#Music inspired by Dylan Thomas

[roystannard]

The Whole Nine Yards Ep 213 23.2.25 Nothing Rhymed with Roy Stannard on Mid Sussex Radio 103.8FM

The Whole Nine Yards Episode 213 With Roy Stannard On Mid Sussex Radio 103.8FM Sunday 23rd February 2025 3-5pm http://www.midsussexradio.co.uk/listen Nothing Rhymed Dylan Thomas, the Welsh poet, has had a profound impact on contemporary music. His poetry has musicality and rhythm. His alliteration, assonance, and internal rhyming resonate with musicians. His poems read like songs.. Themes…

[jstor]

Winter in poems ❄️

"In a fall of snow, the first of the season, they stand and dream and watch the footprints disappear in the will of heaven; absorb the sounds of water-objects drown in a deeper music, and shiver as light breaks in their hearts and something vastly woeful hangs at their eyes." – Arthur Gregor, "First Snow, Brooklyn Harbor"

It's snowing at JSTOR HQ! Curl up with a blanket and a warm beverage, because we're sharing 10 poems with you that capture the spirit of winter. This season is approached distinctly by each poet, some taking a pensive tone and others leaning into seasonal cheer.

We hope these poems inspire you to create some winter art of your own!

"The Winter Seasons" by Richard Frost

"Winter Evening" by Alexander Pushkin (transl. Eugene Mark Kayden)

"Snow" by Lucy Larcom

"Winter Poem" by Margan Dutton

"First Snow, Brooklyn Harbor" by Arthur Gregor

"First Light, Late Winter" by Floyd Skloot

"Winter Remembered" by John Crowe Ransom

"Last Winter" by H.D.

"A Winter's Tale" by Dylan Thomas

"A Suite for Winter" by Francis Fergusson

Image: A Group of Reindeer Searching for Food in a Snowy Forest. Wellcome Collection.

[talonabraxas]

“Dionysus is the life-spirit of all green vegetation – ivy, pine tree and especially the vine; he is, in Dylan Thomas’ phrase, “the force that through the green fuse drives the flower.” — Sophocles Dionysus Talon Abraxas Dionysus, the son of Zeus and Semele, was a Greek god who represented the more spontaneous and unrestrained aspects of human experience. He was the god of wine, winemaking, fertility, music, dance, and inspiration, and was sometimes counted among the Twelve Olympians—the most important gods of the Greek pantheon.

The mythology and cult of Dionysus were often characterized by madness. Some sources claimed that Dionysus used his invention of wine to drive his enemies mad, while others said that Dionysus himself went mad. Said to have traveled far and wide, Dionysus was regarded as a bringer of civilization in the form of wine cultivation—with both positive and negative consequences. Dionysus was usually imagined as a youthful god. His most common attributes pertained to his function as the god of wine and intoxication; these included grapevines or grapes and a special kind of ivy-covered wand called a thyrsus.

In art, Dionysus was often shown holding a large wine cup. He was also associated with wild cats, especially leopards and panthers; ancient artists liked to depict him riding these exotic creatures. His entourage included mythical beings such as satyrs and silens and frenzied female worshippers called maenads.

Dionysus was worshipped throughout the Greek world, though the Greeks themselves thought of him as a foreign god imported from the East. The cult of Dionysus tended to revolve around ecstasy and intoxication; because of this, Dionysus was often viewed as a god who lived on the edge of civilization.

At the same time, Dionysus was worshipped as a god of culture and the arts. Indeed, it was at the annual festival of Dionysus in Athens that Greek tragedies and comedies—some of the most important literary creations of the ancient world—were performed in honor of Dionysus.

[crumblinggothicarchitecture]

Hello! I’m curious to know if you listen to Hozier? Since his music also gives literary and it’d be interesting to know what you think!

Hello! Thanks for the ask

Hozier is wonderful! I love him!

I think he's incredibly creative, and he clearly knows how to write! He also clearly knows so much about the history of music, art, international politics, and so much more. There's nothing I admire more in an artist than some real intelligence. It shows in his command of the language. I've been listening since "Take Me to Church" went viral. I was absolutely in tears listening to that for the first time.

One point I've been thinking about lately is the way he wrote "Nina Cried Power" and how it's different from the way someone like Taylor Swift name-drops in her music.

The point here is that Hozier has immense respect for the people he mentions in the song, his obvious knowledge and respect for these people is ever-present. He thematically connects them from the perspective of their own lives into the message of the song. Meaning that it is the type of song they would co-sign. It's so moving for this very reason, it's like the people in his song are singing with him. In "Nina Cried Power" he's clearly using southern-inspired gospel-esque blues to sings about the way in which civil rights activists, and those musicians who broke the chains away, sang their activism into life. It's so lovely for him to use musicality stemming from Afro-American culture to sing about the major civil rights activist and artists from the era. He's literally brilliant, and I love his perspective on how the US civil rights movement impacted Irelands own civil rights movement. He's fucking brilliant.

And this line brings me to tears, "And I could cry power/ power has been cried by those stronger than me/ straight into the face that tells you to rattle your chains." He's so compelling both in storytelling and in intercultural dialogue. Beautiful. And how beautiful it is to remind us that no matter the location, your words and actions matter- activism matters. Power is with the people.

What a writer- what a message to send. Especially these days, when so many major public figures are refusing to speak on current events. How important it is to remind the public that there is no real reason to not speak up in times of injustice.

As opposed to Swift who can only name-drop people like Dylan Thomas in relation to being able to self-deprecate. Her impulse towards self-obsession shows in how she even represents the lives of others as ultimately being about her. It shows an immense disrespect and obvious distain for the people she writes about. She clearly only thinks about others when considering some hierarchal form of self-adulation. People are either better or worse than her- however, it is always about her. Dylan Thomas was an incredibly vocal activist and revolutionary spirit in his day, and Swift puts him in a cheap shot about herself? Painful, stupid, gag. Thomas was an avowed anti-fascist during the rise of the most horrific fascist regimes we've ever seen; as such he would be horrified at being eulogized by someone like Swift who lives and breathes money and power. I wish I could go back in time and unhear her besmirching his name.

Dylan Thomas would love Hozier though :) And so do I!

But anyway, I could totally write some literary criticism on Hozier, and you know what- it would be amazing because he is rich texture to dive into. His command of metaphor and mimetic technique is honestly so impressive! That actually sounds really fun and is totally on my to-do list now :)

[invisibleicewands]

Welsh theatre to host conversation event with Michael Sheen

Welsh actor Michael Sheen will dive into his experiences in the world of film and theatre and discuss the inspiration behind his most iconic roles at a special event in Swansea this weekend.

The 50-minute Q&A session which will see one of Wales’ most celebrated talents speak candidly about his passion for the arts and his life in the spotlight.

In Conversation with Michael Sheen is part of the inaugural Swansea Arts Weekend and will take place at the Dylan Thomas Theatre in Swansea on Saturday (October 5) at 12:230pm.

The theatre holds a special place in Sheen’s heart, as it was here that he gave one of his early performances with the West Glamorgan Youth Theatre.

Returning to the venue now as an award-winning actor, Sheen continues to inspire audiences worldwide with his compelling portrayals of complex characters and his dedication to the craft of storytelling.

His most recent work includes his portrayal of Prince Andrew in A Very Royal Scandal, Nye Bevan at the Wales Millennium Centre, and bringing Dylan Thomas’ Under Milk Wood to the National Theatre.

His other standout performances include Frost/Nixon, The Queen, Good Omens and Twilight.

Beyond his remarkable acting career, Sheen is also known for his commitment to social justice and the promotion of the arts, making this event even more meaningful.

His passion for fostering creativity and supporting the next generation of talent will undoubtedly inspire those in attendance.

He will also discuss his early steps in the industry, providing invaluable advice for aspiring actors and creatives.

Michael Sheen said: “It’s a brilliant opportunity to celebrate and support all our local creative talent, whether professionals, community groups or passionate enthusiasts.

“We have such a rich, creative history here and it’s wonderful to be able to share it with each other and the world.”

This event is an exciting addition to the diverse activities happening as part of Swansea Arts Weekend, showcasing the city’s thriving cultural scene.

Councillor Elliott King, Cabinet Member – Culture, Human Rights & Equalities – at Swansea Council, said: “Welcoming an internationally recognised actor of Sheen’s calibre to the Dylan Thomas Theatre will undoubtedly bring inspiration to the city’s creative industries.

“We are delighted that Michael has chosen to work with us to support Welsh arts, and we know the Q&A session will provide unique insights into all he has learned over the course of his career.

Swansea Arts Weekend is all about connecting people with culture, and In Conversation with Michael Sheen puts these aims into practice.

“Engaging with the arts brings marked benefit to communities and individuals, and we are thrilled to offer this opportunity to hear from an icon of the Welsh creative scene.

“We hope visitors and locals enjoy the event, and that it inspires long-term engagement with the arts and cultural venues here in Swansea and beyond.”

Swansea Arts Weekend is supported by the Cultural and Tourism Anchor at Swansea Council and funded by the UK Government’s Shared Prosperity Fund.

The Arts Weekend, running from 4th – 6th October, encompasses art exhibitions, workshops, new commissions, live music, comedy, dance and interactive classes.

[moodboardmix]

Miss Françoise (17 janvier 1944 - 11 juin 2024)

Miss Françoise Hardy, whose elegance and beautifully lilting voice made her one of France’s most successful pop stars, has passed away today.

She was born in the middle of an air raid in Nazi-occupied Paris in 1944, and raised in the city, mostly by her mother. Aged 16, she received her first guitar as a present and began writing her own songs, performing them live and auditioning for record labels. In 1961, she signed with Disques Vogue.

Inspired by the French chanson style of crooned ballads as well as the emerging edgier styles of pop and rock’n’roll, Miss Hardy became a key part of the yé-yé style that dominated mid-century French music.

The self-penned ballad Tous les garçons et les filles was her breakthrough in 1962, and sold more than 2.5m copies; it topped the French charts, as did early singles Je Suis D’Accord and Le Temps de L’Amour.

Her growing European fame meant she began rerecording her repertoire in multiple languages, including English. Her 1964 song All Over the World, translated from Dans le Monde Entier, became UK Top 20 hit, her fame endured in France, Italy and Germany.

In 1968, Comment te Dire Adieu, a version of It Hurts to Say Goodbye (originally made famous by Vera Lynn) with lyrics by Serge Gainsbourg, became one of her biggest hits.

Miss Hardy’s beauty and deft aesthetic – which encompassed cleanly silhouetted tailoring alongside more casual looks, including knitwear and rock-leaning denim and leather – defined the seeming effortlessness of 20th-century French cool.

She became a muse to designers including Yves Saint Laurent and Paco Rabanne, and was also a frequent subject for fashion photography, shot by the likes of Richard Avedon, David Bailey and William Klein. Later, designer Rei Kawakubo would name her label Comme des Garçons after a line in a Hardy song.

Miss Hardy was an object of adoration to many male stars of 60s pop including the Rolling Stones and David Bowie. Bob Dylan wrote a poem about her for the liner notes of his 1964 album Another Side of Bob Dylan, beginning: “For Françoise Hardy, at the Seine’s edge, a giant shadow of Notre Dame seeks t’ grab my foot …”

She was also courted by directors, appearing in films by Jean-Luc Godard, Roger Vadim, John Frankenheimer and more.

Miss Hardy signed a three-year deal with Sonopresse in 1970. This creatively rich period saw her record with Brazilian musician Tuca on 1971’s highly acclaimed La Question, and continue her multi-lingual releases.

She spent the mid-1970s chiefly focused on raising her son Thomas with her partner, musician and actor Jacques Dutronc. Releases restarted with 1977’s Star, and Hardy embraced the sounds of funk, disco and electronic pop. A longer hiatus in the 1980s was punctuated by 1988’s Décalages, billed as her final album, though she returned in 1996 with Le Danger, switching her palette to moody contemporary rock.

She released six further albums, ending with Personne D’Autre in 2018.

Miss Hardy also developed a career as an astrologer, having written extensively on the subject from the 1970s onwards. In addition, she worked as a writer of both fiction and non-fiction books from the 2000s. Her autobiography Le désespoir des singes... et autres bagatelles was a best-seller in France.

She remains one of the best-selling singers in French history, and continues to be regarded as an iconic and influential figure in both French pop and fashion. In 2006, she was awarded the Grande médaille de la chanson française, an honorary award given by the Académie française, in recognition of her career in music.

Miss Hardy had lymphatic cancer since 2004, and had undergone years of radiotherapy and other treatments for the illness. In 2021, she had argued in favour of euthanasia, saying that France was “inhuman” for not allowing the procedure.

Rest in Power !

[7grandmel]

Todays rip: 24/03/2024

Aphex Twin Snakes

Season 4 Episode 1 Featured on: SiIvaGunner's Highest Quality Rips: Volume L [Side A]

Ripped by Snowva

I suppose we'll round off this streak covering rips with sources I'm far too unfamiliar with, with yet one more that I, like Poké Village, discovered on my own. Yes, I admit it: I am uncultured, I am weak, and I am not yet properly educated on the world of Aphex Twin. Now, that's not to say that the artist hasn't had an impact on me all the same - it wasn't that long ago that I wrote about just how much the Season 1 rip Aphex affected me way back in 2016. So I do have a tenuous attachment of sorts to their music, yet its an attachment I only get reminded of through rips and other remixes. Aphex Twin Snakes is one of those reminder-rips, one I found on a whim just browsing the archives of the Volume L album - and it's an absolute banger.

I may not have actual investment into the Metal Gear franchise yet either, but its at this point impossible not to know of the most legendary music of the Solid series. There's of course the beautiful credits theme to Metal Gear Solid 2, Can't Say Goodbye to Yesterday - as performed by Bob Dylan (yes, by the REAL Bob Dylan!), and the long-overdue-for-coverage main theme for the series' third game, Snake Eater - but the main theme of Metal Gear Solid 2 has always felt like THE Metal Gear theme in my head. You can immediately tell something is changed in Aphex Twin Snakes - before the elements of Aphex Twin are even implemented, sound effects from the Metal Gear Solid series are sampled to create a far more prominent "beat" for the track, sort of in the vein of Banjostruck or the various Hideki Naganuma-inspired rips a la September. It's a fantastic way to transition the rip into the more jungle-y style of the Aphex Twin track used, which is Carn Marth if I'm to trust the Wiki - but attachment or not, its novelty as a jungle remix of such a proudly-orchestral piece is appealing all on its own.

The rip sells you in just the first 15 seconds alone as a distinctly different-feeling take to the legendary theme, but continues to impress throughout. I'm always caught off guard by how hard the intentional stutter in the track at little over 30 seconds in hits, and not long therafter the sound of Snake's iconic death sound from the series is used to amazing effect to punctuate the rip's change in tone. Midway through, we're even treated to a little bit of a "dialogue" in a codec call seemingly between Snake and Aphex Twin itself, only communicating through a change in music to the track Windowlicker. This is obviously not really the same thing as something like the canon-to-the-channel dialogue in Haltmanna feat. Rob Thomas of Matchbox 20, but it is a really fun surprise althesame - when Aphex Twin Snakes was uploaded, we already knew that Snake was to reappear as a character in the King for Another Day Tournament, and so this little moment of interaction from the character (or the Figment, if we're to be lore accurate) feels all too fitting, its as if he himself was shocked to encounter another source in "his" own track.

After this little interlude, Body & Blood by clipping. is added to the mix, giving the rip a vocal performance quite different in tone from the rip's first half. It was the first half that sold me, and though this shift in direction is certainly a form of escalation, it is maybe a bit too drastic for me - whenever I come back to Aphex Twin Snakes, it is the Aphex Twin part of the first half that I'm most drawn to. But I'm of course althesame thankful that we even get rips with such variety and risks taken in them (sort of like Metal Gear Solid 2 itself, hm?), and that the rip knows not to overstay its welcome. Each of these three sections of the rip get just enough time to land, and all three feel polished to a sheen. This is the first rip by Snowva I've covered on here, but if Aphex Twin Snakes is anything to go by they have an absolute knack for quality - and have helped remind me of yet another incredible artist that I need to start actually listening to.

[burlveneer-music]

Mitchum Yacoub - Living High in the Brass Empire

It is with great pleasure that we announce Mitchum Yacoub’s debut album " Living High in the Brass Empire"— a showcase in unique stylings of tropical funk, afrobeat, cumbia, and soul; a musical patchwork threaded by a heavy, hypnotic rhythm section and powerfully vibrant horn lines. What sounds like a 12-piece ensemble was actually mostly recorded and performed by Yacoub at his home in San Diego, featuring a few close friends from local groups Sure Fire Soul Ensemble and Boostive. The horn section is comprised of Travis Klein, Bradley Nash, and Wesley Etienne (featuring Todd Simon on “Los Muñequitos"), each with distinguished performances that send the music to higher heights. Nuanced vocalist Divina Jasso lends humanity and introspection throughout the head-nodding soul sounds of “Never Knew”, Latin dance anthem “Cumbia Divina”, and the syncopated funk of “Empire”. You’ll hear rhythms from Colombia, folkloric percussion of Cuba, interlocking grooves à la Fela Kuti, 70’s r&b influence, and something in between it all. Drawing many inspirations into a refreshing and unified record, we think you’ll enjoy Living High in the Brass Empire. All songs composed, engineered, and produced by Mitchum Yacoub Drums, Bass, Guitars, Percussion, Farfisa - Mitchum Yacoub Bariton Saxophone - Bradley Nash Tenor Saxophone - Travis Klein Trombone, Trumpet - Wesley Etienne Featuring: Divina Jasso- Vocals (Never Knew, Cumbia Divina, Empire) Seiji Komo - Bass (Cumbia Divina, Strike), Composition (OB Joint) Sekani Thomas - Djembe (Strike) Todd Simon - Trumpet (Los Muñequitos) Dylan Webber - Guitar (Cumbia Divina) Aaron Lind - Guitar (Empire)

[projazznet]

The Stan Tracey Quartet – Jazz Suite Inspired By Dylan Thomas’ Under Milk Wood

Jazz Suite Inspired by Dylan Thomas’s “Under Milk Wood” is an album by the English pianist Stan Tracey and his quartet, that was released by the Columbia subsidiary of EMI in 1965. The music was written in response to the 1953 BBC radio play Under Milk Wood, by the Welsh poet Dylan Thomas. It has often been cited as one of the best jazz recordings made in the United Kingdom. Stan Tracey – piano Bobby Wellins – tenor saxophone Jeff Clyne – bass Jackie Dougan – drums

[justinsentertainmentcorner]

Them:

In her new music video, premiering at Them, Dylan Mulvaney puts a new spin on a rock-and-roll Christmas classic first popularized by none other than Elvis Presley, making out with a hunky trans love interest to the iconic “Blue Christmas.” The melancholy yet deeply sexy video for the cover song finds Mulvaney wearing a blue dress to match the title, sitting at a bar by herself when a handsome stranger (writer, actor, and model Kristofer Thomas) approaches. Before long, the two start shooting pool, then get hot and heavy in the bathroom — but as you might expect given the song’s somber tone, this is less a forever romance and more of a memorable one-time encounter. “I knew I wanted to make something special for Christmas, but it had been such turbulent year that I didn’t feel inclined to create something toxically positive or campy,” Mulvaney tells Them — and “turbulent” may be putting it mildly given the amount of transphobic prejudice the actress and content creator has endured in 2023. But “Blue Christmas” is the perfect note for Mulvaney to end her year on: Not only are we “in an Elvis era,” as she tells Them, the song’s aching melody reflects how many LGBTQ+ people feel during the holiday season: Lonely, yearning for companionship, and more than a little horny. The video, directed by Nick Laughlin, was shot at the Brooklyn queer bar Metropolitan — and it was inspired by personal experience.

Trans social media influencer Dylan Mulvaney has a new song out: a cover of Blue Christmas.

See Also:

LGBTQ Nation: Dylan Mulvaney’s “Blue Christmas” is the trans holiday torch song we need right now

Video:

[anitosoul]

tripreport.019: Fluidity

liquid 💧

Key Inspirations

MoMA Ready’s Set at Nowadays Nonstop (DJ set)

Snail Mail – Valentine (Music album)

Floating through music (activity)

Don Miguel Ruiz – The Four Agreements (Book)

Talking (Activity)

Y2K Retro Bubble Look (Aesthetic)

Dissociating (Acitivity)

MoMA PS1 Greater New York (Art exhibit)

Floating Points (Music artist)

Mobb Deep (Music artist)

Mixing in the woods (Activity)

The Pattern (App)

Coco & Clair Clair` (Music artist)

St. Vitus (Venue)

Opening DJ sets (Activity)

Forgiveness (Activity)

Coming home (Activity)

Fluidity Tracklist A-Side

Coco & Clair Clair – Pretty

DJ Swisha, Jessy Lanza – All the Time

piri – Soft Spot

Turnstile, Mall Grab – Yes I Need My Generator (Mall Grab Remix)

DJ Sabrina the Teenage DJ – Down With Love

Special Request – Amnesia

The Manuel Azevedo Quartet – Futebol de Bar

Octo Octa, DJ Q – It’s You (Octo Octa’s Slammin’ With U Mix)

DJ Q – Optimum Thinking

Nikki Nair – Power Tool

Planet 1999, A.G. Cook, Baseck – Party (A.G. Cook & Baseck Remix)

FJAAK – Identity

Jamie xx – Idontknow

DJ Rashad – In Da Club Before Eleven O’Clock

Mobb Deep, DJ Zinc – Shook Ones (Remix)

Skrillex, Noisia, josh pan, Dylan Brady – Supersonic (My Existence)

MoMA Ready, Sasha, Sean Paul – I’m Still In Love (Rework)

Samurai Breaks – Pump Up the Volume

Overmono – So U Kno

Alec Empire – Let the Sun Shine

Fluidity Tracklist B-Side

MoMA Ready, Mina Thomas, Yunie Mojica – Simple As A Song

Oakwite – Whisper

Wet, Blood Orange – Bound

Snail Mail – Forever (Sailing)

LIKE ANIMALS – Function

Floating Points, Mayfield Depot – Bias (Mayfield Depot Mix)

Coco Bryce – Lovin U

LONER – New to Me

Lenzman, Artificial Intelligence – Drowning

nCamargo – Side By Side

The Caracal Project – Expresso

FD – Ice Cream

Alicia Keys, Lenzman – Unthinkable (Lenzman Remix)

James Blake, Submorphics – Modern Soul (Submorphics Remix)

Drake, Mutt – Best I Ever Had (Mutt Bootleg)

PinkPantheress – Break It Off

Adam F – Circles

Austra, Avalon Emerson – Anywayz (Avalon Emerson’s 14th Life Version)

November’s mix is somewhat of a combination between September and October. Each of those months was one end of an extreme for me: In September I used music as an internal tool, a guiding force to process my feelings, and in October I used music as an external driver, a vehicle to express myself to others and communicate with the world around me. This month, the intensity finally seemed to settle, but it was met with a reckoning of the self-importance I was giving to myself and what I was doing. (I also recognize the irony of talking about this in a personal blog about my life experiences.) 

The themes of this month’s mix were inspired heavily by the MoMA Ready liquid DnB set I mentioned in October. At that point my friends had gone home so I was there by myself, and I had nothing else to do except reflect on my life. I thought about all of it: my relationship to music, the ways I’ve grown since moving to NYC, the effects of the pandemic, the dynamics of my personal relationships, my professional trajectory, dealing with loss. I was cradled by the music, finally processing all of the change. 

Later that month, I had some close friends stay with me. This was a sobering experience, as I realized that for as much processing I was doing on the dance floor, I had barely processed anything using language. At the same time, I realized how much I was making everything about myself and forcing situations to be the way I had built them up in my mind. I imposed my expectations and problems without regard for those around me, hurting people in the process. I fell back into patterns of depression and anxiety and guilt, blaming myself for it all.

I was still using music as a motivator, and I had some additional chances to perform live. We hosted another PQ party that coincided with some friends being in town. It was a great experience getting to perform for them for the first time, and just as importantly I got the experience of having a set that didn’t go as I planned. I made some pretty big mistakes and felt that the energy was off, but it was a learning opportunity. Getting feedback from the friends who were there was invaluable. I learned that I needed to ease into some of the less accessible sounds and build up to them, familiarizing the audience. A few days later Four Tet and Floating Points did a surprise set at Nowadays and I spontaneously decided to go–I got to do even more “field research,” learning how to get a crowd warmed up for higher intensity tracks. They played “Supersonic (My Existence),” a Skrillex/Noisia/Dylan Brady song which I honestly wasn’t expecting given Four Tet and Floating Points’ more low-key sounds. I could tangibly feel the importance of narrative-building and energy flow in their set. 

That week, a friend of mine recommended me for an event with Girl Gang NYC, providing more experience playing live. It was challenging but exciting given I had no idea what the vibe of the crowd was going to be, but I took what I learned from the PQ party and incorporated it into my set. I played some hits, some throwbacks, and blended them into some of the drum and bass tracks later on–people loved it!

I knew I was going home later that month for Thanksgiving, so I decided to reach out to St. Vitus, the main dance club in my hometown of Tulsa, about doing a set. I was given the opportunity to perform and I was extremely grateful; it was my first club set and it happened so quickly after I started getting into DJing. I had to give it my all, so I crafted my set around a lot of the music I played in October as well as the tracks I was discovering throughout November. 

I was so nervous at the beginning; I had an opening set on Thanksgiving eve, so it was pretty empty at first. I was worried that only a few people would show up. About half an hour in, some of my friends arrived and others slowly started trickling in. About an hour into the set, a big wave of people suddenly showed up, a lot of them classmates from high school who I didn’t even know were planning on coming. It got pretty packed and I started transitioning into what I knew best: pumping it up to 150+ bpm and blasting some jungle and DnB. The crowd was vibing so hard, I couldn’t believe it. I was feeding off their energy, dropping into deeper and deeper cuts. I played “Supersonic (My Existence)” and the crowd went ballistic just like they did at Four Tet. It was amazing.

Despite the external validation and momentum I was gaining, I was still struggling a lot mentally and interpersonally. At home I was wallowing, ruminating on regret. I spent most of my time in bed, and I got sick shortly after Thanksgiving which didn’t help. One of the main reasons I wanted to go home was to go out to the cabin and spend some extended time there to recharge, but getting sick was another unexpected curveball that I had to accept. 

It wasn’t until someone important to me gave me the book The Four Agreements that I started to reframe my thinking. The weekend after Thanksgiving I was finally able to go back out to the cabin. It was a nice, sunny day. I set up a hammock and read it as the sun set. It was the perfect setting for taking in the book’s philosophy. For those who don’t know, The Four Agreements is a self-help-y book written by a Mexican physician who became overwhelmed with the stressors of modern life and turned towards teachings from his parents who are indigenous healers. I appreciated that the book isn’t fully prescriptive, but presented as tenets of ancient knowledge; it resonated with me much more deeply. The Four Agreements are:

Be Impeccable with your word.

Don’t take anything personally.

Don’t make assumptions.

Always do your best.

I realized how much I was struggling, especially with the second and third agreements. Since reading the book (and going to regular therapy), it’s been a lot easier for me to reframe my thoughts and accept things the way they are. 

That night out at the cabin, I set up my controller and mixed on the front porch. It was a nice night; not too cold with a slight drizzle. We had Christmas lights up which provided a soft glow. I played my own emo liquid DnB set, mixing in indie tracks like new Snail Mail and Wet with the liquid DnB I started the month off with. I was accepting life for what it is, and accepting the change, loss, and differences in expectations that come with it. It was healing; the book, the music, the cabin, the outdoors, it was all medicine; there was a fluidity to it all that provided a respite from the erratic roller coaster energy that seemed to dictate the entirety of 2021 up until that point. That flow, the ease of it all, was exactly what I had been seeking.

[roystannard]

The Whole Nine Yards Ep 213 23.2.25 Nothing Rhymed with Roy Stannard on Mid Sussex Radio 103.8FM

The Whole Nine Yards Episode 213 With Roy Stannard On Mid Sussex Radio 103.8FM Sunday 23rd February 2025 3-5pm http://www.midsussexradio.co.uk/listen Nothing Rhymed Dylan Thomas, the Welsh poet, has had a profound impact on contemporary music. His poetry has musicality and rhythm. His alliteration, assonance, and internal rhyming resonate with musicians. His poems read like songs.. Themes…

[dirtylowdown2]

Henry Thomas Texas Worried Blues

"Texas Ragtime" Henry Thomas (1874-19??) was an American pre-World War II country blues singer, songster and musician. He was often billed as "Ragtime Texas." Thomas was born in Big Sandy, Texas. He began his musical career as an itinerant songster (minstrel), and recorded twenty-three sides for Vocalion Records between 1927 and 1929. Thomas accompanied himself on guitar and on quills, a folk instrument fabricated from cane reeds. The instrument is similar in sound to the zampona, used by musicians in Peru and Bolivia. His springy guitar-playing, probably inspired by banjo-picking styles, implies that he was used to performing for dances.[2] His legacy has been sustained by four songs. "Fishin' Blues" was covered by Taj Mahal and The Lovin' Spoonful. "Bull Doze Blues" was recorded by Canned Heat with new lyrics, retitled "Goin' Up The Country". Here Thomas's melody on quills was reproduced note for note by flautist Jim Horn. "Don't Ease Me In" was covered by the Grateful Dead on their album Go to Heaven; and "Honey Won't You Allow Me One More Chance" was covered by Bob Dylan (as "Honey Just Allow Me One More Chance") on The Freewheelin' Bob Dylan. Thomas's vintage recording of "Don't Ease Me In" is included on the compilation album The Music Never Stopped: Roots of the Grateful Dead. In 1993 the band Deacon Blue released a song entitled "Last Night I Dreamed Of Henry Thomas" on their Whatever You Say, Say Nothing LP. The whereabouts of Thomas after 1929 have not been chronicled, although he was reportedly seen in Texas in the 1950s.[3] The date and circumstances of his death are uncertain. His complete Vocalion recordings were compiled on a 1990 Yazoo Records CD titled Texas Worried Blues.

[talonabraxas]

“Dionysus is the life-spirit of all green vegetation – ivy, pine tree and especially the vine; he is, in Dylan Thomas’ phrase, “the force that through the green fuse drives the flower.” — Sophocles

Dionysus Talon Abraxas

Dionysus, the son of Zeus and Semele, was a Greek god who represented the more spontaneous and unrestrained aspects of human experience. He was the god of wine, winemaking, fertility, music, dance, and inspiration, and was sometimes counted among the Twelve Olympians—the most important gods of the Greek pantheon.

The mythology and cult of Dionysus were often characterized by madness. Some sources claimed that Dionysus used his invention of wine to drive his enemies mad, while others said that Dionysus himself went mad. Said to have traveled far and wide, Dionysus was regarded as a bringer of civilization in the form of wine cultivation—with both positive and negative consequences.

Dionysus was usually imagined as a youthful god. His most common attributes pertained to his function as the god of wine and intoxication; these included grapevines or grapes and a special kind of ivy-covered wand called a thyrsus.

In art, Dionysus was often shown holding a large wine cup. He was also associated with wild cats, especially leopards and panthers; ancient artists liked to depict him riding these exotic creatures. His entourage included mythical beings such as satyrs and silens and frenzied female worshippers called maenads.

Dionysus was worshipped throughout the Greek world, though the Greeks themselves thought of him as a foreign god imported from the East. The cult of Dionysus tended to revolve around ecstasy and intoxication; because of this, Dionysus was often viewed as a god who lived on the edge of civilization.

At the same time, Dionysus was worshipped as a god of culture and the arts. Indeed, it was at the annual festival of Dionysus in Athens that Greek tragedies and comedies—some of the most important literary creations of the ancient world—were performed in honor of Dionysus.

[mediamixs]

Top 10 Haunted Hotels

For those intrigued by the supernatural, staying at a haunted hotel can be an unforgettable experience. Here are ten of the most haunted hotels worldwide, known for their eerie histories and ghostly encounters.

The Stanley Hotel, Estes Park, Colorado Famous for inspiring Stephen King's "The Shining," The Stanley Hotel is reputedly haunted by its original owner, F.O. Stanley, and his wife, Flora. Guests often report hearing piano music and seeing apparitions in the hallways.

Hotel Chelsea, New York City, New York This historic hotel has hosted many famous artists and writers. Ghosts of Sid Vicious and Dylan Thomas are said to roam its halls, with numerous guests reporting strange noises and sightings of spectral figures.

The Langham, London, England The Langham is known for its ghostly residents, including a man in Victorian attire and Napoleon III's spirit. Guests have reported seeing these figures and experiencing unexplained phenomena in Room 333.

Hotel del Coronado, San Diego, California The ghost of Kate Morgan haunts this hotel after her tragic death in 1892. Guests have claimed to see her apparition dressed in black lace wandering the beach and her former room.

Crescent Hotel & Spa, Eureka Springs, Arkansas Once a hospital for cancer patients, this hotel is filled with ghostly stories. Visitors have reported feeling cold spots and witnessing apparitions of former patients throughout the building[1][4].

Omni Shoreham Hotel, Washington, D.C. Guests have reported hearing mysterious sounds and seeing apparitions of a young girl and a maid who died under tragic circumstances in the hotel.

The Red Lion Inn, Stockbridge, Massachusetts This inn is known for its ghostly inhabitants, including a young girl carrying flowers and a man in a top hat. Staff and guests frequently report strange occurrences on the fourth floor.

Emily Morgan Hotel, San Antonio, Texas Built on the site of a former hospital, this hotel is said to be haunted by the spirits of former patients. Guests have experienced mysterious phone calls and sightings of a woman in white.

Congress Plaza Hotel, Chicago, Illinois This hotel has a dark history involving numerous suicides. Guests have reported hearing whispers and seeing apparitions of those who tragically lost their lives within its walls.

Fairmont Banff Springs Hotel, Alberta, Canada Known as the "Castle in the Rockies," this hotel is haunted by various spirits including a bride who died before her wedding day. Guests report seeing her ghostly figure wandering the halls.

These hotels not only offer unique accommodations but also provide a glimpse into the past through their ghostly tales and paranormal activity. Whether you're a skeptic or a believer, these haunted locations promise an intriguing stay filled with history and mystery.

[sheetmusiclibrarypdf]

Happy birthday, Tom Waits (born in December 1949)

Happy birthday, Tom Waits (born in December 1949)Best Sheet Music download from our Library.Please, subscribe to our Library.Tom Waits' DiscographyFilmography (on Wikipedia)Tom Waits - "This One's From The Heart"Browse in the Library:

Happy birthday, Tom Waits (born in December 1949)

Thomas Alan Waits (born December 7, 1949) is an American musician, composer, songwriter, and actor. His lyrics often focus on society's underworld and are delivered in his trademark deep, gravelly voice. He began in the folk scene during the 1970s, but his music since the 1980s has reflected the influence of such diverse genres as rock, Delta blues, opera, vaudeville, cabaret, funk, hip hop and experimental techniques verging on industrial music. As per The Wall Street Journal, Waits “has composed a body of work that’s at least comparable to any songwriter’s in pop today. A keen, sensitive and sympathetic chronicler of the adrift and downtrodden, Mr. Waits creates three-dimensional characters who, even in their confusion and despair, are capable of insight and startling points of view. Their stories are accompanied by music that’s unlike any other in pop history.” Tom Waits was born and raised in a middle-class family in Pomona, California. Inspired by the work of Bob Dylan and the Beat Generation, he began singing on the San Diego folk circuit. He relocated to Los Angeles in 1972, where he worked as a songwriter before signing a recording contract with Asylum Records. His first albums were the jazzy Closing Time (1973), The Heart of Saturday Night (1974) and Nighthawks at the Diner (1975), which reflected his lyrical interest in poverty, criminality and nightlife. He repeatedly toured the United States, Europe and Japan, and found greater critical and commercial success with Small Change (1976), Blue Valentine (1978) and Heartattack and Vine (1980). During this period, Waits entered the world of film, acting in Paradise Alley (1978), where he met a young story editor named Kathleen Brennan. He composed the soundtrack for Francis Ford Coppola's One from the Heart (1982) and made cameos in several subsequent Coppola films.

In 1980, Waits married Brennan, split from his manager and record label, and moved to New York City. With Brennan's encouragement and frequent collaboration, he pursued a more eclectic and experimental sound influenced by Harry Partch and Captain Beefheart, as heard on the loose trilogy Swordfishtrombones (1983), Rain Dogs (1985) and Franks Wild Years (1987). Waits starred in Jim Jarmusch's Down by Law (1986), lent his voice to his Mystery Train (1989), composed the soundtrack for his Night on Earth (1991) and appeared in his Coffee and Cigarettes (2003). He collaborated with Robert Wilson and William S. Burroughs on the "cowboy opera" The Black Rider (1990), the songs for which were released on the album The Black Rider. Waits and Wilson collaborated again on Alice (2002) and Woyzeck (2000). Bone Machine (1992) and Mule Variations (1999) won Grammys for Best Alternative Music Album and Best Contemporary Folk Album, respectively. In 2002, the songs from Alice and Wozzeck were recorded and released on the albums Alice and Blood Money. Waits went on to release Real Gone (2004), the compilation Orphans: Brawlers, Bawlers & Bastards (2006), the live album Glitter and Doom Live (2009) and Bad as Me (2011).

Waits has influenced many artists and gained an international cult following. His songs have been covered by Bruce Springsteen, Tori Amos, Rod Stewart and the Eagles and he has written songs for Johnny Cash and Norah Jones, among others. In 2011, he was inducted into the Rock and Roll Hall of Fame. Introducing him, Neil Young said: "This next man is indescribable, and I'm here to describe him. He's sort of a performer, singer, actor, magician, spirit guide, changeling… I think it's great that the Rock and Roll Hall of Fame has recognized this immense talent. Could have been the Motion Picture Hall of Fame, could have been the Blues Hall of Fame, could have been the Performance Artist Hall of Fame, but it was the Rock and Roll Hall of Fame that recognized the great Tom Waits." In accepting the award, Waits mused, "They say that I have no hits and that I'm difficult to work with. And they say that like it's a bad thing!" Musical style Per Bowman, Tom Waits: has never been of his time, ahead of his time, or, for that matter, locked into any particular time. An outsider artist before the term was in common use, Waits has been enamored, at various points in his career, with the cool of 1940s and 1950s jazz; the 1950s and 1960s word-jazz and poetry of such Beat and Beat-influenced writers as Jack Kerouac, Lord Buckley, and Charles Bukowski; the primal rock & roll crunch of the Rolling Stones; the German cabaret stylings of Kurt Weill; the postwar, alternate world of invented instruments and rugged individualism of avant-garde composer Harry Partch; the proto-metal blues of 1950s and 1960s Howlin' Wolf and their extension into the world of Captain Beefheart's late-1960s avant-rock; the archaic formalism of 19th-century parlor ballads; Dylan's early- and mid-sixties transformation of the possibilities of language in the worlds of both folk and rock; the elegance of pre-war Irving Berlin, Cole Porter, and Hoagy Carmichael; the sophistication of postwar Frank Sinatra; and, more recently, the bone-crushing grooves of 1980s and 1990s funk and hip-hop. Indeed, the art of Tom Waits has altogether transcended time and, to some degree, place. Asked about the distinction between words and music, he says: "I'm still a word guy. I'm drawn to people who use a certain vernacular and communicate with words. Words are music, really. I mean, people ask me, 'Do you write music or do you write words?' But you don't really, it's all one thing at its best." His work was influenced by his voracious reading and by conversations that he overheard in diners. In addition to Kerouac and Bukowski, literary influences include Nelson Algren, John Rechy and Hubert Selby Jr. Bowman notes the influence of crime writers like Dashiell Hammett and John D. Macdonald. Tom Waits says that "for a songwriter, Dylan is as essential as a hammer and nails and saw are to a carpenter." Musical influences include Randy Newman and Dr. John. He has praised Merle Haggard: "Want to learn how to write songs? Listen to Merle Haggard." He is an opera lover, and recalls hearing Puccini's "Nessun dorma" "in the kitchen at Coppola's with Raul Julia one night, and it changed my life, that particular Aria… It was like giving a cigar to a five-year old." A jazz influence is Thelonious Monk: "He almost sounded like a kid taking piano lessons. I could relate to that when I first started playing the piano, because he was decomposing the music while he was playing it." Regarding his eclectic influences, he says: "I draw from all kinds of sources and I listen to a lot of things … I would recommend that when you are starting out that you stay with your own stuff and find out who you are. And stay with you mining your own unique qualities rather than trying to sound like somebody else. I mean you do start out like somebody else, and slowly you become yourself, so it's kinda like life, you know?" Waits described his voice as being "the sand in the sandwich." By 1982, Waits's musical style shifted; Hoskyns noted that this new style "was fashioned out of diverse and disparate ingredients." This new style was influenced by Beefheart and Partch. Noting that he had a "gravelly timbre", Humphries characterized Waits's voice as one that "sounds like it was hauled through Hades in a dredger." His voice was described by critic Daniel Durchholz as sounding as though "it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car." Rolling Stone also noted his "rusted plow-blade voice." One of Waits's own favorite descriptions of his vocal style was "Louis Armstrong and Ethel Merman meeting in Hell." Humphries cited him, alongside Newman, Kris Kristofferson and John Prine, as a number of U.S. singers who followed Dylan in breaking away from conventional styles of popular music and singing with their "distinctive" voices. Tom Waits can sing in falsetto, as heard on "Shore Leave", "Temptation" and "All Stripped Down". Waits said he couldn't sing in falsetto until after he quit smoking, adding "Nobody does it like Mick Jagger; nobody does it like Prince." He is known for his eclectic use of instruments, some of his own devising. On Swordfishtrombones, his orchestration included talking drums, bagpipes, banjo, bass marimba and glass harmonica; on Rain Dogs, accordion and harmonium; on Franks Wild Years, glockenspiel, Mellotron, Farfisa and Optigan; on Bone Machine and Mule Variations, the Chamberlin; on The Black Rider, the singing saw; on Alice, the Stroh violin; on Blood Money, a 57-whistle pneumatic calliope and an Indonesian seedpod. He explains "I use things we hear around us all the time, built and found instruments. Things that aren't normally considered instruments: dragging a chair across the floor or hitting the side of a locker real hard with a two-by-four, a freedom bell, a brake drum with a major imperfection, a police bullhorn. It's more interesting. I don't like straight lines. The problem is that most instruments are square and music is always round." As he later put it, "A lot of things are instruments and they don't even know it." Tom Waits' Discography Closing Time (1973) The Heart of Saturday Night (1974) Nighthawks at the Diner (1975) Small Change (1976) Foreign Affairs (1977) Blue Valentine (1978) Heartattack and Vine (1980) Swordfishtrombones (1983) Rain Dogs (1985) Franks Wild Years (1987) Bone Machine (1992) The Black Rider (1993) Mule Variations (1999) Alice (2002) Blood Money (2002) Real Gone (2004) Bad as Me (2011) Filmography (on Wikipedia)

Tom Waits - "This One's From The Heart"

https://www.youtube.com/watch?v=P40vLY45nQQ "This One's From The Heart" by Tom Waits from the 'One From The Heart' soundtrack Read the full article