The Ecuador Three

neurolove: These are examples of drawings done by each hand of...

Mon, 12 Nov 2012 15:29:59 +0000

These are examples of drawings done by each hand of a split brain patient. You can see that the right hand (left hemisphere) is clearly lacking in spatial reasoning and the ability to get the depth of the original images, while the left hand (right hemisphere) is clearly better at this type of task. For more information about split brain patients, see this post.

[Image Source, Fig 13.8]

Uncool: Raise My Hands: Mumford & Sons and the Birth of Festivalcore

Mon, 12 Nov 2012 15:29:08 +0000

Uncool: Raise My Hands: Mumford & Sons and the Birth of Festivalcore:

uncoolmag:

As our Kickstarter campaign continues, we’ll be publishing our first round of original pieces here on Tumblr — a preview of the kind of work you’ll find on the site once we’re funded. Please share and support us if you’re interested in seeing more.

Mumford & Sons have one song*. Closer to 30,…

Good article, but completely omits the European role in this - these American festivals have just started copying all the long-established traditions of European festivals such as Glastonbury and Roskilde.

He 6 - Get Ready Excellent bass & drum break in the middle.

Tue, 23 Oct 2012 01:27:53 +0100

He 6 - Get Ready

Excellent bass & drum break in the middle.

holysheetballs: Musical advice, as dictated in dribs and drabs...

Sat, 29 Sep 2012 03:53:17 +0100

holysheetballs:

Musical advice, as dictated in dribs and drabs by Thelonious Monk to his saxomaphonist Steve Lacy.

Also: to drummer Frankie Dunlop:

I learned so much from Monk—things that he told me about his philosophy on life that have helped me—things that I laughed about. He used to tell me that it’s easier to play fast than slow. When he first told me that, I thought, “Oh no. There’s no way in the world.” But Monk was right. It’s harder to play slow and accurate. He proved it to me. I’d been playing fast with all these groups. Man, there was no way anyone could tell me that some of the upstairs tempos I played with Maynard weren’t the end all to drumming.

Monk proved it to me on my first night, when I rejoined him in 1961 at the new Five Spot. We were in the back room and Monk said, “You want to solo and play fast all the time. All drummers are that way. When you’re playing fast, soloing, and throwing your sticks, you think you’re really playing. In your estimation, that’s the hardest. Well, you know, it’s really harder to play slow than it is to play fast, and to swing and create something while you’re doing it.”

Monk finished talking to me, and we went up to the stand. Monk had his hat on. The place was packed. He started off the tune with an extra-slow tempo. I wondered what was going on. Charlie Rouse came in and played the ensemble; Monk jumped off the piano and started dancing during Charlie’s solo. He danced over to me and said, “Okay. Get to me now. Swing it, pal.” I was wondering if I was doing it. I had to concentrate so hard on the music that I couldn’t look at the audience. I couldn’t look at the door. I couldn’t even look to see what time it was. I had to swing. I thought, “Oh, my God.” I was playing slow, which was the hardest thing for me. Monk would dance up to me and say, “Okay Frankie, come on now. Let me see you swing now. Shit. I told you it ain’t easy to swing when you’re playing slow. I told you that, didn’t I? Come on.”

I said to myself, “Well, I’ll just keep the time and get with John Ore. I know I’ll never get a solo.” Monk played his little solo after Charlie. Then he jumped up and said, “You got it. Drum solo.” And John Ore was still playing the bass. Monk said, “It’s a solo, John. Frankie’s got it. Go on, Frank. Wail.” And John stopped. The tempo was way down here. I thought, “What do I do?” I’d been used to playing all this fast stuff. It was so fast that, even if I’d miss a beat or lose my ideas for two measures, it wouldn’t mean anything because the people wouldn’t know it. But the tempo was way down.

Monk said, “Drum solo. Let me hear something, Frank. Don’t be bullshittin’.” I was trying to do things that I couldn’t do. Monk said, “And keep the time. Here’s the tempo. Don’t play some shit that you don’t know nothing about.” I didn’t even know how to put a paradiddle in there, because I’d never played a paradiddle that slow. And whatever I played, Monk said that he wanted it to make sense. I couldn’t do any of my rudiments. It’s a different musical approach that I’d never attacked. And all these people were looking at me. Tony Williams, Tootie Heath, Clifford Jarvis—all these drummers were out there, because they’d heard me play a little on the first gig I had with Monk. They knew I’d been with Maynard and Duke. Here I was coming back with Monk. They figured that I was going to be wailing. I was thinking the same thing, and Monk put this on me. Do you know what? It not only made me look like an ass, but I also played like an ass, and it really showed me how handicapped I was.

This is a short documentary that was part of my college project...

Fri, 22 Jun 2012 03:26:02 +0100

This is a short documentary that was part of my college project back in 2004, looking at how live electronic music performance worked, based on an experimental collaboration called Serverproject that took place in Meeting House Square in Temple Bar, Dublin, Ireland

What’s interesting is what’s changed since then: a) some performers have gone the rock guitarist playing in a huge field route and comically exaggerate turning a knob on a mixer, but also b) most people don’t care any more if the person onstage “might as well be checking their email”, to quote one of the producers we interviewed.

slaughterhouse90210: “Modern party-dance is simply writhing to...

Mon, 26 Mar 2012 17:23:25 +0100

slaughterhouse90210:

“Modern party-dance is simply writhing to suggestive music. It is ridiculous, silly to watch and excruciatingly embarrassing to perform. It is ridiculous, and yet absolutely everyone does it, so that it is the person who does not want to do the ridiculous thing who feels out of place and uncomfortable and self-conscious.”
― David Foster Wallace, The Broom of the System

Photo

Wed, 29 Feb 2012 15:08:39 +0000

"Record titles or track titles are a chance to cloak the work with a kind of poetic garb. That..."

Tue, 31 Jan 2012 06:13:56 +0000

“Record titles or track titles are a chance to cloak the work with a kind of poetic garb. That isn’t glib in any way, I take it very seriously—and that’s not saying that the titles are about nothing—but often people run with that stuff so far that you need a meaning structure around it to interpret a work. But often people build up such a sort of ornamentation around the work they actually don’t get to the substance of it.”

- RA: Tim Hecker: Imaginary countries - Interview

nickminichino: (via Kate Beaton)

Sat, 31 Dec 2011 15:09:26 +0000

nickminichino:

(via Kate Beaton)

raptoravatar: abloodymess: CONVOY! Best episode or best...

Tue, 30 Aug 2011 01:12:23 +0100

raptoravatar:

abloodymess:

CONVOY!

Best episode or best FUCKING episode?

“I Do Believe We’re Naked” by Funky See Funky Do

"If I look out at the crowd and see someone looking sad, I make a mental note to surf a rainbow of..."

Thu, 14 Jul 2011 21:33:30 +0100

“If I look out at the crowd and see someone looking sad, I make a mental note to surf a rainbow of awesome into their dreamscape that night and deposit an N64 with Goldeneye and four joypads in their brain.”

- Flab Mag: Q&A with Vin of Adebisi Shank | Adebisi Shank

raptoravatar: abloodymess: bg5000: Weather forecast for...

Tue, 12 Jul 2011 21:24:36 +0100

raptoravatar:

abloodymess:

bg5000:

Weather forecast for Pitchfork this weekend = ugh

I wasn’t planning on wearing a shirt or good shoes anyways.

I’m enthralled by the prospect of ema in apocalyptic weather, but I could also see being over it after a couple hours of unmitigated swampiness.

Still a much better forecast than Dublin…

LRB · Misha Glenny · Mobsters get homesick too

Tue, 05 Jul 2011 22:27:31 +0100

LRB · Misha Glenny · Mobsters get homesick too

Yes! It is possible to cross Dublin without passing a pub

Thu, 16 Jun 2011 16:58:34 +0100

Yes! It is possible to cross Dublin without passing a pub

poetthick: The sun has come out and we’re on the way!! A...

Thu, 16 Jun 2011 16:32:23 +0100

poetthick:

The sun has come out and we’re on the way!!

A skiff, a crumpled throwaway, Elijah is coming, rode lightly down the Liffey, under Loopline bridge, shooting the rapids where water chafed around the bridgepiers, sailing eastward past hulls and anchorchains, between the Customhouse old dock and George’s quay.

(I think that’s Loopline bridge anyway. I’m not a Dub, I can’t be expected to remember these things. In Waterford we only have two bridges. We call them ‘de bridge’ and ‘de uddar bridge’).

screwrocknroll: Time exposure photograph of planes departing...

Wed, 25 May 2011 15:21:47 +0100

screwrocknroll:

Time exposure photograph of planes departing from San Francisco International Airport. By Terence Chang.

Chang has some more of these at his Flickr, and they’re nice, but I like the way this one makes manifest the invisible lines tracing intercity travel, like highways transposed into the air.

wow

"But over the past decade something has flipped, and mainstream society has become ugly and angry,..."

Thu, 19 May 2011 20:37:23 +0100

“But over the past decade something has flipped, and mainstream society has become ugly and angry, and simplistic. Underground culture’s therefore taking the opposite tack, almost by definition. There is an academic, pointy-headed aspect to the music of some of these bands, and I think that’s good because we live in stupid, angry times and something has to stand in opposition to that, just like those older bands stood in opposition to complacency. Stupid, angry people are the tail that’s wagging the dog right now. So the most rebellious thing you can do these days is to be smart and peaceful.”

- Paris Review – Michael Azerrad on ‘Our Band Could Be Your Life’, Dawn Chan

Bugs Bunny ether scene

Sun, 24 Apr 2011 23:18:06 +0100

Bugs Bunny ether scene

Photo

Tue, 05 Apr 2011 16:02:41 +0100

"On the band’s debut LP Lee had sung: “Running here, I’m running there/ I’m..."

Fri, 25 Mar 2011 06:43:05 +0000

“On the band’s debut LP Lee had sung: “Running here, I’m running there/ I’m looking for the girls.” By early 1975 – on their second album, Fly By Night – he was tackling the words Peart had started writing for him: “His nemesis is waiting at the gate/ The snow dog, ermine glowing, in the damp night, coal-black eyes shimmering with hate.” Oddly, brilliantly, it’s the latter he sounds most comfortable singing.”

- Rush: ‘Our fans feel vindicated’ | Music | The Guardian