ive come around recently to the AUCKLAND DJ and former long-time BBC RADIO 1 RADIO PERSONALITY ZANE LOWE, especially with regards to his current THE ZANE LOWE INTERVIEW SERIES on APPLE MUSIC. ive watched and listened to his interviews for years and while he always came across as INFORMED and an ardent fan of his subject, there were times his PASSION seemed to stray into straight-up adulation. or so i thought. i believe the dude is fully aware of his role in the wider ecosystem of modern culture as a bridge of sorts for the global public to access emerging and established musicians, and i feel his ENTHUSIASM is a reflection of such. his queries are often the types a hardcore fan would want answered by a favored artist if given the opportunity and the nerve.
and that perspective of LOWE from that as a stand-in for the public was how i judged him until recently. i began to realize that, like HOWARD STERN, he is a great listener. and i think such may be an outgrowth of the long-form format of THE ZANE LOWE INTERVIEW SERIES of podcasts as it gives him time to weave and contextualize competing narratives and informed takes on his subject's career. in essence he isn't necessarily flattering his guests, instead he's creating a SAFE ENVIRONMENT for them to open up. and post-pandemic he is doing such physically as well, often meeting his subjects on their home-court. at their favorite spots. in their cities. sometimes even at their home or recording studio.
i've also noticed that he is shrewd in his interviewing style as he allows his subject to TAKE THE LEAD, with him interjecting only to clarify or contextualize a point he found interesting or needing of clarification for the average viewer. LOWE is the type of interlocutor that is comfortable not being "in the know" at all times and lets it known when he finds something genuinely UNEXPECTED or COMPELLING. i've also noticed he is not afraid of silence. it reminds me of my teaching days where there were sometimes pregnant silences were students or myself were conjuring a response to a BOLD question hanging in the air. the silences in his interviews are ones where people are fully contemplating and thus fully ENGAGED.
it took me a while to come around to the fact that the guy is just a fan of music and art and the processes/ALCHEMY from which such rise from the ether. in that sense it is almost inconsequential who the subject is, from DAVID BYRNE to MILEY CYRUS. i look forward to seeing where his long-form interview series leads him. hopefully he can interview some of my heroes like Q-TIP, JOHNNY MARR, SHANE MCGOWAN, JUSTINE FRISCHMANN, HUGH CORNWELL, MARK MOTHERSBAUGH, MIKE PATTON or even transcendent emerging artists like DRAB MAJESTY and CHELSEA WOLFE.
one can dream.
guitar players talking about guitars.
i mean, this YOUTUBE series by PAUL REED SMITH that finds its namesake founder placing ZOOM calls with famous guitarists is as beautifully basic as it gets. and i love that.
in these conversations you very much get a palpable sense of ENERGY and ENTHUSIASM that iconic players like JOHN MCLAUGHLIN, VERNON REID (LIVING COLOUR), AL DI MEOLA, TIM MAHONEY (311), JOHN MAYER, CARLOS SANTANA and STEVE VAI (among countless other notable participants) still have for their instrument.
you also get some insight into the relationship of the builder with the instrument and the unadulterated JOY of watching others reciprocate that LOVE and PASSION with their own CREATIVITY. that dynamic very much reminds me of the joy of creating, in my case through WRITING, GRAPHIC DESIGN and VIDEO EDITING, and witnessing others interact with such. you get to watch the cycle continue and transmogrify into the ether. theres a magic and an ALCHEMY there that is difficult to quantify about distinct and discernible all the same to those of like-minded disposition.
i love this series and wish for others to take it in. shows that even during the pandemic when everyone was separated there was still the potential for genuine HUMAN CONNECTION all the same. its a lesson i learned with my interactions with the likewise PASSION community of MUSIC LOVERS over at MAKERPARKRADIO. that same KINETIC SPARK.
its always cool to see products utilized in context, and the ongoing EARTHQUAKER SESSION live performance series showcases mostly upcoming talent sweating it out in intimate venues with what are presumably EARTHQUAKER DEVICES pedals, though such are not explicitly shown (so who knows?). documenting bands for product promotion is nothing new, but where this series really elevates above the competition is the shear breadth and depth of acts involved, running the gamut from SHOEGAZE, R&B, SLUDGE METAL, FUNK and delicate INDIE ROCK to COUNTRY, CLASSICAL MUSIC and even experimental AMBIENT / PROGRESSIVE instrumentals. there are also non-traditional gear setups (including a violin rig) which is alway cool to see. it is also exquisitely professionally shot and the sound recording is mixed incredibly well (which is not always the case with similar series).
past participants include BORIS, SPOTLIGHTS, COVET, TIME CAT, RELAXER (featuring EARTHQUAKER DEVICES founder JAMIE STILLMAN), CHELSEA WOLFE, SUDAN ARCHIVES, MARCUS ALAN WARD and SAFE WORDS among many others. definitely worth checking out, irrespective of its company tie-in.
im a total sucker for behind-the-scenes content, especially when it comes to anything band-related.
ENLARGED TO SHOW DETAIL: THE SERIES is a currently ongoing self-produced YOUTUBE series by the CALIFORNIA-by-way-of-NEBRASKA 1990s ALTERNATIVE ROCK veterans 311, that follows them on their 2021 summer & fall tour. the series is a continuation of their three previous self-produced studio/tour documentaries also entitled ENLARGED TO SHOW DETAIL, of which i owned the first on VHS back in the late 1990s. the 10th episode is tonight with the final episode set for next sunday, which concludes two days after 311 DAY (which is march 11). traditionally the band has a major concert on that day every year in a different city and this ongoing series is a promotion of such (this year it is in LAS VEGAS).
what i love about the first nine episodes (each an hour long) is how the edits are unafraid of showing the viewer the mind-bending REPITITION and tireless BRUTE EFFORT involved with putting on such an event and moving it around the country. id dare say that the real stars of the show is not the band but their road crew which includes everyone from GUITAR and DRUM TECHNICIANS, SOUND BOARD OPERATORS and MANAGERS to countless ROADIES hanging from elevated rigs attempting to install massive speakers and light displays. likewise the now middle-aged band are fearlessly unafraid of showcasing the UNGLAMOROUS and essentially MUNDANE aspects and realities of touring life such as the passing of time on long drives (complete with time-lapsed road footage between cities) and the plentiful down time spent exercising, doing yoga and demoing in makeshift back-of-bus studios. the perspective presented is that of a workmanlike atmosphere that has been the band's touring reality for the past 20+ plus years. again, watching every episode is incredibly repetitive (since that is the reality) but the mantra-like cycle of day-in, day-out activity is beyond cool to watch.
it really is a GIFT to experience. definitely worth watching if you are a fan of the band or are interested in the realities of modern touring life across the UNITED STATES.
much like the ICONS and THE COLLECTION series covered before, RIFF LORDS is another string of YOUTUBE videos promoted by GIBSON GUITARS under the GIBSON TV moniker that seeks to reestablish the brands bonafides with the guitar-playing public via celebrity musician endorsements after the disastrous "play authentic" campaign of 2019.
the hook regarding RIFF LORDS is that these famous guitarists are allotted an extended-period to not only go over their most notable riffs, but the PHILOSOPHY, THEORY and TECHNIQUE behind their composition. noteworthy participants include that of BUZZ OSBOURNE (MELVINS), NICK HEXUM (311), JADE PUGET (AFI), LER LALONDE (PRIMUS) and CLAUDIO SANCHEZ (COHEED & CAMBRIA). this sort of territory has been mined for years by the likes publications like GUITAR WORLD and PREMIER GUITAR (not to mention online vendors like REVERB and SWEETWATER) for years, but the extended time and lack of an annoying an unnecessary interloctur makes this series of videos more immediate and engaging.
i play guitar so this hits me right in the sweet spot of seeing some of my favorite artists talk at length about their playing. now if they could only get DAVE NAVARRO or JOHNNY MARR... here's hoping.
part of what i love about YOUTUBE are all the live performance series produced by MANUFACTURERS, RECORD LABELS and RADIO STATIONS giving a spotlight to emerging talent. PHILADELPHIA's NPR affiliate WXPN 88.5 FM has been recording their WORLD CAFE series of live performances since 1995. during the pandemic they produced their spinoff WORLD CAFE: AT HOME SESSIONS at their live venue in PHILADELPHIA and remotely at BARS, STUDIOS and even CHURCHES with minimal on-hand personnel to help responsibly minimize the spread of COVID.
im always interested in hearing promising unknown artists and that is what i found in past participants CHRISTONE "KINGFISH" INGRAM, AMYTHYST KIAH, THE LINDA LINDAS, THE WAR ON DRUGS, ADIA VICTORIA and BIG FREEDIA.
WORLD CAFE: AT HOME SESSIONS is most definitely worth checking out.
with the advent of modern social media and the internet as the central focus of commerce and our economy writ large, its always interesting to see how major retailers attempt to catch out attention and pique our interest. instrument and music products retailer REVERB.COM a few years back came up with the YOUTUBE series SYNTH SOUNDS OF as a means of drawing attention to the keyboards, sequencers and various software, both vintage and contemporary, they have on offer.
the series showcases musician / producer WILLIAM KIRK who guides the audience through the compositional ingenuity and sonic experimentalism at play in classic songs primarily from the 1970s and 1980s FUNK, NEW WAVE, DISCO and SYNTH POP catalogue. im talking about acts such as TEARS FOR FEARS, PRINCE, DEPECHE MODE, TOTO, GIORGIO MORODER, HALL & OATES, TALKING HEADS, PARLIAMENT FUNKADELIC, MADONNA, TALK TALK and even recent acolytes like BRUNO MARS and FRANK OCEAN. i originally found the series when researching what the vintage SEQUENCIAL CIRCUITS PROPHET 5 our studio had inherited from my cousin was capable of.
KIRK is knowledgeable, personable and absolutely ridiculous (i still cant handle those MEMBERS ONLY jackets!), which makes this series fun and engaging. he seems to get the feel of the period and is respectful without being too reverential in the process. SYNTH SOUNDS OF may have failed in getting me to buy anything, but it has beyond succeeded in making me more conscious of the artistry involved in the use of electronic keyboards, pads, triggers and vintage analog synths.
and it made me dance. so there.
GIBSON GUITARS really did a faceplant up back in 2019 with their aborted "play authentic" campaign.
which was really a pity because i had been watching their DIRECTOR OF BRAND EXPERIENCE MARK AGNESI since he was GENERAL MANAGER at NORM'S RARE GUITARS and hosted their GUITAR OF THE DAY YOUTUBE videos in which he would deep dive into their backroom archive of vintage guitars and elaborate in exquisite detail about their production, history and playability. the dude knew his stuff and his appreciation and passion for guitars was palpable. i was practically rooting for the dude when moved on to GIBSON.
which is why i think its a great move that GIBSON has him doing these long-form videos where he similarly guides us through the collections of famous musicians from RICK NIELSEN (CHEAP TRICK) and DWEEZIL ZAPPA (ZAPPA PLAYS ZAPPA) to KIETH NELSON (BUCKCHERRY) and DAVE AMATO (REO SPEEDEWAGON). its basically the same thing he did at NORM'S, even with the same batch of characters. in other words: its a match made in guitar nerd heaven. once i learned of this series i have basically been mainlining them, irrespective of the artist being interviewed. bar none the coolest guitar shown was producer JOHN SHANKS' GIBSON ES-355 previously owned by JOHNNY MARR. 'nough said there.
obviously the vast majority of the products involved are GIBSON-related, but its also fun to see when they veer off into other manufacturers. this gives me hope that GIBSON is getting off their high horse and acknowledging the fact that they are part of a greater community. hopefully they take on their role as elder statesmen and give back to the guitar-playing community, because it looked bleak there for a while. real bleak.
this series at least smells like they have their act together and were humbled by their atrocious marketing mistakes over the last decade.
i thought that i understood what it meant to be a passionate fan of something. like MUSIC, FILM, SPORTS or ART. and then i moved to SOUTH AMERICA and realized i didnt know even the half of it.
when i relocated to VENEZUELA in the summer of 2013 i was confronted with new peers and friends that shared my love of THRASH METAL and CLASSIC ROCK, except that for them the music was their gateway to learning ENGLISH and thus a valuable skill that led them to working at a school alongside me. their passion for music quite literally altered their lives. it was powerful then and still is in retrospect, given that they all now live and work outside of VENEZUELA (which is in a dire state at the moment) in other LATIN countries such as ARGENTINA and CHILE.
which brings me to the YOUTUBE channel of current MEGADETH lead guitarist KIKO LOUREIRO. his channel, which began long before his current tenure with the THRASH METAL veterans, is part guitar tutorial and part behind the scenes look at the daily life of a WORKING MUSICIAN. what shines through is his PASSION for the instrument and sharing said passion with fans as well as the cast of characters that revolve around it (road crew, guitar techs, security, catering, other musicians). for some reason this instinct to lift that fourth wall and give his fans a look behind the curtain is pretty remarkable, even more so because it includes at times the reclusive and very private DAVE MUSTAINE. you get the sense that their is a high level of trust and mutual respect between the two. that instinct to share and connect also feels very much steeped in LATIN culture. it is almost as if he is telling his community in his native BRAZIL that this level of success is attainable through hard work, perseverance and a bit of luck. i always love the fact that BRAZILIAN musicians (MAX CAVALERA, JORGE BEN, CAETANO VELOSO, etc.) that make a mark stateside are outspoken and passionate about their native homeland, which has a distinct, multi-faceted musical tradition that rivals such of any other.
its funny because when i think of MEGADETH, i think of unparalleled musicianship (notably past guitarists MARTY FRIEDMAN and CHRIS POLAND) as well as the regressive and recalcitrant politics of MUSTAINE. with LOUREIRO in the mix a new word comes to mind: JOY.
check out his YOUTUBE channel. it provides an interesting perspective on the journey through the recording, rehearsing and touring life of a talented, modern WORKING MUSICIAN.
for any musician new gear is always fun to learn about. even an utter novice such as myself.
the naggin question is always what does something sound like in context. in middle school i remember sounding great in my bedroom with a practice amp but effectively lifeless when mic'd through the gym PA system. at the time we were only playing METALLICA covers of "FOR WHOM THE BELL TOLLS" and "HARVESTER OF SORROW" in preparation for a talent show, but that disconnect is something i was aware of when i started going to shows a few years later.
what the EMGtv series excels at is showcasing their pickups in context with a prominent sponsored musician (usually of the PROGRESSIVE METAL or THRASH METAL variety) playing to a backing track that allows you to get a sense of how the pickups come off in a live mix. the results are pretty stunning and the performances by DEVINN TOWNSEND and INTRONAUT are particularly spectacular.
its also interesting that some of these artists (TOWNSEND and TOSIN ABASI) have switched to the FISHMAN FLUENCE series of pickups in recent years with its multiple voicings, while others are very much EMG lifers (ZAKK WYLDE and ALEX LAIHO - R.I.P). just goes to show the nature of constant innovation in the guitar space in the past decade.
interesting to see what new products are being dreamed up right now by EMG and their celebrated active pickups (especially their 81/85 set) that are utilized by everyone from SLIPKNOT, IN FLAMES, DILLINGER ESCAPE PLAN, PIG DESTROYER, CRADLE OF FILTH and DEFTONES to SLAYER and METALLICA. cant wait.
i came across this three-part series THE ART OF PUNK which examines the contributions of visual artists RAYMOND PETTIBON, WINSTON SMITH and the duo of DAVE KING/GENE VAUCHER and their iconic graphic work with HARDCORE PUNK bands BLACK FLAG, DEAD KENNEDYS and CRASS respectively. this online series was produced almost a decade ago for an installation at MOCA (MUSEUM OF CONTEMPORARY ART, LOS ANGELES).
i think the art associated with the AMERICAN and BRITISH HARDCORE scenes that sprung up in the 1980s after the initial wave of PUNK ROCK had subsided really took the DIY ethic to heart and ran with it. this was reflected in the raw intensity of the music, but also the iconic graphic work went into its presentation. obviously the brazenly political collage work of WINSTON SMITH was something that became part of the lexicon of flyers and fanzines alike. the fact that his work maintains a cohesive yet caustic edge this many years later really is a testament to its quality. the simple yet effective "DK" logo he created for DEAD KENNEDYS is likewise an iconic piece of graphic design that has been drawn on innumerable toilet stalls at venues over the years. too many for me to count.
likewise the ink drawings of RAYMOND PETTIBON are absolutely unflinching and brutal. with an economy of movement, he is able to inflict maximum impact on his targets, which are often figures of power and corruption, both in public and on the domestic front. the logo he devised for his brother's band, BLACK FLAG, is now effectively AMERICAN folk art, given the repetition with which it has now been tattooed on HARDCORE fans throughout the intervening decades. what his interview shows is the depth of the humor in his work, which is sorely overlooked to date.
in DAVE KING and GEE VAUCHER you are presented with a symbol that is rooted in the branding lexicon of tribal identification and corporate power. CRASS is such a complex, high-concept outfit with profoundly radical political leanings that make its adoption of the visual vocabulary a subversion in and of itself. with the CRASS symbol you are shown a sense of art steeped in intention and symbolism, which is the mark of any great art.
anyway, THE ART OF PUNK is well worth your time whether or not you have any interest in PUNK ROCK per se. it is a series rooted in the deep power of images, a concept that thoroughly transcends any musical affiliation or tradition. if anything the work these artists produce make you think and by extension complicate the consumption of the music, which is something i find endlessly fascinating.
i love the idea of long-form interviews as the basis of a research project.
in fact i've made no secret, writing before (linked HERE, HERE and HERE) about my experience as a PEACE CORPS volunteer in ALBANIA where i spearheaded an oral history project aimed at the impact of the KOSOVO conflict on how both sides of the border dealt with the influx of refugees in 1999. it was a taboo subject internally but i thought it was information worth pursuing from the older generation (along with other unrelated topics such as life under the communist ENVER HOXHA regime) so that there was a record for future generations. similarly the questions themselves werent mine but my students at the UNIVERSITY OF VLORA where i was stationed at. my prompt to them was what questions they thought their grand-children would would want to ask their great-great-grandparents. talk about epic, a four generation question! it got them thinking in that scale and those were the questions i asked, not mine as an AMERICAN, i was just the conduit.
i came across the WOMEN OF ROCK ORAL HISTORY project recently online and i thought it was the coolest thing. the contributions of women to the cultural achievements surrounding ROCK N ROLL cannot be understated but are often overlooked.
i feel that i am guilty of this as well. when i look at past playlists for my DEER GOD RADIO show on nonprofit radio station MAKERPARKRADIO.NYC i am often confronted with a list of male artists. while there have been past shows specifically on the RIOT GRRRL movement and prominent artists such as BJORK, KIM DEAL and LADYTRON, as well as other shows that prominently investigate female musicians and artists within wider constructs (example: CAROLE KAYE contributions with THE WRECKING CREW), there is a lack of balance that i recognize. that is something i am working on. in the future i plan to add shows focused on PJ HARVEY, COURTNEY LOVE, KRISTIN GUNDRED, LUSCIOUS JACKSON, NO DOUBT, CHARLI XCX, PATTI SMITH, JOAN JETT, BLONDIE and producer SYLVIA MASSY (MELVINS, TOOL) to the mix. it is a work in progress.
these filmed interviews with the likes of PUNK ROCK / ALTERNATIVE ROCK / NO WAVE / INDIE ROCK luminaries like ALICE BAG (THE BAGS), LYDIA LUNCH, GAIL ANN DORSEY (DAVID BOWIE), KATE SCHELLENBACH (LUSCIOUS JACKSON, BEASTIE BOYS), EXENE CERVENKA (X), DONITA SPARKS (L7), MELISSA AUF DER MAUR (HOLE, SMASHING PUMPKINS), AMANDA PALMER (THE DRESDEN DOLLS), KRISTIN HERSCH (THROWING MUSES) and SHIRLEY MANSON (GARBAGE) among many others are a great resource for all musicians to receive a fuller understanding of the real history of ROCK N ROLL. its pretty exciting since this project is still very much a current operation especially in recent months with the advent of effective COVID-19 vaccines providing an opportunity for in-person, on-camera interviews again.
the WOMEN OF ROCK ORAL HISTORY is definitely worth checking out and revisiting. what a gift to music fans.
been really digging the whole DIY vibe of an online live music performance series called BRIDGE CITY SESSIONS that i came across recently on YOUTUBE. based out of PORTLAND, OREGON, the sessions is basically a showcasing platform for small bands and labels to promote themselves. this series feels similar to what DEER GOD was attempting to pursue a number of years ago with our KREISCHER MANSION SESSIONS: that is, showcasing upcoming talent with expertly-mixed and engineered video content.
the common thread with these bands is just how hungry and determined they sound. the mixes are incredible and the bands themselves are often provocative if not transgressive. feels like they really had something great going on with this project. i hope it comes back when the pandemic subsides a bit.
BRIDGE CITY SESSIONS is definitely worth checking out.
its funny that one of the worst sounding rooms in live television (STUDIO 8H) is also arguably one of its most enduringly iconic stages. one of those truly odd paradoxes.
i often wonder what affect on the culture a SATURDAY NIGHT LIVE appearance has in modern culture, similar to that of a ROLLING STONE cover. maybe it is just an anachronism of a cultural moment that has long since passed us by when we have a never ending feed of audio-visual content available on command from devices in our pockets.
not to sound too nostalgic, but i do remember a time during the 1990s and early 2000s when there was a sense of a shared experience each week when you stayed up to watch SATURDAY NIGHT LIVE and see who was hosting and playing that night. it was exciting.
nowadays not so much. why is that?
theres a fine line between art and advertisement, and guitar pedal manufacturer WALRUS AUDIO walks it here with its discontinued SONGS AT THE SHOP series of live performances from its YOUTUBE channel. it finds established and up-and-coming talent of varying genres (INDIE ROCK, POST HARDCORE, POST ROCK) playing at their headquarters in OKLAHOMA.
what might at first glance appear like a ploy for absolutely shameless product placement instead puts the focus on the artist (where it should) and gives you a sense of how these products enable musicians. the fact that the talent straddles so many different genres only furthers that point. its an interesting concept that has been utilized and co-opted now by bigger companies like ERNIE BALL and GIBSON with more established legacy artists, which is fine but there appears to be a purity here with these performances. a symbiosis between the product and the art.
definitely check out some these performances.
i am a fan of online series of live performance by bands. i make no secret that we here at DEER GOD made a few of our own at various NYC locations in pre-pandemic times. BLIND BLIND TIGER SPEAKEASY from what i could gather is a downtown LOS ANGELES bar where some genius filmed and recorded upcoming area bands in front of a green screen. i just love the creative anarchy and bold weirdness of these performances and their presentation.
lord knows if id seen this when it was still happening years ago, i'd have thought long and hard about following suit and experimenting with different FX elements. maybe once (or if) everything goes back to normal that could be a possibility.
either way, these videos from BLIND BLIND TIGER SPEAKEASY are just fun to watch. enjoy.
i am always on the hunt for live music series online. it probably comes from attempting to initiate one myself. i recently came across LIVE @ 885FM which showcases live performances by upcoming as well as established INDIE ROCK acts in their studio out of CAL STATE NORTHRIDGE in SOUTHERN CALIFORNIA. notable participants during pre-pandemic times include that of JOHNNY MARR, BOB MOULD, NADA SURF, BEST COAST, RODRIGO Y GABRIELA, ROLLING BLACKOUTS COASTAL FEVER, JENNY LEWIS, INARA GEORGE (of BIRD & THE BEE), KURT VILE, BLITZEN TRAPPER and FIRST AID KIT.
obviously this is a take on the model spearheaded and popularized by the longstanding live performance series out of KEXP in SEATTLE, but honestly who cares? i love the fact that there are a multitude of radio stations (including KCRW in SANTA MONICA) providing quality, professionally recorded and mixed content of bands playing live.
we all win. especially when legacy radio stations have the pull to draw in first-rate talent, as is the case with 88.5FM.
i think everyone can appreciate a disruptor. someone that comes out of left fied and innovates to such an extent that an industry has to react in their wake.
in terms of sports i have written in the past about RODNEY MULLEN (blog entry linked HERE), a legendary skateboarder who found a way to incorporate (then-tragically unhip) freestyle elements into street skateboarding and basic birthed modern flat ground trick. what once was deemed outsider then became the very lexicon upon which the modern sport defines itself.
i don't think its hyperbole to put AUSTRALIAN 3X BMX BIG AIR X GAMES champion RYAN WILLIAMS on that same level. in terms of action sports, SCOOTERS are looked at as a joke. a kid's toy. probably ironically the same way people used to view skateboarding and bicylce riding. currently FREESTYLE SCOOTER is still not an X GAMES event. but FREESTYLE BMX is.
what's interesting about WILLIAMS is that being a FREESTYLE SCOOTER pro, he was able to incorporate various tricks into BMX that had never been attempted or considered before, things like BRI FLIPS, INWARD BRI FLIPS and my favorite, the FREE WILLY (SCOOTER-only).
again, a new lexicon of tricks get incorporate into the sport from an overlooked and undervalued related sport.
internet musical equipment retailer/reseller REVERB.COM recently put out a short-form documentary called THE MU-TRON STORY where they interview engineer and MU-TRON creator MIKE BEIGEL about the famous phase pedal and the nature of creation.
now you find any discussion of OSCILLATORS, CAPACITORS and ELECTRICAL CIRCUITS to be a blur of garbled technical speak, but what draws my attention to content such as this is the process by which new sounds are introduced to the world.
and that gets heavy real fast to think through the implications of such. new signal chains equal new vibrations which equals an expanded range of possible sounds. the lexicon of music has thus been furthered, expanding our consciousness and emotional capacity in the process.
BEIGEL speaking about how difficult it was to get his invention off the drawing board and into physical world, yet lived to see it transformed again by the likes of STEVIE WONDER, FRANK ZAPPA, JERRY GARCIA, BILLY CORGAN, BOOTSY COLLINS, ACE FREHLEY and NEIL YOUNG among many others is a pretty satisfying narrative arc to take in. it becomes apparent that those circuits have entered into a spiritual realm, affecting us all.
THE MU-TRON STORY is definitely check it out if you have the inclination.
i recently watched the first two seasons of THE MANDALORIAN and very much enjoyed it. in my estimation it is a return to the original inspiration and motivation from which the creation of the STAR WARS arose. such being an excuse to investigate and mishmash a bunch of genres in a space setting.
if you watch the original trilogy there are more than obvious nods to cinematic obsessions of GEORGE LUCAS such as the work of directors JOHN FORD, AKIRA KUROSAWA and LENI RIEFENSTAHL as well as eastern theology BUDDHISM and TAOISM and early serials like BUCK ROGERS and FLASH GORDON. the list goes on.
in THE MANDALORIAN there seems to be clear effort to return to said influences in a television serial format with a moral protagonist navigating a whole series of hardships and obstacles on a JOSEPH CAMPBELL-inspired "HERO's QUEST" that literally finds him in situations that are highly reminiscent of old westerns, war films (complete with aerial dog fights), action films and science fiction.
i think that this is noteworthy since the second and third trilogy of STAR WARS films have been more about the complexity of interplaying narratives/sub-narratives and the abundance of characters (my assumption is for marketing purposes) rather than the core journey of a main character. THE MANDALORIAN provides a more cohesive and engaging story due to its more minimal scope and ability to seamlessly collapse various genres in an authentic, believable space. it really is quite the achievement and i look forward to further seasons.
this is probably my favorite TV show post-GAME OF THRONES.