#slingerland

[stone-cold-groove]

Most top rock n’ roll bands use Slingerland - the foremost in drums.

[lawsonwhite]

Doghouse . . . #drums #slingerland a#vintagedrums #beats #producer #songwriter #studio #recordingstudio #recording #recordingengineer #engineer #mix #mixing #mixengineer #gradolabs #protools #ableton #eventide #izotope #vicfirth #analog #records . @parlorproductionstudio (at Parlor Production Studio) https://www.instagram.com/p/CfzQpEpuIGs/?igshid=NGJjMDIxMWI=

[hulkwasabi]

recorded two drum tracks today. let’s see if I can make songs out of them

[roshroslin]

Today I had the privilege of going to @rubixdrums in London. Easily one of the best drum shops I’ve ever been to with Bence holding down the fort. Incredible studio that records to tape, so many great drums, wonderful service and more. Highly recommended. #Drums #Drummer #Ludwig #Canopus #YamahaDrums #Photography #London #Slingerland #Eosm50 #Canon #SigmaLenses #Meinl #Vicfirth #GretschDrums #PearlDrums #sonordrums (at Rubix Drums) https://www.instagram.com/p/Cg2KPzvqXoL/?igshid=NGJjMDIxMWI=

[raan-miir-tah]

I stole this from liv slingerland’s @‘s on insta but LIKE?? New celebrity crush + Kara needs this haircut

[bestiarium]

The Kukilialuit [Inuit mythology]

According to Inuit mythology, the frozen landscapes of Canada and Greenland are home to a mysterious and highly dangerous race of monsters. They are called the Kukilialuit, and while that name is often translated as ‘trolls’ or a different common word for monsters, their most defining characteristics are their long and viciously sharp claws, said to be like knives. Literally translated, the name Kukilialuit means something like “those beings with great claws”. Aside from their hands, they have a humanoid body.

Supposedly, the Kukilialuit live inland, far away from the coasts. Despite their monstrous nature, they are intelligent and build huts to survive the winter. Whether these are isolated huts or built together in a society or settlement is unclear.

What we do know is that they are relentless hunters and regularly eat human flesh. After killing a victim, the Kukilialuit carry their prey away and vigorously slice the flesh from their bones until only the skeleton remains. Slingerland and Collard use the story of a Kukilialuit as an example of folktales where lone travelers (or people who get isolated from a group) get picked off by monsters, teaching the audience that traveling by yourself is dangerous in inhospitable environments like the Arctic.

Only a particularly powerful Angakkuq (an Inuit shaman) can escape from these monsters.

Sources: Christopher, N., 2013, The Hidden: a compendium of arctic giants, dwarves, gnomes, trolls, faeries, and other strange beings from Inuit oral history. Slingerland, E. and Collard, M., 2011, Creating Consilience: Integrating the Sciences and the Humanities, New Directions in Cognitive Science, Oxford University Press, 472pp., p.634. (image source 1: Vinod Rams) (image source 2: Ethan Nicolle)

[maximumwobblerbanditdonut]

Colin Firth, filming Lockerbie and embodying Dr Jim Swire, 88, in Glasgow as he sported Jim's famous 'Lockerbie: The Truth Must Be Known' badge. 📸 © Wattie Cheung

Sky drama and Peacock “Lockerbie”.

It's not the one original series "Lockerbie," about the 1988 flight disaster. Sky and Peacock began filming in Scotland in February and BBC, Netflix and MGM started programming in March.

The cast members in Lockerbie Colin Firth (The King’s Speech, A Single Man, The Staircase) join Catherine McCormack (Slow Horses, Temple, Lucan) to play Jane Swire opposite Firth’s Dr Jim Swire.

Known as the Lockerbie bombing and the Lockerbie air disaster in the UK, it was described by Scotland's Lord Advocate as the UK's largest criminal inquiry led by the smallest police force in Britain, Dumfries and Galloway Constabulary.

The five-part series, featuring Oscar-winning actor Colin Firth, is based on the tragic Lockerbie terror attack on 21st December 1988 when Pan Am flight 103 from London to New York exploded over the Dumfries and Galloway town, killing all 259 on board and 11 residents.

Colin Firth, will play Dr Jim Swire, a doctor who lost his daughter, Flora, in the 1988 tragedy. Writers also took inspiration from Jim's book, The Lockerbie Bombing: A Father's Search for Justice.

In the wake of the disaster, Dr Jim Swire (Firth), is nominated spokesperson for the UK victims’ families, who have united to demand truth and justice. Travelling across continents and political divides, Jim embarks on a relentless journey that not only jeopardises his stability, family and life, but completely overturns his trust in the justice system. As the truth shifts under Jim’s feet, his view of the world is left forever sullied.

Colin dyed his hair a whitish shade of grey to match Jim's and wore a tartan tie. 📸 © Wattie Cheung

Firth was seen on the set of the new drama in Linlithgow, which will close several roads in the east end and city centre during the filming. Colin was spotted in character and has taken on the role of Jim, 88, the father of one of the 270 victims of the 21st December 1988 Lockerbie bombing.

At the back of Colin's briefcase was a drawing of Jim's daughter, Flora Swire, who was on her way to the US to spend Christmas with her boyfriend when Libyan terrorists blew up the plane.

The real Jim (pictured in 2015) became famous after the bombing for his relentless lobbying towards a solution for the difficulties in bringing suspects in the original bombing to trial 📸 © PA

The series is based on the book The Lockerbie Bombing: A Father’s Search for Justice by Jim Swire and Peter Biddulph – as well as other sources.

Lockerbie bombing, The new drama, Flight 103: Film crew in Linlithgow to work on, have been spotted in Glasgow as filming begins in the city. Road closures are in place as filming kick starts.

A film crew is currently filming in Linlithgow working on a new TV series based on the Lockerbie disaster.

Linlithgow is situated between Edinburgh and Glasgow, to the south of the Firth of Forth and on the edge of Linlithgow Loch. Linlithgow Palace, Stewart residence, birthplace of Mary Queen of Scots, and rest stop between Edinburgh Castle and Stirling Castle.

It had been noticed for its similarity to the original Pan Am Flight 103 which exploded over the town of Dumfries and Galloway, 40 minutes into its flight from London to New York.

@getty Images

Scottish playwright David Harrower (Blackbird, Knives in Hens) is the lead writer. Maryam Hamidi (Vigil) is guest writer on an episode. Additional writing comes from Jim, Kirsten and Naomi Sheridan.

BAFTA Award-winning Otto Bathurst (Peaky Blinders, The Winter King) is lead director. Jim Loach (Save Me) will also direct an episode. Gareth Neame and Nigel Marchant are Executive Producers for Carnival Films. Sam Hoyle is Executive Producer for Sky Studios. Additional Executive Producers include David Harrower, Otto Bathurst, Liz Trubridge, Jim Sheridan, Kirsten Sheridan and Oskar Slingerland.

A true story with an Academy Award®-winning actor Colin Firth not to be missed 📍

#Lockerbie #ColinFirth #DrJimSwire #book #TheLockerbieBombing: AFather'sSearchfor Justice #SKY #Peacok #truestory #bombing #CatherineMcCormack #Linlithgow #Scotland #PanAmflight103 #DumfriesandGalloway #disaster #filming #newdrama #FloraSwire #JaneSwire #series #Libyanterrorists #plane #LockerbieairdisasterintheUK #policeforce

A release date for the series hasn't yet been set.

Posted 6th March 2024

[poimandresnous]

Demiurgy and How a Confucian Passion for Learning Can be Considered As Such.

What is Demiurgy? As the author of Egyptian Mystic Polytheism so succinctly puts it:

Demiurgy is a type of “devotional act.” A devotional act is any activity outside of direct prayer with a religious purpose and significance. What makes “demiurgy” unique as a type of devotionalism is that it is principally concerned with the act of creation. Like theurgy, to mimic the gods and pursue likeness, one must participate in creativity as a lesser version of God’s creation. Producing, crafting, constructing, and creating are all acts that mimic the “Demiurge” or “Creator Deity.”

So, essentially, these are mundane activities that are performed with the intention to ritualize and devote said craft to the Demiurge, the Creator god of the Cosmos. As the quote above mentions, this is similar to theurgy in that these mundane activities help us mimic the Creator.

With that out of the way, lets take a look at Corpus Hermeticum XI.22, which I think supports such ritualized "demiurgy:

Mind is seen in the act of understanding, God in that act of making.

This sentence refers to God’s literal creation of All Things and how He is seen through His creation, as this whole preceding paragraph refutes the idea that God is entirely invisible and “unseen.” For context, here is the passage:

In Corpus Hermeticum V, we are told God is invisible and entirely visible. For us to understand God, we must become like Him (Corpus Hermeticum XI.20), as so much as that is possible, in each of our Fated predispositions. A way to do so is to create things ourselves through begetting, making music, writing, or exercising, i.e., our own Demiurgy. You can find a list here if the reader wants a more comprehensive list of things that can be considered a devotional act to the Demiurge -- Demiurgy. So essentially, if God is seen in His Creation, we too can see the Demiurge manifests itself via our lesser creations.

Also, possibly a Confucian passion for learning could be considered Demiurgy. Let me explain: To take this principle out of context and apply it to Hermetic thought, I'd like to talk about the Confucian disciple Yan Hui 顏回, who was unmatched in his genuine and effortless love of the Way and learning. In the Analects 6.3 we see a ruler inquiring to Confucius about a "disciple who loves learning":

There was one named Yan Hui who loved learning. He never misdirected his anger and never repeated a mistake twice. Unfortunately, he was fated to live a short life. Since he passed away, I have heard of no one who really loves learning.

Yan Hui is also praised for his love of learning in Analects 2.9 and 5.9. Generally speaking, in Confucian thought, learning, rites, and conforming to cultural adornments 文 do indeed change our native “stuff” 質, which Confucius thought contained inherent flaws that were corrected via rigorously conforming, yet also effortlessly loving social and cultural arts, rites and learning. So, if learning in and of itself can change us for the better; correct our inherent flaws, and make us more like God, then we should all try to emulate Yan Hui and his effortless love for learning because when we learn, we grow. According to Chapter 2 of Effortless Action: Wu-Wei as a Metaphorical Concept and Spiritual Ideal in Early China by Edward Slingerland, learning and instructions (and other things) are essential to constantly strive for and put effort into to abide by the Confucian Way. Learning and instruction change our inherent "stuffs" in a way that makes us effortlessly abide in the Way 道.

So, back to the Hermetica. In Corpus Hermeticum XI.20, we are told to:

“Make yourself grow to immeasurable immensity…”

Arguably, this can be done by a passion for learning (and, of course, many other things)— which cannot be taught but must be realized. And what do we see all throughout the Hermetica? A yearn for Gnosis. Gnosis differs from conventional knowledge, as gnosis is experienced rather than learned. Something that Edward Slingerland argues is the source of Confucius's frustration with the current age of the Zhou Dynasty in Analects 15.13:

I should just give up. I have yet to meet a person who loves ren 仁 as much as he loves the pleasures of the flesh.

Confucius is frustrated by the fact that you genuinely cannot teach a person ren 仁 or "humaneness." Whether we are talking about ren or gnosis (mind you, two completely different things), these things must be experienced and "recollected," as Edward Slingerland argues in Chapter 2. The idea that the gnosis of the gods, God, and the Demiurge is "recalled" is found in passages from Plato's Phaedo 73c-75e and other dialogues I have yet to read, such as the Phaedrus and Meno. Likewise, in Analects 7.30, Confucius exclaims:

Is ren really so far away? No sooner do I desire ren than it is here.

Recollection is also found in the Corpus Hermeticum IV.2:

The man became a spectator of God's work. He looked at it in astonishment and recognized its Maker.

Now that we have established that the Analects, Platonism, and Hermeticism are structured somewhat similarly, let's look at Corpus Hermeticum I.31, we read:

“Holy is God, who wishes to be known and is known by his own people…” Corpus Hermeticum I.32: “Grant my request not to fail in the knowledge (gnosis) that befits our essence.

This suggests that God wishes us to know Him as much as possible according to our inherent predispositions to gnosis. So what I’m getting at is that if we can realize and acquire a Confucian-style passion, such as Yan Hui, for learning, this can change us and make us become more like God. The love for learning. The yearning to know God and His creation and the sciences that we have developed to understand his creation is most certainly Demiurgy. We never stop learning, whether we continue education after high school or not.

So, now that we have established that learning can indeed change us and help us mimic and help us recognize God and the Demiurge's creation, here are some examples of how I use my love for learning (but this love cannot be compared to Yan Hui's) as Demiurgy:

Reading academic literature on my beliefs

Learning the mythologies of the Ancient Egyptian gods

Going to college to broaden my knowledge and to establish a career.

Learning about myself: both my corporeality (psychology/body/health) and my incorporeality (soul).

This list goes on and is certainly not limited to those few bullet points. But if it is not clear by now, learning helps us grow as individuals; learning allows us to better understand the world around us, from our own communities to other cultures around the world. Such a whole-hearted pursuit of learning can be considered Demiurgy because we are actively creating a better version of ourselves. Just as in my musings, I consider Demiurgy because I am creating writings that will go on to inform and help other people understand the topics I write about with an intention of devotion to the Demiurge. My active pursuit of learning also is Demiurgy because everything I learn is done in devotion to the Creator of a world I love so much, and He is ultimately responsible for the very things I choose to learn.

So, do you all think the yearn and love for learning in and of itself can be considered Demiurgy?

[adspaan]

Jimmy Marinos from the Romantics. Early eighties power pop group from Detroit. Jimmy played open handed and was as solid as you'd want. Early on played Slingerland and moved to Ludwigs just before their hit "What I like about you". He seems to have disappeared from view and from all reports lives a quiet life thanks to the $$$ from songwriting royalties.

[jazzandother-blog]

GENE KRUPA

(English / Español)

Gene Krupa (January 15, 1909 - October 16, 1973) was a famed and influential American jazz musician and big band drummer, known and recognised for his energetic and brilliant playing style. His parents were Polish immigrants to the USA and he was born in Chicago, Illinois. He began his professional career in the mid-1920s with bands in Wisconsin. He emerged on the Chicago music scene in 1927, when he was selected by the MCA to become a member of the orchestra of Thelma Terry and Her Playboys, then the most notable American jazz band led by a woman.

Krupa made his first recording in 1927, with a band led by banjo player Eddie Condon. Krupa also appeared on six records by Thelma Terry's band in 1928. In 1929 he moved to New York City and worked with the Red Nichols band. In 1934 he joined Benny Goodman's band, where his unique drumming made him a national celebrity.

In 1938, after a public falling out with Goodman at the Earl Theater in Philadelphia, he left Goodman to launch his own band, with which he scored several big hits alongside singer Anita O'Day and trumpeter Roy Eldridge. Krupa made a memorable cameo appearance in the 1941 film Ball of Fire, in which he and his band played different versions of the hit song Drum Boogie.

In 1943, Krupa was arrested for possession of cannabis and briefly imprisoned.

Krupa retired musically in the late 1960s, although he played occasionally in public until his death from leukemia in Yonkers, New York. He was buried in Holy Cross Cemetery in Calumet City, Illinois. He became the face of Slingerland Drums, which later launched a "Radio King" series in Krupa's honour.

Krupa is considered by many to be the most influential drummer of the 20th century, especially for the development of the drum instrument itself. His main influence began in 1935 in the company of Benny Goodman, where he excelled as a true star, but above all for his use of the bass drum pedal. This particular method of playing was published in 1938 and became a standard text for the study of the instrument.

*****

Gene Krupa (15 de enero, 1909 – 16 de octubre, 1973) fue un afamado e influyente músico estadounidense de jazz y un gran baterista de big band, conocido y reconocido por su energético y brillante estilo de tocar. Sus padres eran polacos emigrantes en USA y el nació en Chicago, Illinois. Comenzó su carrera profesional a mediados de la decada de los años 1920s con bandas en Wisconsin. Emergió en la escena musical de Chicago en 1927, cuando fue seleccionado por la MCA para convertirse en miembro de la orquesta de Thelma Terry y Sus Playboys, entonces la más notable banda americana de jazz liderada por una mujer.

Krupa hizo su primera grabación en 1927, con una banda liderada por el banjista Eddie Condon. Krupa también aparece en seis discos de la banda de Thelma Terry en 1928. En 1929 se mudó a New York City y trabajó con la banda de Red Nichols. En 1934 se unió a la banda de Benny Goodman, donde su particular forma de tocar la batería le convirtió en una celebridad nacional.

En 1938, tras una pelea pública con Goodman en el Earl Theater en Filadelfia, dejó a Goodman para lanzar su propia banda, con la que obtuvo diferentes grandes éxitos junto a la cantante Anita O'Day y el trompetista Roy Eldridge. Krupa hizo un memorable cameo apareciendo en la película de 1941 Ball of Fire (Bola de Fuego), donde él y su banda tocaban distintas versiones del éxito musical Drum Boogie.

En 1943, Krupa era arrestado por posesión de cannabis siendo brevemente encarcelado.

Krupa se retiró musicalmente a finales de los años 1960s, aunque tocaba ocasionalmente en público hasta su muerte por leucemia en Yonkers, New York. Fue enterrado en el Holy Cross Cemetery en Calumet City, Illinois. Se convirtió en imagen de las baterías Slingerland, fábrica que posteriormente lanzaría una serie "Radio King" en honor a Krupa.

Muchos consideran a Krupa como el más influyente baterista del siglo 20, especialmente por el desarrollo del propio instrumento de la batería. Su principal influencia comenzó en 1935 en compañía de Benny Goodman, donde sobresalió como una auténtica estrella, pero sobre todo por su uso del pedal del bajo de la batería. Este particular método de tocar se publicó en 1938 y se convirtió en un texto estándar para el estudio del instrumento.

fuente: last.fm

[vpjdrums]

Back in the early aughts I played in a band (Sleep Station) that was labelmates with My Chemical Romance. We shared a rehearsal/practice space (in fact where their Vampires… video was shot using my Slingerland drum kit) for a few years here in North Jersey. I would often stay after at the studio and watch them write and rehearse. I was always in awe of their camaraderie and collaboration. I got to know those guys pretty well. Especially the Way brothers whom I still consider friends to this day. I would frequently sing with them whenever we shared a bill together. Here's one of those times on a brisk NYC October night at CMJ back in 2003 (a couple of days after Elliott Smith died), when I got to sing (starts at 21:38) Headfirst for Halos with them.

[ukuleleoftheday]

Slingerland May Bell

[pandaemoniumpancakes]

The rich will make temples for Śiva. What shall I, a poor man do? My legs are pillars, the body the shrine, the head a cupola of gold. Listen, O lord of the meeting rivers, things standing shall fall, but the moving ever shall stay.

Basavanna, ‘820.‘ in Speaking of Śiva, trans. A. K. Ramanujan. 

   omnia quae videntur perire mutari (Seneca, from Epistulae 36:11.)

                        ❧

   “Every soul is immortal. That is because whatever is always in motion is immortal, while what moves, and is moved by, something else stops living when it stops moving. So it is only what moves itself that never desists from motion, since it does not leave off being itself. In fact, this self-mover is also the source and spring of motion in everything else that moves; and a source has no beginning. That is because anything that has a beginning comes from some source, but there is no source for this, since a source that got its start from something else would no longer be the source. And since it cannot have a beginning, then necessarily it cannot be destroyed. That is because if a source were destroyed it could never get started again from anything else and nothing else could get started from it—that is, if everything gets started from a source. This then is why a self-mover is a source of motion. And that is incapable of being destroyed or starting up; otherwise all heaven and everything that has been started up would collapse, come to a stop, and never have cause to start moving again. But since we have found that a self-mover is immortal, we should have no qualms about declaring that this is the very essence and principle of a soul, for every bodily object that is moved from outside has no soul, while a body whose motion comes from within, from itself, does have a soul, that being the nature of a soul; and if this is so—that whatever moves itself is essentially a soul—then it follows necessarily that soul should have neither birth nor death.” (Plato, from Phaedrus, 245c-245e, trans. Alexander Nehamas and Paul Woodruff)

                        ❧

   “6.23 The Master said, “The wise take joy in rivers, while the Good take joy in mountains. The wise are active, while the Good are still. The wise are joyful, while the Good are long-lived.”

   commentary: This is a famously cryptic passage. A somewhat neo-Daoist-flavored interpretation of the first two lines is provided by Bao Xian: “The wise take joy in actively exercising their talent and wisdom in governing the world, just as water flows on and on and knows no cease. The Good take joy in the sort of peace and stability displayed by mountains, which are naturally nonactive and yet give birth to all of the myriad things.” The precise meaning of the last line is particularly problematic. It is unclear why only the wise (and not the Good) should be joyful, for instance. As for “the Good are long-lived” statement, some commentators attempt to reconcile it with the premature death of Yan Hui by understanding it metaphorically: it is the reputation or beneficial influence of the Good person is long-lived. Others reject this strategy, arguing that—the isolated counter-example of Yan Hui aside—the Good are long-lived because they are calm and free of desire for external things. All of these interpretations are quite speculative.” (Confucius, from Analects: With Selections from Traditional Commentaries, trans. Edward Slingerland)

                        ❧

   “The world is but a perennial see-saw. Everything in it—the land, the mountains of the Caucasus, the pyramids of Egypt—all waver with a common motion and their own. Constancy itself is nothing but a more languid rocking to and fro. I am unable to stabilize my subject: it staggers confusedly along with a natural drunkenness. I grasp it as it is now, at this moment when I am lingering over it. I am not portraying being but becoming: not the passage from one age to another (or, as the folk put it, from one seven-year period to the next) but from day to day, from minute to minute. I must adapt this account of myself to the passing hour. I shall perhaps change soon, not accidentally but intentionally. This is a register of varied and changing occurrences, of ideas which are unresolved and, when needs be, contradictory, either because I myself have become different or because I grasp hold of different attributes or aspects of my subjects. So I may happen to contradict myself but, as Demades said, I never contradict truth. If my soul could only find a footing I would not be assaying myself but resolving myself. But my soul is ever in its apprenticeship and being tested. (Michel de Montaigne, from ‘III.2. Of repenting’ in The Complete Essays, trans. M. A. Screech)

[twdmusicboxmystery]

Dead City, Episode 6 (Final Episode)

Okay, here is some of our convo about the final episode of Dead City. I will probably do another post next week (or whenever I can get around to it) about season 1 as a whole, but for now, this is what we talked about.

***Warning: Spoilers abound below for Dead City, season1. Don't read until you've watched!!***

@galadrieljones

I just finished Dead City season 1. I have to say, looking back, I can’t believe there was a time I used to despise Negan with a red hot fury lol. I hated him so much in season 7 I almost stopped watching. Ofc he got funnier in season 8, and then things changed.

I love how they have found a way to complicate his relationship with Maggie without consistently rehashing old plots. I love how they have woven Hershel into this. The scene with him and Maggie in the truck really hurt my heart and my spirit for Maggie. As a mother, I watched her character melt and despair how she fears she’s lost the only thing she has left to love. Maggie is in a very dark way. She still hasn’t clawed her way to the light. She talks about losing things and how the world keeps “taking,” and how she’s always trying to get things back. I really hope it gives her something back.

I was very interested in the Dama and how she seems to be referencing the CRM and their glut for “resources.” The woman who’s totally lording over Armstrong wants to know about the methane. She doesn’t even care about Negan. This is super interesting. I did not see that angle on the horizon.

@wdway

I was thinking about this very same thing. How we saw in TWB Coda the female scientist taking out three tapes but we only saw one. I'm just so curious about the other two. I've said this before that it could be possible that Beth is actually seen on one of the tapes. These could be tapes sent to France by the scientists that were stranded in America. I guess that's why the short one shot I mentioned above was intriguing, because I thought it kind of tied into that kind of theory.

@galadrieljones

The way it ends, with the Croat bringing Negan as his prize, and Negan essentially taking Hershel’s place as a karmic price, and then the slow reveal that he’s there, not for punishment, but for glory, to rule…that was really good. I’m super excited for the future of this show and for all the ensuing spin-offs. If they’re half as good as Dead City is right now, that means big things for the franchise! Seriously I just really loved it. I want more lol.

I love how Negan can’t escape his past because he was just really really good at being a tyrant. He as so good, it keeps coming back to haunt him. Not because people want revenge, but because they want to serve him. They want him to keep playing his role. Even Maggie can’t help herself. She is charmed by him and we know she’s going to go back for him. What I love most about DC, and then I’ll shut up, is that I can finally see a way out for Maggie. I can see her choosing to forgive Negan. I can see Hershel asking her to forgive Negan, and for her to let go. I can see her letting go, rather than killing him in revenge, like she did Carver in season 11. Because we know that won’t solve anything. Anyway, that’s all lol.

@galadrieljones

Totally. I really think one could contain recordings from Grady. I’ve got my eye on Slingerland still as a potential lead. I was thinking, too, earlier about how, if Laurent was a guinea pig, he would have been a little baby when the experiments happened. If they were the same experiments that happened to Beth, it would have been around the same time frame. Just based on his age. Maybe he’s 11? 12?

@wdway

What I came away with about Maggie in DC e6 is we saw her so bitter and broken in Home Sweet Home and then in s11. She's just bitter. Which is understandable, but I hated how she was teaching that hatred to Herschel.

In this latest episode we see that Herschel is old enough now to start to put things together for himself. He's turning into his own person, trying to make his own judgments about situations and people. Maggie definitely is starting to realize that people change, things are never quite as black and white as we want them to be. I think we will see Maggie on her own road to redemption by coming to terms with who Negan really is now. And the difference between the persona of Negan and who he really is are two different things.

@galadrieljones

Totally. I was glad for how they gave so much agency to Hershel, and the ability to see things for what they are, and how he calls her out. I was so glad to see him accuse her of being obsessed with Negan, because she is. And it’s clearly harmed her relationship with her son and with everyone she’s ever been close to, since Glenn’s death.

One thing I love about TWD and its female characters is that the writers don’t let them get away with these vendettas. Sometimes, I feel modern female characters are shown as badasses who can do no wrong and who are always entitled to their whims. But characters like Maggie and Carol are truly flawed and those flaws are layered and realistic and they’re always evolving to meet the story they’re a part of. Maggie has become a really good character I think since season 11. She’s become fearful. Not that she might die, but that she has been living her life all wrong, and that because of this, she might survive and find herself totally alone. Just good writing.

@wdway

Isn't it funny how the females in the series, Maggie and Carol have become hardened as time has gone on. Daryl who is not a wimp by any means. he has came into himself, to show his soft side. He has in many ways softened over the years.

@galadrieljones

Yes. I sometimes think back to the first conversation that Rick and Shane have in Days Gone Bye, about the difference between men and women. While it’s very subtle, I think one theme tptb explores, particularly in the earlier seasons, is how men and women handle things like catastrophe differently.

Women grab the picture frames while men grab the survival gear. This makes sense at first. But as time goes by, we see that it’s really men who are hanging on to the dreams and romance of the old world. They want to fix the world. They want to save the world. The women recoil from expansion, become protective, ruthlessly practical, like snakes in a den.

Of course it’s just one interpretation, and it’s not universal. But I think in general, men are more romantic than women. Women are practical. The here and now. Men are all big picture. I think it can be approached in different ways.

Beth is a softer version of femininity in the show. But she still does a good job of bringing Daryl back down to earth. He can’t stop thinking about the big picture, how he failed them, failed Hershel, failed everybody. If only he would have done something differently, he could have saved them.

Beth grabs him and just helps him to remember he’s still alive, and that he did save her, and he did a good thing that day, and they can’t give up, because there’s still more to do. “We’ve all got jobs to do” is like this ultimate motto of practicality. It’s how Beth organizes her will to live, one foot in front of the other, and how she helps Daryl move forward even when he can’t stop looking back: she just gives him a job. OKAY WOW I just need her to come back now :’)

@twdmusicboxmystery

I wanted to put in my impressions of the end of Dead City. I agree with everything you both said about Maggie and Negan. I do think she’ll go back and get him, and there will be forgiveness. And the bit with Hershel was definitely heart breaking. I was thinking about how Hershel could never truly understand what happened with his father. He wasn’t there, and he doesn’t understand how it affected Maggie.

But none of that means he’s wrong about her. Maggie isn’t a terribly open or nurturing parent, and she needs to talk to him more about what happened. Not just the bare facts, but what she actually went through internally. But Maggie isn’t one to do that. She often feels cold and distant. So, I think it will also be interesting to see Maggie and Hershel’s relationship grow and hopefully come full circle around Negan.

The thoughts I have as to where they might be going with it are more big picture, I suppose. Obviously, this Dama woman is something of a queen in New York. One of you said you got Rich Bitch vibes from her, and I totally agree. She’s the epitome of a rich class living lavishly in her little enclosed space while people live not far from her in utter squalor, and she oppresses them for own amusement and aims.

But she also just basically asked Negan to help her run New York. In an evil and oppressive way, of course. But I’m assuming, even if it’s several seasons away, that since this woman is a relatively minor and new character, that she’ll die and Negan will become king of New York.

That’s interesting, because—again, perhaps several seasons away—when Rick and Daryl and Beth and all of TF reunite to fight the CRM, Negan may be running New York.

Remember in S8, when Rick and Negan went down into that basement together, past the “Abandon all Hope” sign? That foreshadowed something major between Rick and Negan, and the end of AOW just didn’t seem epic enough to fulfill it. I’m wondering if this hints at something more, a much larger scale conflict between them.

This is both subtle and obvious, but the show has set up a foil between the countryside and the city. We’ve had it long before now, with how TF has always avoided the cities, such as Atlanta, because they’re overrun with the dead.

Beth was taken into the city, which is probably more important symbolically than I ever gave it credit for.

And now we have New York. Of course there are plenty of evil people in the country, and plenty of walkers, but big cities are just their own monsters. Much different. Much worse.

In the bible—early Old Testament—we learn of two great cities under great leaders that are built up side by side. The first is the City of Enoch, which was filled with people so righteous and perfect that eventually the entire city was translated and taken up to heaven. Led by the prophet, Enoch.

The other city was built by a man named Nimrod, a mighty hunter in defiance of God. He hunted the souls of men. He became the first king of Babylon, which became synonymous with evil, sin, darkness, and the kingdom of the devil.

The two cities grew up at the same time, in different places, and as foils to one another. The kingdom of God and the kingdom of the devil.

I’m just saying they’re sort of making Negan king of Babylon here.

Beth was taken into the city. Into Babylon, the kingdom of the devil. And the CRM is most likely running other cities. Is Rick in Pittsburg? Another city run by the devil? No idea, but all big cities probably fall under the same symbolism.

It’s even somewhat reminiscent of the Morgan/Strand dynamic in Fear. Strand in his high tower, building a community based on fear and oppression, while Morgan, on the outside, strives to build a community based on respect, mutual protection, and self-reliance.

And I’m not even saying Negan and Rick will forever be enemies. (Morgan and Strand aren’t.) It would make more sense for them to eventually join forces against the CRM, which would make everything come full circle as well. Once enemies, now allies to bring peace and justice and order to the world. Anyway, I’m rambling now. This is what the end of DC got me thinking about.

@galadrieljones

This is really good, @twdmusicboxmystery. I love the idea of us returning thematically to AOW. Because we really haven’t yet. After the war ends, Rick “dies” almost immediately, then there’s a time jump. Negan is incarcerated, and Maggie leaves. There’s no opportunity for meditation on what happened.

Even Carl’s death is somewhat lost in these developments. Because for Michonne, who would be the only person left for whom it was truly life-shattering, it is overshadowed by Rick’s and also by her pregnancy. Daryl has left and he goes through his own Underworld experience, while Carol is with Henry and Ezekiel attempting to rebuild.

Then when Negan becomes a real character again, it’s the Whisperer War. So what I’m saying is, AOW has never really been processed thematically. And I think you’re right that we are headed back in that direction. I love the idea of an inverse scenario, in which Rick, a leader of his own rebellion, is able to employ Negan for help.

If Negan is leader of Manhattan, and Maggie is the leader of the hinterlands, and Ezekiel is governor of the Commonwealth, then we have an entirely new iteration of The King, the Widow, and Rick. Only instead of fighting against Negan, they infiltrate NY to ask for his help. Or they may be fighting him at first, but once Rick realizes they have a common enemy, they will be inclined to work together.

Also, we may then finally have an opportunity to process Carl’s death. Carl died to try and pave a way for peace ahead. And he wanted Rick to forgive Negan and for the two of them to work together to make the world a better place. We already know that the CRM will be after NYC for their methane operation. It looks like after all this time, resources are truly what it’s about, and TD was right about that.

I love the idea that tptb is creating a massive scenario in which Negan and Rick will meet again in some epic inversion of AOW. Even Jadis will be there. During AOW, she tried to play both sides and got burned. Now she seems to be playing both sides again, but she’s smarter this time, presumably. I wouldn’t be surprised if it’s Jadis who somehow gets Negan and Rick into the same room again, to broker some sort of deal. Anyway. Love this idea!! I’m super excited for how things seem like they’re going to come together.

Thinking about Carl’s death and how it’s never been processed actually makes me think about Beth’s. Really can’t wait for all this stuff to truly kick into gear!!

@wdway

I really liked your take on the episode as well. I really felt that Negan was forced, blackmailed into joining her. She hinted to the fact that she could always go back and get Herschel and she understands Negan has a lot of guilty feelings about killing Herschel's father, Glenn.

I think right now Negan main concern is to keep Ginny and Herschel safe and that hopefully the fact that he has a wife and a son of his own will stay secret between him and Maggie. She has the means of destroying Negan by telling his enemies that he has a family.

At this point I don't think she would knowingly let it slip that he has a family I think if she did that purposely she would sever any possibility of a relationship of any meaning with Herschel. I think he would see it as her choosing revenge over him, that he is less important than her hate for Negan.

And where is Negan's family? Missouri, where I imagine they've probably run into the CRM. I think Rick or Michonne are even Jadis meeting up with Annie finding out that Negan had a family might be a turning point that give Negan the incentive to join Rick against the CRM. We've seen Negan be brutal, but we've never seen him in action against people who could harm the people he loves. The all in, full out killing machine we've never seen before in him.

[hammondcast]

Louie Bellson Interview With Jon Hammond HammondCast

#LISTEN TO THE AUDIO HERE: Louie Bellson Interview With Jon Hammond HammondCast 

Jon's archive https://archive.org/details/louie-bellson-interview-with-jon-hammond-hammond-cast 

Louie Bellson Interview With Jon Hammond HammondCast

by

 Jon Hammond 

Usage

 Attribution-NonCommercial-NoDerivs 4.0 International

Topics

 Louie Bellson, Jazz Drummer, Band Leader, Double Bass Drums, Johnny Hodges, Pearl Bailey, Educator, HammondCast, CBS Radio, KYOU, KYCY, Jon Hammond

Language

 English

Louie Bellson Interview With Jon Hammond HammondCast on CBS KYOU / KYCY Radio - August 2003, he appeared at Jazz Club Nouveau in San Francisco with tenor saxophonist Don Menza -

Louie Bellson's Wiki: 

Birth nameLuigi Paolino Alfredo Francesco Antonio BalassoniBornJuly 6, 1924Rock Falls, IllinoisDiedFebruary 14, 2009 (aged 84)Los Angeles, CaliforniaGenresJazz, big band, swingOccupation(s)Musician, composer, arranger, bandleaderInstrument(s)DrumsYears active1931–2009LabelsRoulette, Concord, Pablo, Musicmasters

Louie Bellson (born Luigi Paolino Alfredo Francesco Antonio Balassoni, July 6, 1924 – February 14, 2009), often seen in sources as Louis Bellson, although he himself preferred the spelling Louie, was an American jazz drummer. He was a composer, arranger, bandleader, and jazz educator, and is credited with pioneering the use of two bass drums.[1]

Bellson performed in most of the major capitals around the world. Bellson and his wife, actress and singer Pearl Bailey[2] (married from 1952 until Bailey's death in 1990), had the second highest number of appearances at the White House (only Bob Hope had more).

Bellson was a vice president at Remo, a drum company.[3] He was inducted into the Modern Drummer Hall of Fame in 1985 

Bellson was born in Rock Falls, Illinois, in 1924, where his father owned a music store. He started playing drums at three years of age. While still a young child, Bellson's father moved the family and music store to Moline, Illinois.[5] At 15, he pioneered using two bass drums at the same time, a technique he invented in his high school art class.[6] At age 17, he triumphed over 40,000 drummers to win the Slingerland National Gene Krupa contest.[7]

After graduating from Moline High School in 1942, he worked with big bands throughout the 1940s, with Benny Goodman, Tommy Dorsey, Harry James, and Duke Ellington. In 1952, he married jazz singer Pearl Bailey. During the 1950s, he played with the Dorsey Brothers, Jazz at the Philharmonic, acted as Bailey's music director, and recorded as a leader for Norgran Records and Verve Records.[8]

Over the years, his sidemen included Ray Brown, Pete and Conte Candoli, Chuck Findley, John Heard, Roger Ingram, Don Menza, Blue Mitchell, Larry Novak, Nat Pierce, Frank Rosolino, Bobby Shew, Clark Terry, and Snooky Young.

In an interview in 2005 with Jazz Connection magazine, he cited as influences Jo Jones, Sid Catlett, and Chick Webb. "I have to give just dues to two guys who really got me off on the drums – Big Sid Catlett and Jo Jones. They were my influences. All three of us realized what Jo Jones did and it influenced a lot of us. We all three looked to Jo as the 'Papa' who really did it. Gene helped bring the drums to the foreground as a solo instrument. Buddy was a great natural player. But we also have to look back at Chick Webb's contributions, too."[9]

During the 1960s, he returned to Ellington's orchestra for Emancipation Proclamation Centennial stage production, My People in and for A Concert of Sacred Music, which is sometimes called The First Sacred Concert. Ellington called these concerts "the most important thing I have ever done."[10]

Bellson's album  The Sacred Music of Louie Bellson and the Jazz Ballet appeared in 2006. In May 2009, Francine Bellson told The Jazz Joy and Roy syndicated radio show, "I like to call (Sacred) 'how the Master used two maestros,'" adding, "When (Ellington) did his sacred concert back in 1965 with Louie on drums, he told Louie that the sacred concerts were based on 'in-the-beginning,' the first three words of the bible." She recalled how Ellington explained to Louie that "in the beginning there was lightning and thunder and that's you!" Ellington exclaimed, pointing out that Louie's drums were the thunder. Both Ellington and Louie, says Mrs. Bellson, were deeply religious. "Ellington told Louie, 'You ought to do a sacred concert of your own' and so it was," said Bellson, adding, "'The Sacred Music of Louie Bellson' combines symphony, big band and choir, while 'The Jazz Ballet' is based on the vows of Holy Matrimony..." 

On December 5, 1971, he took part in a memorial concert at London's Queen Elizabeth Hall for drummer Frank King. This tribute show also featured  Buddy Rich and British drummer Kenny Clare. The orchestra was led by Irish trombonist Bobby Lamb and American trombonist Raymond Premru. A few years later, Rich (often called the world's greatest drummer) paid Bellson a compliment by asking him to lead his band on tour while he (Rich) was temporarily disabled by a back injury. Bellson accepted.

As a prolific creator of music, both written and improvised, his compositions and arrangements (in the hundreds) embrace jazz, jazz/rock/fusion, romantic orchestral suites, symphonic works and a ballet. Bellson was also a poet and a lyricist. His only Broadway venture, Portofino (1958), was a resounding flop that closed after three performances.[13]

As an author, he published more than a dozen books on drums and percussion. He was at work with his biographer on a book chronicling his career and bearing the same name as one of his compositions, "Skin Deep". In addition, "The London Suite" (recorded on his album Louie in London) was performed at the Hollywood Pilgrimage Bowl before a record-breaking audience. The three-part work includes a choral section in which a 12-voice choir sings lyrics penned by Bellson. Part One is the band's rousing "Carnaby Street", a collaboration with Jack Hayes.[14]

In 1987, at the Percussive Arts Society convention in Washington, D.C., Bellson and Harold Farberman performed a major orchestral work titled "Concerto for Jazz Drummer and Full Orchestra", the first piece ever written specifically for jazz drummer and full symphony orchestra. This work was recorded by the Bournemouth Symphony Orchestra in England, and was released by the Swedish label BIS. 

Bellson was known throughout his career to conduct drum and band clinics at high schools, colleges and music stores.[16]

Bellson maintained a tight schedule of clinics and performances of both big bands and small bands in colleges, clubs and concert halls. In between, he continued to record and compose, resulting in more than 100 albums and more than 300 compositions. Bellson's Telarc debut recording, Louie Bellson And His Big Band: Live From New York, was released in June 1994. He also created new drum technology for Remo, of which he was vice-president.[17]

Bellson received an honorary Doctor of Humane Letters in 1985 at Northern Illinois University. As of 2005, among other performing activities, Bellson had visited his home town of Rock Falls, Illinois, every July for Louie Bellson Heritage Days, a weekend in his honor close to his July 6 birthday, with receptions, music clinics and other performances by Bellson.[1] At the 2004 event celebrating his 80th birthday, Bellson said, "I'm not that old; I'm 40 in this leg, and 40 in the other leg."[18] He celebrated his birthday every year at the River Music Experience in Davenport, Iowa. 

Bellson was voted into the Halls of Fame for Modern Drummer magazine, in 1985, and the Percussive Arts Society, in 1978. Yale University named him a Duke Ellington Fellow in 1977. He received an honorary Doctorate from Northern Illinois University in 1985. He performed his original concert – Tomus I, II, III – with the Washington Civic Symphony in historic Constitution Hall in 1993. A combination of full symphony orchestra, big-band ensemble and 80-voice choir, "Tomus" was a collaboration of music by Bellson and lyrics by his late wife, Pearl Bailey. Bellson was a nine-time Grammy Award nominee.[19]

In January 1994, Bellson received the NEA Jazz Masters Award from the National Endowment for the Arts.[20] As one of three recipients, he was lauded by NEA chair Jane Alexander, who said, "These colossal talents have helped write the history of jazz in America." 

On November 19, 1952, Bellson married American actress and singer, Pearl Bailey, in London. Bellson and Bailey adopted a son, Tony, in the mid-1950s, and a daughter, Dee Dee (born April 20, 1960).[22] Tony Bellson died in 2004, and Dee Dee Bellson died on July 4, 2009, at age 49, within five months of her father. After Bailey's death in 1990, Bellson married Francine Wright in September 1992.[23]

Wright, who had trained as a physicist and engineer at MIT,[24] became his manager. The union lasted until his death in 2009.[25]

On February 14, 2009, Bellson died at age 84 from complications of a broken hip suffered in December 2008 and Parkinson's disease. He is buried next to his father in Riverside Cemetery, Moline, Illinois. 

Discography[edit]

As leader[edit]

1952 Just Jazz All Stars (Capitol)

1954 Louis Bellson and His Drums (Norgran)

1955 Skin Deep (Norgran) compiles Belson's 10 inch LPs The Amazing Artistry of Louis Bellson and The Exciting Mr. Bellson

1954 The Exciting Mr. Bellson and His Big Band (Norgran)

1954 Louis Bellson with Wardell Gray (Norgran)

1954 Louis Bellson Quintet (Norgran) also released as Concerto for Drums by Louis Bellson

1954 Journey into Love (Norgan) also released as Two in Love

1955 The Driving Louis Bellson (Norgran)

1956 The Hawk Talks (Norgran)

1957 Drumorama! (Verve)

1959 Let's Call It Swing (Verve)

1959 Music, Romance and Especially Love (Verve)

1957 Louis Bellson at The Flamingo (Verve)

1959 Live in Stereo at the Flamingo Hotel, Vol. 1: June 28, 1959

1961 Drummer's Holiday (Verve)

1960 The Brilliant Bellson Sound (Verve)

1960 Louis Bellson Swings Jule Styne (Verve)

1961 Around the World in Percussion (Roulette)

1962 Big Band Jazz from the Summit (Roulette)

1962 Happy Sounds (Roulette) with Pearl Bailey

1962 The Mighty Two (Roulette) with Gene Krupa

1964 Explorations (Roulette) with Lalo Schifrin

1965 Are You Ready for This? (Roost) with Buddy Rich

1965 Thunderbird (Impulse!)

1967 Repercussion (Studio2Stereo)

1968 Breakthrough! (Project 3)

1970 Louie in London (DRG)

1972 Conversations (Vocalion)

1974 150 MPH (Concord)

1975 The Louis Bellson Explosion (Pablo)

1975 The Drum Session (Philips Records with Shelly Manne, Willie Bobo & Paul Humphrey)

1976 Louie Bellson's 7 (Concord Jazz)

1977 Ecue Ritmos Cubanos (Pablo) with Walfredo de los Reyes

1978 Raincheck (Concord)

1978 Note Smoking

1978 Louis Bellson Jam with Blue Mitchell (Pablo)

1978 Matterhorn: Louie Bellson Drum Explosion

1978 Sunshine Rock (Pablo)

1978 Prime Time (Concord Jazz)

1979 Dynamite (Concord Jazz)

1979 Side Track (Concord Jazz)

1979 Louis Bellson, With Bells On! (Vogue Jazz (UK))[27]

1980 London Scene (Concord Jazz)

1980 Live at Ronnie Scott's (DRG)

1982 Hi Percussion (Accord)

1982 Cool, Cool Blue (Pablo)

1982 The London Gig (Pablo)

1983 Loose Walk

1984 Don't Stop Now! (Capri)

1986 Farberman: Concerto for Jazz Drummer; Shchedrin: Carmen Suite(BIS)

1987 Intensive Care

1988 Hot (Nimbus)

1989 Jazz Giants (Musicmasters)

1989 East Side Suite (Musicmasters)

1990 Airmail Special: A Salute to the Big Band Masters (Musicmasters)

1992 Live at the Jazz Showcase (Concord Jazz)

1992 Peaceful Thunder (Musicmasters)

1994 Live from New York (Telarc)

1994 Black Brown & Beige (Musicmasters)

1994 Cool Cool Blue (Original Jazz Classics)

1994 Salute (Chiaroscuro)

1995 I'm Shooting High (Four Star)

1995 Explosion Band (Exhibit)

1995 Salute (Chiaroscuro)

1995 Live at Concord Summer Festival (Concord Jazz)

1996 Their Time Was the Greatest (Concord Jazz)

1997 Air Bellson (Concord Jazz)

1998 The Art of Chart (Concord Jazz)[28]

As sideman[edit]

With Count Basie

Back with Basie (Roulette, 1962)

Basie in Sweden (Roulette, 1962)

Pop Goes the Basie (Reprise, 1965)

Basie's in the Bag (Brunswick, 1967)

The Happiest Millionaire (Coliseum, 1967)

Count Basie Jam Session at the Montreux Jazz Festival 1975 (Pablo, 1975)

With Benny Carter

Benny Carter Plays Pretty (Norgran, 1954)

New Jazz Sounds (Norgran, 1954)

In the Mood for Swing (MusicMasters, 1988)

With Buddy Collette

Porgy & Bess (Interlude 1957 [1959])

With Duke Ellington

Ellington Uptown (Columbia, 1952)

My People (Contact, 1963)

A Concert of Sacred Music (RCA Victor, 1965)

Ella at Duke's Place (Verve, 1965)

With Dizzy Gillespie

Roy and Diz (Clef, 1954)

With Stephane Grappelli

Classic Sessions: Stephane Grappelli, with Phil Woods and Louie Bellson (1987)

With Johnny Hodges

The Blues (Norgran, 1952–54, [1955])

Used to Be Duke (Norgran, 1954) 

Louie Bellson, Jazz Drummer, Band Leader, Double Bass Drums, Johnny Hodges, Pearl Bailey, Educator, HammondCast, CBS Radio, KYOU, KYCY, Jon Hammond 

Louie Bellson, Jazz Drummer, Band Leader, Double Bass Drums, Johnny Hodges, Pearl Bailey, Educator, HammondCast, CBS Radio, KYOU, KYCY, Jon Hammond

[theyoungturks]

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