what music are you listening to now

[ada]

[Cyanatta]

[Foha]

I liked how Westworld used this song.

It's a good discovery.

[Cyanatta]

[AnthroHeart]

John Denver's Rocky Mountain Collection

[Cyanatta]

[Cyanatta]

 
Neon Guts (Bot & Sage Armstrong Remix)
 

[Minyatur]

[Cyan]

[Cyan]

[AmariPaul]

Natsu Fuji https://www.youtube.com/watch?v=-E0RRiXmZ04

[Cyanatta]

[anagogy]

[Dekalb_Blues]

~


 Aten-Hagen, a Wandering Minstrel she 

Komm in mein Boot, der beste Seemann war doch ich. . .

http://affenknecht.com/lyrics/rammstein-...anslation/
http://www.alternativenation.net/mother-...ther-punk/
https://www.thelocal.de/20091231/24287



http://www.metalinjection.net/shocking-r...ssel-crowe
https://sorendreier.com/sound-of-silence/




The Wanderer's lament:

Into this house we're born
Into this world we're thrown
Like a dog without a bone
An actor out on loan
Riders on the Scheißsturm

Wo willst du hin
so ganz allein
treibst du davon?



They especially dug the killer stylings of "the guy on keys" and "the guy on bass". . .

. . . who perhaps understandably they didn't realize was, of course, the same guy:




A little music-biz trade secret: the recorded sound of a disturbing amount of instrumental music you've heard 
as being played personally by Your Fav Player has in fact been generated through these many moons with gizmos 
like this (now-ancient but still powerful) one:

Of course, by now -- what with super neat-o kean-o techno advances in synthesizers driven by AI, no fleshy human 
other than some tech wonks and the usual corporate grey eminences (if you call that being human) are needed in the 
entire industrial muzak-extrusion process.

[Dekalb_Blues]

~



Human learning the downhill-faceplant-turf-surf mode of corporeal translation along a plane surface in the Earthian gravity field

52.2 ▶ Questioner: Thank you. I think that possibly I am on an important point here because it seems to me that the great work in evolution is the discipline of personality, and it seems that we have two types of moving around the universe, one stemming from disciplines of personality, and the other stemming from what you call the slingshot effect. I won’t even get into the sub-light speeds because I don’t consider that too important. And I only consider this material important with respect to the fact that we are investigating discipline of the personality.

Does the use of the slingshot effect for travel, is that a what you might call an intellectual or a left brain type of involvement of understanding rather than a right brain type?

Ra: I am Ra. Your perception on this point is extensive. You penetrate the outer teaching. We prefer not to utilize the terminology of right and left brain due to the inaccuracies of this terminology. Some functions are repetitive or redundant in both lobes, and further, to some entities the functions of the right and left are reversed. However, the heart of the query is worth some consideration.

The technology of which you, as a social complex, are so enamored at this time is but the birthing of the manipulation of the intelligent energy of the sub-Logos which, when carried much further, may evolve into technology capable of using the gravitic effects of which we spoke. We note that this term is not accurate but there is no closer term.

Therefore, the use of technology to manipulate that outside the self is far, far less of an aid to personal evolution than the disciplines of the mind/body/spirit complex resulting in the whole knowledge of the self in the microcosm and macrocosm.

To the disciplined entity, all things are open and free. The discipline which opens the universes opens also the gateways to evolution. The difference is that of choosing either to hitchhike to a place where beauty may be seen or to walk, step by step, independent and free in this independence to praise the strength to walk and the opportunity for the awareness of beauty.

The hitchhiker, instead, is distracted by conversation and the vagaries of the road and, dependent upon the whims of others, is concerned to make the appointment in time. The hitchhiker sees the same beauty but has not prepared itself for the establishment, in the roots of mind, of the experience.



97.10 ▶ Questioner: Thank you. Card Number Five, the Significator of the Mind, indicates, firstly, as I see it, simply a male within a rectangularly structured form. This suggests to me that the Significator of the Mind in third density is well-bounded within the illusion, as is also suggested by the fact that the base of the male is a rectangular form showing no ability for movement. Would Ra comment on that?

Ra: I am Ra. O student, you have grasped the barest essence of the nature of the Significator’s complete envelopment within the rectangle. Consider for the self, O student, whether your thoughts can walk. The abilities of the most finely honed mentality shall not be known without the use of the physical vehicle which you call the body. Through the mouth the mind may speak. Through the limbs the mind may effect action.



79.5 ▶ Questioner: We have been ending our banishing ritual prior to the session here by a gesture that relieves us of the magical personality. I was just wondering if we should omit that gesture so as to maintain the magical personality while performing the Circle of One and then only relinquish the magical personality either after that has formed or after the session? Which would be more appropriate?

Ra: I am Ra. The practice of magical workings demands the most rigorous honesty. If your estimate of your ability is that you can sustain the magical personality throughout this working, it is well. As long as you have some doubt it is inadvisable. In any case it is appropriate for this instrument to return its magical personality rather than carry this persona into the trance state, for it does not have the requisite magical skill to function in this circumstance and would be far more vulnerable than if the waking personality is offered as channel. This working is indeed magical in nature in the basic sense. However, it is inappropriate to move more quickly than one’s feet may walk.









6.7 ▶ Questioner: How were you able to make the transition from Venus, and I assume the sixth dimension, which— would that be invisible when you reached here? Did you have to change your dimensions to walk on the Earth?

Ra: You will remember the exercise of the wind. The dissolution into nothingness is the dissolution into unity, for there is no nothingness. From the sixth dimension, we are capable of manipulating, by thought, the intelligent infinity present in each particle of light or distorted light so that we were able to clothe ourselves in a replica visible in the third density of our mind/body/spirit complexes in the sixth density. We were allowed this experiment by the Council which guards this planet.

  

Catherine liked high places
High up, high up on the hills
A place for making noises
Like whales
Noises like the whales*

Here she built a chapel
With her image
Her image on the wall
A place where she could rest and rest 
And a place where she could wash
And listen to the wind blowing

And listen to the wind blow
And listen to the wind 
And listen to the wind blow

She dreamt of children's voices
And torture on the wheel
Patron Saint of Nothing
A woman of the hills
She once was a lady
Of pleasure and high-born 
A lady of the city
But now she sits and moans

And listens to the wind blow
Listens to the wind blow

I see her in a chapel
High up on the hill
She must be so lonely
Oh Mother can't we give 
A husband to our Catherine
A handsome one, a deal
A rich one for the lady
Someone to listen with

And listen to the wind blow
And listen to the wind blow
And listen to the wind blow
And listen to the wind blow

~~~~~~~~~~~~~~
* https://www.youtube.com/watch?v=p-7QrQ0cbpg&t=1831s

Fun recording fact!:
P. J. added an all-but-subliminal track of her voice whispering the lyrics along
with her singing-voice track -- possibly in tribute to Jim Morrison, who did this
unusual textural thing with his very last recorded work, "Riders On The Storm".

https://www.youtube.com/watch?v=YBzz2JzPFAQ
https://hanumanfestival.com/2018/05/14/h...-the-wind/ 
https://www.youtube.com/watch?v=7H15Ds3rGjQ 
https://www.youtube.com/watch?v=W2nRjGHE620 

[Dekalb_Blues]

~

Only the finest in stimulatingly-catalytic good conversation here at B4th!

. . . Then there's the actual material thing in the real world which is the ultimate referent of all the purportedly "transcendental" half-baked metaphysicalist ideations...


R.I.P. Lizzy Mercier Descloux (1956-2004)  
https://en.wikipedia.org/wiki/Lizzy_Mercier_Descloux
https://autre.love/this-and-that-main/20...r-descloux
https://www.musixmatch.com/lyrics/Lizzy-...oiled-Babe


There you are, living in the middle of your little world. . . such a mind -- you've been so blind! 
Fire! Fire!! FIRE!! I bid you to burn! I bid you to learn!
https://genius.com/Lizzy-mercier-descloux-fire-lyrics


Patti Smith and L. M. Descloux by Michel Esteban, Paris, 1976.




R.I.P. Mary Hansen (1966-2002)
https://en.wikipedia.org/wiki/Mary_Hansen
https://www.independent.co.uk/arts-enter...75985.html








Though this world's essentially an absurd place to be alive in
It doesn't call for bubble withdrawal
I've been told that it's a fact of life, men have to kill one another
Well I say that there are still things worth fighting for
La résistance!

Though this world's essentially an absurd place to be alive in
It doesn't call for bubble withdrawal
It's said human existence is pointless
Acts of rebellious solidarity can bring sense in this world

La résistance!
Life is so hard!
La résistance!

[Still unclear on last-verse lyrics]

La résistance!
Life is so hard!
La résistance!



R.I.P. Marianne Joan Elliott-Said ["Poly Styrene"] (1957-2011) 
https://en.wikipedia.org/wiki/Poly_Styrene
https://www.theguardian.com/music/musicb...pex-leader


Identity!
Identity is the crisis, can't you see?
Identity, identity!

When you look in the mirror
Do you see yourself?
Do you see yourself
On the T.V. screen?
Do you see yourself in the magazine?
When you see yourself
Does it make you scream?

Identity is the crisis, can't you see?
Identity, identity!

When you look in the mirror
Do you smash it quick?
Do you take the glass
And slash your wrists?
Did you do it for fame?
Did you do it in a fit?
Did you do it before
You read about it?

Identity is the crisis, can't you see?
Identity, identity!



Man chases after the Ideal. . . and Death chases after Man. Tempus fugit; ars longa, vita brevis -- memento mori. 


LE QUATTRO STAGIONI  [THE FOUR SEASONS]:
Antonio Vivaldi must be regarded as the indisputable king of the Baroque instrumental concerto. 
Four concertos, known collectively as The Four Seasons, were first published in 1725 as part of 
a set of twelve concerti, Op. 8, entitled Il cimento dell'armonia e dell'inventione (The Contest 
Between Harmony and Invention) and remains the composer's best-known and most characteristic 
work. Aside from the features that have come to be associated with most of Vivaldi's music -- grace, 
virtuosity, energetic motoric rhythms -- the concertos of The Four Seasons are remarkable for their 
extraordinary programmatic imagination, which is counterbalanced by close attention to formal 
structure. Each concerto is accompanied by a descriptive poem whose imagery becomes an essential 
element of the musical fabric. The birds that greet the season "with their joyful song" in La primavera
("Spring"), for example, are colorfully depicted in the work's elaborately ornamented figuration. L'estate 
("Summer") is painted in similarly vivid colors that portray both the piping of a shepherd and a gathering 
storm. L'autunno ("Autumn") is marked by a folksy harvest celebration and the galloping of a hunting 
party on horseback. The bleakness and dissonance of L'inverno ("Winter") create a severe but expres-
sive portrait that provides a striking summation of Vivaldi's pictorial ingenuity in these four works.
See https://en.wikipedia.org/wiki/The_Four_S..._(Vivaldi) for the seasonal sonnets
published along with the music.

"Before the fire to pass peaceful,
Contented days. . ."

https://www.youtube.com/watch?v=vMDoW46E5Pw    

[Cyanatta]

[Cyanatta]

Thou shalt not make repetitive, generic music
Thou shalt not make repetitive, generic music
Thou shalt not make repetitive, generic music
Thou shalt not make repetitive, generic music


 

[ada]

[Dekalb_Blues]

~
National Public Radio (or Narrational Propagandic Radiator, as it is known to naughtily cynical types), an otherwise 
fairly tedious purveyor of Current Big-Lie Narrative support and other bourgeois memes (chock-full of pošlost'*
for consumption by docile American high-brow-aspiring middle-class types in a way worthy of an irreverent essay
by some modern-day H. L. Mencken) partially redeems itself in its eclectic concert series. 



Jan. 12, 2018 | NPR: When we invited Russian pianist Daniil Trifonov to play a Tiny Desk concert, we rolled out the 
big guns. In place of the trusty upright, we wedged a 7-foot grand piano behind Bob Boilen's desk in preparation for 
the artist who The Times of London called "without question the most astounding pianist of our age."

That's a pretty lofty claim, but watch and judge for yourself. His performance here is extraordinary. Still in his 20s, 
Trifonov seems to have it all: jaw-dropping technique and interpretive skills beyond his age. He's also a composer — 
the night before his NPR visit, he played his own knuckle-twisting piano concerto at the Kennedy Center here in 
Washington, D.C.

But for his Tiny Desk show, Trifonov focused on Chopin, beginning with the mercurial "Fantaisie-Impromptu" in 
C-sharp minor, a work that mixes sweeping melody, turbulent passion and wistful repose. Hunching close over the 
keyboard with feline agility, Trifonov's slender fingers glide effortlessly. He coaxes the instrument to sing tenderly 
in the slow central section.

Trifonov follows with a pair of short tributes to Chopin by his peers. Robert Schumann's "Chopin" accentuates the 
lyrical side of Chopin, filtered through the German composer's forward-looking harmonies, while Edvard Grieg's 
"Hommage à Chopin" offers volatility, lovingly rendered.

The smartly programmed set is capped with more Chopin, but with a nod to Mozart: the finale from a set of 
variations based on an aria from [his opera] Don Giovanni. It gives Trifonov a chance to display his lightness of 
touch, plus a few pianistic fireworks. Smiling, he treats the tricky filigreed runs and hand crossings as if it were a 
child's game. Look closely and you can see the piano shake.

* https://en.wikipedia.org/wiki/Poshlost





Sept. 25, 2017 | NPR: It's hard to think of an artist who's brought more joy to more people, across more generations — 
and in more ways — than Steve Martin. In the 1970s, he won the hearts of young children for his playful appearances with 
The Muppets while simultaneously charming legions of older fans with his subversive standup routines. Later, as an actor, 
he wrote and starred in some of the most memorable comedies (and a few dramas) of all time, while writing books, plays 
and even a Broadway musical.

Throughout his 50-year career, one constant in Steve Martin's life has been the banjo. It was a staple of his early standup 
shows and even fans who only wanted to laugh couldn't help but marvel at his playing. Over the years, he's continued to 
perform and record with country and bluegrass luminaries like Earl Scruggs, Dolly Parton, Vince Gill and others [recently,
Edie Brickell, aka Mrs. Paul Simon].

These days Martin is working on music full-time. He's just released a stellar bluegrass album he recorded with The Steep 
Canyon Rangers called (perfectly) The Long-Awaited Album, a record filled with often hilarious story songs and world-class 
performances.

Martin's set with The Steep Canyon Rangers at the Tiny Desk was at times thrilling, particularly his opening solo for the song 
"So Familiar." But it was also playful, comical and a joy to witness. At the end of the typical three-song performance, the group 
graciously decided to do one more called "Caroline," a hilarious, first-person account of how not to handle a breakup.





Dec 15, 2014 | NPR:  In the summer of 1971, I was a camp counselor at a sleep-away camp for a bunch of 5- to 7-year-olds. 
For those eight weeks, I walked home with about $50. I bought a guitar and began to learn the songs I'd come to love from 
the recently released Tea for the Tillerman by Cat Stevens.

"Father and Son" touched me most — it's a song about growing old, and about beliefs and conviction. More than 40 years later, 
that songwriter is performing at my desk with his son standing right behind me. You can never imagine the turns life will take.

Nor could he. In 1976, Cat Stevens almost drowned off the coast of Malibu. In his panic, he says, he shouted, "Oh, God! If you 
save me, I will work for you" — at which point he recalls a wave that came and carried him ashore. He converted to Islam, 
changed his name and left the pop world after one last album in 1978.

He finally returned in 2006, and now we have a new record, Tell 'Em I'm Gone. From that album of great blues covers and 
originals, produced with Rick Rubin, Yusuf plays some powerful new music, as well as the 1967 classic "The First Cut Is the 
Deepest" — and then brought me to tears by dedicating a version of "Father and Son" to me. As I walked around the office 
after this Tiny Desk Concert, I heard one story after another of an artist who has touched so many. It's a joy to have him back.




November 13, 2015 | NPR: Ancestor to the lute and the guitar, the oud ‎is an ancient stringed instrument commonly 
played throughout the Middle East, North Africa and countries like Greece and Turkey. The oud has charmed audiences 
for more than 5,000 years, and the tradition continues with this reverent performance by one of the world's best players, 
Rahim AlHaj.

Born in Baghdad, AlHaj possesses a life story as powerful as his music. He learned to play the oud at age 9, and later 
graduated with honors and a degree in music composition from the Institute of Music in Baghdad. He also earned a 
degree in Arabic literature from Mustunsiriya University in Baghdad. Active in the underground revolutionary movement, 
AlHaj wrote protest songs opposing Saddam Hussein's repressive regime. He was imprisoned twice, once for a year and 
a half, and was regularly beaten by his captors. In 1991, AlHaj was forced to leave Iraq because of his political activism, 
and ultimately found a home in New Mexico.

Today, he composes traditional and contemporary pieces for a variety of ensembles — solo oud, string quartets and 
symphony orchestras. He performs around the world and has even collaborated with Kronos Quartet and R.E.M. AlHaj 
stopped by the Tiny Desk while in Washington, D.C., to receive a well-deserved NEA National Heritage Fellowship.

The set starts with a solo performance, followed by three songs in which he's accompanied by Palestinian-American 
percussionist Issa Malluf. Malluf plays the daf, a large circular drum with a hardwood frame, and a stretched and shaved 
goat skin that produces a gently melodic tonality. The dumbek is a goblet-shaped drum with a tight head make of goatskin, 
heated by a lamp to keep the skin taut in order to produce a consistent tone.

Though wordless, AlHaj's music tells powerful stories about the blessedness and fragility of life. The first song is intended 
to serve as a voice for millions of displaced and murdered Iraqi children whose cries will never be heard. Small but powerful, 
the oud reveals their stories of joy and pain while conveying a deep understanding of their sad history and hopeful future.




July 11, 2018 | NPR:  Mumu Fresh sings that the teacher arrives when the student is ready. During a recent trip to 
the Tiny Desk, she came bearing life lessons from the depths of her soul.

A regal combination of black power and Native American pride, Mumu Fresh — also known by her birth name
Maimouna Youssef — is an abundantly gifted singer and emcee who prances between genres and styles. The Baltimore 
native fuses her rich multi-octave range and ferocious rap delivery with spiritually-inclined lyrics so potent and mindful 
they precipitated a wellspring of emotion throughout the room.

Mumu is not new to NPR Music. During her guest appearance at February's August Greene Tiny Desk, she stirred emotions 
with her verse on "Practice," which spoke cathartically about the realities of being a black woman. Mumu began her own 
Tiny Desk in her native Lakota tongue with "Ink Pata," signaling a call to prayer in a sacred ritual. Looped tribal chants of her 
own harmonies set the mood as delivered a stirring spoken word performance that journeyed through her ancestral lineage 
to the struggles of the present day.

With a buoyant and thoughtful spirit, Mumu and her band transitioned into the classic-sounding "Miracles" from Vintage Babies, 
her collaborative album with group mate DJ Dummy. Declaring it a celebration of soul music, she mixed sweet tender melodies 
with lyrics to empower those devoid of hope. It's in this song that Mumu shared the proverb about the teacher and the student, 
while reminding us that we all have to be ready for blessings yet to come. It made for a fluid segue into "Work In Progress," 
accented by the feel-good chords of The Roots keyboardist Ray Angry, an ebullient backdrop to Mumu's humanizing and candid 
rap verse detailing her pathway to personal growth and self-love.

The set concludes with a new version of "Say My Name," a song Mumu wrote about Sandra Bland, who died in police custody in 
2015, and the impact it had on her. Starting off with a 1950s doo-wop circle, she blends traditional soul elements with politically 
relevant lyrics. Given Mumu's stint writing and touring with The Roots after high school, it was only fitting to have front man and 
lyrical force Black Thought make a special guest appearance.

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

Find a concert to your taste -- there are about 600 of 'em at this point: https://www.youtube.com/watch?v=ivR988qC...37ED6F55F0

[Cainite]

[Zach]

its not a purse its a satchel

[Zach]

[Zach]

[Dekalb_Blues]

~








 

[Cyan]

[loostudent]

http://www.metalinjection.net/shocking-r...ssel-crowe
https://sorendreier.com/sound-of-silence/

I've heard it on the radio. Not bad but personaly I like the original much better.

A little music-biz trade secret: the recorded sound of a disturbing amount of instrumental music you've heard 
as being played personally by Your Fav Player has in fact been generated through these many moons with gizmos 
like this (now-ancient but still powerful) one: [Mellotron]

Mellotron was indeed intended as an affordable replacement (sampling technology) for many original instruments but sometimes it exceeded this use and added a unique sound and atmosphere. Some well known examples:









And a less known example (actualy played on an similar instrument - Orchestrorum):

[anagogy]

Solsbury Hill
byPeter Gabriel

Climbing up on Solsbury Hill
I could see the city light
Wind was blowing, time stood still
Eagle flew out of the night
He was something to observe
Came in close, I heard a voice
Standing, stretching every nerve
Had to listen, had no choice
I did not believe the information
Just had to trust imagination
My heart going boom, boom, boom
"Son", he said, "grab your things, I've come to take you home"
To keep in silence I resigned
My friends would think I was a nut
Turning water into wine
Open doors would soon be shut
So I went from day to day
Though my life was in a rut
'Til I thought of what I'll say
Which connection I should cut
I was feeling part of the scenery
I walked right out of the machinery
My heart going boom, boom, boom
"Hey", he said, "grab your things, I've come to take you home"
(Hey, back home)
When illusion spin her net
I'm never where I want to be
And liberty she pirouette
When I think that I am free
Watched by empty silhouettes
Who close their eyes but still can see
No one taught them etiquette
I will show another me
Today I don't need a replacement
I'll tell them what the smile on my face meant
My heart going boom, boom, boom
"Hey", I said, "you can keep my things, they've come to take me home"

[Cainite]

[Dekalb_Blues]

(Or, They Call Me Mellotron Yellow)



https://www.mellotron.com/well-known-users-M4000D.html
https://www.planetmellotron.com/revc3.htm

Be sure to order online St. Vincent's recent EP cover of this fine song, which will be delivered aerially to your very
door, wholly untouched by human hands, via Amazon's swift death-ray-equipped stealth-delivery hyper-drone:




What the monkey played when he got off the Captain's knee:

Fats accompli! Fats dominates the monkey-motif market, whilst channeling Joe Walsh:
https://www.youtube.com/watch?v=TNeSJVUxOkc (compare https://www.youtube.com/watch?v=34abRUUeslw )



https://www.designboom.com/technology/sh...6-19-2017/
https://youtu.be/FwIxX-rots8
https://www.youtube.com/watch?v=6VZq7EurckI 
https://www.youtube.com/watch?v=6-GI0we1tBQ


http://www.bebopified.com/2010/05/pat-me...eview.html



A forgotten minor musician of yesteryear (who charted a few fleeting and cheesy pop hits in his day, one
even covered by Fats Domino!) demonstrates (with childlike glee) the Mellotron's forte, making "music
on the cheap" (see following 33:40):
https://www.youtube.com/watch?v=9elQeVfrLOo



In the World of Tomorrow, everything will be automated

  
https://www.youtube.com/watch?v=XWVrddzKta4
 https://www.bring4th.org/forums/showthre...#pid242357 


Thank God we still have good old human-made live music to groove to!

The above-mentioned band's vocalist:

Be sure to order online RealDoll's recent user-friendly version of this fine vocalist, Donna 1.0, which will be delivered aerially to your very
door, wholly untouched by human hands, via Abyss Creations, LLC's swift death-ray-equipped stealth-delivery hyper-drone.
https://en.wikipedia.org/wiki/Lars_and_the_Real_Girl