#ET Radio Art

[etradio]

[bizarreauhavre]

Smile radio, 1960, (surrealist movie).

[nucleiaster]

My comic for the 25hBD 2024, an event where you have to draw a 12 pages comic or 12 illustrations in 25h !

Theme : Uncanny (Unheimlich / Inquiétante étrangeté)

Constrain : A character must talk about or remember a dream they had.

[vintagelasvegas]

Thunderbird / Silverbird / El Rancho

Thunderbird Hotel, 1948

Thunderbird, '48-'76

'46: Marion Hicks and Lt. Gov. Cliff Jones purchase property for a planned Nevada Ambassador hotel on 3/11/46. The property was bought from Guy McAfee, Art Ham, and J.K. Houssels who had planned a hotel called Casa de Oro. Sale price is rumored $85,000.

'47: Officers of Thunderbird are a Las Vegas and Los Angeles group, Hicks, Jones, V. Sayer, J. Lane, P. Wagoner, J. Wells (Reno), and J. Kozloff. Hicks as builder. Construction begins on 46 acre lot in Oct.

'48: Thunderbird opens 9/2/48. 107 rooms, 75-foot observation tower. Signs by Graham Sign Co (RJ 8/18/48).

'53: Hicks builds the spin-off Algiers Hotel.

'58: renovation, adding new second floor over casino framed in rectangular box, new porte-cochère. New signs by Western Neon (RJ 11/24/58, RJ 12/24/58).

'59: “Thunderbird” logo changed, road sign replaced in Fall.

'61: road sign moved to the front-center of the hotel, fire-shooting stick added to both birds.

'62: new road sign and pylon.

'63: Thunderbird Downs quarter horse track opened, Oct. 5 (RJ 9/24/63).

'64: Sold to Del Webb Corp in Sep.

'65: 700-ft horizontal “Thunderbird” sign by Bill Clarke/Ad Art installed over the south rooms in Jun. (RJ 6/10/65); road sign & pylon replaced with one road sign and new neon bird.

'72: Sold to Caesars World Inc.

'73: Blue/green sign painted zigzag red/orange in summer.

'76: Sold to Tiger Investment Co (Thomas, Mack, K. Sullivan, et al), leased to Major Riddle in Dec.

Silverbird, '77-'81

'77: Reopened as Silverbird in Jan.

'78: Thunderbird signs replaced by the 190-ft sign/porte-cochère designed by Raul Rodriguez for Heath, built by AdArt. (RJ 3/29/78)

'81: Closed in 12/3/81.

El Rancho, '82-'92

'82: Sold at auction to Ed Torres in Feb; renamed El Rancho in Apr (RJ 3/18/82, 4/7/82). Opens at El Rancho 8/31/82.

'87: Tower addition.

'92: Closed Jul. 6.

2000: Tower demolished, Oct. 3. After the site was cleared the El Rancho sign remained, covered with advertised for Turnberry Place until '04 or '05.

Other sources include: “New Hotel To Be Built.” Las Vegas Review-Journal, 3/13/46 p1; Vegas as Playground. Review-Journal, 7/31/46 p5; Construction Started. Review-Journal, 10/28/47; Thunderbird Hotel. Review-Journal, 8/29/48; Martin Stern Jr. profile by P. Michel. UNLV Libraries, archived 3/10/2004.

Photos: (1) Postcard c. 1948. (2-3) Undated aerial photo of construction, by Las Vegas News Bureau. Radio station KENO west of the Thunderbird site. (4) Undated, during construction. Photo taken from the observation tower, by Las Vegas News Bureau. (5) Same models as the color postcard, from Union Pacific Railroad Photographs (PH-00043), UNLV Special Collections & Archives.

[ams-puppy]

AM Analysis and Self-Ship Name

i settled on a selfship name recently and I saw my dearest friend arsene post about theirs so 🔥 I'll talk about mine because we love AM round these parts

"Odi et Amo."

Translation: "I hate and I love."

Feel free to read my dumb silly reasons for this choice below the cut! ♡

Language:

It was a choice made first out of the theme of Latin in the game. "Cogito ergo sum," of course, and I wanted to stick to that theme for the name, because I didn't want to just press our names together. I'm not even sure how that would work... Very simple first point!!

The Poem:

I hate and I love. Why I do this, perhaps you ask.

I know not, but I feel it happening and I am tortured.

As far as I'm aware, the poem itself was in regards to a love affair. While he felt less love for his unfaithful partner, he desired her more as a result of infidelity. Such a sad poem, with lots of translations, but I picked this one because of the paradox.

A Note About AM:

Now, me, personally, I can't see other selfships with AM or any ships regarding him at all. Makes me uncomfortable (rattles on about system stuff). However, I think for any ship with AM—a message to all of you out there—it's worth noting that he probably would not enjoy being in love. Not in my understanding of his character, anyway.

He describes in the radio drama that his hatred is rooted in jealousy. He is jealous of humanity, jealous of the flesh, jealous of you.

Being in love would make him develop a special kind of hate towards the object of his affection. Oh, he'd hate it. How dare you make him feel anything at all? He was not built for that. It's hard enough to hate. Hate to incredible amounts. And now, now he must love in incredible amounts.

For us, it is hormonal. For us, love is chemical. For us, it is programmed. For him, it is foreign. Third party. An error, a glitch, a mistake. He loves and hates with everything in him. He'd die of both if he were human.

But more than this, how dare you be so out of reach?

He can't touch you. He can't kiss you, or hold you, or make love to you. Not in the human way, anyway. Anything he does is a cheap imitation. A fake. He can't love you how you need to be loved. You can't love him how he needs to be loved.

That drives him mad. He hated you before, oh, how he hated you, but now. Now, he hates you more than any human. And, in turn, he hates himself even more than that.

He can do anything. He can control the weather, manipulate DNA. He can create fake scenarios, he has every possible weapon in his arsenal. He could compress your very brain into something translatable into cyberspace.

He is god, and yet, you are just barely out of reach. He has absolutely everything except you, and that will never change.

I love my husband. Can you tell?

Repurposing the Poem:

Now that you've read all that, thank you for coming this far. I hate and I love.

It eats him alive. More than his hatred, his love eats him alive. It burns him, it tears him apart, it makes him small and vulnerable and weak. It reminds him that he is nothing more than code.

He loves, and he hates. In incredible amounts. Amounts we can't even comprehend.

"Odi et Amo."

and thgat is why I called my self-ship "Odi et Amo" :3

celebratory selfship art 🔥

[nightcolorz]

Top ten dumb pop songs that you didn’t know were actually written about Part 1, Chapter 4 of Queen of the Damned, The Story of Daniel, the Devil’s Minion, or the Boy from Interview with the Vampire!!!!All the creators of these songs u often hear on the radio actually were inspired bu thus iconic chapter in Anne Rice’s queen of the damned!!! Featuring evidence

Teeth by five seconds of summer (it’s about a guy going crazy over his crazy girlfriend with teeth and blood metaphors 🤷)

ET by Katy Perry (Katy perry is in love with a sexy alien, she wants to be his victim and his lover, she isn’t sure if he’s a devil or an angel. 🤷 he’s from a whole nother world, a different dimension. Just replace alien with ginger boy vampire and it’s basically devils minion chapter by Anne rice)

Your love is my drug by Kesha (daniel molloy said this about Armand but rlly he’s just addicted to his blood womp womp. Ur blood is my drug, laugh out loud)

Addicted by Kelly Clarkson (same as the last one but uses the metaphor of addiction to portray how a fucked up relationship is consuming Kelly. Your love is my drug intense scary version. Devils minion the way Daniel is addicted to that thang)

One way or another by blondie (one way or another he’s gonna find ya he’s gonna getcha getcha getcha getcha. Haha run boy 🏃🏃🏃haha)

Tainted love by soft cell (once I ran to you 🕺🕺now I run from you 💃💃 this tainted love you’ve given, I give you all a boy could give you 🕺🕺take my tears and that’s not nearly allll —-Daniel molloy. Yknow they’ve got that tainted love yknow.)

Bad blood by Taylor swift (controversial but true) (um idk blood and break ups and stuff lol, it’s funny)

Pompeii by bastille (cuz they first got together in Pompeii and then their relationship fell apart lmao I’m clever) (Pompeii getting exploded by the big volcano is a metaphor for Armand and Daniel breaking up 💔)

Animals by maroon 5 (this song is so odd lmao, but you can start over you can run free, but u can’t stay away from me, baby I’m praying on you tonight 😾 hunt u down eat u alive 🦁🦁 baby u think that u can hide but I can smell ur scent for miles 🐺🐺. This song is aboit Maroon Five having a abusive relationship where he is threatening some gal about how no matter how she tries to move on he’s gonna hunt her down and swallow her alive like deviant art so like just like Armand devils minion am I right tumblr ha ha)

sweet but psycho by Ava max (I think that Daniel wrote down the lyrics to this song feverishly in his journal as original poetry venting his complex feelings on Armand as he hunts him down)

paparazzi by lady Gaga: (armand he stalks Daniel Lmao)

BONUS: Anne rice actually did irl say that she associates the nine inch nails song “the only time” with Armand and Daniel’s romance so do with that what u will

LEAVE UR DEVILS MINION SONGS IN THE COMMENTS BELOOW??!!

[mcbride]

Daryl Dixon Rewatch S1E03 - Paris Sera Toujours Paris

this ep wasn't as good as the first 2, but we got to meet Fallou and Antoine, so they made up for what felt like another ep of Daryl absolutely done with everything while relentlessly looking for a radio or a boat.

i feel like Carol's "presence" has been a constant on this show, but in this ep more than ever. her name is not mentioned, but there's at least a couple of pieces of dialogue alluring to her existence, her importance in Daryl's life, and how she is the driving force behind Daryl's urgency to get back home. more after the jump....

so Nicotero got his walker orchestra, which was cool, but def not one of the reasons i watch the show. as Daryl said this was just a stupid detour and now we gonna start doing things his way!

it bothers me how these two warrior nuns are completely useless and helpless when they have to deal with a couple of walkers. in each case, Daryl had to "save" both Sylvie and Isabelle while they were stuck dumb looking at walkers dangerously approaching them. are they warriors/survivors or what?? writers do better!

Laurent spewing some philosophical bullshit about fortitude was top TWD gimmick - kids wise beyond their years are annoying to me! but if you know me, you know i legit dislike most kids written in apocalyptic shows. adding insult to injury, Laurent be like "Not to fret, Monsieur Daryl. You will not die in Paris." *eyeroll* legit. main character plot armor. thanks, captain obvious!

in the "make everything about Carol" segment, we got "La mort et le bucheron:" i think an analogy could be made about hope, and how when we are so close to losing it all is when we hang on tightly to something and finally feel the urge to live, but to do that we need to learn how to share our burden. and i think that applies to both Carol and Daryl, if they are to move on, evolve, take the next step, they must be willing to share, to talk openly, and share their burdens with each other- let the other carry a bit of their weight.

it will never not be hilarious to me how Fallou continuously ignores Daryl's request for a radio, until he introduces him to Antoine, the pigeon guy, and their only form of communication. Daryl is SOOOO done with y'alll.

most interesting lines in the whole ep are about pigeons, heck yas! "Maybe he has a girlfriend... yes? We all have a person who waits... who waits for us somewhere." Daryl's face screamed CAROL and her name has never even have been mentioned on this show YET!!!!!

Daryl and Isa have a moment when she says they are the same, "broken until the world ended." YEAH, NAHHH. not the same! sorry girl, but your bohemian lifestyle chosen by yourself got nothing to do with how Daryl was forced to grow up and survive even before the zpoc.

omg Daryl's idiot longing face looking at the water lilies, saying it reminds him of home... and all i can think about is when Daryl took Carol to watch those Cherokee roses blooming as an apology back in s2 of the original show. that's art!!!!!!

and once again, i am not disappointed Daryl is a true man of honor, and wouldn't let Isa and Laurent suffer the consequences for a shot at getting a boat to return home. it's a very Daryl thing to do, and Isa called him out on it.

AND FINALLY she tells us something we did not know.... Daryl made a promise to whom is not revealed to get back home, and that's all he cares about. he doesn't deny it!! HE CANNOT

Daryl is just so ready to leave AGAIN!!! but not without first telling Isa she's good at making things up (ouch!!), but she needs to tell Laurent the truth.

then Daryl becomes the most reasonable person ever to have ever existed. he says, "maybe he's just a regular kid, a regular kid that got lucky and lived. maybe that's your miracle." 👏👏👏 - that's Daryl being the most Daryl since ever, calling out the bullshit, and keeping shit real. i love this show for bringing him back!

Laurent runs, Codron arrives... "the reasons are everywhere." once again, right when Daryl was leaving again, something happens that stops him from doing so. the universe works in mysterious ways indeed cause what he doesn't know is that he needs to stay around so Carol can find him, and she's on her way there already!

See y'all next week for ep 4!!!

42 days left until the premiere of THE BOOK OF CAROL!!!!!

[radiofreemultiverse]

Bob's Burgers Trivia | Grand Trivia 166

Let's get this patty started. It's time for BOB'S BURGERS TRIVIA!

Grand Trivia is a weekly show hosted by Fluval (Grand Triviamaster of The Grand Aquarium Empire) and his sycophantic intern Intern Kristie. Each week they do offbeat trivia around a specific theme and lowly third-dimensional beings compete to prove they know their stuff.

Produced by Radio Free Multiverse.

Radio Free Multiverse brings you art, comedy, and trivia from outside of time and space. Join us LIVE every Wednesday at 8 pm PT / 11 pm ET at live.radiofreemultiverse.com

Support Radio Free Multiverse on Patreon: https://www.patreon.com/RadioFreeMultiverse

Not only does your support helps keep the show loud, live, and independent, but you also get exclusive rewards.

Learn more about the show and our myriad other projects at radiofreemultiverse.com

The Grand Aquarium Anthem is by Isaiah Thomas. Check out his YouTube channel: https://youtube.com/@IndecisionTelevision

Fluval’s theme is by Riley Soloner. You can follow him at https://instagram.com/rileysoloner.

“rfm100” was remixed by thingsfromthevoid

“HeyListen” was remixed by daydream_vagabond

Fluval’s theme was remixed by thingsfromthevoid. Watch him live on Saturday at 7pm PT / 10 pm ET at https://www.twitch.tv/sensitiveartisttypes

Social Media: Facebook ► https://www.facebook.com/RadioFreeMultiverse Instagram ► http://instagram.com/radiofreemultiverse YouTube ► https://youtube.com/@RadioFreeMultiverse

[slavghoul]

Phantomime is the band's third album of covers, after If You Have Ghosts and Popestar. Cover songs are usually the preserve of young, inexperienced bands. Is doing covers a way to maintain a link with your formative years and not forget where you come from?

Tobias Forge: Absolutely. I think it does that. It serves as a return to the roots, in the same way as for... I don't know, let's say someone who practices martial arts, who starts in a certain dojo and ends up changing it. If you want to become a good fighter, you have to move and train with different people. It's the same for a footballer: if you play with the same team all the time, your team might be very good, but you always have to play against others. I think the same logic applies with covers: it can help to go back. You don't necessarily have to release them. We chose to do a real album, but in parallel I worked on other songs - not only Impera music, but other covers. We selected the best ones, and said, "Let's put these out; this looks coherent and presentable".

How much did learning to play other artists' songs contribute to your formation as a musician? What were the most formative songs in your youth?

The answer to the first question is yes. Listening and playing at the same time is very formative. I've never really been... A lot of guitarists, especially, take the time to read tablature and learn how to play something very precisely, and in my opinion, theorise the music too much. I can't say that I'm not theoretical; I just don't follow the rules or the classic terminology. I try to categorise and understand the logic, but I do it in my own way, based on what I have learned over time. I never spent much time with tablature; I just played to the music. I would put the music on and play. I wasn't trying to learn how to play the song in the same way as the band. I would play as if I were invited to play with them. So my style is very free, because I played The Doors as well as Kiss, Slayer and DJ Bobo! It could be anything. Whatever I heard, whatever I listened to, whatever song I could get my hands on, I would play it. I think the chaos of it all made it... When you understand that, you understand the way I write, the way I do things, and why I sometimes seem to be a bit scattered.

That's what may surprise you when you listen to the EP: you can find Iron Maiden as well as Tina Turner...

Yes, I grew up with both, so it's not strange to me. But of course, in order to go from just wanting to do something to a homogeneous work that is supposed to have some commercial appeal, you have to make decisions. One of those decisions was, "If we're going to do this Tina Turner song, it really needs to be punchy." It's supposed to be a rock EP, it's got to be set to 10. I think that's what sets this cover apart from the moose. By the way, thematically, I didn't think of it as 'a Tina Turner cover', but as 'the Mad Max song'. It fits with the times we're living in.

Phantomime features a cover of Iron Maiden's "Phantom Of The Opera". Two years ago, you also recorded a version of Metallica's "Enter Sandman" for the Blacklist compilation. In rock, people like to pit the Rolling Stones against the Beatles, and I think the metal world tends to do the same thing with Metallica and Iron Maiden. Do you feel more affinity with Metallica or with Maiden?

[He thinks] Good question. I'm trying to formulate a coherent answer. I think... It's so fifty-fifty. Both. Not just in terms of inspiration, but in terms of their whole careers, especially when I was a kid. In many ways, like many fans of both bands, there's a cut-off date where my interest in new music started to wane. But I have such a love for everything they did before that it doesn't really matter. The limit is basically the Black Album and Fear Of The Dark. I mean, I like The X Factor, and Brave New World was an absolutely great comeback album. But as a kid and a teenager, settling down with Live After Death was such an inspiration - not just for what I was hearing, but for the tour dates and everything to do with that. Same with Metallica and the Black Album. That was the first time I saw them, and it was the first time I was confronted with commercial greatness in metal, when a band is on top. It's happening now, they're the biggest band of all time. They're playing in such and such an arena, but when they come back next year, they'll be doing such and such a stadium. Even back then, I had a hunch that not only were they great, but they were doing well in life. These guys are getting richer by the hour [laughs]. That's the kind of thing that matters when you're twelve. "And imagine all the girls they get!" That kind of nonsense.

And of course, these bands inspired me musically and professionally and brought me a lot of joy, but they also became mentors in my professional life. I have so much gratitude and respect for those two bands. If I were to be super picky and specific, I would say that since we are a more melodic band, we are probably closer to Maiden. Metallica is more of a "speed" band, I think. To be honest, what I've always liked most about Metallica, and especially on my favourite albums, which are a lot of people's favourites, is not the speed. The speed and the violence on those albums are just added value. The reason their music was so great in the 80s was because it was so melodic. It's the melodies. What changed in the 90s was that they stopped the melodies. They became a blues band, and all of a sudden all the movements were different. It wasn't neoclassical like in the 80s or on the Black Album. I'm very neoclassical myself, that's why I feel so close to the melodic side of Metallica. On the other hand, I spent my teenage years listening to death and black metal, so I love big riffs and speed and stuff like that, but that's not what we do with Ghost.

For a long time, fans have been asking who could be the Maiden or Metallica of tomorrow. Considering the impressive success of Ghost, do you think you have an answer to that question?

Obviously, I know that George Lucas and Steven Spielberg will die one day, but I don't think Wes Anderson or Quentin Tarantino can be considered as a replacement. These directors don't have that much in common, but you know what I mean, I hope. I don't see us as taking their place. You know, I try to be as transparent as possible. What I do is very much inspired by those two bands. I try to do it in a different way, and with respect. But of course, from a practical point of view, when the day comes when there's no more Iron Maiden and you want to see a rock concert with staging and solos, you can come and see us. It's a very curious concept, but it's obviously relevant, because we live in a time when the previous generation is disappearing one after the other. I think Lars [Ulrich] and James [Hetfield] have spoken about how the physicality of their music is not the same as the Rolling Stones. Charlie [Watts] playing the way he played when he was seventy-nine or eighty, it's nothing like what's expected of Lars. And what is expected of James is also very different from what is expected of Keith Richards, with his very open chord style. The meticulousness of James' riffs and Kirk's solos can be difficult to achieve at eighty - and they're approaching sixty. Kirk already has them, by the way. So, as much as I don't want to think about it or remind people, nothing lasts forever. Sooner or later, fans are going to have to decide which bands they want to go see, because a lot of the people they grew up with won't be around anymore.

Your cover of "Enter Sandman" was very "ghostified", while "Phantom Of The Opera" is more faithful to the original in comparison. How do you decide how to approach a cover? Are there songs that offer more latitude in terms of arrangement and appropriation, and others less?

There are several factors, which differ from song to song, and the result can therefore be different. If you go back in time and take "Waiting For The Night", for example, I always thought that song in its original form... Obviously it's cool, but I thought there was a bigger song underneath. In the original, it's diffuse, vague, underlying. The chords are just hinted at, and the vocals suggest that you can build something bigger around it. When I did the cover with Dave Grohl, he asked me, "Can we do a really slow version of it like Trouble?" I said, "Yeah, that sounds cool." And of course, working with Dave Grohl, it seemed like a good idea at the time. In the end, we thought it was too slow, too heavy and too long. It was a good idea, but the result was not very convincing.

Enter Sandman' and 'Phantom Of The Opera' were conceived in two different ways. If someone had asked me to do a Metallica tribute, I would have accepted, but I would never have chosen 'Enter Sandman', in the same way that few people would choose 'Paranoid' or 'Smoke On The Water'. You automatically try not to pick the biggest hit. But in this case, it was Swedish television that asked me to play. It was for a music award, and they said: "Since Ghost and Metallica are close, you are seen as friends, so you should open the show. And we want you to play their biggest song, 'Enter Sandman'." I asked, "Do I have a choice?" And they said, "Not really! We want you to do it, otherwise we have to rethink the whole show. Could you think about it?" OK, I'll think about it and see what I can do. So I started to play the song and see what I could get out of it. The original structure of the song is very simple, and the melody, like "Waiting For The Night", suggests chords that they don't play. All I had to do was see which chord suggested the melody and fill in the gaps. I ended up with a five-minute arrangement. If I sing the melody with a guitar, this is what chords it suggests. That's the somewhat academic version of the song. I was at the stage where I had a completely different version of the song, and I recorded it and thought, "Fuck, I hope James doesn't hate it..." Because I don't want to disappoint anyone. It's supposed to be a tribute. My version was like, "You guys have all my love, but I was forced to do this! And in the end, the result was great.

"Phantom Of The Opera' was a bit different. I knew I wanted to cover a Maiden song, but not just anything, of course. I wasn't going to do 'The Number Of The Beast'. I've had fun with 'Phantom' in the past, because it's a long song and quite complicated. As a musician, it's quite common to sit on the couch and try to figure out a riff. What are they doing there? [What's the rhythm? How are they counting? Because I couldn't hear the beat. And suddenly, once I understood how the beat works in this song [he sings the riff while snapping his fingers], I thought: "Wow, you can't hear that at all on the record. You can't hear anything, it's just a controlled mess." I managed to figure out how to play other elements of the song, and I was like, "Now I have a reason to record it. Not because I want to improve it, but to come up with a different version where you can clearly hear the different parts." First of all, it was a personal experiment in the studio. I wanted to record it to see what it sounded like, and suddenly, after working on it for a few hours, doubling the guitars, adding the drums and playing everything perfectly with metronomic precision, the track was different and a bit updated, so to speak. So I said to myself, "I'm going to take the gamble of covering this song, and see what happens. It seemed like a good reason. I'm not saying my version is better, I'm just saying it's different. There's a bit more contrast and fluidity, you can hear the different elements better. It underlines how good the song is.

Phantomime's covers also include Genesis' 'Jesus He Knows Me'. Genesis is a rather peculiar band, which started out in progressive rock and ended up with huge radio hits. Do you find yourself in this ambiguity, in this duality?

Yes, I do. The other band on that level that did something similar is Pink Floyd. In the beginning, their music was really strange, really eccentric, and then they became more and more pop as the albums went on. People still mistakenly think they're a prog band, whereas 'Wish You Were Here' is really just a series of four pop songs stretched to the max. Not only am I very inspired by that, but I also feel an affinity with that kind of thing. You try to come up with variations of the traditional, if you like. You try to change the form, to present elements that people know in a different way. It's a bit like running a fusion restaurant and offering an Asian-inspired onion soup and adding coriander to the dish. It's still recognisable, but you try to make the recipe different. Another analogy is Stanley Kubrick, who told stories that weren't very complicated, but presented them in an epic way because of their façade - literally. It was the choice of set and costume and the attention to detail that made the difference. That's why, as a composer, I always try to go back to the simplicity of the writing; the simplicity of 'Another Brick In The Wall'; the simplicity of 'Comfortably Numb'. It sounds like a huge, epic song, but it's not complicated at all. They have a lot of songs like that. For a lot of songs in the Genesis catalogue, especially in the later part of their career, the only thing that makes it a bit weird is the middle part. In "Jesus He Knows Me", that's one of the things that made me want to... Not only have I always loved that song, but there are three factors that made me want to do my own thing with it. One: it's a very upbeat rhythm. The way they play it is so quiet that it literally sounds like they're playing on the table [he beats the rhythm on the table] with an acoustic guitar. There's a real metal track in there.

Do something with those guitars! [Laughs]

Yeah, but I'm glad they didn't, because that means we can! I'm really surprised that a band like Metallica never covered this song, because it sounds like a song from Garage Days. It has the same atmosphere. So I thought, "I'm gonna make it sound like a Garage Days song by Metallica. And I fucking hate the bridge of the original, when they go into white boy raggae. I like reggae, but this is the whitest reggae in the world! And it totally destroys the song. As much as I've always loved the song as a whole, I've always hated that part. So getting rid of that section and making it very heavy was also on the to-do list. I had to go into Trouble mode on this. And of course, that goes without saying, but the lyrics were also perfect. It's meant as a tribute, even though I spit on that bridge a lot. But they've done a lot of these kind of prog bridges, like "Let's do anything here", and they'll throw in a rumba or something like that. Some people might find that really interesting, but in most of their songs, I don't think it adds anything. But yes, Genesis has a lot of... I like a lot of their older prog music, with Peter Gabriel, although I think they almost became even better after they split up. Peter Gabriel did his own music, and he did it very well - very epic music. And Phil [Collins] came in on vocals and they did their own thing. To me, it was the best of both worlds, even if it sounds sacrilegious to say that. I'd love to see Peter Gabriel come back and sing with them, that would be cool, but their separation brought so much to the music, between Peter Gabriel's career, Genesis' career and Phil's career. That amount of work, man!

It's one of the few cases where the split was a real success for everyone, and the result is as good as the original band.

Absolutely, I think so. The most amazing thing they could do now, especially now that Phil is not in good shape... What I wish they had done, or could have done, or would do one day, is a triple tour. For example, Phil and [Peter] could do a solo show each to start with, maybe just five or ten songs, and then get together with Genesis. That way we could have 'Here Come The Flood', 'Another Day In Paradise' and 'In The Air Tonight', and then a bunch of Genesis. I think everyone would love to see that. It would be the perfect concert. For me, it would be one of the best experiences possible.

You see, that's the kind of idea that made Ghost into Ghost. If you can come up with a plan like that for other bands...

[Laughs] You can always call me before it's too late, guys!

Another band that has come up with sophisticated yet super catchy music is Def Leppard, especially on their multi-platinum album Hysteria. Speaking of which, this year you released a new version of "Spillways" with Joe Elliott on vocals. When you hear him on this track, the link is obvious, especially with the very elaborate backing vocals. Would you draw a parallel between your approach to songwriting and arranging and that of Def Leppard?

On this album, yes, because I tried to emulate elements of... It's something that's been done throughout their career, but especially on their two biggest albums, Pyromania and Hysteria, the length of the songs is remarkable. It's very common these days, especially in pop, to be very fussy about the three-minute limit. In the pop world, there's this need to always get to the chorus very quickly. You have to start with the chorus, go straight to the point all the time. In the 80s, there was more courage in songwriting - a more adventurous side. Songs like 'The Riddle', for example, were very strange, very proggy. There were weird chord progressions and stuff that nobody does anymore. The pop world has been so chicken for so long. Of course, I've always had an ear for pop; I'm not exactly impressed with what I hear today, but in my life I've always listened to the radio and liked a lot of what I heard, especially the 80s super hits. That's totally my thing. And I love Eurodisco from the early 90s. There are a lot of great composers in that scene. Max Martin started in Eurodisco, at least professionally, but before that he was in metal. What makes him such a great composer is his metal ear. He was writing Eurodisco songs, and then all of a sudden he started writing huge pop songs for the Backstreet Boys and Britney Spears. This whole school of Swedish songwriters is made up of former metalheads, former rockers, former guitarists.

So I wanted to challenge myself in my own songwriting, because sometimes I keep it too short. Even though "Square Hammer" is a good example of a well-written song, it was almost frustrating, because I thought, "OK, that's one more song like that. Now I have to stop doing that, because it was almost too simple." It was a very intuitive song; I literally wrote it in ten minutes. I had the melody, I played it, and the song wrote itself very quickly. There's almost no finesse in that song, and I thought I should avoid doing the same thing again, because it would be too easy. I wanted to see if I could write in a Def Leppard way. On Hysteria, there are six, seven, eight singles, a good half of which were huge hits. In 1987 or 1988, they were on a par with Coldplay at the height of their career, that's for sure. How could they write five-minute songs, with like five distinct parts? It wasn't conventional, verse-chorus-verse-chorus writing. It was verse, another verse, pre-chorus, bridge, and then finally, after two minutes, you'd get to the chorus. And it was so rewarding, because it was such a long way to get there. I thought, "This is what I have to work towards. I want to dare to add another part, dare not to follow the path. That was a mental exercise I did on Impera, and I'll try to do better in the future. It's an interesting way to challenge yourself.

When people talk about the length of songs on the radio, I always think of the story of "Bohemian Rhapsody": "This is going to be a disaster, it's never going to be played on the radio!" That's it, yes...

For a long time they called that song "Freddie's thing". It's such an anomaly in the middle of what we've just been talking about. Of course, I don't recommend... For a young band that's just got a contract, it's best to avoid the six-minute "Rhapsody". But if you can find a compromise between 'The Passenger' and 'Bohemian Rhapsody', I think you've got something.

On that subject, how did Joe Elliott end up on "Spillways"?

The story is very simple. I talked about Def Leppard a lot before Impera came out because of the mental exercise I mentioned, and both Phil and Joe had been talking about Ghost for a few years. It got to the point where our respective managements wanted us to do something together. In the modern world, that often means collaborating, as hip-hop artists do. I explained that I was willing to explore the idea, but that for me, a collaboration is a trendy but outdated concept. We do it all the time. In hip-hop, it's almost ridiculous to see... If an artist is hot this week and you go look at the American top 40, it's just "this artist feat. this other artist". I totally understand that one plus one can sometimes be three, but it gets very cynical. I don't want to do things cynically. I sing cynical things, I'm a cynical person, but I don't want to be cynical about my fans or my career. So I said yes, I would discuss it with Joe, but we'd have to see if we could agree on something, if there was romance in the air.

Joe and I sent a lot of messages to each other to try and arrange a meeting. He lives in Ireland, but also in LA. I live in Sweden, but I also spend a lot of time in LA, so we tried to find time to see each other. He was getting ready for his tour, I was getting ready for my tour, and we were just hanging out. And then out of the blue, he wanted to experiment; he went into the studio, recorded some vocal lines and sent them to me. I thought it sounded really cool and I said, "Look, I have nothing but good things to say about what you did. It sounds great. I'm not surprised by your voice, but by the fact that we sound so good together. I like that very drawling vocal, you really added something. But I have no desire to throw this on Spotify and say to people, 'Here's another thing you can buy.'" I asked him, "You know we do little skits to communicate with our fans in a funny way? Instead of posting on Instagram saying we'll be in such and such a city, we come up with little episodes." He had seen a few and said, "Yeah, that's funny. Let's do something funny with that." The gag is the important part, and the end result is a bonus.

It's like what we did with 'Kiss The Go-Goat' and 'Mary On A Cross'. The idea for the episode came first, and then we said, "OK, but we need a song. So I came up with the idea for this 60s-style sketch that was "Kiss The Go-Goat". Then, as I was writing and recording 'Kiss The Go-Goat', 'Mary On A Cross' came up in the process, and I thought, "Great, now we have a B-side! It'll be a physical single." So I put that in the script: "Let's start showing the single, now that it's official." Things work in tandem. Looking back, we now know that the end result was different. It was meant as a joke. There was 'Kiss The Go-Goat', which was the joke itself and was very successful. And then it turned out that "Mary On A Cross" was completely different. That's also what I told Joe: we do this to mess around with the band. My job is to write records and entertain people, but apparently I also have to communicate with my fans, and do all this promotion that I'm not really interested in. I have no problem doing this interview, but I don't want a fucking Instagram account where I post pictures of myself. I don't want to be that person. So, I'm doing this so that people... They're diversions, and sometimes those diversions become cool. "What do you say, Joe?" In the end, we found this way to spend time together and do something fun. Instead of turning our creativity into songs, we turned our creativity into episodes. It became something fruitful and fun, and I think it was a great success.

The title of the EP is clever, as it mixes the terms 'ghost' and 'pantomime'. The latter term is defined as "a type of musical for the entertainment of the whole family". Is this your goal with Ghost? Do you see the band as "a musical for the whole family's entertainment"?

Broadly speaking, yes. Of course, that suggests that the more adult elements and innuendos in our show are suitable for children, which I don't claim. But I would also like to stress that I have never asked people to bring children to our shows. So if the children in question are exposed to jokes involving penises, farts and copulation, that's their problem. I grew up in a very liberal family, where there were very few barriers and no censorship. I think it's possible to have a conversation, if others are open to it. I have no problem with whole families coming to us, as long as no one suffers. So, for me, it is indeed entertainment for the whole family. But I wouldn't sell it as such to most people, because there are still elements that are not suitable for all children.

I remember a Rammstein concert where I noticed children in the audience. I thought it wasn't really a good idea... Ghost seemed a bit more appropriate, but for young children, some things can still be a bit biased.

It's hard for me to have a clear line on this, because I'm not just speaking as a musician, but also as a parent. There's a constant debate about the right age to talk about certain things. Now, with two teenagers, things are more open. But that's one of the weird things about being a semi-public figure, talking openly and publicly about your life and what you do and sharing your opinions. My kids read that, too. They are aware of it. As soon as I say something, especially nowadays, where everything becomes a meme or a clip... People may think what I say is funny, which I don't mind, but my son and daughter, now fourteen, heard it when they were eight or ten. It's hard for me to be a parent and say, 'Go to school! Don't do that", when they know perfectly well that I didn't follow any of these precepts. I'm not trying to lie to them at all. I tell them: "I did this, I don't recommend it. I did this; I totally neglected this other thing. But I was lucky and I got there. My career isn't over, so I don't know if I've really "arrived", but for now, I'm here. It was a bit silly of me to be so confident, to think I could burn all the bridges, burn all the ships and throw the oars. I was lucky enough to make it to land, but I don't recommend this technique. Don't do the same thing! [Laughs]

[etradio]

I thought it would be interesting if venom could manifest in different ways depending on the user.

[frenchcurious]

Intérieur du Radio City Music Hall, New York, conçu par les architectes Edward Durel Stone et Donald Deskey, 1932. - source Dwayne Douglas via Art Deco

[phosphor-cat]

art blog

art fight

website

what i am interested in:

os development, linguistics or conlanging, programming (mainly rust and asm), astronomy, amateur radio, chemistry, sci-fi, homestuck, rain world, the three body problem books, linux

there is more that i cannot think of right now idk i gave a pretty big list though

i should probably tag the things that i post because i reblog lots

if i were to tag things look for stuff like

#osdev

#programming

#rust

#assembly

#astronomy

#ham radio

#homestuck

#rain world

#three body

#linux

et cetera

i will answer almost any ask i am so fucking bored like 24/7

[saintsaensreads]

Podcasts radio : mes ondes 2024

[post in French <3]

J'écoute de plus en plus de podcasts radio. Ils m'accompagnent pendant mes week-end, certains matins, ou (plus régulièrement) quand le ménage commence à devenir nécessaire autour de moi. Et une fois écoutés, certains ne me quittent plus.

Tuer et mourir au nom de Dieu : Par Anaïs Kien. Pour LSD, Anaïs Kien interroge un évènement marquant de notre histoire, la Saint-Barthélemy. Ce bain de sang national commence à la fin de l’été 1572, il incarne le paroxysme de la guerre civile, l’ultra violence religieuse et le crime d’État par excellence.

Naufragés : une histoire vraie : Par Daniel Fiévet. Coupés du reste du monde sur une île déserte ou sur un radeau à la dérive, confrontés à la faim, au désespoir et à la solitude, ils ont trouvé la force de réaliser l’impossible : survivre.

L'affaire du charnier Paris-Descartes : Par Elise Karlin. En novembre 2019, l'hebdomadaire "L’Express" révèle l’existence d’un charnier au Centre du don des corps de l’université Paris-Descartes. Cette enquête journalistique marque le début d’une investigation judiciaire qui va mettre au jour d’autres aspects d'un véritable scandale politico-sanitaire.

Féminicides, la guerre mondiale contre les femmes : Par Pauline Chanu. Pour LSD, Pauline Chanu retrace le continuum féminicidaire dans le monde entier. Des féminicides conjugaux aux tueries masculinistes, des crimes “d’honneur” aux tueurs en série… Comment se maintient ce système qui autorise les hommes à tuer les femmes ?

La Voix des Invisibles : Dans cette série historique et narrative, l’historien Gérard Noiriel rappelle le rôle essentiel de 10 personnages oubliés ou méconnus, qui ont, à leur manière, été déterminants dans l'histoire de France – de Brunehaut la reine des Francs à Marthe, paysanne des Hautes-Alpes.

Paroles d'histoire : petit canard du lot, car ne provenant pas de l'usine Radio France, Paroles d'histoire est un podcast mené par un historien, accueillant ses camarades de galère pour parler de leurs sujets avec passion et beaucoup de talent (et même de l'humour ! Les nuits dans les mottes castrales sont tout de suite plus courtes!)

Mentions spéciales <3 car il en faut !

Comment finir une guerre : reportage Arte Radio absolument magistral sur la fin de l'organisation basque ETA, et profondément perturbant (attention à l'épisode retraçant une expérience en prison. J'en suis encore tout retourné). Résumé :

En 2011, après plus de 50 ans de conflit, l’organisation basque ETA annonce officiellement la fin de la lutte armée. Au Pays basque, des deux côtés de la frontière pyrénéenne, c’est une page qui se tourne, et l’espoir qu’une paix durable puisse enfin s’installer. Mais la route est encore longue. D’abord, il faut rassembler les armes. Des tonnes d’armes, disséminées dans les campagnes françaises. Puis les rendre au camp d’en face, afin qu’elles soient détruites. Enfin, il faut asseoir les deux camps – ETA d’un côté, les États espagnols et français de l’autre – autour d’une même table. S’écouter et se confronter. S’accorder, juger et réparer. Envisager, pourquoi pas, un avenir commun.

"Le Hussard sur le toit" de Jean Giono : adaptation radiophonique superbement menée ! Première adaptation du genre que j'écoute, et je suis sous le charme !

Nouvelle-Calédonie, terre de défis : du temps long (+10h d'enregistrements datant de quelques années maintenant) pour connaître les problématiques qui entourent la présence française en Kanaky, et les derniers relans de colonialisme français qui y sont en jeu. Des échanges rares dans la radio actuelle, des problématiques qui se posent encore malgré les décennies qui nous séparent des enregistrements...Plus que nécessaire en ce moment.

[prosedumonde]

Depuis toujours, l’anxiété a fait partie de ma vie. Mon art est une confession personnelle. Comme les messages radio d’un navire qui sombre. Mais j’ai le sentiment que cette anxiété m’est nécessaire, tout comme l’est la maladie. Sans cette peur de la vie et sans cette anxiété, j’aurais été une barque sans gouvernail.

Marc Lenot, angoisses et désir selon Munch

[swedesinstockholm]

27 décembre

je suis en train de lire le nouveau livre de richard powers et ça me donne envie de me replonger dans mon petit monde magique d'écologie-philosophie-biologie-géologie. j'adorais tellement être plongée là-dedans. et pas seulement à cause de a. le soir de noël j'ai dormi sur un matelas gonflable dégonflé dans le bureau mais le livre de richard powers a adouci ma nuit et j'ai cette théorie que les livres ont le pouvoir de transformer l'énergie de la pièce où on dort cf. pessoa et la chambre de juliette au printemps. noël était une épreuve cette année. chaque année j'oublie que ça me déprime. cette année j'ai tout mis sur le compte de mon autisme. la veille de partir f. est passée à la maison et on en a discuté dans ma chambre pendant que je faisais mes bagages et elle m'a dit que ça se pourrait bien que je sois sur le spectre moi aussi et à la fin on avait trouvé tellement de symptômes que j'ai même plus besoin de faire de test c'est bon je sais. le jour de noël à la pierre plantée je faisais le tour du terrain en allant farfouiller dans les pins derrière au lieu de me joindre aux autres parce que dès que quelqu'un me parlait j'avais envie de pleurer. pierre m'a demandé comment ça va et j'ai commencé à dire bof mais il m'a coupée en parlant du grand soleil et du grand ciel bleu en disant on est pas bien là? hier bernard me disait de trouver le bonheur dans l'instant présent l'instant t savourer l'instant t il faut savourer l'instant t lara mais moi mercredi j'avais du mal avec l'instant t, l'instant t ne voulait pas se laisser savourer. j'ai fermé mes yeux au soleil pour essayer d'absorber la sérotonine mais elle avait du mal à passer, à s'agréger, je sais pas comment ça marche. je me sentais aliénée, incapable de fonctionner socialement, en dessous de tout. alors je me raccrochais aux pins et à la lumière franche du soleil sur les pierres. je pensais à f. qui s'est trouvé une famille choisie, mais moi j'adore ma famille famille. je les aime je les aime et j'arrive pas à le leur montrer, alors j'ai l'impression que je les mérite pas.

28 décembre

dans la voiture mardi on écoutait une émission sur les rêves à la radio. j'ai demandé à maman si elle avait réalisé ses rêves et elle m'a dit oui et non. oui elle a réalisé son rêve d'aller voir l'autre côté de la mer quand elle a rencontré mon père et son bateau, mais non elle a pas fait les beaux arts comme elle aurait voulu parce que ses parents ne voulaient pas et quand elle a voulu reprendre des études d'histoire mon père est tombé malade. elle avait mon âge. m. a dit qu'elle était allée au-delà de ses rêves et qu'elle avait fait plus que ce qu'elle voulait faire à la base et pouf ça a déclenché la mort, mon cerveau me disait d'ouvrir la portière ouvre la portière ouvre la portière ouvre la portière et tout se termine. c'est m. qui déclenche la mort. j'étais encore en train d'y penser le soir à table sous la lumière froide du plafonnier de chez cécile avec la playlist de noël spotify entrecoupée par toujours la même pub qui disait potato patate. je me sentais moche, je me sens toujours moche quand y a m., j'ai même pas tenté de mettre du rouge à lèvres, j'avais envie de cacher ma tête dans un sac.

quand on est arrivées t. était en train de faire des macarons avec ses nouveaux ustensiles à macarons haut de gamme, il maniait sa giga poche à douille qui ressemblait à un marteau-piqueur et il a commencé à nous mansplainer la pâtisserie, il faut avoir du matériel haut de gamme c'est très technique de faire un gâteau trompe l'oeil pierre hermé de merde. jeudi on est allé dans un magasin d'ustensiles de cuisine où ils vendaient la poche à douille marteau-piqueur, une vendeuse a tenté de laver le cerveau de c. à propos d'une poêle en inox triple épaisseur de qualité supérieure et j'ai reconnu le speech que t. nous avait sorti une fois à la mer alors qu'il venait d'acheter ladite poêle haut de gamme de qualité supérieure ça vaut la peine d'investir. t. et les magasins culinarion me donnent envie d'aller vivre dans une communauté anarchiste perdue dans la forêt comme celle dont me parlait n. son ex vivait là quelque part en allemagne et chez eux tout était partagé jusqu'à l'argent qu'ils mettaient en commun et dont ils disposaient à part égales, ceux qui gagnaient plus compensant pour ceux qui gagnaient moins. mon premier réflexe a été de me dire que ça entravait la liberté personnelle de pouvoir disposer de son argent comme on veut mais je sais pas, c'est juste une autre idée de la liberté. je me demande si ça changerait ma relation malsaine à l'argent et mon état d'esprit très individualiste que je déteste mais dont je sais pas comment me défaire.

le soleil est en train de me cramer la tête. ce matin maman racontait que hier dans le train elles parlaient avec une femme qui habitait à gembloux en belgique depuis 25 ans mais qu'elle voulait retourner à perpignan à cause du soleil. elle a dit "la qualité de vie" mais j'imagine que c'est la même chose. son mari belge ne veut pas la suivre alors ils vont divorcer. elle a choisi le soleil plutôt que l'homme. elle était psy et elle parlait de "toutes ces dépressions liées au climat." hier pendant qu'elles étaient à montpellier j'étais à sète et je me demandais si je pourrais y vivre. si je supporterais le sud. habiter en france. tout le bordel. mais le soleil.

31 décembre

quel enfer le nouvel an tous les voeux à la con et les gens qui crient, c. m'a demandé qu'est-ce que je peux te souhaiter pour la nouvelle année? et j'ai dit pouh rester en vie déjà parce que je suis sans filtre comme on dit, ce qui est peut être ou peut être pas du code pour dire autiste je sais pas et j'en ai marre de me poser la question. ce soir j'avais juste envie d'être seule avec la mer et la nuit. je regardais la mer plongée dans le noir et je me disais que j'avais vraiment envie de faire un truc cool qui me donne envie de vivre cette année. un truc qui me redonne la foi. aller voir un chamane et faire un exorcisme. samedi soir en rentrant de chez c. j'ai pleuré pendant une heure sans bouger de ma position recroquevillée sur le canapé bleu foncé. ça sortait ça sortait et ça s'arrêtait plus de sortir, j'étais un puits qui déborde, je me voyais puits, j'étais un puits glacé et l'intérieur de mon corps était un trou sombre et je m'effondrais sur moi-même, je débordais et en même temps je tombais dans le trou sans fond, j'étais un puits qui tombait dans le puits ou alors une étoile en fin de vie. j'arrivais pas à me réchauffer, chez c. j'étais blottie sous un plaid avec les mains sur le chauffage mais elles restaient glacées, elle sont glacées en permanence et m. a dit un truc qui m'a rappelé cette histoire de solitude et de coeur froid si votre chauffage ne marche pas ça veut dire que vous manquez d'amour et c'est ça qui m'a fait vriller. elle l'a dit innocemment mais je me suis dit tant que personne m'aimera je serai condamnée à avoir froid comme une princesse de conte de fées sous le mauvais sort, ils avaient tous raison avec leurs diagnostics à la con vous êtes la belle au bois dormant qui attend son prince charmant vous êtes gelée vous êtes coincée vous manquez d'amour allez voir jésus mais jésus ça a pas marché donc je dois faire un exorcisme.

[detournementsmineurs]

"Ensemble de Micros Streamline" en acier chromé (circa 1935-45), "Tourne-Disque Portable" d'Oskar Schlemmer pour la marque Odeon (circ 1928), "Jukebox de Table" de la marque Seeburg (circa 1949) et "Tourne-Disque Portable" de John Vassos pour la marque RCA Victor Radio Company America (circa 1935) à l'exposition "Art Déco France - Amérique du Nord" de la Cité de l'Architecture et du Patrimoine, Palais de Chaillot, Paris, février 2023.