#blake worrell

[oceanevi]

SMOKEY JOE & THE KID - So Sexy (Feat. Blake Worrell)

[goalhofer]

Where every player played during the 2004-05 NHL lockout: Colorado

Belarusian Extraliga: Kārlis Skrastiņš (H.K. Riga 2000) Czech Extraliga: Milan Hejduk (H.K. Moeller Pardubice) DEL: John-Michael Liles (Iserlohn Hähne) GET: Travis Brigley (Vålerenga Ishockey) Liiga: Ossi Väänänen (Helsingen Jokerit) ECHL: Jonathan Battaglia (Mississippi Sea Wolves) & Philippe Sauvé (Mississippi Sea Wolves) NL: David Aebischer (C.D.H. Lugano) & Alex Tanguay (C.D.H. Lugano) SEL: Peter Forsberg (Modo Hockey) & Dan Hinote (Modo Hockey) AHL: Dennis Bonvie (Hershey Bears), Brett Clark (Hershey Bears), Cody McCormick (Hershey Bears), Kurt Sauer (Lowell Lock Monsters) & Marek Svatoš (Hershey Bears) Didn't Play: Rob Blake, Bob Boughner, Adam Foote, Chris Grattan, Paul Kariya, Steve Konowalchuk, Joe Sakic, Teemu Selänne & Peter Worrell

[montyterrible]

Clouseau, Worrell, and the “Son of” Gambit

Several years ago, when I was re-watching the Blake Edwards Pink Panther movies during what passed for COVID-19 “lockdown” here in America, I went into the experience with the hope that I’d find something to love in the 1982 Trail of the Pink Panther, a film very much about Peter Sellers’ bumbling Inspector Jacques Clouseau but which features very little of him owing to Sellers’ death before filming began. The resulting movie uses old footage of Sellers in the role to set up a plot where Clouseau is maybe killed and then the rest of the film focuses on a journalist attempting to put together a piece on him and his life. What I had hoped was that what I already knew from my childhood impressions of the movie would be wrong and that adult me would find some sort of misunderstood jewel. Instead, it ended up being every bit as ungainly and weird as I remembered/suspected.

While I had some lasting impressions of Trail (mostly scenes of Clouseau’s father, one of which had some background nudity in it), my feelings about Son of the Pink Panther (1993), one of several post-Sellers attempts at continuing the franchise, were even less flattering and barely concrete at all. More than anything, I just remembered not liking it the single time I watched it previously.

The moral of the story, I felt, was that the Edwards-Sellers collaboration had been a delicate mix—beautiful, very funny, and ultimately irreplaceable, in much the same way that director and screenwriter John Cherry III and actor Jim Varney sustained the Ernest P. Worrell character across a similarly expansive series of films. Seeing essentially that character in 1997’s Snowboard Academy and how the spark seemed missing there felt like further proof to me of my theory: You needed Sellers and Edwards, Cherry and Varney for these over-confident, lovable bumblers to work, and any attempt that was missing part of the pair would come up lesser.

The basic conceit of Son of the Pink Panther—that Clouseau had a son who’s Just Like Him!—was apparently even something considered for the Ernest character at one point. It’s just such a… hacky concept, though, right? It reeks of Marketability, even though I guess the comedic idea is kind of funny in its own right, even if it has basically no realistic sense to it. Like, if your father was always late to work, you will be too for some reason, or you’ll always lose your glasses on top of your head because he did it a lot…

On re-watch, I think Son of the Pink Panther is mostly fine, but it’s at its absolute best and is actually most funny when it doesn’t wallow as transparently in the memories. Roberto Benigni’s Jacques Gambrelli crashes his bike into the car of long-suffering Clouseau-hater Chief Inspector Dreyfus (still played by Herbert Lom), and right away he’s doing the old Clouseau thing of mispronouncing words. Later in the movie, once his parentage is finally revealed to him, he’ll have his name changed to Jacques Clouseau Jr., and then he starts dressing like his father and has to meet the man’s old butler (Cato, still played by Burt Kwouk) and his disguise-maker. Of course, there’s such a thing as having what amount to in-jokes with an audience of a series this long-running, but there’s this unavoidable feeling of fatigue (on my part) seeing what feels like a naked attempt to push this obviously different man in front of me and try to make me accept him as Clouseau, for all intents and purposes, by dint of all the most obvious signifiers that have been thrown on him.

There’s one scene where Gambrelli disguises himself as a doctor to infiltrate the ranks of the terrorists who have kidnapped Princess Yasmin (Debrah Farentino) and gets progressively drunker and more messed up on medical alcohol and Novocaine as he attempts to treat the head terrorist’s arm wound. It’s a scene that very much recalls Sellers’ Clouseau’s dentist attempting to pull an ailing Dreyfus’ tooth in the extremely non-canonical The Pink Panther Strikes Again (1976). It’s just much less uproariously hilarious this time around.

But then, when it stops trying to remix old jokes, Son of the Pink Panther can be quite funny in its own right, and I can’t even say none of the callbacks work, because there’s just something about a man getting accidentally pushed out of a window and crashing through a skylight that I can’t resist. And I just love Edwards’ filmmaking as a general rule: the indulgences, in particular. Scenes of intrigue or drama or comedy where he just sort of, in modern parlance, lets it all… cook.

There’s a whole long Clouseau-less intro focused on just the international intrigue parts of the plot, and I was almost immediately grinning and rooting for the rest of the picture to live up to my hopes. There aren’t any musical numbers here, unfortunately, but there is a sort of club scene where Gambrelli can smash into tables repeatedly and accidentally get right up in the business of a belly dancer and in which a chaotic brawl can break out.

I hate that Gambrelli ends up changing his name and his wardrobe to be more Clouseau-like because he does kind of have his own things going on, with the opera singing and Shakespeare quoting. Benigni is physically quite capable of credibly doing the Sellers slapstick too, and a more original personality with familiar goofs and gaffes is pretty acceptable to me.

As strange as it might sound, I’m glad that Dreyfus gets his own happy ending here. The initial setup and back-of-the-box synopsis give off a worrying amount of “Here we go again!” energy, but Dreyfus ends up pursuing Gambrelli’s heritage (and his attractive mother!) with something much more immediately recognizable as benevolent and even paternal. His cartoonish fate in Strikes Again, where his Clouseau obsession was pushed to its absolute limit, was to be vaporized by his own doomsday weapon. Here, he takes the much more human, even realistic, path of seeing the infuriating Gambrelli as someone to invest in and to help, perhaps for something like old time’s sake.

It’s all a much more fitting send-off for the Clouseau character as well—not just in the literal text of the thing (since he’s explicitly, definitely dead now), but also in spirit and in tone. This is, it feels like, the end of him. Yeah, the torch is obviously passed, but he is also honored in a way that feels much less ghoulishly necromantic. To use Sellers’ likeness and old scenes in Trail was a mistake, maybe even a betrayal. In some ways, Son feels like an apology, even as it simultaneously tried (and failed) to keep the series alive for money-making purposes.

It's still derivative and didn’t need to exist, but in a capitalist hell world, I suppose the Ernest franchise could have done worse than to have its own theoretical “Son of” film, as long as it turned out like this one. Which is to say, only sometimes insufferably, humorlessly indulgent and backward-looking.

[stephdau]

Smokey Joe & The Kid - Somehow (Feat. Blake Worrell)

Smokey Joe & The Kid – Somehow (Feat. Blake Worrell)

[floatedmag-blog]

Smokey Joe & The Kid - Jailhouse Blues ft. Blake Worrell

more genre blending: rap, blues, folk with snappy music video

[thesplintering]

Sit DOWN Sunday Comic Book News Livestream - 22 August 2021 Edition

Sit DOWN Sunday Comic Book News Livestream - 22 August 2021 Edition | #comics #indiecomics #comicbooks #toys #crowdfunding

On the latest installment of Sit DOWN Sunday (hosted on Patrick Thomas Parnell’s YouTube channel Riot Press Productions), The Splintering founder Blake Worrell and fellow Splintering contributor George Travlos got another chance to discuss recent comic book news with Parnell and Wart the Wizard creator Mandy Summers. This week, we discussed the closing of Parnell’s Ultra Star campaign, the…

[bluebeardsbride-archive]

reading list for 2020 2019 reading list literature recommendations last updated 7.1.2020

crossed = finished bolded = currently reading plain = to read * = reread + = priority

ask if you want PDFs!

currently reading: The Brutality of Fact: Interviews with Francis Bacon by David Sylvester We Eat Our Own by Kea Wilson Frankissstein by Jeanette Winterson Inferno by Dante Aligheri

novels (unsorted) The Border of Paradise by Esmé Weijun Wang +Justine by Lawrence Durrell Blood Meridian by Cormac McCarthy +Death in Venice by Thomas Mann* The Robber Bride by Margaret Atwood The Name of the Rose by Umberto Eco* The Letters of Mina Harker by Dodie Bellamy Story of the Eye by Georges Bataille +Nightwood by Djuna Barnes +Malina by Ingeborg Bachman A Girl is a Half-Formed Thing by Eimear McBride Monsieur Venus by Rachilde +The Marquise de Sade by Rachilde +A King Alone by Jean Giono +The Scarab by Manuel Mujica Lainez +The Invitation by Beatrice Guido Operation Massacre by Rodolfo Walsh She Who Was No More by Boileau-Narcejac Mascaro, the American Hunter by Haroldo Conti European Travels for the Monstrous Gentlewomen by Theodora Goss Kiss Me, Judas by Christopher Baer Possession: A Romance by A.S. Byatt The Grip of It by Jac Jemc Celestine by Olga Ravn The Girl Who Ate Birds by Paul Nougé The Necrophiliac by Gabrielle Wittkop Possessions by Julia Kristeva

classics The Decameron by Giovanni Boccaccio* Purgatio by Dante Aligheri Paradiso by Dante Aligheri

short story collections The Wilds: Stories by Julia Elliot The Dark Dark: Stories by Samantha Hunt Severance by Robert Olen Butler Enfermario by Gabriela Torres Olivares Sirens and Demon Lovers: 22 Stories of Desire edited by Ellen Datlow and Terri Windling The Beastly Bride edited by Ellen Datlow  +Vampire In Love by Enrique Vila-Matas Collected works of Leonora Carrington Collected works of Silvina Ocampo Collected works of Everil Worrel Collected works of Luisa Valenzuela

theatre +Faust by Goethe The Tragical History of Doctor Faustus by Christopher Marlowe Phaedra’s Love by Sarah Kane

nonfiction (unsorted) Countess Dracula by Tony Thorne +The Bloody Countess by Valentine Penrose Infamous Lady: The True Story of Countess Erzsebet Bathory by Kimberly L. Craft Blake by Peter Akroyd Lives of the Necromancers by William Godwin A History of the Heart by Ole M. Høystad On Monsters by Stephen T. Asma +Ghostly Matters: Haunting and the Sociological Imagination by Avery Gordon +Consoling Ghosts : Stories of Medicine and Mourning from Southeast Asians in Exile by Jean M. Langford essays (unsorted) When the Sick Rule the World: Essays by Dodie Bellamy Academonia: Essays by Dodie Bellamy ‘On the Devil, and Devils’ by Percy Shelley +An Erotic Beyond: Sade by Octavio Paz

poetry +100 Notes on Violence by Julia Carr

academia (unsorted) Essays on the Art of Angela Carter: Flesh and the Mirror edited by Lorna Sage The Routledge Companion to Literature and Food edited by Lorna Piatti-Farnell, Donna Lee Brien Cupid’s Knife: Women's Anger and Agency in Violent Relationships by Abby Stein Traumatic Encounters in Italian Film: Locating the Cinematic Unconscious by Fabio Vighi The Severed Flesh: Capital Visions by Julia Kristeva Feast and Folly: Cuisine, Intoxication, and the Poetics of the Sublime by Allen S. Weiss

on horrror Terrors in Cinema edited by Cynthia J. Miller and A. Bowdoin Van Riper Robin Wood on the Horror Film: Collected Essays and Reviews by Robin Wood Monster Theory: Reading Culture by Jeffrey Cohen The Philosophy of Horror, or Paradoxes of the Heart by Noël Caroll Dark Dreams 2.0: A Psychological History of the Modern Horror Film from the 1950s to the 21st Century by Charles Derry Monsters of Our Own Making by Marina Warner Monster Culture in the 21st Century: A Reader edited by by Marina Levina and Diem My Bui

the gothic Woman and Demon: The Life of a Victorian Myth by Nina Auerbach Skin Shows: Gothic Horror and the Technology of Monsters by J. Halberstam +Perils of the Night: A Feminist Study of Nineteenth-Century Gothic by Eugenia C. Delamotte Art of Darkness: A Poetics of Gothic by Anne Williams Body Gothic: Corporeal Transgression in Contemporary Literature and Horror Film by Xavier Aldana Reyes On the Supernatural in Poetry by Ann Radcliffe The Gothic Flame by Devendra P. Varma Gothic Versus Romantic: A Reevaluation of the Gothic Novel by Robert D. Hume A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful by Edmund Burke Over Her Dead Body by Elisabeth Bronfen The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology by Kate Ellis Gothic Documents: A Sourcebook, 1700-1820 by E. Clery Limits of Horror: Technology, Bodies, Gothic edited by Fred Botting The History of Gothic Fiction by Markman Ellis The Routledge Companion to the Gothic edited by Catherine Spooner and Emma McEvoy Gothic and Gender edited by Donna Heiland Romanticism and the Gothic Tradition by G.R. Thompson Cryptomimesis : The Gothic and Jacques Derrida’s Ghost Writing by Jodie Castricano

bluebeard Bluebeard’s legacy: death and secrets from Bartók to Hitchcock edited by Griselda Pollock and Victoria Anderson The tale of Bluebeard in German literature: from the eighteenth century to the present Mererid Puw Davies Bluebeard: a reader’s guide to the English tradition by Casie E. Hermansson Bluebeard gothic : Jane Eyre and its progeny Heta Pyrhönen Bluebeard Tales from Around the World by Heidi Ann Heiner

religion The Incorruptible Flesh: Bodily Mutation and Mortification in Religion and Folklore by Piero Camporesi Afterlives: The Return of the Dead in the Middles Ages by Nancy Caciola Discerning Spirits: Divine and Demonic Possession in the Middle Ages by Nancy Caciola “He Has a God in Him”: Human and Divine in the Modern Perception of Dionysus by Albert Henrichs The Ordinary Business of Occultism by Gauri Viswanathan The Body and Society. Men, Women, and Sexual Renunciation in Early Christianity by Peter Brown

cannibalism Eat What You Kill: Or, a Strange and Gothic Tale of Cannibalism by Consent Charles J. Reid Jr. Consuming Passions: The Uses of Cannibalism in Late Medieval and Early Modern Europe by Merrall Llewelyn Price Cannibalism in High Medieval English Literature by Heather Blurton +Eating Their Words: Cannibalism and the Boundaries of Cultural Identity edited by Kristen Guest Dinner with a Cannibal: The Complete History of Mankind’s Oldest Taboo by Carole A. Travis-Henikoff

crime Savage Appetites by Rachel Monroe In Cold Blood by Truman Capote The Mind Hunter: Inside the FBI’s Elite Serial Crime Unit by John Douglass

theory/philosophy Life Everlasting: the animal way of death by Bernd Heinrich The Ambivalence of Scarcity and Other Essays by René Girard Interviews with Hélène Cixous Symposium by Plato Phaedra by Plato Becoming-Rhythm: A Rhizomatics of the Girl by Leisha Jones The Abject of Desire: The Aestheticization of the Unaesthetic in Contemporary Literature and Culture edited by Konstanze Kutzbach, Monika Mueller The Severed Head: Capital Visions by Julia Kristeva

perfume & alchemy Perfume: The Alchemy of Scent by Jean-Claude Ellena The Perfume Lover: A Personal Story of Scent by Denyse Beaulieu Past Scents: Historical Perspectives on Smell by Jonathan Reinarz Fragrant: The Secret Life of Scent by Mandy Aftel Das Parfum by Patrick Süskind* Scents and Sensibility: Perfume in Victorian Literary Culture by Catherine Maxwell The Foul and the Fragrant by Alain Corbin +throughsmoke by Jehanne Dubrow “The Ugly History of Beautiful Things: Perfume” by Katy Kelleher

medicine The Butchering Art by Lindsey Fitzharris

Finished (Vampires): An Uneasy Essay on the Undead in Film by Jalal Toufic

[votava-records]

SMOKEY JOE & THE KID - Somehow (Feat. Blake Worrell)

[dippedanddripped]

Visiting Asheville, North Carolina, in December, I walked past a sandwich board that read, “Synth you’re here, come on in.” It was a pop-up store selling T-shirts, mugs, and other memorabilia commemorating one of the town’s most famous citizens, electronic music pioneer Bob Moog.

This month, celebrating what would be the inventor’s 85th birthday, that storefront reopens as the Moogseum. It celebrates not only Moog’s innovations, but also those of his contemporaries who created the synthesizers and other devices that transformed music beginning in the ’60s and ’70s. It’s the latest project of the Bob Moog Foundation–the nonprofit archive and educational institution established in 2006 by his youngest daughter, Michelle Moog-Koussa. (It’s unaffiliated with Moog Music, the company her father founded.)

Moog, who died in 2005, did not invent the synthesizer. Instead, “he’s the one who made it mainstream,” says Mark Ballora, professor of music technology at Penn State University. He became a celebrity, and people used “Moog” (which rhymes with “vogue”) as a synonym for electronic music.

A classically trained pianist, Moog worked closely with a wide range of musicians to understand what they wanted out of a device for generating electronic music. His synthesizers found incredibly diverse applications–from Herb Deutsch’s avant-garde compositions to Bernie Worrell’s funkadelic jams to Wendy Carlos’s classical music blockbuster Switched on Bach. Moog also collaborated with other inventors–including digital music pioneer Max Mathews and even rival synth maker Alan Pearlman (who died in January).

With today’s software-defined digital media, it’s harder to appreciate the naked physics of early electronic music and the radical transformation that manipulating these forces enabled. “Nothing fazes the students now,” says Richard Boulanger, professor of electronic production and design at the Berklee College of Music in Boston, and a protégée of both Moog and Pearlman. “We’re transforming their voices and turning trash cans into drum kits, and we’re sounding like aliens just when we cough.”

ADVERTISING

inRead invented by Teads

But “when we first heard the sound of a Moog synthesizer in the late ’60s and early ’70s . . . it just blew your mind,” says Boulanger. “It was like the sound of the future.” Indeed it was: Today, Moog synthesizers are standard kit for many leading musicians, from Kanye to Lady Gaga.

MOOG FOR THE MASSES

The Moogseum packs a lot into its 1,400 square feet, including iconic instruments like the Minimoog Model D and Minimoog Voyager synthesizers, an interactive timeline of synth technology from 1898 to today, and a replica of Moog’s workbench.

Beyond celebrating the past, the Moogseum aims to teach future generations, including non-musicians. The central vehicle for this is the exhibit Tracing Electricity as It Becomes Sound–an interactive wraparound video projected inside an 8-foot-tall, 11-foot-wide half dome, created by Milwaukee-based media company Elumenati.

“What we’re trying to impart is that you are in the middle of the circuit board, observing what’s going on,” says Moog-Koussa. “There will be a custom knob controller, so that people can actually interact with representations of transistors, capacitors, and resistors,” she adds. “So that they can actually become part of the circuit.” (The foundation aspires to create online versions of exhibits in the coming year.)

This honors Moog’s visceral, even New-Agey, relationship with physics. “I can feel what’s going inside of a piece of electronic equipment,” the inventor said in the 2004 documentary Moog.

He developed that feel when he started building and selling theremins, beginning at age 14 or 15 (Moog said both in different interviews). Invented by Léon Theremin in the 1920s and a staple of sci-fi classics like The Day the Earth Stood Still, the instrument allows players to create eerie tones by moving their hands through electrical fields. Three Moog theremins are on display in the museum.

Moog-Koussa isn’t just trying to cater to people who are already familiar with her father’s work. “Our work in education and archives preservation, and now with the Moogseum, will extend way beyond people who play synthesizers,” she says. The foundation she leads has an ambitious plan to bring hands-on education to schools across the country. It’s finalizing the design for the ThereScope, a battery-powered device that combines a theremin, amplifier, and oscilloscope to visualize the electrical waveforms behind sounds.

This would extend the foundation’s regional education program, Doctor Bob’s Sound School, which began in 2011. The 10-week curriculum now reaches about 3,000 second-graders a year in western North Carolina. “We have 13,000 young children who can read waveforms and explain to you the variances in pitch and volume,” says Moog-Koussa. “And that’s just one of our lessons, out of 10.”

THE STRADIVARIUS OF ELECTRONICS

Unlike the college-dropout entrepreneurs of Silicon Valley, Moog stayed in school–earning a PhD in physics from Cornell in 1965, while continuing his theremin business. In 1964, he built his first “portable electronic music composition system,” later dubbed a synthesizer. The device was capable of producing over 250,000 sounds.

It was not the first synthesizer–a point that Moog-Koussa herself emphasizes. But the high quality captivated musicians. That was despite its temperamental nature. Moog’s early voltage-controlled oscillators, which produce the raw electrical waveforms, were susceptible to current fluctuations from the electric grid and to temperature changes. As they warmed up, the synthesizers drifted out of tune.

To solve the problem, Moog partnered with Pearlman, founder of rival company ARP Instruments. In exchange for Pearlman’s stable oscillator circuit, Moog offered his elegant ladder filter technology, which refines the oscillator output.

“If you start with a raw analog waveform . . . it’s a buzz, like your alarm system,” says Boulanger. “Are you ready to make love songs to the sound of your smoke detector?” He calls Moog’s oscillators and filters “the Stradivarius of electronic instruments.”

Moog’s first synthesizers were huge boxes of electronics stacked and wired together in a spaghetti tangle of patch cables. In 1970, he combined the functions of his modulars into a compact device called the Minimoog Model D, which featured a piano-style keyboard as the main interface. (Pearlman did the same with his iconic ARP 2500.)

The Minimoog eliminated patch cables but included a wide assortment of knobs and switches, plus Moog’s signature mod and pitch-bend wheels. It gave musicians huge latitude in crafting the sounds underlying those piano keys. It also featured a pitch controller, an electronically conductive metal strip that sensed static discharge from the players’ fingers, allowing pitch inflections like those of a stringed instrument. Invented in the 1930s, the technology is proof that touch interfaces long predate the smartphone era.

The Model D controls “liberated” keyboard players, says Boulanger. “It allowed a keyboard player . . . to take a lead role and be so expressive with unique new sounds that reached through and spoke to an audience, like a singer could, like a guitarist could, like a cellist could.”

SUSTAINED SOUND

Moog synths are so central to the music of past-century icons like George Harrison, Herbie Hancock, Kraftwerk, and Parliament-Funkadelic that it’s easy to dismiss them as the sound of the past. Documentaries and articles about the inventor tend to focus on those formative years in the ’60s and ’70s. Moog’s New-Agey sensibilities and lingo further reinforce the old hippy vibe.

But Moog continued innovating into the 21st century. His swan song, the Minimoog Voyager, was released in 2002, just three years before his death from brain cancer at age 71. It was an analog synthesizer, but equipped to interface with digital music equipment.

The synth sounds of Moog and his contemporaries have persisted though a variety of genres and artists. When I asked Moog Music–the company that Bob Moog founded, lost, and then reacquired in his final years–for examples of artists currently using its instruments, I got a list of over 30 acts. The diverse assortment includes Alicia Keys, Deadmau5, Flying Lotus, James Blake, Kanye West, Lady Gaga, LCD Soundsystem, Queens of the Stone Age, Sigur Ros, St. Vincent, and Trent Reznor.

Moog Music’s brand director Logan Kelly also called out up-and-comers, including trippy synth instrumentalist Lisa Bella Donna and the Prince-mentored, all-woman soul trio We Are King. (See the embedded playlist below for samples–or full versions if you’re a Spotify subscriber–from these and other artists.)

And despite the digital tools at their disposal, Boulanger says that his students are also pulling analog devices into their compositions–even modular synthesizers, which are experiencing a revival in a somewhat-miniaturized style called Eurorack.

Moog Music continues to turn out new, hand-built synthesizers. “A lot of the circuitry that Bob designed, we still look to that for inspiration and use it in almost all of our instruments,” says Kelly. Its newest, a semi modular synthesizer called Matriarch, has just gone on sale. The company also puts out limited reissues of classic full-size modulars and synths like the Minimoog Model D.

There are also mobile-app recreations of instruments including the

Minimoog Model D

(which sells for $15) and the

modular Model 15

($30). “It was a UI/UX challenge to capture the feeling and the fun of actually patching [cables for] this instrument on a mobile device,” says Kelly. Companies such as Arturia also make software emulations of Moog’s analog circuits, used as plug-ins for digital music composition. A 2012 Google Doodle even honored the 78th anniversary of Moog’s birth with a

tiny online playable synthesizer

.

And with many of Moog’s, Pearlman’s, and other inventors’ patents having expired, companies such as Behringer and Korg are turning out budget reproductions of classics. They’ve won praise from some musicians, such as Boulanger, for making the devices accessible to starving students, but derision from others who feel the companies are free-riding off the inventors’ legacies.

Behringer’s stripped-down reproduction of the Model D, for instance, sells for around $300 (without a keyboard), vs. $3,749 for Moog Music’s full re-issue (which is no longer in production). Kelly declined to speak on the record about Behringer’s and others’ third-party devices, but emphasized that Moog sells synthesizers in a wide price range, starting at $499.

CONTINUING EDUCATION

We don’t know how Bob Moog would have felt about the knockoffs, but he did work hard to bring music technology to as many people as possible.

“He would champion anyone and everyone,” says Boulanger, who describes himself as being “just some little guy” composing music when he met Moog in 1974. “He ended up writing articles about some of my music in Keyboard magazine [in the mid-1980s] and helped launch my career,” says Boulanger.

“When my father developed a brain tumor and was quite ill, we set up a page on CaringBridge for him,” says Michelle Moog-Koussa. “And from that we got thousands of testimonials from people all over the world about how Bob Moog had impacted and sometimes transformed people’s lives.”

But Moog’s five children were largely left out of that experience. “My father really held his career at arm’s length from our family,” says Moog-Koussa. She believes this comes from her father’s wariness of parents projecting desires onto their children.

“He had a very domineering mother who wanted him to be a concert pianist, and was quite heartbroken when he decided to pursue electronics,” she says. (Moog studied piano from age 4 to 18 and was on his way to a professional musical career when he pivoted to engineering.)

“We kind of knew the basics [of his work], but, at least half of those basics, we learned from external sources,” says Moog-Koussa. They also knew few of their father’s collaborators, aside from Switched-On Bach creator Wendy Carlos.

Since her father’s death, Moog-Koussa says she’s developed relationships with many of the legends her father worked with, such as composers Herb Deutsch and Gershon Kingsley and musicians Rick Wakeman, Herbie Hancock, Stevie Wonder, and the late Keith Emerson.

In a way, the foundation and Moog Museum seem as much an effort of Moog’s own family to discover their father as to educate the rest of the world.

“I don’t think we realized the widespread global impact and the depth of that impact,” she tells me. “And we thought, here’s the legacy that has inspired so many people from all over the world. That not only deserves to be carried forward, but it demands to be carried forward.

[justsportsgalore]

From Dream Shake:

A nationally televised game on ESPN’s big Wednesday night of basketball, with Jeff Van Gundy calling the game in his hometown! Two teams with identical records, the Rockets “struggling” to 7-3, while the Clippers have been “dominant”, if one consults certain sources. The stage was set for inexplicable favorite Kawhi Leonard (aka The Forklift) and inexplicable villain, James Harden (aka The Beard), to face off. Face off they did.

The first quarter was pretty much all Rockets, with Houston playing faster, more aggressive basketball, spreading the ball and making shots. The Clippers seemed stuck in the mud, and managed a paltry 15 points, to the Rockets 31. T

The main downside for the Rockets was the collection of four fouls in the quarter for Russell Westbrook. The first three seemed legit, but the fourth looked like a no-call, with Westbrook and NFL linebacker prospect Rodney McGruder tussling in a sequence that would have been best ignored by the refs.

It would prove to be an ominous sign for the many perplexing officiating decisions to come.

The second quarter was ponderous, but the preponderance was in favor of the Clippers, as they cut the Rockets lead considerably late in the quarter. A flurry from the Rockets to close the half cut the 2nd quarter advantage to 4 points for LAC. The half concluded with the Rockets leading 49-37, a score line from Days of Yore, in the NBA.

The third quarter featured a considerably crisper Clippers, with Lakers reject Ivica Zubac seemingly making a ton of good passes, and also scoring for the Clippers. His stat line of 7pts, 3 rebounds and 2ast doesn’t do his impact in the quarter justice. Fortunately he was substituted and did not return, as he often proved too powerful for Clint Capela to overcome in close to the basket.

The Rockets without Eric Gordon and Danuel House had to rely on Austin Rivers and Ben McLemore to come through from the pass out to the (usually wide open) 3pt shot. They did not deliver, going 3-16 between them. Much of the Clippers closing on the Rockets had to do with non-Harden Rockets shooting poorly. Westbrook also elected to shoot threes, and mid-range shots, particularly when other Rockets declined to attempt shots, after their misses. This is not Bestbrook. It might even be described as Worstbrook. Or even, sigh, Westbrick. That said, he made key shots late, and it’s hard to blame him for not going to the basket when his attempted drives to the basket were met with obvious fouls, and few to no calls.

Westbrook getting a technical foul (at far below Draymond Disrespect levels) after complaining of being mauled on a drive (he was), is just a sample of reffing horrors that afflicted both sides.

Long, pointless reviews, extremely touchy technicals, touch fouls called, followed by obvious contact and no call. Ponderous reviews were exacerbated by the sense that the referees were perhaps instructed to call certain things to watch for certain actions by the Rockets, but not the Clippers, offensive fouls in particular.

The Clippers continued to whittle down the Rockets lead, scoring 31 in the quarter to the Rockets 25, as The Forklift and JaMychal Green seemingly could not miss. Green finished the night 4-7 from 3pt range, and also took out Clint Capela on an NFL-style hit to the head, so he had a good outing from a Clippers perspective.

The fourth quarter began all Clippers, and stayed that way for much of it, as the Rockets, sans Harden, continued to clank away from downtown (Austin Rivers, Ben McLemore) , at the basket (Rivers, Westbrook, McLemore, Thabo Sefalosha,), mid-range (Westbrook).

The Clippers whittled away, and eventually took a four point lead on a 4pt play by Leonard that featured Thabo Sefalosha’s hand being very near Kawhi’s after the shot.

That call seemed to anger James Harden. He finished driving layups in traffic, he made his patented FU3 from 30+ feet. He made free throws off Patrick Beverley’s weird new defensive tactic: attempting to stick his head between his opponents thighs while guarding him.

Beverley is a player I quite admire, but as Rockets announcer Bill Worrell might have said “Patrick just doesn’t have enough sand in his pants to guard Harden.” It’s true, despite Beverley trying desperately to get into Harden’s pants in a strange, basketball-ish, fashion.

The end of the fourth featured Harden lighting the Clippers up, Westbrook making a key 3pt shot, and Beverley getting a tech on his sixth foul, and then another tech after his sixth foul and disqualification.

In the brouhaha surrounding Beverely, Doc Rivers attempted to call an inappropriate timeout of some sort. His own son pointed out that this should draw a technical foul (true). He then signaled for his father to phone him. It was truly Epic Trolling, son to father. I expect there are at least 30 memes already.

At this point Rivers and the whole Clipper side embraced The Classic Clipper Complainer Within. It was historically accurate. They flounced around with a sense of injustice, didn’t really do much more playing of basketball, and generally had a hissy fit in a game they’d managed to lose almost entirely on their own.

In the end, it was reffing confusion and chaos. The Clippers seemed to leap upon this as an excuse for their impending loss, and acted like a bunch of children. It was like Blake Griffin, Chris Paul, Matt Barnes and JJ Reddick had never left, such was the whining.

Doc Rivers is the one constant in the Clippers being a particularly whiny and self-pitying team. The purportedly emotionless forklift Kawhi Leonard has apparently had a whining module installed in LA. This magnificent achievement demonstrates the unstoppable progress of science, and its constant improvement of our lives.

Kawhi showed off his new software mod when James Harden magicked the ball out of his hands late, with a spectacular steal. This sort of steal is apparently to be admired by all when done BY Kawhi, but is the worst sort of foul when done TO Kawhi (according to Kawhi).

So now two teams that began the evening with identical records don’t have identical records anymore. The Rockets won a big game behind James Harden’s 47 points (on 7-13 from 3pt range), 7 assists, 6 rebounds and 3 steals. He’s probably the best player in the NBA, and is averaging (averaging!) close to 40 a game.

The Clippers were still down Paul George, who opted not return from injury tonight so that the Clippers would have him the next game, when Kawhi Leonard would presumably rest on the second night of a back-to-back. Why the Clippers possibly thought they couldn’t beat Memphis without him is unclear. My theory is that Paul George is avoiding the Rockets. The also didn’t have Landry Shamet, due to injury.

The Rockets were missing Eric Gordon and Danuel House, two key players, and later, Clint Capela, who had 20 rebounds and 12 pts at the time. The Rockets center seemed to suffer a head injury. The Swiss Rocket was taken out in a play that both highlighted bad calls, and the ponderous review, or in this case, non-review process, despite the game stopping a considerably amount of time, for the disallowed Coaches Challenge and later explanation as to why it was declined. In Capela’s case, standing in the restricted area apparently means a player can’t suffer a flagrant foul.

In the end a weird, disjointed, odd game where the Clippers showed that the more things change, the more they stay the same.

[swimmersdaily]

One year until the 2021 U.S. Olympic Team Trials - Swimming USA Swimming celebrates the 365 days countdown until the 2021 U.S. Olympic Team Trials - Swimming.

[captainskells]

Somehow by smokey joe & the kid (feat. blake worrel)

[thesplintering]

Sit DOWN Sunday Comic Book News Livestream - 2 May 2021 Edition

Sit DOWN Sunday Comic Book News Livestream - 2 May 2021 Edition | #comics #MonochromeMay #YouTube #comicbooks #IndieComics

On the latest installment of Sit DOWN Sunday (hosted on Patrick Thomas Parnell’s YouTube channel Riot Press Productions), The Splintering founder Blake Worrell got another chance to discuss recent comic book news with Parnell and The Splintering’s own George Travlos. This week, we discussed the latest news on Parnell’s Ultra Star campaign, The Splintering’s Monochrome May event, plus a slew of…

[pizzarcasm]

 I see my freedom in visions Get up to speed to living I supersede the defeat Like a teacher speaking wisdom Get down to business and handle this shit we trample Everyone just trying to manage within comes that evil twin to preaching... We in a billion of little shimmering chameleons Who cover up our existence Seems like no one gonna make a difference (come back) Just look at the picture different (Recap) Forget the limits keep crushing them boulders (Take that) Some moments come up to make look in the mirror Knock sense in my fear of drowning surrounded by evil stares (It goes) I say goodbye to all that poison inside Within the evil eye I see an endless pit of demise I'm sick of the judging it's nothing but hate in disguise So much assuming the worst while its truth is denied The power resides to the one questioning why And the one who confides and admits to the crime

Jailhouse Blues - Smokey Joe & The Kid, Blake Worrell

[mlourushton]

DANNY BROWN - When It Rain - Official Music Video from mimi cave on Vimeo.

CREDITS Label: Warp Records Director: Mimi Cave Director of Photography: Alexander Dynan Producer: Dale Wilson Executive Producer, Doomsday: Danielle Hinde Head of Production, Doomsday: Daniel Kent AC: Kyle Adcock Gaffer: Joe Vargo Key Grip: Matt Malone Props: Angela Worrell Glam: Robbin Kraus Editor: Blake Bogosian Assistant Editors: Joelle Wagner, Seth Andrews Colorist: Eric Pascua Dancers: Chris Asaka, Latifa AlasadCraig, Peyton Ackley, Dana Barnes, Ray Boggues, Eric Broadnax, Malik Broadnax, Isaiah Cotton, Curtis Cross, Zarah Crowell, Marshall Darey, Marlec Davis, Aja R. Edwards, Sean Ellington. Shantynique Forté, Brendon Flowers, Justin Gaines, Dion Glenn, Willie Green, Vincent Huff, London Hughes, Joshua Jenkins, Christopher Johnson, Kayla Kimbro, Kyla Lewis, Rachel J Matthews, Aaron M Badugha, Arionna McIntosh, Jazmond Merritt, Jauhar Page, John Patton, Kennedy Patton, Haleem Ar Rasheed, Arielle Riley, LaNiya Robinson, Charles Sewell, Paris Singletary, Zharia Taylor, Kiaris Taylor, Malcom Thomas, Dru Wes, Corey Whitfell, David Williams, Jonté M Williams, Walter Williams

Special Thanks: Beast Editorial SF, Bonnie J. Oits

[henricosgoodvibrations]

SMOKEY JOE & THE KID - Jailhouse Blues (Feat. Blake Worrell)