for a girl’s love. In 1930s in Europe swing became popular. Benny Goodman and his Orchestra were the 'King of the Swing', as were Glenn Miller and Artie Shaw. The music was fast and frantically paced and led to dances being banned from dance halls, as the young women being flung into the air by their partners showed their stocking tops and underwear. Jazz continued to be popular. In 1940s, in Europe the Second World War brought fast, frantic (and often American) dance music - boogie-woogie or jitterbug. Dances were held in church halls, village halls, clubs, Air Force bases - everywhere! But slower, romantic songs were also popular as loved ones went away to fight, such as Vera Lynn's 'We'll Meet Again' and the song about coming home again, 'The 'White Cliffs of Dover'. After the war 'skiffle' bands became popular. These bands used household items, such as washboards and tea chests, as part of their set of instruments! Tommy Steele, who later became very famous, first played in a skiffle band. Obviously we couldn’t imagine pop music without Soul-Jazz, which was the most popular jazz style of the 1960s. It differs from bebop and hard bop (from which it originally developed) in that the emphasis is on the rhythmic groove. Although soloists follow the chords as in bop, the basslines (often played by an organist if not a string bassist) dance rather than stick strictly to a four-to-the bar walking pattern. The musicians build their accompaniment around the bassline and, although there are often strong melodies, it is the catchiness of the groove and the amount of heat generated by the soloists that determine whether the performance is successful. Soul-jazz’s roots trace back to pianist Horace Silver, whose funky style infused bop with the influence of church and gospel music, along with the blues. Other pianists who followed and used similar approaches were Bobby Timmons, Junior Mance, Les McCann, Gene Harris, and Ramsey Lewis. With the emergence of organist Jimmy Smith in 1956, soul-jazz organ combos (usually also including a tenor, guitarist, drummer, and an occasional bassist) caught on, and soulful players became stars.

Taylor Swift And now we can finally talk of ‘Pop’ that is the short term for popular music. There are different styles of pop music, but they all appeal to the general public. But when did ‘modern’ pop music begin? There were two significant moments. First of all Leo Fender invented the electric guitar in 1950. Then, in 1954, Sony introduced the transistor radio and after that, music was accessible to people in their homes and cars. In 1954 Elvis Presley released That’s All Right. He fused country music with black rhythm and blues to create rock and roll. At that time this was an innovation, and Elvis, who was young, attractive and exciting, became the first teen idol and made pop music a youth culture. Rock and Roll was born and it became soon very popular. The 1960s was the decade of The Beatles, who dominated pop music from 1961 to 1970 with a new folk-rock sound. The Beatles were the first band to play in a stadium: Shea Stadium in New York in 1965. In June 1969 they had their seventeenth number one hit – two more than Elvis. The 60s also saw the first outdoor music festivals and popular music began to have a social and political message, for example, Bob Dylan. This was also the beginning of Motown and soul music with artists like Ray Charles, The Supremes and Marvin Gaye. The Beatles began their career. They leapt to fame in 1963 with 'Please, Please Me'. The Beatles moved through the late 1960s as favourites of the 'flower power' generation - many young people enjoyed 'hippie' music. Other teenagers preferred the music of the 'Mods' - ska music and The Who. Next came the 1970s and several new genres of music appeared, like reggae (Bob Marley), glam rock (David Bowie), punk (the Sex Pistols) and heavy metal (Iron Maiden). When the Bee Gees recorded Saturday Night Fever, a new global dance phenomenon was born: disco. Michael Jackson’s Thriller video started the trend for using video as promotion and during the 1980s the influence of MTV meant that the video became as important as the song itself. Madonna exploded onto the scene, and with her ability to adapt to every trend, is now a pop icon. In England the first big new sound of the 1970s was “Glam Rock”, the main figures of this were David Bowie, Elton John and of course Gary Glitter. In the bleak political backdrop, these larger that life British bands and characters brought a welcome relief with their platform boots, sequins, nail varnish and colourful hair. This period also saw the spring of the punk movement of the late 1970s. Great British bands of this scene were The Sex Pistols and The Clash. The Punk style was Mohicans, bondage clothes, safety pins, piercings and bovver boots. http://www.youtube.com/watch?v=SHoHIL2ABVQ The 80s was the era of indie music from bands like The Smiths, The Cure and New Order. This decade also saw the first ‘raves’ when disco transformed into high energy dance music. The 1980s saw also the rise of hip hop and rap music, with American influences powerful once again in the form of such groups as Run DMC and Grandmaster Flash and the Furious Five. It also saw the rise and fall of the 'New Romantics', typified by groups like Adam and the Ants, who dressed as pirates and highway men and wore huge amounts of makeup. From the late 80s, through the 1990s and into the first part of the 21st century, other musical styles appeared. Grunge (Nirvana), RnB (Beyoncé), rap and hip hop (Eminem, Ice-T, 2Pac, Black Eyed Peas), new rock (The White Stripes) showed that pop music is always evolving. The 90s onwards was also the era of boy bands and girl bands such as Take That and The Spice Girls. Britpop, this was the general name given in the 1990s to a new wave of successful British bands who made a big impact in the United States and Europe, as well as in England. The most successful have been Radiohead, Oasis, Blur, Pulp, Massive Attack and The Spice Girls. Today pop is a global industry. CDs replaced records a long time ago and nowadays, downloading from websites is marking the end of these traditional music formats. It is now the age of digital music. In 2006 Gnarls Barkley with his song Crazy became the first artist to reach number 1 in the UK charts based only on download sales. In Europe, Britain is certainly more famous for pop music than it is for classical composers or jazz musicians. Names such as The Beatles, the Rolling Stones, Led Zeppelin, Pink Floyd, Elton John, George Michael and The Spice Girls are known world wide but little do people know of our other musicians not in the pop world. In Britain, most youths listen to punk, garage, house, rock, pop and R&B. (such as McFly, JLo, Xtina, Beyonce, Pink, Britney, Justin Timberlake, Mis-teeq). Nowadays the internet has also revolutionized the way music is being consumed. Including all video and music streaming, internet-based music consumption was the primary choice for 64% of respondents to a recent survey. That’s not even accounting for livestreams or music purchased through the internet. This internet-heavy metric is being reflected on the business side as well, with 75% of the music industry’s revenues in the U.S. coming from streaming. However, for artists, streaming revenue is usually the third-biggest earner after live performances and sales. But utilizing streaming to its fullest potential keeps modern artists in the loop. For example, Beyoncé was one of the first artists to utilize streaming platforms to release an album completely unannounced in 2013, a marketing move that has been replicated many times since. Data is from 2022 and is sourced from a survey of over 44,000 people from 22 countries by IFPI that asked people their primary mode for consuming music, so it highlights global music consumption habits. As of 2022, paid subscription services (i.e. Apple Music, Spotify) are the most preferred option for listeners, accounting for nearly one-fourth of main platform share. 1) Paid Audio Streaming 24% Spotify, Apple Music; 2) Video Streaming 19% YouTube; 3) Radio 17%; 4) Purchased Music 10% Vinyls, CDs, purchased digital albums; 5) Ad-Supported Audio Streaming 8% Amazon, Deezer; 6) Short-form Videos 8% TikTok; 7) Social Media Videos 5% Facebook, Instagram; 8) Live Music 4% concerts, livestreams; 9) Other 6% music on TV, phone-to-phone transfers. https://www.youtube.com/watch?v=rEXUQpffn2k And now to conclude this article I would spend a few words on Lounge music that is a type of easy listening music, popular in the 1950s and 1960s. It may be meant to evoke in the listeners the feeling of being in a place, usually with a tranquil theme, such as a jungle, an island paradise or outer space. The range of lounge music encompasses beautiful music–influenced instrumentals, modern electronica (with chillout, and downtempo influences), while remaining thematically focused on its retro-space age cultural elements. The earliest type of lounge music appeared during the 1920s and 1930s, and was known as light music. Lounge music often incorporates smooth, relaxed instrumentation which can also be found in pop music, especially in more mellow or soft pop tracks. The use of electronic elements, synthesizers, and smooth vocals is common in both genres. Many artists create music that can be classified under both lounge and pop genres. These artists often blend elements from both styles to create a unique sound. Both genres aim to create a specific mood or atmosphere. Lounge music is typically designed to be soothing and relaxing, which can be a characteristic of some pop music as well, especially ballads and softer tracks. Lounge music, particularly in its more modern forms, often aims to have broad appeal, similar to pop music. This includes catchy melodies, accessible arrangements, and production that appeals to a wide audience. Pop songs are frequently remixed into lounge versions, and lounge tracks can be covered or adapted into pop formats. This interchangeability highlights the fluid boundaries between the two genres. Both genres are frequently used as background music in various settings, such as cafes, bars, and stores, where creating a pleasant atmosphere is key. Lounge music, particularly from the mid-20th century, has influenced the development of pop music. The lush orchestrations and smooth styles of early lounge music have found their way into the arrangements and production techniques of modern pop music. Genres like chillwave, downtempo, and nu jazz often blend elements of lounge and pop, creating music that is both relaxing and catchy. Music expresses that which cannot be put into words and that which cannot remain silent. Victor Hugo Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. Plato If music be the food of love, play on. William Shakespeare There are two means of refuge from the misery of life - music and cats. Albert Schweitzer The only truth is music. Jack Kerouac Everything in the universe has a rhythm, everything dances. Maya Angelou You can also visit these other pages:

Drive and listen Drive around cities while listening to their local radios Listen to local radio stations while driving through the cities around the world. Drive & Listen. Entertainment Music and Dancing Best summer songs Free Internet Radios Best Christmas Songs Christmas Songs Read the full article

[logsone]

second life plans :

make textures , planning on fur , scale , wood , nature , & wallpaper / pattern textures . i think it would be cute . initially had struggles with making it seamless , as most use photoshop to do this and i am incredibly lazy , but i think ive found a site to properly seamlessify them . i'm excited for this , as this will be the first thing in my marketplace , and something ive made that will be helpful to others . each edition (theme, like all the furs will be in furs, o.fc) will probably be 15-20(or more? dpnds) textures each . not good at pricing but maybe 30-50L ? theyre just pics from wikimedia commons ive toyed with . plus o.fc gotta test em heheh...

cons : dont know if theres an upload price for putting things on the marketplace . would be lame to spend 600l uploading shit & not making any of it back ahaha.... Normally with other games/experiences id care less but l costs... real money √X..... so..... ehhhh...... we'll see..... gosh now i dont know how people with stores do it. honestly. and now i want to make more detailed things....

have thought frequently about making like, a bug model. very new to modeling & quite lazy but thought frequently of a scolipede , tarantula , mantis , and taur ava . or just some cute clothes .... haha but o.fc o.fc all veryyy ambitious and i dunno if id even have the time √Xu .... well .... a girls gotta try, right .... ? and i enjoy watching blender , just youtube tutorials in general . i watch them to sleep instead of white brown black grey blue purple pink noise or whatever . it soothes me like mozart does infant children

anyway , here is the song im listening to today .

[gear-project]

Long time no see. If I am correct, Zappa had managed to gain control of his ghosts and spirits, right with the Zappa Scale? In Guilty Gear's world, is there any lengths or training one can go in order control or tame spirits and ghosts? Is it possible Zappa might've had help from anyone in particular?

There is what is known as a "Contract" relationship between Humans and Demihumans when it comes to magic.

Alchemy (in A.B.A.'s case) is something similar, though equivalent exchange is required (having the same value as something else).

Rather, Testament's whole deal is that he had a Contract with a Demihuman as a Gear.

Ghosts aren't too far removed from most Demihumans (least of all someone like Izuna and his tribe...)

Of course the term "Demihuman" is the modern interpretation of Youkai from older games... so in that sense it's something of a modern retcon, but I digress.

Stereotypically you'd expect to make a contract with a DEMON... but most "Demons" are on the same level as ghosts and other spirits in Guilty Gear's World.

In fact... one such Demon was responsible for King Daryl's "Pudding Incident" (which Zappa resolved a while ago).

[musiconanironingboard]

4 April 2023: Galen. (The BarKo Group, Inc., Productions, no date, but reportedly 1975)

I know people whose record-collecting and music-listening leans heavily, if not exclusively, on bizarro private-press records and bargain-bin oddities. I've seen this result in reactionary opinions about how known music, and certainly anything well-known, is cause for embarrassment and should be avoided at all costs. It can also result in having to limit yourself to situations where you must pretend a mediocre artist is superior and only the "true heads" know it. I say like what you like, but if you're going to restrict yourself to a narrow parameter, realize you're doing niche business. I think the acquaintance of mine from whom I learned about today's record in question has a more enlightened approach than some of the more pedantic oddity seekers I've known, but it's unusual when my and his musical paths cross in regard to one of these arcane oddities, but here in my house sits a copy of the second solo album by a man called Galen, issued from the suburban-Chicago town of Des Plaines, Illinois, just down the road from me.

Among the many descriptions of Galen given by my acquaintance was "File under 'loner lounge prog' or 'ambitious real people quaalude croon' perhaps?" Later in his write-up he went on to say:

"This mysterious private press delivers the groovy goods with a slapping moody/funky/synth-addled version of a Jose Feliciano tune (which sounds like D Axelrod coulda produced it), and insane string/key/mellotron arrangements on an epic instrumental (bold!) “MacArthur Park” cover. Galen’s unique multi-tracked minor-key very “real” vocals really shine on “Day by Day” from Godspell, which features Shaft-like wah wah guitars, off the rails driving piano, and another massively deep and cough-syrupy arrangement. I can’t even describe Galen’s monumental take on JC Superstar, it’s got to be heard to believed. I will be investigating this glorious suburban Des Plaines signed-by-the-band mystery further, anyone know ANYTHING?

His description both amused and intrigued me, and something about the cover art and these details made me think of the mysterious musician named Lewis, who also did a couple of private-press albums forty-odd years ago; Lewis's got reissued on a major scale, even before anyone could find him and his royalties had to be put in escrow. I bought those Lewis albums and they are spooky and compelling. Galen seemed to me to be another Lewis, and soon after reading my friend's words I found a near-mint copy in shrinkwrap online and had it sent my way. I've still not heard it over seven months later, but it slowly makes its way to the top of my queue. In hindsight, I can't quite believe I so urgently purchased a Galen album; it's funny sometimes to look back at purchases and remember the passing fever that took hold of us in those moments. But I do look forward to hearing it. (And that label name! "BarKo" sounds so much like Frank Zappa's own Barfko-Swill merchandising company, making this all the more surreal.)

After buying the Galen album, I started doing a little digging of my own. Before long I found an album by a sort of hotel lounge band, another private press thing, and they were called The Galens. The thing that gave me pause is their logo is exactly like that of the solo Galen. Here it is (the picture is taken from online; I very nearly bought this, too, but even I realized that was a bridge too far):

I told the guy who'd hipped me to Galen about this weirdo Galens hotel nightclub LP, and it did not surprise me one bit when he decided to try to find Galen himself. Soon he sent me a screenshot of him messaging a guy, asking "Is this Norman of the Galens musical act?" I don't know that he ever got a response, but he and I both subsequently found more details. There's a whole webpage devoted to the Galens' history going all the way back to their beginnings in 1963; sadly, it doesn't carry on to discuss the solo career of Galen himself.

Galen did two other solo LPs that I can find evidence of. And my goodness; the eBay auction for the Galens nightclub LP that I found over seven months ago is still active and the seller allows you to make an offer. I need to move on from this quickly before I find myself with anymore records involving a Galen, solo or not. But first, here is side one's label of the Galen LP I did buy.

[davidpwilson2564]

Bloglet

Monday, September 11, 2023

It's quiet this morning. The names of the Twin Towers victims are being read. The dread event occurred twenty two years ago. And we recall how Rudy, now disgraced, came off a hero. And how a man leaping from a window fell on Father Judge, crushing him. So many memories of that day. My son phoning me to tell me to stay out of tall buildings (we didn't know; this could be a full-scale attack). Later, people lining up to give blood and finding it would not be necessary. Trump (troublemaker) promoting the story that Muslims in New Jersey were celebrating. Much more... The aftermath: those suburban commuter lots filled with unclaimed cars.

Evening: Jets play Bills in New Jersey (the two "New York" teams). Aaron Rodgers, vet QB meant to turn things around for the Boys in Green lasts all of eleven minutes and is out for the season.

Tuesday, September 12, 2023

Putin, in his slow moving bulletproof train, makes the trip to North Korea to see King Jung Un to discuss, among other things, a weapons deal. North Korea has an arsenal that it is willing to share (sell). All the better, it is believed, for Putin to crush Ukraine.

I see Roger rehearse his band at the Union. Astonishingly good. The best show in town. See a few friendly faces. (Don't get around much anymore.) Great music. No gigs. No call for a seventeen piece jazz band. (Frank Zappa is supposed to have said jazz is the music of unemployment.) Sapp, great drummer, enjoying his semi-retirement, sips a beer, plays beautifully.

to be continued

[parmenida]

Miky mi ricorda il gabbiano Jonathan Livingston, anticonformista, guardato con sospetto dal resto dello stormo. Jonathan non volava per procacciarsi il cibo, ma per esplorare e perfezionare il volo in modo da migliorare sè stesso. Miky mi ha insegnato qualcosa che avevo letto solo da Richard Bach senza toccarlo mai con mano e cioè che ognuno aspetta solo il suo momento per trovare il proprio posto nel mondo.

Miky solitario, strano, distratto, schivo. Miky con le scarpe slacciate, i vestiti che capitano, i capelli spettinati, Miky che non vuole uscire, non vuole andare nei locali in cui van tutti, non va in spiaggia con gli altri. Miky "ritardato" gli avevano detto, ma solo perché non era ancora il suo momento e il suo posto.

Miky che non vede una rivincita oggi, perché non pensa di aver mai perso qualcosa con qualcuno.

Ognuno ha la sua rotta, ognuno fa ciò che ama e in questo mondo c'è bisogno di tutti, di chi va in discoteca, di chi zappa la terra, di chi studia con i numeri, di chi sogna, di chi lava le scale, di chi opera a cuore aperto...ognuno ha il suo posto.

Jonathan termina con la trasmissione agli altri gabbiani di ciò che aveva imparato, aspetto le prossime pagine della storia di Miky

[loudieapp]

A jam band coming out of the Midwest in the mid-'90s, Umphrey's McGee edged toward the Frank Zappa side of the improv rock scale. Party with them at House of Blues Anaheim on Friday February 24!

[larissaligus]

In 2021, he spoke of his admiration for Vai on Sirius XM’s Guitar Greats show. “There was an issue of Guitar Player in [February 1983] that had [Zappa] on the cover with a tiny, little electric guitar,” he recalled. “It had an extra interview [with] who was then the guitar player in his band, Steve Vai, and it was called Zappa’s ‘Little Italian Virtuoso.’”

Of Italian heritage himself, Frusciante goes on to say, “I felt very connected to this person. I loved the way he talked about the instrument and the way he talked about his practice… There had never been a guitar player in Frank Zappa’s band who could do those things.” “[Vai’s] duties in the band are mostly to play the hard-written lines and real complicated stuff that is beyond my capability,” Zappa told Bill Milkowski in 1983. “All that whammy bar stuff on Stratocaster.”

Vai’s superlative skills were the result of sheer hard work and dedication to practice.

“I used to divide my day into about 12 hours,” he explained to GP’s Tom Mulhern. “The first nine hours were divided into three equal sections. I used to be ridiculous, because I would overload myself. I had finger exercises, scales, and chords. Eventually I added reading.”

Committing himself to a similarly intense regime, Frusciante regularly embarked on lengthy practice sessions, all the while lapping up as much of Vai’s recorded material as he could, including the Alcatraz album Disturbing the Peace(opens in new tab) and David Lee Roth’s Eat 'Em And Smile(opens in new tab).

While speaking of Frusciante in this 2020 interview(opens in new tab), Vai told Paul Reed Smith, “He’s such a dedicated player.”In the above clip captured on tape in 1987, Frusciante is seen using a Vai-style SuperStrat and Zappa-endorsed Carvin X-100B amp.

He used the same rig to perform with the Chili Peppers after replacing founding guitarist Hillel Slovak in 1988.

In the following clip shot on October 8th that year, Frusciante is seen at the John Anson Ford Amphitheatre in L.A. playing one of his earliest gigs with the band.

This line-up includes former Dead Kennedys drummer D. H. Peligro (1959-2022) with whom Frusciante had struck up a musical friendship several months prior.

When they hit the stage, vocalist Anthony Kiedis introduces the Chili Peppers’ new recruit (who happens to be dressed in a comedy Superman outfit): “This is John. He’s only 18 years old.”

[tonkiwisdom]

1959 fender musicmaster

In the fall of 2016 the Duo-Sonic was reintroduced-alongside the Mustang-featuring a 24-inch scale, a modern "C"-shaped neck and two single-coil pickups. Throughout the years, the Musicmaster and Duo-Sonic were offered in various body and pickguard colors, but the biggest change occurred in 1964, when they underwent a Mustang-like redesign complete with offset waists. June 1956 saw the second production run of Musicmasters and the first Duo-Sonic models, which were distinguished by an additional single-coil pickup at the bridge position. The first production run had ash bodies, with black paint on their aluminum pickguards. The Musicmaster came first by a couple of months. So what's the story behind these student-focused stalwarts? Dive into the history of the Fender Musicmaster and Duo-Sonic below.īoth original models were short-scale guitars-22.5 inches compared to 25.5 inches for the Telecaster and Stratocaster-with slightly smaller bodies, Strat-like headstocks and single-coil pickups. Even Jimi Hendrix played one early in his career. So yes, they certainly started many a beginner on their artistic path, but fans have likely seen them in the hands of players like Mickey "Dean Ween" Melchiondo of Ween, Dweezil Zappa and Liz Phair. Not only did the Musicmaster and Duo-Sonic firmly establish Fender's tradition of student-model guitars in the 1950s, they also became favorites of several indie rock and alternative artists many years later.

[dustedmagazine]

Carrion Bloom — Sacraments of Pestilence (Transylvanian Recordings)

CARRION BLOOM - SACRAMENTS OF PESTILENCE by CARRION BLOOM

Sacraments of Pestilence, the new EP from Carrion Bloom, commences with sounds drawn from the musical forms that contribute most urgently to the band’s sonic profile. The opening 30 seconds of “Dissolutus” constitute brittle but sweeping guitar tones that you might encounter on any number of demos produced by any number of bands claiming blood-bound allegiance to black metal’s Scandinavian second wave. Things get more interesting when those tones shift into riff mode, and the band charges into crustier territory; the move is confirmed at the song’s 2:20 mark, which may have you flashing on Wolf Brigade’s earlier stuff. Like Carrion Bloom’s Heretic Howl (2021), Sacraments of Pestilence flirts with blackened crust (a sub-subgenre label suggesting a near-incoherent ethos that is painful for this reviewer to invoke, much less try to think) but more often produces black metal songs that romance crust’s affinity for rusty breastplates and muddy, bloody boots.

The players in Carrion Bloom arrive at that array of sounds and sensibilities through their various and circuitous travels in heavy music. Frontman Tucker Zappas was a member of the mighty Fell Voices — a terrific black metal project that seems to be on permanent hiatus (too bad…). Zappas has also played with drummer Max in Oakland-based black metal band Akatharsia. Bass player James Henderson is a stalwart in Oakland’s scene, providing his talents on multiple instruments for artsy doom band Exulansis and a few other projects. The Bay Area stomping grounds have imbued Carrion Bloom’s crusty metal with some local flavor — a hint or two of Skaven, an occasional whiff of Atrament’s distinctive stenchcore.  

Parsing the influences is sort of fun, but eventually, an EP needs good songs. What may be Carrion Bloom’s most convincing aesthetic gets articulated and explored at some length over the EP’s last three tracks, and the EP achieves some real momentum. The pace picks up significantly over those minutes, and a fuzzy, filthy guitar tone reminiscent of Raspberry Bulb’s punkiest stuff gets an energetic workout. “Into the Lungs of Lambs” has a particularly vicious vibe, a couple simple riffs relentlessly played and Zappas’s hoarse bark issuing urgent — if ultimately indistinguishable — utterances.  

The band still seems to be working out some essential questions on Sacraments of Pestilence: the extent to which they want to settle for evoking and patching together past sounds, the precise degree of crusty grandeur they wish to distribute across a heroically scaled horizon. This reviewer likes it when Carrion Bloom keeps things simple. The opening ninety seconds of “Into the Lungs of Lambs” have malice and musicality running through them in nearly equal measure. It’s exciting stuff, hinting at the really good full LP that may emerge at some point down the crusted, pitch-black path.  

Jonathan Shaw