#The Sound Of Mu(Sic) | Explore Tumblr posts and blogs

deliasamed · 11 months ago

Text

What is Six Syllable Types?

6 Syllable Types

Syllables are the building blocks of spoken language and can be categorized into different types based on their structure. Here are six different types of syllables: Closed Syllables: A closed syllable ends with one or more consonant sound and typically has a short vowel sound. When a closed syllable is followed by another syllable that begins with a consonant, the two consonant letters will come between the two syllables ( sum-mer, let-ter). In closed syllables short vowel can be followed two or more consonant letters (dill, jazz, mutt, bill, spell, floss, rattle, paddle, kiss). In closed syllables with short vowels, when a short vowel is followed by two or more consonant letters, those consonant letters often work together to create a single sound. This is known as a consonant cluster or consonant blend. For example: doll - The double l creates a single l sound after the short vowel o. rattle - The tt creates a single t sound after the short vowel a. paddle - The dd creates a single d sound after the short vowel a. kiss - The ss creates a single s sound after the short vowel i. This pattern helps maintain the closed syllable structure and assists in maintaining the short vowel sound within the syllable. The presence of a consonant cluster in a closed syllable can provide some protection for the vowel sound from the influence of suffixes. When a word has a closed syllable with a consonant cluster, the vowel sound is more likely to remain short and retain its original pronunciation even when suffixes are added. For example: hop (closed syllable with a short o sound) + -ing = hopping stop (closed syllable with a short o sound) + -ed = stopped chat (closed syllable with a short a sound) + -er = chatter swim (closed syllable with a short i sound) + -ing = swimming Open Syllables: An open syllable ends with a vowel sound and is spelled with a vowel letter. In open syllables, there is no consonant to close or protect the vowel sound, so the vowel typically remains long or pronounced as its natural sound. Examples of open syllables in words: so-lar - The first syllable so is open and ends with a vowel sound. mu-sic - The first syllable mu is open and ends with a vowel sound. mo-ney - The first syllable mo is open and ends with a vowel sound. vo-wel - The first syllable vo is open and ends with a vowel sound. And yes, one-syllable words like me, do, and be are also open syllables because they end with a vowel sound and are spelled with a vowel letter. In open syllables, the vowel sound is not protected by a following consonant, so it tends to be pronounced as a long vowel sound or its natural sound. Vowel-Consonant-E Syllables (VCe): Vowel-Consonant-e (VCe) syllables are often referred to as magic e syllable patterns or silent e syllable patterns. These syllables are characterized by a specific spelling pattern where a single vowel letter is followed by a consonant and then the letter e (hire, ware, mute, yoke) The magic e at the end of the syllable doesn't make its usual sound but instead influences the preceding vowel to be pronounced with a long sound. This changes the pronunciation and meaning of the word. Vowel Team syllables: Vowel teams, also known as vowel digraphs, are combinations of two vowels that work together to represent a single vowel sound. The most common vowel teams include: ee (as in meet) ea (as in heat) ai (as in rain) oa (as in boat) ou (as in out) Vowel teams are used to represent long vowel sounds, but they consist of two vowels, not a combination of long and short vowels. Digraphs are pairs of letters representing a single sound (consonant or vowel), and they can certainly be used in vowel teams. For example, ea is a vowel team, but it's also a digraph because the e and a together represent the sound /iː/. Anglo-Saxon Words and Vowel Teams: Anglo-Saxon words are Old English words that were used in the early history of the English language. While vowel teams are present in English words, their usage is not strictly limited to Anglo-Saxon words. Vowel teams can be found in words from various origins. Consonant Letters in Vowel Teams: oy, ey, ay, and ew, are indeed vowel teams, but they often involve a vowel combined with another vowel or consonant. For example: oy (as in boy) ey (as in key) ay (as in day) ew (as in new) Ough, augh, and igh are also examples of vowel teams, although they can have varying pronunciations based on the word. In summary, vowel teams consist of two vowels working together to represent a single sound, typically a long vowel sound. While some vowel teams can include consonant letters like y or w, the primary idea is that they involve two vowels. These patterns are not exclusive to Anglo-Saxon words; they can be found in words from different linguistic origins. Vowel -r syllables: Vowel-R syllables, also known as r-controlled syllables, are an important phonics concept for students to master. In these syllables, a vowel is followed by the letter r, and the r influences the way the vowel is pronounced. The r sound changes the way the vowel is produced, creating a unique sound that is distinct from both short and long vowel sounds. Examples of r-controlled syllables: In the words: herd, cart, germ, turtle, and shirt - The er, ar, ur, ir combinations create unique sounds different from regular short e, a u, i or long e, a, u, i sounds. Mastery of r-controlled syllables is important because understanding these patterns helps students accurately decode and spell words. The r sound influence on the vowel can make these words challenging for early readers and spellers. By recognizing and practicing these patterns, students can improve their reading, writing, and overall phonics skills. Consonant C-le syllables: Consonant-C-le syllables, also known as stable final syllables, are a specific syllable pattern that occurs at the end of words. In these syllables, the combination -cle is common, and it creates a specific sound pattern. When the Consonant-C-le syllable is combined with an open syllable, the final consonant is not doubled. Examples: cable - The cle combination creates a unique sound, and there's no doubling of the consonant. bugle - The cle combination also creates a unique sound, without doubling. However, when the Consonant-C-le syllable is combined with a closed syllable, the final consonant is usually doubled before the -le ending. Examples: dabble - The ble follows a closed syllable dab, and the b is doubled before the -le. little - The tle follows a closed syllable lit, and the t is doubled before the -le. topple - The ple follows a closed syllable top, and the p is doubled before the -le. Mastery of these patterns can help learners better understand the pronunciation and spelling of words with Consonant-C-le syllables. It's a helpful tool for decoding and encoding words accurately. The given consonants are found in Cle syllables: fle: raffle, shuffle, waffle stle: castle, bristle, wrestle gle: giggle, struggle, juggle kle: ankle, sparkle, crinkle zle: dazzle, puzzle, drizzle ble: table, marble, nimble tle: little, bottle, battle cle: circle, bicycle, icicle These examples demonstrate how various consonants are combined with -cle to create Consonant-C-le syllables in different words. What is Six Syllable Types? The Sound of Murmur Diphthong : AR, OR, ER, UR, IR, and YR The Spelling patterns for the letter “y” The Spelling patterns for the letter “o” The Spelling patterns for the letter “u” The Spelling patterns for the letter “a” The Spelling patterns for the letter “i” The Spelling patterns for the letter “e” The Phonics rules for reading and spelling Read the full article

0 notes

queengenamedicietherton · 1 year ago

Text

ALPHA-BET Is Medici Etherton Code, Code-X Leonardo da' Vinci. Alpha-bet/Bet: B-Bergerud, E-Etherton, T-time. Alpha-bet 8 letters, Medici numbers 5,8,13.

'MEDICI ETHERTON CODE' Leonardo da' Vinci gave us 7 Codes/Clues for Medici Etherton Code: L, V, S, M, Co, de, X. (Co-de-X) Leonardo da' Vinci invented the Alpha-bet he gave each letter a Code and invented the English language.

Medici Etherton Code:

A-Princess Angela de' Medici is Mona Lisa (America,) B-Bergerud (B-ible, B-oeing, B-itcoin, bet, book, bank, brick, bike, ) (k) C-King Cosimo de' Medici, D-Prince Leonardo da' Vinci de' Medici (day, date) E-Etherton (Evergreen, ) F- Prince Franc de'Medici (farm, Fir, fish, food, ) G-Queen gena de' Medici Etherton (Geneva Bible, Ge-or-ge, Ge-or-gia, green, Pu-ge-t Sound, ) H-horn, I-Italian, J-Juan Etherton (Jesus,) K-King Cosimo de' Medici, L-Prince Leonardo da' Vinci de' Medici ( Lake, LoVe) M-Medici (The M in 'The Last Supper', 'The Mayflower', Mu-seum, Medici-ne, M-ovie, Mu-sic, Medi-na, Medi-a) N-Prince Lorenzo de' Medici (number, ) O-Opera (Prince Lorenzo de' Medici,) oran-ge, P-Protect us (God,) q-Queen gena de' Medici Etherton ( IRAQ, Nasda-Q ) R-ruby ( IRAQ, Queen gena de' Medici Etherton, GEM S-ton-e, ) s-Superior (Jesus, Lake Superior,) t-TIME (God,) u-under, V-Prince Leonardo da' Vinci de' Medici, w-Washington, x-Prince Leonardo da' Vinci de' Medici (Code-X) y-Etherton (Yos-emit-e is time backwards) Z-Prince Lorenzo de' Medici (zoo, zero) (de) M-ed-ici backwards and De' ember. de: (R-ed, L-ed Zeppelin, gar-de-n, De-mocrat, de-mocracy, Unit-ed, F-ede-ral, In-de-pen-de-nce, De-laware, De-nver, De-t-ro-it, R-ed-mond, de-sert, R-ed-dit, vi-de-o, Ed-it-or, Mic-ro-soft Ed-ge.) Co-King Co-simo de' Medici: Co-untry, Co-unty, co-mputer, Co-de, Co-de-X, co-mpass, Co-lumbia, Co-ffee, co-caine, cho-co-late, co-lor, ee-Princess Etherton's (Coffee, green) ll-Bell Pi-(God) Pi, Pie, Pi-nterest, Pi-ano, Pi-ke, Pi-zza, Pi-ne, Pi-pe, Pi-nk, Pi-llow, H-ip-pi-e, Mississ-ip-pi. El-Etherton El-evation, El-ectric, El-ephant, oo-Orchestra (school, zoo, zoom). Peacefully, Queen gena de' Medici Etherton I am also a Bergerud.

#god #jesus #america #europe #instagram #facebook #wallstreetjournal #cnn #reuters #npr #nytimes #msnbc #senate #lasvegas #smithsonian #foxnews #seattletimes #nbcnews #apnews #abcnews #themet #presidentbiden #washingtonpost #potus #peoplemagazine #seattle #fox13 #washingtondc #komo4 #cnbc

#art history #art #louvre #museums #history #painting #artists on tumblr #portrait

1 note · View note

humans-are-space-orcs-1004 · 3 months ago

Text

Human Jon Episode 6 I think: lÙŃ;si

Jon sat down in a chair in their ship. They had just come back from Earth and the whole crew was ready to get back to work. They were assigned patrol duty of the Solar and Lomu Systems, so as their ship entered hyperspeed, Jon put in his AirPods 185+ Pro Max Ultra™️ to listen to his favorite songs. (!! I just came back from Sicilly (vacation) and holy hell in these ten days i must have spent like at least 14 hours in total with airpods on because we were traveling so fucking much!!)

B'ksa, walking in on Jon: Jon! I did not know you had bad hearing!

J: What? Oh you mean my AirPods? Oh no they're nor hearing aids, they're for music.

B': Mu...sic? What's that?

J: This is gonna sound really crazy to you but...

Jon opens his phone to look at cute cat pictures as Alice walks in.

J: ...hear me out.

A: What the fuck Jon? That's the wrong type of pussy you're supposed to be attracted to!

Jon is stunned by Alice's clothes and is flustered briefly.

J: I- uhh fuck I- fuck no that's not what I meant. I was explaining the concept of music to B'ksa.

A: Oh shit I wanna hear this one.

J: Ok B'ksa, sit down.

B'ksa sits down (Fuck did you expect, bitch?)

J: So, like thousands and thousands of years ago, humans realized if they made specific tools correctly, those tools would vibrate in a certain way which would make strange sounds.

And we really liked these sounds, so we spent more and more time developing tools to make more of these sounds and if we arranged multiple sounds together, it created a song. That is music. We invented devices to record and share this music that we love so much and sometimes people even move their bodies to music. That's called dancing.

B': That just sounds like what happened to Hö\ans with the concept of IÙŃ;si...

A: Of course you know what music is but not what a fucking fan does.

btw this one is a bit short because I really wanna play some brawl stars its been 10 days but I might expand it tmr bye bye now

Humans can’t possibly be the only intelligent life that makes music, that sings, dances and builds instruments to do it even better. If even our birds and whales sing then how could anyone deny that so could aliens. Who’s to say they don’t delight in it the same way we do, who’s to say music didn’t change their world the same way it’s changed ours again and again.

All this to ask, what would happen if aliens and humans shared their music with eachother? What new genres would be created? How many (forgive the pun) alien sounds would be created? Would there be alien and human choirs? a chorus of voices hailing from dozens of different systems brought together by the same driving force. What about alien human rock bands dazzling stages across every planet in the milky way and beyond?

#humans in space #humans are space orcs prompt #humans are space orcs #human jon

41 notes · View notes

chwedout · 3 years ago

Text

andrew garfield saying that mamma mia 2 is better than 1,,, a man after my own heart <3

#HE IS RIGHT AND U ALL KNOW IT #HERE WE AGO AGAIN IS THE SUPERIOR FILM #AND HE JUST SAID HE HATES THE SOUND OF MU/SIC HE REALLY IS THE DREAM #mary talks too much

0 notes

derbybeardo · 7 months ago

Text

now encoding: “1987 What The Fuck’s Going On” by The Justified Ancients of Mu Mu (1987 UK release)

#vinyl #record #electronic #hip hop #leftfield #plunderphonics #experimental #The justified ancients of mu mu #klf communication #the sound of mu(sic)

0 notes

neopronounsmybelovaed · 3 years ago

Note

i am unsure if my request went thru or if i did it anonymously, but could i have sound pronouns like buzz/buzz’s or hum/hums? thankq!

- ☢️

You can have SO many, apparently.

purr/purrs

honk/honk

buzz/buzz

pop/bop

pop/pop

static/static

zi/zip

bell/bell

wisp/wisp

whis/per

whisp/whisper

chat/chatter

chir/chirp

chirp/chirps

click/click

clink/clink

crackle/crackles

ech/echo

giggle/giggle

hi/hiss

murmur/murmur

mur/mur

pitter/patter

song/song

stat/static

tic/tic

tick/tock

chord/chord

crun/crunch

ec/echo

echo/echos

hiss/hiss

hum/hums

hum/drum

mu/sic

oct/octave

rasp/rasp

rattle/rattles

scre/scream

sing/sing

sta/static

thun/der

#they are in a specific order i swear #it looks random but it's not i have a system #pronoun recs #pronoun list #asks #queue/queer

25 notes · View notes

a-z0-9-i-n-gram-completionist · 9 months ago

Text

1: a b c d e f g h i k l m n o p r s t u v w x y 23/36 (23/26)

2: ac ai al an ap ar as at au av be bl bo bu by ca cc ce ch ci ck co ct de do ds dy ea eb ed ee el en ep er et ex fe fo fr fu ge gg gh gi gu ha he hi ho hr ht hu hy ic ig il im in io is it ix ki kn ks la lb le li ll lo ls lt ma me mi mm mo mu my nd ng no nt ny od of og ol om on oo op or os ot ou ow pa po pp pt pu py rd re ri ro se si so st su te th ti to ts tt tw uc ul um un us ut uy ve wh wi wn wo xa xf ym yo ys 138/1296 (138/676)

3: acc act ain alb all ano any app aun ave bee blo bod bum but cal can cci cco cis cki cks cou ded don eav ebl ebo een eli els elt epo ept ere ett exa fel fol for fro fuc ged get gge gho ght gim gul guy hap has hat hau hav her hic his hos hri hun icc ice ich igh ill imm ing int ion ith ixf kin kno lar lbu lea lic lix llo log low lse man meb mic mmi mor mou mus nde nds ngu not now nte nts nym ody ogg oll ome ony opu ord ore ost oth oun ous own pai pon pos ppy pti pus reb ric rig rom sep sic sin som sou sts suc ted tha the thi thr tin tio too tti twi uck ula und unt use usi uys whi who why wic wil wit wor xac xfe ymo you 156/46656 (156/17576)

4: acco aint albu anot appy aunt been blog body call ccis ccou ckin coun eave eblo ebod elic elix else epon epti etti exac feli felt foll from fuck gett gged ghos gimm gula guys happ haun have here hich host hric hunt icci ight immi ingu inte ixfe king know lbum leav licc lixf llow logg many mebo mmic more mous musi nded ngul noth nted nymo ogge ollo omeb onym opus osts othe ound ount pain pony post ptio rebl rice righ sept sing some soun suck that ther this thri ting tion ttin twic ucki ucks ular unde unds unte unts usic whic wice will with word xact xfel ymou 113/1679616 (113/456976)

5: accou ainte album anoth aunte blogg ccoun cking count eblog ebody elicc elixf epony eptio ettin exact felic felix follo fucki getti ghost gimmi gular happy haunt hosts hrice hunte iccis immic ingul inted ixfel leave licci lixfe logge mebod music ngula nothe nymou ogged ollow omebo onymo other ounde ounds ounts paint ponym ption reblo right septi singu someb sound sucks there thric tting twice uckin unded unted which xfeli ymous 72/60466176 (72/11881376)

6: accoun ainted anothe aunted blogge ccount counts eblogg elicci elixfe eponym eption etting felicc felixf follow fuckin gettin ghosts gimmic haunte hunted ingula ixfeli liccis lixfel logged mebody ngular nother nymous omebod onymou ounded painte ponymo reblog septio singul somebo sounde sounds thrice ucking xfelic 45/2176782336 (45/308915776)

7: account another blogged ccounts eblogge eliccis elixfel eponymo felicci felixfe fucking getting haunted ingular ixfelic lixfeli omebody onymous painted ponymou reblogg seption singula somebod sounded xfelicc 26/78364164096 (26/8031810176)

8: accounts eblogged elixfeli eponymou feliccis felixfel ixfelicc lixfelic ponymous reblogge singular somebody xfelicci 13/2821109907456 (13/208827064576)

9: elixfelic eponymous felixfeli ixfelicci lixfelicc reblogged xfeliccis 7/101559956668416 (7/5429503678976)

10: elixfelicc felixfelic ixfeliccis lixfelicci 4/3656158440062976 (4/141167095653376)

11: elixfelicci felixfelicc lixfeliccis 3/131621703842267136 (3/3670344486987776)

12: elixfeliccis felixfelicci 2/4738381338321616896 (2/95428956661682176)

13: felixfeliccis 1/170581728179578208256 (1/2481152873203736576)

My post is getting reblogged by gimmic accounts this fucking sucks

#max: 13

985 notes · View notes

syven-siren · 4 years ago

Photo

The night is going so well. The drinks are strong and the company has been enjoyable. It always is when that company includes Sam and Bucky. It’s perfect...

“Hey! Can I buy a pretty thing like you a drink?” A husky voice cat-calls you. The man is obviously more than one too many drinks over his limit.

Better to ignore the belligerent individual then allow him any time to pester you further. You continue your trek back to your spot at the bar. Unfortunately, that plan goes to shit when a grubby hand latches onto your forearm, halting your movements.

“I was talking to you. Maybe you didn’t hear ‘cause of the mu..sic.” The man hiccups out a sound which is as irritating as it is disgusting. The smell of alcohol wafts off him, nearly choking you. You wonder just how much he’s had to drink and are even more puzzled at how he can still be standing upright. Obviously unbalanced but upright nonetheless.

“Thanks for the offer but I already have someone buying me a drink. Now let go of my arm.” You try to remain polite but firm in your response. Not wanting to cause a scene that will further inconvenience you.

“Oh come on! I know you don’t have anyone over there. I’ve been watching you all night.”

Scowling at him, you wrench your arm from his grasp. “Fucking creep,” you mumble lowly, not expecting him to hear.

“You don’t have to be a bitch about it. It’s one drink. And maybe one more after that.” His voice grows louder with each word. You stumble back, nearly falling, as the stranger attempts to capture you again. A strong and familiar arm stops you from spilling to the floor.

“Back off. She said she wasn’t interested.” The words come out as a growl, rumbling deep in Bucky’s chest as he shifts you in between himself and Sam.

“One of you her boyfriend or something? You coming to protect her?”

“No,” Sam breathes out through clenched teeth. “Actually, we’re here to protect you from her. If you want to leave this bar on your own two feet, I suggest you back off now.”

The man laughs, thinking the two are joking. Taking a step towards you, he hiccups out a few mostly unintelligible profanity-laced lines.

“We warned you.” Bucky and Sam step aside, setting you free. As expected, the man reaches for you again but this time he receives a knee to the groin followed by a lovely elbow to the nose. Crumpling to the floor, he moans out in pain and begins apologizing profusely.

“Next time we’ll stay in,” Bucky suggests.

“Yeah but you still have to buy the beer.”

“What?! Why?!”

“Because you should’ve let me hit him thirty seconds sooner. All that time wasted and now my drink is warm.”

Sam bellows out a laugh at his friend’s misfortune and calls for another round on Bucky’s tab.

Tagging: @dark-night-sky-99 @quickpiet @misplacedorphan I hope you don’t mind that I tagged you.😊 Thought you’d like this while you wait for part 2 of the other imagine. I really like the trio as well. I might write imagines more often for them. If you have suggestions on the scenarios for these 3 that you’d like to see, let me know.

700 notes · View notes

castielgeralt · 3 years ago

Text

An Introduction to Iambic Pentameter

How Shakespeare Uses Meter to Create Rhythm and Emotion

When we speak of the meter of a poem, we are referring to its overall rhythm, or, more specifically, the syllables and words used to create that rhythm. One of the most interesting in literature is iambic pentameter, which Shakespeare nearly always used when writing in verse. Most of his plays were also written in iambic pentameter, except for lower-class characters, who speak in prose.

Iamb What Iamb

In order to understand iambic pentameter, we must first understand what an iamb is. Simply, put an iamb (or iambus) is a unit of stressed and unstressed syllables that are used in a line of poetry. Sometimes called an iambic foot, this unit can be a single word of two syllables or two words of one syllable each. For instance, the word "airplane" is one unit, with "air" as the stressed syllable and "plane" as the unstressed. Likewise, the phrase "the dog" is one unit, with "the" as the unstressed syllable and "dog" as the stressed.

Putting the Feet Together

Iambic pentameter refers to the number of total syllables in a line of poetry—in this case, 10, composed of five pairs of alternating unstressed and stressed syllables. So the rhythm ends up sounding like this:

ba-BUM / ba-BUM / ba-BUM / ba-BUM / ba-BUM

Most of Shakespeare’s famous lines fit into this rhythm. For example:

If mu- / -sic be / the food / of love, / play on ("Twelfth Night")

But, soft! / What light / through yon- / -der win- / -dow breaks? ("Romeo and Juliet")

Rhythmic Variations

In his plays, Shakespeare didn’t always stick to ten syllables. He often played around with iambic meter to give color and feeling to his character’s speeches. This is the key to understanding Shakespeare's language. For instance, he sometimes added an extra unstressed beat at the end of a line to emphasize a character's mood. This variation is called a feminine ending, and this famous question is the perfect example:

To be, / or not / to be: / that is / the ques- / -tion ("Hamlet")

Inversion

Shakespeare also reverses the order of the stresses in some iambi to help emphasize certain words or ideas. If you look closely at the fourth iambus in the quote from "Hamlet" above, you can see how he has placed an emphasis on the word “that” by inverting the stresses.

Occasionally, Shakespeare will completely break the rules and place two stressed syllables in the same iambus, as the following quotation demonstrates:

Now is / the win- / -ter of / our dis- / con tent ("Richard III")

In this example, the fourth iambus emphasizes that it is “our discontent,” and the first iambus emphasizes that we are feeling this “now.”

Why Is Iambic Pentameter Important?

Shakespeare will always feature prominently in any discussion of iambic pentameter because he used the form with great dexterity, especially in his sonnets, but he did not invent it. Rather, it is a standard literary convention that has been used by many writers before and after Shakespeare.

Historians are not sure how the speeches were read aloud—whether delivered naturally or with an emphasis on the stressed words. This is unimportant. What really matters is that the study of iambic pentameter gives us a glimpse into the inner workings of Shakespeare’s writing process, and marks him as a master of rhythm to evoke specific emotions, from dramatic to humorous.

#Thalia Romme #david stakston

9 notes · View notes

berlysbandcamp · 3 years ago

Audio

This compilation of songs is not meant as a historic reflection of popular music of the “Arab world.” It is a very personal selection of songs we grew to like at Habibi Funk. It is music that historically never existed as a unified musical genre. We think it’s important to make this distinction and to have the listener understand that the majority of the music on this compilation does not come from the highly famous names of the musical spectrum of North Africa and the Middle East. Instead, the final body compiled for this record consists of some – at least for us – nichey pearls and often overlooked artists; resulting in a diverse range of styles from Egyptian organ funk, disco sounds from Morocco, an example of the lively reggae scene of Libya, political songs from Lebanon, soundtrack music from Alge- ria, a musical union between Kenya and Oman, and much more. The photo we chose for this cover somehow could be seen as an allegory of the sounds we feature on the label. It depicts Algerian composer Ahmed Malek at an ice cream bar dur- ing his stay in Japan for the World Expo in Osaka, 1970. He later said that his visit to Japan and especially the manga culture left a distinctive mark on the way he created his own compositions. With this in mind, it feels as a suiting visual representation for the mu- sic on this compilation. Accordingly, the compilation you are holding in your hands offers a much wider range of music than just funk influenced sounds. Sure, it brings back Fadoul, who we have already dedicated a full length album to. He was the mystical Moroccan singer who - influenced by the sounds of James Brown- created his own musical vision full of energy but also still very intimate. Another artist we have featured before is Ahmed Malek, the grand Algerian soundtrack composer, whose music is largely connected by a distinct feeling of melancholic beauty or Hamid Al Shaeri, the Egyptian hit producer whose track “Ayonha” was probably the most widely appre-ciated track off our first compilation. But we have also learned that this format of a compilation can serve as a medium to introduce artists to our audience, who we are planning to dedicate full length releases to in the near future, such as Ibrahim Hesnawi. Hesnawi is the father of reggae music in Libya - a genre still widely popular in Libya - and whose presence in the country is commonly connected to the rhyth- mic similarities of reggae with some form of Libyan folkloric music. Nahib Alhoush is another Libyan artist, whose musical output we will spotlight in the near future. In the 1970s, he was the co-founder of Free Music, one of the first Libyan bands introducing western influences into their music. After the band stopped performing together he started an at least equally successful solo career under his own name. When I got into Arabic music around five or six years ago, I knew pretty much nothing about it. Realistically, I still know very, very little about it and I’m by no means an expert. I just had the opportunity to visit the region frequently, trying to learn about music I might like. Most of the bands, I happen to enjoy, were fairly obscure and therefore a lot of the music on this compilation seems to be largely forgotten. After sharing many of the old records and tapes online through mixes, I have realized that there is a huge disparity be- tween the interest in the music on the one hand and its availability on the other. All tracks on this compilation are fully licensed, most directly from the artist or in the case of artists, who are deceased licensed from the artist’s family. There are two exceptions: Hamid Al Shaeri’s track was licensed from SLAM! as the label is still active under the name Sonar. Zohra’s “Badala Zamana” from the great Belgian label MTMU, who has reissued this track under license from the producer on 7” format before. As a European label dealing with non- western artists we try to be aware of the responsibilities that derive within the making, regarded from a post-colonial point of view by demanding on ourselves not to reproduce exploitative economic patterns. We split all of the profits from our releases equally with the artists without deducting any costs that are not directly related to the release (e.g. we pay for our research to find an artist as well as all travel costs from our share of the profit). Our agreements are licensed deals with limited terms after which the rights fall back to the artist or the artist’s family. The master rights stay with the artists, we just license them. We do not include publishing rights in our deals. We think it is important in today's reissue market, where too many shady business transactions happen, to be transparent about our licensing policies. We are always available for any questions, requests as well as more detailed information.

#Arabic #habibi funk

12 notes · View notes

ducktracy · 4 years ago

Text

190. porky at the crocadero (1938)

release date: february 5th, 1938

series: looney tunes

director: frank tashlin

starring: mel blanc (porky)

at long last, frank tashlin has succumbed to putting porky on a diet. this is the first tashlin short to have a slimmed down porky, officially putting an end to “fat porky”’s reign.

the story credit goes to lew landsman—a bit of an anomaly, considering this is his only credit. much of the scoop on him has been lost to the sands of time, but evidently he was a gag artist, selling comic drawings to magazines and even touting showings of his art throughout the ‘40s and ‘50s. you can read more about him here.

porky aspires to be a bandleader at the prestigious crocadero (a parody of the cafe trocadero, a bumping nightclub on the sunset strip from 1934-1947), but quickly realizes he’s too poor to afford its flashy admittance fee. he works as a dishwasher, hoping to catch a whiff of the festivities, but is quickly let go after he proves too incompetent for the job. nevertheless, an impromptu change in plans finds porky at the bandstand conducting a number of acts, including a high-energy cab calloway finale.

the typography of the title card melts away, the camera panning out as we get a full view of the crocadero, illuminated by the moonlight and its flashy neon sign. pan back in to the sign and fade to a standee:

all of the selections are references to pieces of music, with said music serving as accompaniment. the score begins with “little man, you’ve had a busy day”, switches to “in the shade of the old apple tree”, and closes with a carl stalling favorite, “the lady in red”.

pan over to porky, eagerly ogling the sign. volney white’s animation and mel blanc’s vocals combine to make an energetic performance that will only grow in fervor. “hot duh-dee-duh-dee-duh-diggity dog! all thuh-the-thee-the big shots in person!” the detail of porky’s little hat flipping around, staggering in time to his stutter, is not only funny, but elevates the energy of the sequence. “someday, i’m uh-guh-geh-uh-gonna lead a band, too! s-see?”

porky unfurls a diploma, to which we get a close-up of his not-so-trustworthy credentials (fingernails and all):

volney’s animation continues to be full of character as porky blabs on about how he’s gonna become a famous bandleader. “and meh-muh-mee-mm-maybe i’ll be eh-feh-eh-famous, like eh-leh-lee-le-leopold eh-seh-stokowski!”

a nice change in camera angles as we turn to an upshot of porky, furiously conducting his imaginary band to a rousing rendition of “poet and peasant overture”.

the mood changes from fervent conductor to crooner as he chooses to mimic rudy vallee, conducting along to vallee’s 1937 “vieni, vieni”, complete with a hilariously amiable facial expression--a stark contrast to the fit he was throwing mimicking stokowski just seconds prior.

another seamless transition in tone to an impression of eh-buh-bee-beh-benny goodman, the song this time being “sweet georgia brown” in the stylings of the king of swing himself. the changes in mood and tone, in both the animation and the music, are as smooth as butter, especially for such drastic shifts in expression. frank tashlin doesn’t skip a beat with his pacing. this is especially true as the camera pans over to another nearby sign, a hilarious sight gag quickly putting an end to porky’s festivities:

dejected, porky rifles in his pocket and pulls out a lone coin emblazoned with a skunk—“one scent”. he trudges along solemnly, away from the crocadero, when all of the sudden a sign catches his eye: BOY WANTED. though porky has been slowly growing more consistent in his characterization, his age still fluctuated from picture to picture. frank tashlin would also portray him as a young boy in wholly smoke just a few months later.

tashlin flaunts his need for speed as porky wastes no time doing the signature volney white eye take and darting into the crocadero, a cloud of dust and the swinging of the doors serving as the only indication of his presence just milliseconds prior.

although the sign doesn’t elaborate on what job it is that porky is doing, the tower of dishes blocking the screen as we fade in to the new scene answers any lingering questions. pan out to porky, happily scrubbing away, while his boss, a pretentious walrus whose vocal stylings are hilarious and borderline incomprehensible orders him around. the bargain—if porky does his job, then he can “watch the orrrrrrchestrey, maybe, hmmm?”

a throwback to the days of working with disney, carl stalling “mickey mouse”’s a little penguin waiter—that is, his quick little steps are fervently timed to the jaunty tinker of an xylophone. the walrus blocks the diminutive penguin, peddling a platter of soup. after they inadvertently do a tango of side-stepping, the penguin wordlessly slides down the walrus’ back, zigzagging around a sea of tables, and right over to a lone giraffe, elevating the table like a car jack to fit the gjraffe’s height. the giraffe laps up his soup with ease. though not the funniest gag ever, tashlin’s quirks—the quick timing, hiding the penguin behind the plethora of tables, etc, make it more endearing.

back to porky, carrying a dangerously tall tower of plates with him. a fly causes him to nearly spill his goods, but ducking in place renders the pig safe. that is, until he throws all of the dishes in the air, swatting the fly spastically. the music cue of porky ducking, looking around to make sure the fly is gone, sounds eerily similar to the stylings of norman spencer, who scored the cartoons up until mid-late 1936.

without a break in pace, porky catches all of the dishes he threw into the air in one fell swoop. more buttery pacing from tashlin, who is able to switch tones and moods at lightning speeds without missing a beat. this is INCREDIBLY difficult to pull off, and he makes it look too easy.

as to be expected, the fly lands right on porky’s snout. instead of attacking it without hesitation, porky slowly reaches for a spoon on the kitchen counter... and THEN disregards his duties as dishwasher, carelessly tossing his pile of dishes aside to swat furiously at his foe.

the pompous walrus from before spots porky’s silhouette from outside the kitchen doors, flailing and waving around like a madman. “der loafer!” his boss interprets porky’s frantic waving of the spoon as a frantic imitation of a bandleader, promptly tossing him out. porky recovers in the back alley, left with his diploma and metaphorical birds of cartoon pain as the boss scolds “today, you are a ham!”--a take on the bar mitzvah declaration “today, you are a man”, which has been spoofed previously in cartoons such as egghead rides again.

it doesn’t take long for the boss to eat his own words. frank tashlin does a great job of creating a genuinely anxiety inducing mood as a crowd of people, now filling the crocadero, chant “we want mu-sic! we want mu-sic! we want mu-sic!” the musical accompaniment is more akin to the stylings of scott bradley, in the sense that it’s purely atmospheric and contextual, rather than an actual melody. the chanting and disconcerting music get louder as we cut to dramatic up shots of hands clapping to the beat, down shots of foots stamping, etc. it’s genuinely unnerving--and the manager agrees, pacing circles around his office, muttering incoherently to himself about the absence of “the musicmaker”.

knocking on the door serves as a symbol of hope as the manager whips around. “who’s dere?”

“telegram, i bet’cha!” inside bursts a total loon of an old man, his long, white beard whipping in the wind as he does donuts on his bicycle inside the manager’s office. if it weren’t for his looks and speech patterns, which already tell a story, carl stalling’s score of “the woods are full of cuckoos” certifies that this old coot definitely has some screws loose.

the old coot reaches into the depths of his beard and pulls out said telegram. “y’ owe me sixty cents, i bet’cha.” the manager unceremoniously dumps a handful of coins into the coot’s possession, who does a few more donuts in the office, indicating his exit. that is, until he suddenly halts, tipping his hat to bid “g’bye, i bet’cha.” such a scene is nonsense--and it’s hilarious nonsense rather than perplexing nonsense. it makes no sense, and yet it’s speedy enough to get its point across AND not overstay its welcome. had the same gag been executed by someone such as ben hardaway, who probably would have LOVED this gag, it would have been milked to death and bloated to ensure the audience “got it”. here, frank knows when to start and when to stop, an incredibly valuable skill not all directors possess.

contents of the telegram include a rather morbid nod to the hit ‘20s song “i faw down an' go boom”:

to add insult to injury, the old coot sticks his head in the door and adds “yeah, and they won’t come ‘t all, i betcha!” before slamming the door. though i can’t place the animator, the style of the animation looks eerily similar to that of izzy ellis’, from the spiral motion lines to the thin, squished look of his face. izzy ellis would animate in the clampett unit after leaving ub iwerks’ studio, later animating under norm mccabe, frank tashlin himself, bob clampett again, and then bob mckimson. an example of some of his work under frank tashlin here.

back to the crowd, still demanding their music in the same unnerving drone. the manager continues to pace in his office, until a bright idea hits. “that sving dishvasher! i must get him back schnell!”

a moment of frank tashlin greatness: the entire cartoon screeches to a halt as a narrator explains “ladies and gentlmen, ‘schnell’ means ‘quick’!” and, just like that, cartoon hijinks resume. this joke is hilarious 83 years later--imagine the reaction it evoked from theatergoers in 1938. once more, the matter-of-fact execution of the gag is what sells it. no build up, no cool down, no bloating of anything. short, sweet, and to the point. it’s so hilariously and purposefully redundant that you can’t NOT laugh at it.

speaking of quick, that would be an understatement to describe the rapid cutting after the fact. the manager rushes outside, whipping around street corner after street corner to find the dejected dishwasher he berated just minutes prior. he finds his target, grabbing porky and rushing backwards--the same way he came at the same exact lightning speed--all while monologuing about how porky can be a bandleader and break all of the dishes he wants.

again, no breaks in momentum whatsoever as the bandleader tosses a nonplussed porky into a bandleader’s outfit, stuffing a pillow under his shirt (had this cartoon been made a few months prior, there’d be no need for a pillow!) and giving him a fake mustache/curl of hair via makeup. “pull de vool over dere eyes!”

thus cues the music portion of the cartoon. a spotlight shines on a sign introducing porky as “the jazz king”, much to the pleasure of the audience. a giraffe in the orchestra introduces the song with a clarinet solo of “rhapsody in blue” before getting down to business.

porky, dressed as paul whiteman, conducts whiteman’s “avalon”, as indicated by the music stand. volney white does some great animation here--porky struggles to keep his own weight afloat, his giant pillow-stomach sinking to the ground. he readjusts himself a few times, enjoying the spare seconds of peace where his outfit stays intact, only for the same charade to repeat. fun eye takes and volumetric animation from volney. it’s no coincidence that he was one of tashlin’s best animators.

the crowd shots in this cartoon are not to be overlooked--kudos and apologies for the poor people who had to ink and paint all of that! the crowd dances along to the stylings of porky’s music, including a pair of kangaroos and their joeys slow dancing together.

back to the little penguin waiter from before, tinkering along to deliver a drink. a spare trombone sucks up all of the goods in the glass, prompting a hilarious grimace from the penguin who just stands still, silently glowering before traipsing backwards (mickey mouse timing and all) to refill.

cut to porky, who appears much more jovial. a clever pan out reveals that he’s enlisted in the help of a car jack to keep his extra weight afloat. and, with that, curtains (animation reused from the introduction to tashlin’s porky’s romance) close out on the pig. applause from the audience.

next up, “guy lumbago and his boiled kanadians”, a not-so-flattering nod to guy lombardo and his royal canadians. porky, dressed as a canadian mountee, directs “cryman lumbago”. carmen lombardo, brother to guy, was often poked fun at for the excessive vibrato in his voice--people would liken him to sounding like an old man on his last legs. not only that, but even by the ‘30s, guy lombardo’s music was often dismissed as slow, sappy “old person’s music”. the 1954 woody woodpecker cartoon, real gone woody, also makes fun of lombardo, also dubbing him as “lumbago” and calling him a square.

indeed, cryman lumbago is a decrepit old man with--you guessed it--lumbago, singing in a hilariously obnoxious vibrato. even the dancers in the crocadero stagger along to his vibrato, their dancing stuttering. the benign facial expressions of the crowd, despite all of this, is the perfect cherry on top. one wonders if guy/carmen lombardo ever saw this cartoon, and how they reacted to it...

just as the gag threatens to overstay its welcome (and, admittedly, it has), a screwball assistant who looks like a relative to another random screwball in porky’s duck hunt scoops lumbago into a wheelchair and wheels him off stage. the audience applauds, and there’s a feeling that they aren’t just applauding the music.

cue the most controversial, uncomfortable, yet also complex part of the cartoon: a tribute to cab calloway, or, as he’s dubbed here, cab halloway.

for today i’ll spare you the imagery, but we’re greeted by a (thankfully) rare anomaly in the porky pig-verse: porky and his orchestra are dressed in blackface, conducting a rousing rendition of “chinatown, my chinatown”.

obviously, any and all blackface is abhorrent, but this is an interesting case. it’s clear that this was meant to be an homage and celebration of cab calloway’s music. a certain level of care seems to have been put into this sequence—it’s not a cheap throwaway “haha blackface” gag purely just for laughs. the animation is FILLED with a surprising amount of energy and vitality, and the vocals of the calloway impression are eerily spot on. analyzing the animation from a technical standpoint, it’s VERY skillful. it is NOT easy to convey such high energy and such elasticity. the animation is vivid, rapid, and invigorating. for 1938 especially, such energy is jarring. this feels more like the climax of a 1945 bob clampett cartoon, not a run of the mill 1938 porky pig cartoon.

BUT, with that said, it’s still extremely uncomfortable--blackface is blackface, and just because the techniques behind it are good doesn’t mean the material being animated is good. as i mentioned, the intentions don’t entirely feel as nasty as other examples we have/will seen, but that doesn’t negate the harm it does. you can have affectionate homages to cab calloway and his music without blackface--look at betty boop’s snow white. plus, because the song is “chinatown, my chinatown”, any nuance this scene had is discredited when porky switches from blackface to dressing up as a stereotypical chinese man. uncomfortable and unnecessary--THAT is a cheap throwaway gag.

nevertheless, it’s not in my place to preach about what is racist and what isn’t. speaking purely from a technical standpoint--the techniques and processes that went into the animation itself--this is a very impressive performance. high energy in both music and animation. the elasticity, speed, all of it is very impressive. the content BEING animated, however, has aged like rotten milk. though this isn’t as meanspirited as other instances that we’ll explore, it still absolutely has its problems and definitely encourages mindful thinking.

regardless, the number ends to uproarious applause, and porky successfully lives his dreams of being a bandleader. the cartoon closes on the penguin waiter, once more peddling a drink. just as the offscreen trombone threatens to steal his drink, the penguin swallows it all in one go and blows a raspberry to the trombone as we iris out.

an interesting entry for sure. frank tashlin’s talents cannot and should not be understated--his speed and timing of the cartoon are certifiably one of the most impressive aspects of the cartoon. indeed, a lot of fun music in this one, whether that be underscores or otherwise. the design of the cartoon holds up very well--tashlin’s streamlined backgrounds and layouts are always a treat to look at. porky is very endearing, especially in the beginning with his imitation of all of the bandleaders, and the incomprehensibility of the walrus is too funny not to laugh at.

of course, the elephant in the room is the ending tribute, which we already discussed. from a technical standpoint, the vivacity of the animation should absolutely be commended and appreciated, especially this early on. the music is VERY fun. but blackface is blackface, and it just hasn’t aged well and comes off as uncomfortable--at least--regardless.

with that, whether you choose to watch this cartoon is up to you. i think this is definitely one of tashlin’s best porky cartoons, and despite its gags and references that have now become dated, it still serves as an enjoyable watch. the whole blackface thing, however, is why this isn’t a cartoon i frequent often. i would trepidatiously recommend this, either skip the calloway sequence or watch it with an open mind. in all, a fun cartoon that i unfortunately can’t quite appreciate to its fullest extent.

with all that said, here’s a link!

#lt #looney tunes #porky at the crocadero #tashlin #reviews #long post #racism tw

15 notes · View notes