#i do like the instruments add-on part of jazz agent BUT LIKE

[picusviridis]

whyd they gotta make the jazz agent the coolest sounding class then give them the most like boring-in-comparison battle theme. like hello theyre literally the music guys

[nbbkatherine]

Connecting the Dots

Homeland by Cory Doctorow; Charlie’s Angels, 2019 Elizabeth Banks film; Numb3rs tv show; You Look Like a Thing and I Love You by Janelle Shane; Parasite, 2019 Bong Joon-ho film; the chilliad by Molly Of Geography webserial; Westworld tv show; Future Friends album by Superfruit; Dickinson tv show; after-words bookstore in Chicago, IL; webcomic name by Alex Norris; American Gods by Neil Gaiman; GINGER by BROCKHAMPTON; Russian Doll tv show.

Woohoo it’s been two years of Never Be Bored! This blog is all about relating different types of media together, and in the twenty-five posts so far, I’ve written about over one hundred books, movies, tv shows, and more. We could plot out each of these posts on a graph—nodes for individual recommendations and edges connecting recs in the same post. So buckle up folks, today we’re going to connect those dots so that we get one, big, beautiful connected graph.

Already some of the work is done. Too Like the Lightning is featured in Really Big Worms and The R Smith Edition. Worm is featured in The R Smith Edition, All Superheroes Need Therapy, and It’s the End of the World as We Know It and I Feel Fine. The first twelve posts all got a bonus recommendation from A Year In Review. Kurt Vonnegut wrote both Slaughterhouse Five from Nonlinearity and Galápagos in And So On. Elsewhere University from Strange and Yet Familiar got a shoutout in A+ in Applied Magics.

Let’s start off easy, making connections with what we’ve already got.

Do you hear that? Arrival, from Nonlinearity, and The Vast of Night, featured in Something in the sky, are two sci-fi movies about listening to aliens. For a modern take, with lots of scenes about trying to figure out xenolinguistics, go for Arrival, but if you’d rather something creepy and retro with dramatic monologues, give The Vast of Night a try.

Takeshi Kovacs is one bad ass mother fucker who is just over this shit, but still somehow gets roped into flashy fight scenes. If you liked that character in Altered Carbon, from To Whom Am I Speaking?, you’ll like the story of Duncan Vizla, aka the Black Kaiser, an almost-retired hitman in Polar, a Year in Review bonus rec to Floor It.

Bright Star (featured in The Northwestern Edition) and Hadestown (featured in It’s an old song) are both blues/jazz/folk musicals about a double love story. Bright Star is loosely based on a Missouri folk tale, Hadetown is inspired by Greek mythology. Both are excellent.

Cosmo Sheldrake (The How How Much Much and I from Strange and Yet Familiar) and Hozier (Hozier and Wasteland, Baby! from Daisies & Death) both create music that makes you imagine old fairy magic in the forest. Cosmo Sheldrake’s “Hocking” is like what I’d envision playing at a fae celebration of summer solstice, while Hozier’s “Wasteland, Baby!” is the sad love song from after the party’s over.

And now, let’s add entirely new nodes to our graph with new recommendations to connect posts.

Too Like the Lightning by Ada Palmer (Really Big Worms, The R Smith Edition) is a very idea-forward book, and (one of) the catalysts that kicks off the story is a stolen newspaper article draft. Ada Palmer is a professor who researches intellectual history, and it absolutely shows in her writing as her books explore the implications of a society based on certain ideas. Cory Doctorow is another favorite author of mine who also writes idea-forward fiction—if you liked Too Like the Lightning, try his Homeland, in which Marcus Yallow is entrusted with an archive documenting government and corporate crime, and has to figure out how to publish it without getting arrested. I would also highly recommend this book, available to download for free from Doctorow’s website, if you liked The Information: A History, A Theory, A Flood by James Gleick (Something in the sky). Although Homeland is fictional, as you read you’ll learn things too—about information security, the darkweb, evading surveillance, and protesting tips.

I want more action movies starring women, because I love a good fight sequence and watching things go boom, but I’m tired of watching men with big guns in movies with, like, one named woman character. Kingsman: The Secret Service (A Year in Review bonus rec to Non je ne regrette rien) just barely passes the Bechdel test, but I will give it a bonus point for having two badass women main characters who aren’t love interests (ugh, the bar is so low). And if you liked the aesthetic of Kingmen’s gentlemen spies, then you might like Elizabeth Bank’s 2019 reboot movie Charlie’s Angels. Naomi Scott, Ella Balinska and Kristen Stweart all kicking ass on screen? Yes, please! Continuing in that vein, see also Ocean’s 8 (Floor It) for an all-women heist crew, set on stealing diamonds from the Met Gala.

My favorite episodes of Hannibal (Daisies & Death) are the one-off monster-of-the-week type episodes, where the FBI is investigating a murder and Will Graham, profiler extraordinaire, is called in for help. If you’re into crime shows like that, try Numb3rs, streaming on Hulu, a tv show about two brothers—one, Alan, an FBI agent and the other, Charlie, a mathematician. Together they solve crimes, using fluid dynamics, disease spread modeling, wavelet analysis, and many more areas of applied math. (I learned a little about sabermetrics, the statistical analysis of baseball, from one episode, so I dropped that term in conversation with a sports-obsessed acquaintance freshman year in college. We became good friends, and I’m pretty sure that conversation was part of why.) For more on applications of mathematics to real world problems, read The Code Book by Simon Singh, featured in On Computability, which details the math theory behind creating and cracking encryption over the centuries.

The Imitation Game, a Year in Review bonus rec to On Computability, is named for an artificial intelligence thought experiment proposed by Alan Turing in 1950, before anything resembling modern computers even existed. In Robopocalypse by Daniel H. Wilson, robots across the globe gain sentience and begin to turn against their human makers—hilariously in retrospect, I recommended this book in It’s the End of the World as We Know It and I Feel Fine back in March. Anyway, between those two extremes, where is the field of artificial intelligence today? To learn more, try You Look Like a Thing and I Love You by Janelle Shane, a truly delightful book that will both show you how far research has come and will reassure you that the robot uprising won’t be happening anytime soon.

Bad Times at the El Royale (Just you, and me, and this gun) unsurprisingly takes place at the El Royale hotel. For reasons that would be spoilers to name, the setting is essential to the plot of the film—the story could not have unfolded in the way that it did anywhere else. This is also true of Parasite, 2019 Bong Joon-ho film currently streaming on Hulu, where many scenes take place in a rich family’s house—which was actually designed and built in pieces for the movie. An absolutely incredible dark comedy/thriller, Parasite explores the things a person might just do to get ahead. For another thriller with characters willing to go to extreme lengths for their own personal reasons, try Thoroughbreds, from Non je ne regrette rien.

Lore Olympus by Rachel Smythe, featured in It’s an old song, retells the story of Persephone and Hades but in a vaguely modern setting—where the two first meet in a crowded bar. For more modernized Greek myths, check out the chilliad by Molly Of Geography, a wildly funny adaptation of the Illiad. Follow along with Homer Bard, undeclared freshman Alpha Sigma Phi pledge, as he recounts the story of the epic prank war against the Trojan House. If your favorite characters from this ongoing webserial are Achilles “AC” Myrmidon and Pedro Klaus “PK” Liebling but were looking for something a little more traditional, then you might like Madeline Miller’s The Song of Achilles, a retelling of Illiad from the point of view of Patroclus, recommended in Is it better to speak or die?.

Firefly (The Family We Made Along the Way) is a tv show with an interesting blend of aesthetics—some people wear dusty cowboy hats and some people live in floating mansions and there’s a scene where the crew get a job to transport cattle from between planets. If you’re into that, try the tv show Westworld, streaming on HBO, about a Western-themed amusement park, populated by android hosts—who talk and dress and live as if it’s the 1800s, looking exactly like humans, with no idea that their entire world is a vacation destination for the wealthy. As the series continues and secrets are revealed, plot twists will keep you glued to the screen. See also Sense8 (To Whom Am I Speaking?), which likewise features lots of action and a cast of characters who keep secrets and deals with the question—what makes us different from each other?

In The Northwestern Edition I wrote about the different a cappella groups on campus; if you like that style of music then you might have heard of the group Pentatonix, the first a cappella group to win the Grammy for Best Instrumental Arrangement. Two members of the group, Mitch Grassi and Scott Hoying, also make up the duo Superfruit, and I adore their (synth-pop, not a cappella) album Future Friends. “Imaginary Parties” (which has an excellent music video) and “Bad 4 Us” are my song recs for Freckle and Caleb respectively, characters from The Gay and Wondrous Life of Caleb Gallo, the five-episode series from Baby if you love me, won’t you please just give me a smile?.

If you’re interested in queer art history, consider following Dan Vo on Instagram, one of the tour guides of the V&A’s LGBTQ tours, recommended in The Eye of the Beholder. You might also like Dickinson, an Apple TV show about Emily Dickinson growing up, writing poetry, getting into trouble with her parents, and falling in love with her friend Susan. Although it’s set in 19th century Massachusetts, the dialogue and music are thoroughly modern, which makes for a fun juxtaposition—in the first episode, Emily imagines going on a carriage ride with Death while “bury a friend” by Billie Eilish plays in the background. For more stories about the life of a queer poet, try Zami: A New Spelling of My Name by Audre Lorde, featured in Looking Forward, Looking Back, about her experiences growing up, writing poetry, getting into trouble with her parents, and falling in love with lots of people, in 1940s and 50s New York City. 

Here’s how you spend one perfect day in Chicago: you wake up late one November Saturday. Down in the Loop, you visit the beautiful Chicago Athletic Association, which despite the name is actually a hotel, for Chicago Art Book Fair (A Year in Review bonus rec to The Northwestern Edition). You browse brightly colored lithographs and maybe pick up a zine or two. Then you take a walk north, across the river, to E Illinois and Wabash, to after-words bookstore. Down in the basement, you look through the new and used books in search of something interesting. Take your time in River North, find something good to eat, because you have plenty of time before taking the Red Line up to Argyle, to catch a performance of the The Infinite Wrench by the Neo-Futurists, featured in Next!. 

In My Favorite Shapes (This Might As Well Happen), we get to hear Julio Torres talk about, for example, an oval looking at his reflection in a pond and wishing he were a circle. Some of my favorite shapes are the pink blobs from Alex Norris’s webcomic name, three-panel comics with a repeated punchline—an excellent of example of how sometimes you don’t need a lot of fancy detail to convey emotion. For another webcomic about the absurdities of life, check out Poorly Drawn Lines by Reza Farazmand (And So On).

Forgotten gods and old magic tied to old places. In Digger (webcomic featured in The Family We Made Along the Way), a perfectly respectable wombat finds herself traveling strange lands and meeting a couple of gods (well, sort of). For another story of an ordinary person who gets caught up in the affairs of gods, try American Gods by Neil Gaiman, about an ex-convict who meets Mr. Wednesday, an American incarnation of the Norse deity Odin the All-Father. The things we are allowed to forget shape us—at one time, Odin had power because many people knew that he was real, but in this book, Mr. Wednesday is weakened because so many people have forgotten him. One of my favorite moments—in just about any written work I’ve ever read— is the line of dialogue in The Fifth Season by N. K. Jemisin (A+ in Applied Magics) that Revealed a Thing Forgotten. You’ll know it when you see it, and any further description would be a major spoiler.

On the scale of how much singing is involved in rap albums, on one side you have something like neo-soul Overgrown (Looking Forward, Looking Back), where Ivy Sole shows off her vocals, and on the other you have R.A.P. Ferreira’s purple moonlight pages (Something in the sky), which has more of a jazz-rap feel. Somewhere in between is GINGER by BROCKHAMPTON, which has both catchy sung hooks and rapid-fire bars; two of my favorite songs off this album are “SUGAR” and “IF YOU PRAY RIGHT.” I’ve seen them in concert twice and I look forward to being able to again, someday.

Lastly, if you liked Palm Springs, from This Might As Well Happen, a rom-com in which Nyles and Sarah fall asleep and wake up on the day of Sarah’s sister’s wedding over and over again, but were looking for something a bit darker, then you might like Russian Doll, a black comedy tv series that begins when two people keep dying and reliving the same night. For another duo of characters with great dialogue bumbling through life and death together, try Rosencrantz & Guildenstern Are Dead by Tom Stoppard, featured in It’s an old song. 

Here’s a visualization of this blog, with and without labels:

[joie-university-rp]

Dear DANTE NOIRE,

It is with great pleasure we invite you admission to Joie University! Welcome to the Thunderclap family!

-

Congratulations, JUSTIN! Please be sure to check the New Members’ Checklist and send in your character’s account within 24 hours from now. We cannot wait to see all that you will bring to this roleplay! We love you already!

OOC INFORMATION:

Name/Alias; pronouns: Justin, he/him

Age, Timezone: 20, MST

Activity, short explanation: 3-4 hours a day, after work.

Ships: Dante/Kurt since I am filling the connection. Dante/anyone.

Anti-Ships: Nothing.

Triggers: None for me.

Preferred photo for Character’s ID (please give a link): https://media.gq-magazine.co.uk/photos/5d138d392881cc034d0a7267/master/w_1280,c_limit/Adam-Driver-04-GQ-12Dec17_Dante-Brookes_b.jpg

Anything else: I’m filling this connection. https://joie-university-rp.tumblr.com/post/189809373804/requested-connection-for-kurt-hummel-suggested

IC INFORMATION:

Full Name (First, Middle, Last): Dante Matthew Noire

FC: Adam Driver

Age/Year at University (Freshman [1st Year], Sophomore, Junior, Senior, or Graduate Student): 24 years old, freshman/first year

Birth date (MONTH DAY, YEAR): August 13th, 1995

Hometown (please be sure to check the hometowns listed for characters your muse is related to!): Los Angeles, California

Gender/Pronouns: Male, he/him.

Sexuality: Pansexual

Major(s): Philosophy

Minor(s) [optional]: Songwriting/Music

Housing request (remember, only the president of a Greek Organization is required to live at a Greek House to be in it!): Schuester Dormitory Single Dorm 205

Extracurriculars (Click here for the list. Be sure to specify any executive board positions [i.e. president, secretary, etc.] If something isn’t listed, please put it here and we will add it to the masterlist!):  Glee Club Member, Fencing Team Member

Greek Life Affiliation [optional] (Please be sure to specify any executive board positions [i.e. president, pledge educator, etc.] or if your character is not yet a member, but plans to rush): None.

CHARACTER PROFILE (TW; Alcohol abuse, suicidal tendencies):

Dante was born into a relatively normal upper-class family. His parents were a very successful pair, his mother a lawyer and his father a banking executive. He lived in peaceful comfort, went the best private schools for teaching, yet when it came time for him to start building towards a career path, he couldn’t seem to pick one. He was a joy in the classroom and had a knack for tutoring other students that struggled as well. Alas, he didn’t want to be a teacher like his mother recommended, or a social worker like his father suggested. He found his true home in the music room. His parents had him learn piano and other various instruments, including vocal lessons, much to their detriment. When it came to his senior year of high school with not a single college application submitted, Dante came clean to his parents; he wanted to be a musician.

He moved away from L.A. when his family rejected his selected career path, especially after they cut him off from his allowance. When he got to New York, he was dead-broke, but found a job quickly as a jazz -ballad singer and pianist at a couple bars around the city. He sang in parks and street corners, releasing self-written songs online, hoping one day he would get noticed. It wasn’t until he actually took a piece of his father’s advice that he started to gain fame; “Dress as if you already have the job when you go in for the interview.” So, Dante gave himself the new look, dressing like the jazzy, big band singers and performers of old, promoting his image as well as his music.

Dante’s relationship with Kurt ran along with his quest to fame. He met Kurt during one of his nights working at an underage-friendly jazz bar near NYADA’s campus. Due to his talents, the students that came in would tip him well. It was in September of 2016, one year into Dante’s tenure in New York, did he spot the other man in the same seat once a week. It didn’t take long for Dante to introduce himself. Kurt and Dante together felt like they were two puzzle pieces, making a complete picture. When Dante started to gain a small following online, he made efforts to separate his professional life from when he was at home. Kurt made him feel like he could be his true self, open and free, yet while he was on stage, performing for an audience of strangers, he was putting up an act. He knew Kurt’s voice was magnificent, but he never wanted Kurt to think he was using him like that to promote his own career. Dante loved Kurt, and he wanted to keep Kurt far away from his growing spotlight. Let Kurt find his own dream, his own claim to fame, with Dante supporting him the entire way. At least, that was the promise Dante proposed to Kurt with in 2017.

As his fame began to grow and explode, the lines between his face to his growing public and at home began to mix. Dante would come home shitfaced from some party, or a concert, or PR event. Photos online with him holding fans close, kissing their cheeks, and being flirtatious would come out in the tons each time he stepped outside. Kurt would have to sober Dante up, thwarting his attempts to get into his pants. Kurt never obliged while he was drunk, which would result in a heated argument. It wasn’t until the next morning that he would apologize. Trust became very thin, very quickly, turning into a vicious cycle, over and over. It was Dante returning from his first 3-month tour, as drunk as ever, that ended the relationship for good. Another argument had broken out, this time Kurt demanding to know why there were clips online of him running around some party with his hand in some girl’s back pocket. Dante became furious Kurt would think he cheated, yelling up and down it was just for PR. Kurt didn’t buy it, eventually locking himself in the bathroom when Dante threw a glass at him. It wasn’t until Dante woke up the next morning, somehow in his bed, that he realized just how badly he had fucked up. Kurt left him, with the ring on the kitchen counter, the glass cleaned, and fresh coffee brewing in the pot.

The depression that followed Kurt leaving had Dante near suicidal. He tried to find Kurt; his number was blocked, and when he contacted NYADA to find him, they said that he had dropped out. He was blocked on social media, using dummy accounts to find out none of them were being updated. Kurt had disappeared, and there was no way Dante could find him. He gave up, vanished for months from the public eye, nearly destroying his career in its infancy. In that time, Dante wrote songs, poems, and love letters for Kurt he could never send. When his agent demanded work from him, he just tossed the papers on the table in frustration, that having been his only work during that time. It was a good thing his agent had more business sense than Dante, recommending he commit his works to the studio, to audio, to music. And hence, his chart-topping, record breaking, radio dominating album, ‘To Kill the Canary’, was born. It tore away from his jazz swings of the past into a ballad genre, featuring less sax and more acoustic guitar. The day the album released, he saw the crowds form at his feet, resonating and praising his work. He was determined to live despite what happened, even if he couldn’t seem to move on.

With all this success, why attend Joie for a degree? He was set for life, he didn’t need more education. Dante’s agent thought the opposite. With the influence he held, and with him turning twenty-five in August, they thought it would look great for his image if he wasn’t just some good-looking musical flounce, doomed to fail when he was no longer dominating the public. They opted for the Emma Watson route; go to college. Get a degree. That way, he was a cut above all the others in his industry; he wasn’t just a talent, he was educated. He chose philosophy as his major over music because he already mastered music. He didn’t want college to be a complete waste of time, so he decided to learn something completely new. Joie was an easy choice for a university; it was a world-renown college, one his fans would recognize. The fact one of his dummy accounts notified him of a post to Kurt’s Instagram had absolutely nothing to do with this college selection. Nothing at all…

STUDENT CENSUS SURVEY:

(Please answer the following questions IN CHARACTER. Responses can be as long or short as you see fit!)

What made you want to attend Joie University?

The prestigious nature of the school seemed the perfect place to both earn my degree and gain life experience I have been lacking. The administration seemed accommodating considering my current position and gave the impression that I would be treated just like everyone else. Overall, I felt very welcomed and fell in love with Joie instantly.

What are at least 3 positive or neutral and at least 3 negative traits that you believe you possess?

My most positive trait would be my unwavering determination. Even in the face of my family being nay-sayers in the quest for my dreams, I went after them anyway. Now, I wish to prove there is more to me than a pretty voice, exceed my own expectations. Perhaps that is my second trait; ambition for a new challenge. No mountain is too high for me. And that ties into my third best trait being creative problem solving. I simply cannot take no for an answer. If there is a will, there is a way, and I have a lot of willpower.

As far as the negatives of my personality, every positive is a doubt edged sword. For all my determination, it is very difficult for me to know when it is time to stop, reflect, and take it what is around me. I am always pushing for the next goal, leaving me often forgetting to savor the moment. I don’t know when to stop pushing for more, for better. This has had my personal relationships suffer in the past as well, and I do plan to remedy this. Apologies are another weakness of mine. For all I try to correct any wrongs on my part, simply saying ‘I’m sorry’ seems to escape my mind. A third flaw… I am frequently told I am too generous with my money. It isn’t like I could possibly use it all, so I use it on others. This has lead to a few personalities latching onto me simply for my wallet or my fame. I suppose that makes me a sub-par judge of character.

Which of your traits do you value most?

My ambition, by far. Taking on the impossible and making it believable is something I enjoy doing, both in music and in life. I wish to up the ante by studying for my degree, see what challenges I can tackle next.

How can that trait benefit the University (or its student body) as a whole?

Being I am a special case, it would be no lie to say my experience in the school could lead to positive press. I would also be interested in investing in the school through funding scholarships and such, once I am no longer a student. I do believe in the power of education, so on the same hand I do not wish to distract from other students attending. Making a show of myself here is not the goal. I wish to meld into the student body just as a regular attendee, no special treatment. That is what I could bring.

What do you hope to gain from your experience at JU?

The typical college experiences. The ups and downs of dorm life, the stress of finals, the development into a greater person leaving than you were when you arrived. I want all these things.

What is a quote or song lyric that describes you?

“I wanna take you high up, Let our hearts be the only sounds, I wanna go where lights burn low, And you’re only mine.” -James Bay, ‘Wild Love’

[fire-toolz]

N҉o҉N҉L҉o҉C҉a҉L҉ F҉o҉R҉e҉C҉a҉S҉t҉ - B҉u҉B҉b҉L҉e҉ u҉N҉i҉V҉e҉R҉s҉E҉!  𝕠𝕦𝕥 𝕟𝕠𝕨 𝕠𝕟 𝕔𝕒𝕤𝕤𝕖𝕥𝕥𝕖 𝕥𝕙𝕣𝕦 𝕙𝕒𝕦𝕤𝕦 𝕞𝕠𝕦𝕟𝕥𝕒𝕚𝕟

The Words

Angel Marcloid does not quit. From the experimental vaporwave of Fire-Toolz to the longform atmospherics of Mindspring Memories, along with myriad other boundary-pushing projects, the Chicago artist has uploaded enough complex and challenging auditory and visual material to crash the kind of ancient computer on which it seems appropriate to engage it. Under the new moniker Nonlocal Forecast, Angel quite literally synthesizes some of her biggest influences from the eighties’ and nineties’ prog rock, smooth jazz, and new age scenes using almost entirely digital instrumentation and programming. The result, Bubble Universe!, is an eclectic, multifaceted, eminently listenable collection of ethereal neo-muzak.

Album opener “Celestial Nervous System” instantly grounds listeners in Nonlocal Forecast’s constructed-world uncanny valley. The first half of the song runs mellifluously with no clear sense of time signature—somewhat disorienting at first glance—before settling into a very brief swing groove just ahead of the two minutes mark. The song then blooms into a bouncier passage, where organic lead guitar is integrated with the synthetic orchestration for a romp before overlapping new-age melodies close the tune. Those hallmarks—time and tempo fluidity, juxtaposition of performance and programming, and diversity of musical intensities—are continually implemented and reinvented as the album proceeds. “Planck Lengths” features rapidfire Mixolydian keyboard dancing buoyed by rolling drums and occasional chirping birds; “Cloud-Hidden” perhaps most directly evokes an alternate-universe Rush radio hit remixed, with a dash of Richard Souther. “The Direct Path” sheds percussion, opting instead to form its base on a deep melodic motif (on… plucked strings? melodic drums?), which is accented with more crisp lead guitar and stargazing keyboard.

Angel audaciously “features” herself, in Fire-Toolz form, on the somewhat heavier “Triangular Format” which utilizes glitchy drum patterns rather than quasi-human ones and more bombastic synth tones. Sadly, this is one of the album’s shorter tracks; I could do with a full album of this autonomous collaboration. “The Evolutionary Game”, once it gets going, evokes a sense of nostalgia with its tinny keyboard melody and electronic pan-flute accompaniment. It’s conference-call-hold-music of the highest caliber, a song that you’ve definitely never heard yet you can swear you heard once twenty years ago. This din of familiarity is rebuffed by the end, though, as the percussion and heavier synth elements begin to dominate and transform the piece.

“Classical Information” puts a light swing twist in its department-store aesthetic, and has a lovely burst of more technical synth work. “Foam, Vacuum, Om” goes full-on ambient, sounding something like the musical equivalent of a bright hospital hallway at 3 AM. This relaxing soundscape extends into “Conscious Agent Combos”, as it progressively adds more active backing elements. Bird chirps return from their brief flight in album closer “Wave Nature”, which wraps things up with even more ambiance.

Altogether, Marcloid has assembled something boldly countercultural and unique with Bubble Universe!… Most modern art that conjures this retro aesthetic does so in a transformative, ironic, or modern-tinged way. Nonlocal Forecast approaches its subject matter straightforwardly and embraces what it is, not seeking to make the “uncool” cool, but making something “uncool” for those of us who like “uncool” stuff in 2019. (I’m using those quotes because I happen to be one of those people who unironically enjoys stuff like Yanni, Richard Souther, and eighties’ Rush.) I can’t imagine the investment of time it takes to program such intricate compositions, but acknowledging that, I do think the album is a little too short and a little too ambient. Its best and most novel parts by far are its most active and complex, but it would be a daunting challenge to craft a full fifty (or even forty) minutes of material like that. Nevertheless, Angel has proven herself beyond capable in yet another musical venture, and whatever comes next—for Nonlocal Forecast or any other Marcloid project—will always merit attention.

-Can This Even Be Called Music?

[avenger-hawk]

Do you have any Itachi or Sasuke music headcanons? Like, what kind of music they'd be into, or what instrument you'd see them playing?

It’s kind of tough because music is an extremely subjective thing on which everyone has strong feelings. Long post ahead.

This ask is obviously referring to modern AUs. Usually I like modern AUs that aren’t US based because obviously not, or too weeb-Japan based either. Even though Naruto is set in a Japan-based fictional world and its values are Japanese based, it’s still a fiction, broader and more open than real world after all. Anyway My music knowledge is based on European and American sounds.I ignore mainstream pop. I didn’t mention (almost) Italian stuff because only I would know it. I only know a few Japanese artists/songs not counting anime music. I dislike Kpop. Deal with it. Hawk

Although I add music to my edits and writing, doing a more direct thing is tricky. Shinobi are associated with silence, secrets, sacrifice. Itachi is private and mysterious, and Sasuke is straightforward but private as well. On the contrary music is not just a silence breaker but it’s also a revealing mean of self-expression.  

Itachi’s taste would be eclectic. He would like refined sounds like classical music, certain vintage and classy bossa nova, but also lots of (classy) electronic, and dark, mysterious and suggestive imagery like some dark ambient/dark folk (Sopor Aeternus, Ataraxia, Qntal). He wouldn’t be too much into guitar riffs and power chords but he’d love synthetizers and bass based sounds, so he’d like 80s new wave, and new new wave (Interpol). He would also love crossovers, music that mixes different genres, like new wave and jazz (like Tuxedomoon), punk and electronic (like PIL) ethnic/punk/indie mixes (like there’s an Italian band called Traffic Lights Orchestra whose best song that is about the ghost of a soldier died in the Balcan war and it’s heartbreaking and musically amazing and really deep). He would also like some rock, like grunge bands, not their heaviest and angriest songs but the most suggestive and poetic.

He would mostly be drawn towards mysterious, meaningful lyrics, whether they carry a deep political/social message or a suggestive and bizarre imagery, or they’re thought provoking, not to mention puns, wordplay and symbolism. 

He would lean towards older sounds compared to newest ones, and despite he’d prefer less known or even obscure artists, he would appreciate some popular classics. Also, lots of David Bowie.

Sasuke would grow up beside Itachi so he’d naturally assimilate a lot of his taste. He would like new wave, grunge and indie, but he would prefer punk and harder rock to electronic ambient. I don’t mean to continue the emo Sasuke cliché here, but I imagine him liking dark-ish sounds. And I see him drawn towards lyrics that have a strong personal meaning to him, like, he’d be drawn to a single line because it would have some connection to his own experience and feelings, no matter the context. So mostly angsty lyrics and angry/gloomy sounds depending on the moment. Uh sorry but I can’t think of anything better than Avenged Sevenfold, AFI, Nerve Agents, Pitch Black and more. 

Some songs and lyrics would have a magical quality because he grew up with Itachi listening to them, so they’re a part of his soul, and whenever they play his mind would wander back to those moments. He would also love to be with Itachi when those songs are played, for example Transmission by Joy Division, or Annarella by CCCP (another Italian band, sorry it’s not in English but it’s a heartbreaking song and the lyrics make me think of them).

He would also get suggestions by his friends and peers but he would mostly dismiss them, as his taste is well formed already and very much influenced by Itachi, whose suggestions he would instead follow. But he would freely express his dislike for certain things. He might sometimes like random mainstream songs or happier sounds. He doesn’t actually hide this fact but he doesn’t announce it out loud. But, when someone (not Itachi) discovers it and tries to laugh at it, he simply admits it matter-of-fact, no shame at all.

Oh, System of a Down! Itachi likes them mostly for the vibe and different influences, and Sasuke for lyrics and energy.

About musical instruments.

Itachi is the type who’s good at everything at the first try, so he’d pick up the basics of most instruments he stumbles upon. Unless it’s an AU where he’s a musician though, I only see him playing as a hobby in most others, as his main interests might be more philosophical and political. Anyway he’d definitely could play piano and guitar (and, returning to canon universe, shamisen!). Also synthetizers and bass, because it’s the instrument that makes up the rhythmic section and even though it’s not noticed by everyone, it’s what builds up the song. Also in a band bass players are less flashy than guitarists, and more mysterious. Just like him~ 

Speaking about bands, I don’t see Itachi as the lead singer. He’d have a beautiful deep voice and he’d sing well but he’d prefer being the backup singer. But I also kinda see him singing in a band, where he’d have an amazing presence, not moving very much but capturing all eyes on himself. The type who when the song is over the crowd stays silent a few seconds because he made them dream.

Sasuke is a fast learner. In the official illustrations he plays flute and shamisen, so of course they count. In a modern AU he’d learn after Itachi, always wanting to be like him and to spend time with him. So he’d play guitar, a little piano, and bass. He is a bassist type as well. If he sang he wouldn’t have a powerful voice, but its distinctive rasp would make it recognizable. Also he would be calm mostly but on some parts he’d kinda engage the audience aggressively or his singing would become very heartfelt. Unlike Itachi in the average AU I can imagine him being a musician as more than a hobby because he expresses himself more freely.

I’m kinda imagining him as the bass player in a team 7 band, and the singer in Team Taka, sounding like either AFI or White Lies ~

What else? Ah, yes. Itachi and Sasuke playing together. Because they would. In Itachi’s room, since they are young, Itachi playing guitar and humming the song, Sasuke following him. Itachi praising his voice and Sasuke blushing and singing louder. Or playing in a band together, one singing with or without guitar, the other playing bass and backing vocals, looking at each other during the chorus~

Somehow I’m imagining White Lies again, or Better Than Love by The Hurts, in case they sound kinda synthpop…oh but also some grunge rock like Mailman by Soundgarden. Just…that song must be sung by Sasuke no matter what, because of..uh, reasons.

Classical instruments. Itachi playing piano but also cello, because it has a warm sound that fills the room and has an eerie quality that is very fascinating. Sasuke playing clarinet but also violin, that has an intense sound that resonates with feelings very much. Also cello is played while sitting, violin is also played standing up and that’s how I picture them. 

I also kinda picture them playing Beethoven’s Kreutzer Sonata, a duet between piano and violin (btw Tolstoj wrote a short novel with that title, about a woman and a man playing this sonata which was so intense in the dialogue between the 2 instruments, that it was almost sinful, a sort of replacement for an affair. I associate this intensity to Itachi and Sasuke’s bond a lot).

Also what about a jazz era/mobsters AU where Itachi plays stand-up bass and the Sasuke plays clarinet (aah Akatsuki+Taka big band..)~ 

Edit June 2018: courtesy of a conversation with @moonsuke: what about a Showa/Taisho era AU where Itachi goes to study abroad and when he returns he plays cello in his room and Sasuke kneels on the ground close to him, mesmerized by the sight of his big brother playing that mysterious instrument, holding it close between his legs, caressing or strongly stroking its chords~

[ratherhavetheblues]

DAVID LYNCH’S LOST HIGHWAY “I don’t like the sound of something…”

© 2017 by James Clark 

    The film world abounds with generally furtive protagonists locked into an almost hopeless and definitely endless dedication to sprucing up sensibilities that won’t do. One of the grand masters of presenting this unheralded and widely unsuspected mission is Jean-Pierre Melville (1917-1973), generally regarded (when regarded at all) as a mid-century inventor of chic crime sagas. When you have nothing else to do, the now very muted chronicling runs, check one of these out for the cinematic equivalent of a “good read.” Melville’s endeavors, however, when approached with something more than a good read, come to light as remarkably close to films like Nocturnal Animals, Arrival and La La Land.

    In the spirit of reaching improved clarity about this still-buried treasure, I’ll be, near the outset of this manoeuvre, digging into Melville’s final film, Un Flic (1972); then, next, I’ll be showing that Melville’s (and Jean Cocteau’s) Les Enfants Terribles (1950) is at the heart of Stephen (and Tabitha) King’s Carrie (1974) as inducing Brian De Palma, in 1976, to get up close to what’s up with the work-load of carnal consciousness; then we’ll spend the rest of the year savoring such dare devils coming at us from many sources.

   One dare devil we need to open with, however, has been virtually ignored for years at this spot, namely, David Lynch. And the delirium of his Lost Highway (1997) involves, to a distinguished level, that heart-pounding crisis of perceptual lostness which is incumbent on all who care to see what cooks. Nearly seven years ago, my take on this movie stressed the noir aspects and particularly the equations of courage and cowardice. We did, of course, have to account for its being one of the most punishing narrative pitfalls in the history of cinema. But, in lieu of a premium upon consciousness per se, the matter of the two sets of hard-pressed lovers came down to a mechanistic fulcrum whereby entities are twinned in such a way that the initial presence finds itself preceded by a presence at the opposite end of the universe. This factor of Lynch’s reckoning did play a part in the coherence of the film. (The consensus that the helmsman did not have a serious idea of what was afoot, and that therefore his film is a shambles due to a self-indulgent reach exceeding its grasp, is insulting nonsense based in ignorance of what a major artist [requiring a reputation by which to raise millions of dollars] is about.) But what now must be added is the second and more primordial polarity that a material-inertial presence paradoxically is amenable to and dependent upon finite intentional consciousness to complement the formation of reality. This state of affairs accounts for a union of Fred and Renee Madison who dare to aspire to subtleties of creative dynamics, as implicated in the rough and tumble of Pete and Alice who tend to lead a far less subtle existence.

   That tangled matter being put aside for a while, we must make a sharp turn to recover the nitty-gritty of Lynch’s endeavor, namely, not cosmology, not phenomenology, but a movie about the fulfilling drama of motion. Lost Highway establishes in a masterful way its priorities by means of, first of all, the optics of a roadway and its yellow median strip jiggling with an extreme speed as being raced along, along with David Bowie, that expert of the exceptional, singing “I’m Deranged;” and then the jazz club date with Fred’s tenor sax performance being not merely a deranged frenzy, but, more importantly, a betrayal of his and Renee’s birth of that cool which singles them out as persons of interest to an apparition in deathly white-face style who adds salt to their lacerating mishap of mood in the land of the best and the brightest. The solitude and interplay of actors, Bill Pullman and Patricia Arquette, as their golden ring becomes tin constitutes a cinematic territory granting access to the center of what it means to be alive. Fred first comes into view in the confines of his severe but attractive Bauhaus home, the chic club-dark paucity of windows of any real size affording a study of his face and him smoking in such darkness that his mouth appears to be a grotesquely wide maw, bleeding out to the full realm of darkness. Coming near to one of those perhaps anal windows, he is now seen to be in the throes of some vague dismay having aroused a sweaty and eye-lid tightening decline from being a confident artist and design innovator. After some joyless drags on his cigarette while shuffling around in silhouette he encounters Renee in a dark, silk housecoat in tune with her dark reddish hair; and in her wispy voice, perhaps modelled on torch singer, Julie London, she manages a statement that has something to do with the self-hating simplism of his imminent gig. “You won’t mind my not coming to the club tonight…” Though there is no longer a scintilla of affection between them, the imperative of hard-won and perhaps precious classiness which they have both bought into adds to their malaise a direction which, in his case, especially, sounds a death knell to that full-bodied recovery of effective solitude which had to be instrumental at an early age. Very much minding her breach of loyalty but staying the gentleman; and, when asking her what takes precedence, hearing the perhaps unintentional provocation, “Stay home… Read…” he—speaking way too quietly to be true—meets her knowingly gorgeous and prevailing stance with two widely-separated deliveries of the word, “Read?” She lowers her eyes and he witlessly pounces with, “Read what?” She guffaws and produces an awkward smile. Now being a long-term arbitrator to someone he used to love, he pulls out the gambit, “Nice to know I can still make you laugh…” Renee, relieved to be entering a public forum (though her voice remains make-it-better soft), matches his self-evasion with, “I like to laugh, Fred,” which elicits the almost Pavlovian, “That’s why I married you…” Her subsequent, “You can wake me up when you get home if you want to,” is far more redolent of getting him out the door than of brimming passion. The wake-up call consists of his being no more on a stairway to the stars than his wrong, almost Dixieland, one-sided, default excesses on the bandstand. Adding to their miasma, they receive a series of Manila envelopes containing blurry, black and white videos of their imposing house.When Renee moots that the first one must be from a real estate agent, a different level of rout is on. When they receive one showing themselves asleep in their own bed, they both feel diminished; but Renee, having had an upper hand, falls harder. In frantically rushing to round up by phone a police detail, she becomes another crime victim, her usual eccentric but controlled vocal timbre becoming ordinary as she puts herself in the hands of “detectives” who clearly could not detect anything that might be of use to her. (One of them, now on the premises, on finding that Fred is a musician, tosses off some empty, Keystone Cops comedy lingo— “What’s your axe?”—and, hearing what the man of the house plays, ends with the hard but easily brushed off truth, “Tone deaf…”)

   The descent into tone deafness on the part of our protagonists is far from a laughing matter—the upshot of their blurry disorder being Fred’s ripping apart Renee’s head and torso with much blood spilling over onto him as captured by the video series those lawmen could not begin to fathom. Renee had helped the posse find them by noting that their enviable residence is near the Observatory. True enough they did partake of some wide-space forces at the nub of that mysterious intrusion into their intimate despair. Before the festering energies boiled over, Fred was (along with her but not near her) at a pool party for beautiful people and addressed by a figure (lacking a tan, a tallness and high cheekbones) not only unattractive but not quite human at all. He tells Fred that they had met before; Fred is sure he is mistaken; and the spook with the hard, contemptuous eyes insists that he (Fred) had invited him—in all his uncanniness—to his house, that centre of right moves, and that in fact he’s in the course of haunting right now the failure that their abode has become, notwithstanding its ready access to a world-class Observatory. When once upon a time, perhaps quite a long time ago, in days when Fred could muster real musical art, real primordial power, that claim would not have seemed absurd, inasmuch as he could have discerned a beckoning (not, of course, in the form of a spook; but the form of consciousness informed by lovers as he was once). Now, however, feeling completely foolish and under attack, Fred rounds up Renee, who was with someone named Andy, who “a long time ago… told me about a job” [not so unlike the job she was doing under the rubric of “reading”]; and he brings down the curtain on his being a player of the sur-real (more real). Or does he? And, moreover, does she?

   Lost Highway is far more intent on where the creative spark thrives (however motley) than rounding off denizens of a planetary census. On Death Row, Fred is visited in a headache-inducing vision by that irritating little know-it-all who puts him out to pasture and oversees the presence of Pete Dayton, a young garage mechanic, installed in the cell which no longer serves the bureaucratic justice-machine but, more importantly, launches another kind of cool—this time being not Madison Avenue brittle but Dayton Rust-Belt raunchy. Can, the question is, a thrum of old school mechanics rise effectively to the neighborhood of Observatory-level quantum mechanics? (But, rest assured, the can of worms to come divulges its feast right out there on the good old silver screen.)

   Pete—now being not only a big puzzle to the law (which promptly has him tailed), his parents (who watch on TV 50’s documentaries heard to inform, “It takes many strawberries to fill a basket”) and his girlfriend, Sheila (a good old blue-collar, Rockabilly tag), but to himself—gets the ball (he didn’t even know was there) rolling by, while working under a repair job, finding painfully wrong that sax disaster of Fred’s as now recorded and played on the workshop radio. The physical crisis, which this loud and crude excuse for fulsome jazz elicits in Pete, brings to light a reprise of his intensive care nightmare at being at the starting block on always imminent Death Row. And it also underlines the link, somehow onstream, between Pete and Fred as sharing being fated to produce real music. Pete rushes to the radio and turns it off. An elderly co-worker (probably also a fan of Dixieland) complains, “I like that…” “Well, I don’t,” the usually easy-going protagonist insists, the geezer offering being an affront to much more than his listening habits. That same day, Pete (with help) brings off a magic moment, perhaps too good to be true (or too true to be widely sustained).

   The day before, a still somewhat shaken and bruised Pete (being a virtuoso in instrumentation, but in being about the smooth and powerful operation of car machinery), is put on the case of a rich client’s Mercedes needing some tuning. (“I don’t like the sound of something…”) He finds and fixes that problem after only a few minutes of taking a spin with the owner at the wheel. That owner, sort of like but also pointedly unlike the geezer being a fan of Fred’s, dotes on Pete’s zone of mastery. But he (Mr. Eddy, by name) has other enthusiasms far less to Pete’s liking. (Enthusiasm for producing [poorly-toned] porn movies, for instance.) And then there is his fixation on the rules of the road that—when enjoying the glitch- free operation of the car on a hilly highway and being tailgated by a young man assuming that the Mercedes driver, being middle-aged, is an effete pushover—drives him to ram a miscreant in a flimsy American-make with his good-old Krupp steel and, with armed henchmen attending, use his hand gun as a dagger and deliver a Gestapo rip-up, which causes Pete to feel very tense. (Another ingredient of the river of malaise being magnified here is shown by Mr. Eddy’s allowing his carriage-trade tastes in automobiles to dwindle to moralistic preaching— “… tailgating is a thing I cannot tolerate…”; comparable with Renee and Fred’s sounding like geezers in denouncing the owner of a noisy dog.)

   Thus Pete’s encounter, right after being sickened by Fred’s collapsing art, with Mr. Eddy’s girlfriend, Alice, who accompanies the driving purist arranging for some work on his Cadillac—a blonde, but Renee by another name, and also played by Patricia Arquette—involves both his awe in the face of her physical beauty as complemented by kinetic grace (as accentuated by a slow-motion exit from the Caddy); and terror at the prospect of ever going near her. This meeting is washed over by Lou Reed’s “This Magic Moment,” as accentuating, “by the look in your eyes,” that she is as smitten as he. Near closing time, she returns in a cab (a Vanguard cab) and her facial expression is quite astonishing in being the only emission of true warmth in the entire film. Pete tries to get her out of his harm’s way, but he decides in the thrill of the moment to live not only dangerously but ruinously. On their second night of saturation bombing, one of Mr. Eddy’s scouts sees them entering the motel unit Alice arranged (in the mode of an SEC football cheerleader— “Hey! Up here! C’mon up, Baby! I already got the room!”); and their retreat in face of General Sherman has begun.

    But that may be ascribing too much to the anal attacker. Alice phones next day, cancelling their third day of paradise. “I think he suspects something… We have to be careful…”(That dispensing of free-wheeling, including crossing many state lines, would, in the sightline of Mr. Eddy, be turning their multifaceted momentum into an easy target.) Her call is framed in such a way as to show only her red lipstick lips. We had seen the same visual of Renee’s lips quavering to the police about the vague threat comprising the video of her and Fred sleeping, with zero erotic energy. And some of us had seen the same optics in Samuel Beckett’s play, “Not I” (1973) where white-knuckle anxiety meets an abyss that could be far less geriatric were the self-imprisonment of respectable intellection and piety not seen to be so impressive. By the time the lovers do meet again (Pete having been dragged over the coals by Sheila), Alice has dropped all traces of the wonderment of an uncanny love’s momentum and replaced it with a hard-boiled scheme to murder and rob one of her colleagues (that same Andy), steal his car and take off…; and there the anticipation runs out of steam. Once again Pete chafes and then dives in. By way of her fearfully overthinking demand that he ride a bus to the target, and therefore be less traceable, she puts into place a further come-down in dynamics and he proceeds to smash the cinematographer’s head on an unyielding coffee table—the blood flow resembling a Dali clock, to match the Dali red lips sofa evoked by those phone calls. She greatly adds to his anguish by coming downstairs from the bedroom as if she were another person. “Wow!” she goes, with adolescent nihilism. “You killed him…” she adds, expertly sizing up the worst legal case scenario. (Contributing impressively to the shredding of tone now entering a terminal phase, there are two preambles to the murder. On having the third takeoff aborted, Pete rounds up Sheila and at a motel his approach is as sterile as Fred’s, notwithstanding a faster pace. Mooting the porn involvement with Mr. Eddy, she describes her audition [Marilyn Manson’s hysterical version of “I Put a Spell on You” striking an appropriately dysfunctional chord].) Their exit from the world of fervent discovery takes place at a small plywood facsimile of Fred and Renee’s Bauhaus establishment. You could even call it an expulsion. Before their driving off, she notices Pete’s nearly breaking down and points the dead man’s gun at the dead-man-lover. Her question, “Don’t you trust me, Pete?” is a further ingredient of a one-way travesty. At the desert haunt (kicked off by her matter-of-fact nightmare, “We have to cross the desert, Baby!”) she pushes up the high-beams and, in an eerie and riveting display of challenging the failure, she employs her employee to stand-in as a lover on the sands to her platinum blonde, windswept mane and incandescent wildness. She ends her moment in the spotlight by reciting a noir moment of collapsing cool (that shack also standing for the beach house of Soberin undergoing an atomic eruption, in Kiss Me Deadly.) “You still love me Pete?... More than ever?” [he had asked, “Why me, Alice?”]. His ineffective rally is, “I want you!” Her ineffective rally is, “You’ll never have me!”

    The denouement dispenses with those fugitives from Mr. Eddy and gives us Renee as the tailgate and Fred as his killer. How did they beat the odds? Well, that small and sickly but durable ringmaster becomes some kind of ally in the field of endless expanses and their endless ebb and flow. Fred (alone)—or his facsimile—has come back to the fray in supplanting Pete in his birthday suit in the sands. He’s beckoned (to the shack into which Alice had disappeared, no longer a person of interest) by the omnipresent and barely substantial pacesetter who clears the jazz-man’s cobwebs in angrily insisting he forget the Pete-salient Alice and instead embark in the vicinity of Renee, dead or alive. Moreover, he sports a video camera to measure the creative temperature and let us see what he sees to be crucial. There is a drive to The Lost Highway Hotel and Fred’s cleansing (a sort of Mike Hammer) the premises of the hyper-sober, Soberin-like man with the fleet of black cars. He stashes in the trunk the former underground king and sweet talker, drives to the empty wasteland and—very pointedly with the video cameraman’s assistance finishes him off in a bloody attack. The articulate, even rhapsodic(in a gritty way), crime lord’s last words set in relief that the fussy little taskmaster is about threading a needle of clarification to maintain a state of productive and finite grace in a catchment quite proud of savaging a brief and infinite delight. “You and me, Mister, we can really out-ugly the best of them, can’t we?” After the Mister administers the coup de grace, there is a cut to Fred with the murder weapon now in his hand—emphasizing quite a different alliance than that which Mr. Eddy could envisage. (During the shaky moments when first we see him, Fred hears from his front-door intercom a message, “Dick Laurent is dead…” The speaker was the very white figure, making a point on the level of the more crude but more speedy dispensation—that where Mr. Eddy/ Dick Laurent died. Before hitting the open and largely lost highway, Fred, having rallied to primordial effect [better late than never] goes to that intercom and reiterates the death of Dick Laurent, to residents who may be heartened.) A follow-up scene, with those two tone-deaf LA detectives scoping out the disconcerting resting place of Andy, comprises them recognizing a photo including Renee, the murder victim not being well recognized by the system. The cop having raised tone-deafness (being thereby a rather close kin to Mr. Eddy who had offered one of his products to Pete to induce a “boner,”) intones a Dragnet-style bit of fluff apropos of the photo, which nevertheless speaks to the depths of this odd flood of lost satisfaction: “I think there’s no such thing as a bad coincidence” [all tries somehow being to the good].

[airadam]

Episode 131 : Strange Times

"History repeats what you refuse to learn about."

- Planet Asia

Another month inside, which I'm sure is a test of patience for many. It's been an odd one, which feels like it hasn't been any less busy than normal, and so the rhythm of podcast production has pretty much been as usual. The selection ranges from some of my earliest, brokest vinyl purchases to the latest releases of the digital age - hope you all find something in there that makes you rewind (and then buy an album)!

Rest In Power to Arch Stanton of Mothership Connection, Bill Withers, Ebow of Foreign Beggars, Fred the Godson, and Stezo...

As mentioned in the show, I'm now on Twitch : twitch.tv/airadam13

Twitter : @airadam13

Playlist/Notes

Kam ft. Xzibit and Maskerade : Nowhere

I was looking for Kam's debut album "Neva Again" on Spotify and had no joy, but this turned up and has been getting a lot of play since then! 2016s "Mutual Respect" clearly needs an end-to-end listen if this is the standard - a quality song, dark and brooding, castigating the fairweather friends who gas young men up into committing all kinds of crimes but then abandon them to a life in the system. The production from Jmyth and Tariqbeats - who as far as I know, have no credits anywhere else at all - is perfect for the theme.

Jake One : Dawkinss

It's hard to find good instrumentals in this speed range that aren't heavy synth/trap-based (which is sometimes what you want, but not in this spot), but Jake One's free "#prayerhandsemoji" has come through a few times on that score!

UGK : Use Me Up

The first of the month's Bill Withers inclusions, Pimp C shows that he knows not to mess with a good thing as he lifts the groove  of the 1972 hit single "Use Me" from the "Still Bill" LP, as well as the theme! C was always a producer with a deep love and appreciation for soul and funk, who wasn't afraid to bring in live instruments when he needed to, and he adds a little guitar and organ flavour to this tune from their 1992 debut "Too Hard To Swallow".

GQ : Rated Oakland

Low and slow (J.U.S.T.I.C.E League and 8 Bars on the beat), no hook, no wasted time. No-gimmick emceeing from a no-nonsense city, as GQ says what he has to say in barely two minutes on the title track from his debut album. The title track is often the big centrepiece, so it shows a lot of confidence to keep it so brief and concentrated.

Kid Frost : No Sunshine

This is a track from my early vinyl buying days, when I was pretty broke and if I saw something in the bargain bins from someone that had been mentioned in Hip-Hop Connection, I picked it up! Kid Frost (now Frost) was already ten years deep into his career at the time 1992s "East Side Story", from which this is drawn, was released, and he represented hard for his Mexican heritage at a time when Latino rappers were rare. This track reflects a side of the gang culture that is such a significant part of LA life for many, participants or otherwise; the other side of an explosion of anger is more often than not a lifetime of regret.

RZA : My Lovin' Is Digi

The Wu's takes on love songs are always a little different! The "RZA as Bobby Digital in Stereo" LP is 22 years old this year, but this is the first time we've gone to it on the podcast; it won't be the last, though. Classic 70s soul sampling on this one, self-produced by RZA as you'd expect.

DJ Quik : Quik's Groove II

Every album, DJ Quik gifts us an instrumental number that shows off his level of musicality - this one was released all the way back in 1992, as part of his second LP "Way 2 Fonky". 

Brand New Heavies ft. Gang Starr : It's Gettin' Hectic

We step outside the Gang Starr catalogue for a track that may have passed you by if you didn't happen to be listening deeply in the early 90s. The 1992 "Heavy Rhyme Experience, Vol.1" album saw BNH, the London acid jazz and funk group who were getting big respect after their debut, slightly alter course and collaborate with Hip-Hop crews for their sophomore release. This was a pioneering album, which even preceded Guru's "Jazzmatazz" series. He's the perfect MC for this collaboration, and sounds more than comfortable doing his thing over a live band!

Voodoo Black ft. Leaf Dog : Fall Back

Played them last month, but had to give you one more taste of Voodoo Black in case you hadn't got the "Sitting At The Table" album yet! The mic killers from Manchester bring in Leaf Dog from The Four Owls, who complements them well on some straight Hip-Hop business. I love how DJ Cutterz has the kick drum and bassline working on this track, and the scratch work is polished too. Big ups!

Prince Po : Mecheti Lightspeed

I was pleasantly surprised to find that I'd never included the vocal version of this before! Madlib is on the beat, giving this often-overlooked half of Organized Konfusion some smooth heat. This is from the B-side of the "Holla" 12", but both tracks are also on the 2006 "Prettyblack" album.

Maffew Ragazino, Action Bronson, and Torae : Avatar

Pete Cannon on the beat! Blackpool may not be the first place you'd expect a fierce Hip-Hop producer to emerge from, but he's been doing his thing for years and has worked with some highly respected artists. This 2014 single from "Brownsville's Jesus" is wall-to-wall NYC on the mic - and for my money, Torae was the right choice to bring it home on that third verse.

BoomBaptist : Razzle Dazzle

Agent J of Groovement put me up on this Texas-based producer when he announced his "Boom Shakalaka" LP, all about the beloved video game "NBA Jam" - I certainly remember emptying my shallow pockets into that one as a teen :) BoomBaptist lives up to his name with the vibes, so if you like good beats and/or remember the 90s well, check the album!

Levelz : LVL09

If you're not used to hearing some of the MC styles on this record, prepare to have your face blown back! This Manchester crew is made up of a ton of artists who are stars in their own right, and the combination over the Metrodome-produced beat here is devastating. When the rapid spitting happens, what should strike you is the clarity - you can hear every word, every syllable even. Get this as a "name your price" on Bandcamp, and don't be shy to put a little something in!

Curren$y : Empire Monopoly

Short, but a better track in my opinion than Max B's "We Got Doe", which was the source for the Dame Grease-produced beat. It runs at a perfect pace for Curren$y, who spits a mix of his trademark lifestyle rap, street business, and Boardwalk Empire references on this standout from the "Return To The Winner's Circle" mixtape.

Ty ft. Mpho : Brixton Baby

Get well soon Ty! I thought I'd dip into his most recent album "A Work Of Heart" for this episode, and we have a ode to his place of birth as well as the adopted home of Mpho, the guest vocalist. Ty also built the foundation of the beat, then built on by Drew Horley, Akwasi Mensah and Julien Siegel. The combination of all the artists give the neighbourhood the love it deserves!

Planet Asia & 38 Spesh : God Degree

I can't even remember what lead me to this one via Spotify, but it's always good to hear new Planet Asia. The new "Trust The Chain" album is completely produced by 38 Spesh, and I love his beat here, regal dopeness that gives Asia's conscious rhymes a fitting backdrop.

Leavv : Valley (Original Mix)

Germany's Leavv is no joke when it comes to the "chill-hop" vibes that have become popular on long streaming Youtube mixes over the last few years. His work is crisp, clean, and refreshing as a nice tonic water on this track from the 2018 "Mind Garden" album!

Bill Withers : Grandma's Hands

Some of you will know this song very well, while others will have had a flash of realisation from the very first bar! Yes, this was famously sampled for Blackstreet's "No Diggity", but it's a truly great record in its own right. A single from 1971's "Just As I Am", this is just raw soul, and a record many of us can relate to - if not about grandparents, perhaps other elders who are no longer with us.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

[ruthkgjornary93insurance-blog]

honda car insurance process

honda car insurance process

honda car insurance process

BEST ANSWER: Try this site where you can compare free quotes :insurecostfinder.xyz

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honda car insurance process

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honda car insurance process

[bestforlessmove]

Tune Up Your Open House: How to Use Music to Sell Your Home

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Tom Hignite, owner of Miracle HomeBuilders in suburban Milwaukee, is a firm believer in the power of music-so much that he cranks up the volume at open houses and tours.

But not too loud. And it has to be the right kind of music.

It's trying to create a sense that goes with the home, Hignite says. With a contemporary home, a lot of times it's New Age sounds almost Zen-like. If it's an older home, mansion-like, we'll want to have classical music, maybe piano and violin music. For a property in an urban neighborhood, jazz is in perfect pitch, he says.

It's all about using music to evoke an emotional response in home shoppers, Hignite says, assuming that the right playlist will get a buyer in the mood to seal the deal.

But can music really turn a shopper into a buyer? Australian researchers Adrian North,Lorraine Sheridan,and Charles Arenitested this theoryin 2015. Among a group of college students, they found that meal choices directly corresponded with the background music they heard. A second part of that study indicatedthat hearing music makes people want to spend more money than if tunes werenot present-in other words, music adds more perceived value to the product being offered.

So, if people's choices in food and shopping are influenced by music, it stands to reason their home-buying experience might be shapedby songs as well.

Having some soft, soothing music playing at an open house does help with the sale, says Michelle Galli, a listing agent with Century 21 M&M in Los Banos, CA. It gives the prospect acalm, relaxing feeling so they can picture themselves in the home in serenity.

But before you crank up the steel drums in your coastal home, let's dive into what kind of music sells houses-and whichmelodies you should avoid.

Match the music to your home

When building your playlist, think first about your home's style. Do you live in a charming Victorian or a contemporary condo? Will Justin Bieber's greatest hits feel out of tune in your Mid-Century Modern home?

You can also steal inspirationfrom the surrounding neighborhood or the season. Is it a snowy day fit for cozy coffeehouse classics or a hot afternoon ripe for summer jams? You should even consider the type of person most likely to live in the home next-is that likely to be a sophisticated empty nester or a family with young kids?

Consider the tone you're trying to set

The magic of the music is to find the right music that will make you want to be there-and not run out the door, Hignite says.

We're stating the obvious here, butthat means staying away from hard rock, country, or religious music, whichmay turn off potential buyers.Top 40 tunes aren't banned, but you'll need to make sure the songs don't have offensive lyrics and aren't too amped up-you're shooting for a vibe of calm, not club.

You need to stay middle of the road, Hignite says. But not so middle of the road that it sounds like you're in an elevator.

So how do you strike the right chord? ScouringSpotify or Pandora for open house music is an artful dance. It can take time to uncover the right tunes, and you might be surprisedby what works.

Instrumental jazz tunes tend to be hits

Susan Molloy, an agentwith Upper Manhattan'sBohemia Realty Group, has found success with Brazilian jazz.

Brazilian jazz added a nice, calming feel to the room, but I made sure to keep it at a low volume so that it wasn't the first thing you noticed.I had people comment that the music was a nice touch, Molloy says. It seemed to add a nice ambiance that made people feel at ease and more relaxed.

Fernando Morais, a listing agent with TripleMint in New York City, also uses Brazilian jazz-the genre has been an icebreaker, he says.

One time I was playing [Brazilian] bossa nova, and two clients recognized the songs and introduced themselves,Morais recalls.

That doesn't mean you have to use Brazilian jazz. But agents agree you can't go wrong with upbeat classics or instrumental music that speaks to the heart of your home. Dizzy Gillespie, Esperanza Spalding, and Billie Holiday are all go-to artists for listing agents.

I do believe in the power of music to set the mood at an open house, addsKathryn Bishop, a listing agent with Keller Williams Realty's Studio City, CA, office. I choose relaxing music based on what I think the potential buyer's age or generation might be. Sometimes it's familiar jazz, sometimes it's more recent hits.

Where-and how-you play your tunes is crucial, too

Don't have a surround-system in your home? Don't fret-there are some easy hacks to get around that.

We'll still hide boomboxes around, in hidden areas, underneath a bed, or in the corner, Hignite says.

Don't be afraid to play a different type of music in each section of the house-as long as the tracks aren't competing withoneanother or distracting buyers as they weave in and out of rooms. Keep the volume at a level low enough to invite conversation-and not so loud that people have to yell over it. And make sure to create a playlist that will last the entire showing period, soa buyer isn't left in awkward silence when the songs run out.

Looking for some pitch-perfect playlist inspiration? We've curated a selection of songs that agents like to use during open houses and home tours. Take a listen, and see where the music takes you.

The post Tune Up Your Open House: How to Use Music to Sell Your Home appeared first on Real Estate News & Insights | realtor.com.