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nutravibes · 1 year ago

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theweedbrothers · 2 years ago

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Where to Buy Shrooms in Canada: Your Ultimate Guide

Introduction

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Conclusion

In conclusion, finding where to buy shrooms in Canada can be an exciting and rewarding journey. Whether you choose physical dispensaries, online retailers, or local mushroom foraging, it's essential to prioritize quality, safety, and legality. By following the guidelines and recommendations outlined in this guide, you can embark on your shroom-buying adventure with confidence. Remember to always consume responsibly, respect the laws and regulations, and prioritize your well-being. Happy shroom hunting!

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neonacity · 3 years ago

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Chapter 10: Clytemnestra

Summary:

“Only the dead have seen the end of war.”

An NCT mafia AU with OT23. Summary: Working for the mafia comes with many layers. There’s excitement, violence, loss, and betrayals. Yet there’s also friendship, family, loyalty, and code. The last thing it needs? Love and all the complexities it brings.

TW: violence, death, mentions of sex, drugs, and other illegal activities. If you’re uncomfortable with any of these, feel free to skip. Author’s note: This is purely a work of fiction. In no way am I supporting all the illegal activities and behaviors that might be mentioned in the story nor am I implying that any member of NCT acts whichever way I may write them here.

Chapter 9: In Memoriam

MASTERLIST

Fic Trailer

Chapter Music: I See Red by Everybody Loves an Outlaw

----

"What did he say?"

My eyes scanned over the words written over the piece of paper for the last time. There isn't much there, but I feel like there's something crucial I was missing. I looked up at Taeyong and shook my head.

"Nothing much. But he wanted me to meet up with him."

"Did he give you an address?"

"No. Which makes it all the more strange. Unless he is planning to send another letter?" I handed him the piece of paper which he quickly unfolded to read. A slight frown settled between his brows as he went over it.

There were only two lines there, none of which really makes sense.

I will be waiting.

22:00. Black Daisies.

"Do you have any idea what Black Daisies mean?"

I shook my head, mirroring the same look of confusion on his face. I've been racking my brains about it for the past few minutes but couldn't think of anything that might be related to it.

"I honestly have no idea. He wrote a time beside it… so I am assuming whatever Black Daisies is, it's a code for a place? I don't have any idea which location he is referring to though."

Taeyong simply looked at me silently before finally folding the paper away. We were back in my room after he temporarily managed to save me from the barrage of questions I was sure the others wanted to ask when they found out the letter was addressed for me.

Every day I feel like the line I'm toeing gets more and more dangerous. Like a high strung tight rope that's ready to give up under my footing.

"You're not going to him."

I looked up to meet his eyes.

"I wasn't planning to..."

Taeyong's gaze didn't waver.

"Promise me."

"Why?"

"Because I know you'll change your mind in a heartbeat once he involves anyone you care about. So I need you to promise, even if he uses me or any of our friends."

My lips pursed and I evaded his gaze. I heard a soft shuffling of feet and felt my mattress dip as he sat beside me. Taeyong didn't need to touch me to affect me with his presence. After that brief moment of vulnerability that we shared earlier, something has shifted. I thought I will be able to put my walls up again just as easily as I took them down, but it seems like I was wrong.

When he spoke again, his voice was lower. Softer.

"Promise me."

"Is that an order from my leader?"

"No, it is a request from a friend."

I turned to look at him and cocked my brow to diffuse the tension in the air.

"You're ordering your noona around?"

His lips quirked ever so slightly into a smile.

"You're only one year older…"

"Hey. Emergency meeting."

"And seven months. One year and seven months. Don't forget that," I said, looking away.

A sharp knock on my door got our attention at that moment and we both looked up to see Doyoung standing on the threshold. He looked grim as he moved his gaze from Taeyong to me.

-----

Jaehyun sat at the very back of the room that had filled up with all the members after Doyoung sent his urgent message. Everyone was scattered in the expansive space which seemed a little bit smaller now that WayV has joined, some sitting on the leather stools while others made do with the floor. Jungwoo and Taeil were deep in conversation beside him while Johnny and Yuta stood next to the door, flanking the entrance with their overwhelming presence. Being the main fighters of 127, it comes natural for the pair to be on the watch regardless if it's just an internal family meeting that's happening.

...Except this is not just an ordinary meeting. Jaehyun hasn't heard the full story from Doyoung yet after he came back from his business, but he has a pretty good idea of what the issue might be. Despite being just one of the crime families under the current Don's network, NCT does follow the traditional mafia ranking within its system. Doyoung works as the Consigliere to Taeyong's Capocrimine, taking over the responsibility of being the advisor and overall gatekeeper of NCT to the outside world. His connections give him access to normal society, which means if he calls for a meeting, it is probably an issue involving the "above ground."

Taeyong walked in with an unreadable expression that made everyone fall silent in a heartbeat. He joined Doyoung in front of the room and looked over the crowd before finally speaking.

"Has anyone here given any orders to their crew about stepping up any of our activities?"

The members exchanged confused looks between each other. Mark answered in lieu of Dream, Jeno looking just as confused beside him.

"Not us. Why? What's up?"

Taeyong looked at Doyoung who grimly picked a folder on the table. The latter started reading the contents of it out loud into the room.

"Heist in Dongjak district. The biggest bank there was ransacked last week. Cops also busted an illegal racing event last night. The other day, there was an ambush on one of the strip clubs at Guro. News came around that a new drug was being sold there after a rise of reported overdose deaths from it three days ago. Businesses that should be under our protection in Seocho are being ransacked despite them settling their tariff fees with us," Doyoung looked up from the paper he was reading and swept his gaze over the room.

"That's just four of the 18 other cases that I got for the last week."

Everyone exchanged shocked looks with each other. Jeno decided to speak up, the expression on his eyes intense.

"Hyung, it's not us. We haven't done any heists since you came back from Tokyo."

Doyoung gave a tight nod and looked over to Johnny and Yuta.

"The drugs in Guro?"

"Not from us. The last ones we distributed are those we got from Japan and they're just psychedelic shots. They're clean."

"WayV…?"

"We didn't bring any with us when we landed. Our jet can only fit the crates of armory we had to transport for you guys," Kun said with a frown.

Taeyong ran a hand over his face and took a deep breath.

"Taeyong, what's happening?"

It was Doyoung who answered for him.

"There was a rise of undocumented cases that were being fed to the cops in the past weeks. According to the reports, they were done by us."

"What? That doesn't make any sense," Yuta said from his position by the door.

"It does make a lot of sense, actually. Obviously, we're hands off from all of these so they can only be done by the smaller gangs that we don't manage. And it all started after that announcement was made."

"But those rats wouldn't have any confidence to go against us. They're too small and disorganized to do this. And to even claim that they're NCT? That's just impossible."

"It is possible, if there is someone bigger asking them to act up," Taeyong answered grimly. Jaehyun watched as the man's gaze quickly flickered over to the pale female face sitting on the couch between Chenle and Renjun. That's when it clicked.

Of course, Jihoon wouldn't be too lax to actually lie low after the bombing of Anarchy. That was just the start.

"Are you sure this isn't Wonho's doing?" Ten asked with concern. "We just got word from our network in Beijing that he was peddling women from kidnappings."

Jaehyun's attention snapped to the boy then at Doyoung and Taeyong at the mention of the name. A heavy feeling quickly started to gather on the pit of his stomach as he waited for their answer.

"That's an entirely different case altogether. But you’re right. The feds caught wind that he was trafficking kidnapped tourists and now they're after his ass."

"Did he claim his case to be connected to us, too?"

"No. But because of all these other things happening, the police are definitely pinning everything on us."

"Shit," Lucas whispered loud enough for the good half of the room to hear. Jaehyun mirrored the same internally, his hands clasped together tightly in front of him.

Shit indeed.

This was all supposed to be a no brainer. He only needed to help the asshole get out of the country and then he can brush him off like dirt from his hands after. Why didn't he do it before things hit the fan? Now everything has become so much more complicated.

"How bad is it?" Taeil asked from Jaehyun's left.

"Bad enough for us to be in the 8pm news. According to our moles, the Chief of Police is going to announce the manhunt for us tonight."

The room has gone so silent and still that the air felt suffocating. If there is one thing NCT is known for in the underworld, it is the group's efficiency and cleanliness when it comes to its operations. Every job done is spotless, every loophole covered. Until now.

"Can't we pay off—"

"We can't. We already tried reaching out to all our associates within the force but they can't do anything about it," Taeyong answered before Taeil could even finish the question. "The cases have reached the public and now there's an outcry from the community. Even the police are pressured to do something."

A round of murmurs swept over the room. Finally, one female voice broke through it to ask the question nobody wanted to say out loud.

"What are we going to do?"

Taeyong's jaw tightened and he unclasped his arms crossed over his chest.

"We need to track all those gangs doing these activities and put them in their place. It's going to be difficult to hunt each of them down with their size so we will need to use most of our resources here. Reach out to all the connections you could think of. We don't need more crimes being blamed on us."

Everyone's eyes were on Taeyong as the group waited for what he's going to say next. He stopped for a bit before finally speaking again.

"And we kill Jihoon. This isn't going to stop until he's gone."

Glances were exchanged within the room as his words sank in. Jaehyun didn't want to break the silence but he knew that he didn't have any other choice but to ask the next question.

"And Wonho? What are we going to do with him?"

It was Doyoung who answered this time.

"We'll kill him, too. We've given him way too many chances already. Once we get rid of him, we take the credit and let the cops know about it. Take them off our backs for a bit. We'll take care of him this week."

It was fortunate that Jaehyun has mastered the art of keeping an unreadable facade. In his head, the words of the woman he loves echoed once again as the consequences of the situation mocked him.

"No betrayal… or death of a brother shall be held against any of you."

-----

Johnny threw his half finished cigarette on the gravelled road with a quick flick of his wrist. He scanned the length of the building from across the wall he is leaning on, gaze shadowed by the cap pulled low against his face. Of course, Jihoon would have the audacity and gall to choose a luxury apartment unit as his mistress' "hiding place" in Seoul. The motherfucker is one proud asshole, acting as if he owns any territory he steps on like the crazy psycho he is.

He's not here for him though, no. Johnny isn't the type to act out on his own, but things are slowly starting to get messy within the family. People may always credit Taeyong for being the first one to step in the line of fire when it comes to protecting the group, but Johnny is a close second when it comes to his sense of loyalty. Ever since that day he was picked up and saved from that hell of underground brawls at 17 by Taeyong himself, he made it his personal promise to do anything to protect his home.

That's exactly what he is doing now as he buried his hands in the pockets of his jeans, waiting for his prey. If his informant was correct, she should go out of the building doors any minute now.

30 seconds. 40. 56.

His eyes caught a familiar form slipping out of the main entrance of the complex. The woman was wearing more casual clothes now than when they last met at Anarchy, but Johnny knew it was her despite her hoodie shielding the good half of her face. His sharp eyes followed her, allowing her to put some distance between them before he finally pushed himself from the wall to trace her steps.

She had crossed three streets when he really started catching up with her. He waited until the traffic light turned red on the street she was about to cross before slinging his arm around her casually.

The woman stiffened instantly in his arms and looked up at him in shock. Johnny smiled casually down at her and pressed the cold nose of the gun hidden under his jacket closer to her ribcage.

"If you don't make a racket, there won't be a need for a murder scene by this road."

She pursed her lips as anger flashed in her eyes. She gave a tight nod before directing her gaze back into the street ahead.

"Good girl. Go straight then turn left. There's an abandoned building on the third alley."

The two of them immediately started walking, sides pressed closely together. She didn't speak, but Johnny could feel her anger just bubbling underneath.

He unceremoniously pushed her inside the abandoned shop when they finally reached it. She turned to him with a glare and he didn't hesitate to raise his gun to her face, cocking it slowly.

The move made her brows raise. Instead of looking threatened, she crossed her arms over her chest.

"What do you want?"

"Your boyfriend's head on a stick. When are you two going to leave us alone? Your lot is causing a lot of trouble for us already."

"Are you here to kill me then?"

"Oh no. You're here as payment. It'll be interesting to see how he reacts after we mess up one of his own."

The woman stared at him for a long moment. Johnny’s gun didn’t waiver during the stare down, his hand steady as their gazes clashed. Then, all of a sudden, she did something he wasn’t expecting at all.

She laughed.

She laughed so hard her voice rang and bounced on the dusty corners of the room. Johnny reigned in the confusion that overtook him with a frown. Is she acting to throw him off track?

The girl straightened up and looked at him with pure amusement in her eyes. The smirk playing on her lips told him that there is more to this act than what he is seeing.

“Oh sweetie, I’m so sorry. You stalked me thinking you’ll budge Jihoon by threatening me? That’s so, so, so amusing.”

Johnny tightened his jaw but didn’t say a word. He watched as she started moving towards where he is standing, her eyes never leaving his. Everything seemed to move in slow motion as she stalked him, and for the first time, he actually took a good long look at her eyes. What Johnny saw there hit him like a firetruck.

Jihoon’s madness, exactly reflected in her own gaze.

She stopped an inch away from his gun. If she moved a little, the cold metal of it would have kissed her forehead.

“You could kill me now or torture me to death and my brother wouldn’t bat an eye… In fact, he might even thank you,” she whispered softly, almost fondly. Johnny felt the hair at the back of his neck rise. His emotions must have briefly flashed on his face because her smile widened in amusement.

“Here’s one thing you don’t understand about Jihoon. He absolutely doesn’t care about anyone else other than himself. All these things he is doing? They are all for his sick fun. He is mad. Inhuman. If you want to have any chance of winning this, you have no other choice but to play the game with him.”

“You’re his sister.”

“Half sister. That doesn’t change anything. I’m just a piece on his chessboard. I would honestly let you kill me now if you want to, but I can’t. Not until I finish what I have to do.”

Johnny didn’t know what got to him but he found himself slowly lowering his gun. The two of them stared at each other, silent, for what felt like forever. Finally, she moved to walk past him.

“If that’s all, then I’ll go ahead. I suggest you find a better informant next time. Jihoon doesn’t stay in my building at all. Even I don’t know where he is,” she said casually as she moved towards the door.

“I have no other choice. But believe me when I say that I want him dead just as much as you do.”

“If he doesn’t care about you, why are you sticking with him?” he asked just as she wrapped her hand on the door handle. She stilled, her shoulders stiff. Johnny is not an ace when it comes to psychological games but when she turned to look at him again, he knew for sure that her eyes were honest despite being devoid of emotions.

That made him stop. Before he knew it, he was speaking again to ask the one question that he’s been trying to answer ever since they met at Anarchy.

“Why did you save me? Back in the club. I was standing directly above your bomb.”

For a while, she didn’t answer. Johnny thought he saw a flicker of emotion pass through her eyes, but it was gone before he could process it.

“I wonder why too.”

The door closed behind her, leaving him alone in the shadowed room.

----

Chapter 11

Tag list: @hen-marks99, @negincho, @nctisthecity

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mccabec · 5 years ago

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27 Club

The 27 club, many rock and roll fans have known about this remarkable tragic coincidence. This term was widely known after the death of Kurt Cobain in 1994. It started when Kurt Cobain’s mother coined this term in an interview after he died, saying along the lines of “Don’t join that stupid club” which was distributed worldwide by Associated Press. It started a widespread connection of relating many deaths of rock stars dying at 27. Coincidence or science? When Amy Winehouse passed away in 2011 it got the attention and has connected beyond musicians to even actors and artists who have lost their lives to suicide, addiction, and freak accidents. One trying make sense of the 27 club was explained in article by Science Net Links, written by Bob Hirshon, stating “One is that rock musicians tend to become famous in their early twenties, and their risk-taking (with drugs, alcohol, or reckless behavior) steadily increases from there and peaks four to five years later. Another is that musicians who know about the “27 Club” consciously or unconsciously behave more dangerously at that age, and even may be drawn to commit suicide” (Hirshon, 1).

By abusing risky substances cause many mental and physical problems resulting many deaths but does not answer the question what causes these artists to die. Some of these stars of this club are Amy Winehouse, Janis Joplin, Kurt Cobain, Jim Morrison, and Jimi Hendrix. In Australia researchers have found new technology to research the significance of this conspiracy.

Researchers have found that rock superstars were significantly more likely to die young but the age of 27 has no outsized risk. This comes to the research of the human brain, and how many cherry pick patterns and ignore other facts that can prove it wrong. In my view point, I have come to the new idea that there is no danger in the age of 27, but the danger is the excessive use of alcohol and other drugs. Many musicians who have died at such a young age, who joined the 27 club have had their battle with substance abuse. Such stars who have been linked to the 27 club who have died from overdose is Janis Joplin (heroin), Jim Morrison (heroin), and Amy Winehouse (alcohol).

Music brings people many feelings of spirituality, religion, happiness, and appreciation. The question has arisen why many musicians abuse drugs and alcohol when they find happiness in making music. Is it the environment? Or is it wealth and fame? Or the success of being young? There is a deeper connection for musicians to dive into psychedelics and alcohol to connect to the spiritual levels of their music. There is a demand in especially the rock ‘n’ roll industry to be outrageous and the easy excess to these substances. It’s part of the culture of dealing with the stress, pressure, and poor care of mental and physical health of these artists. Many may make connections such as the 27 club but to an extent the population needs to bring the awareness of many deaths of these inspirational stars due to the substances abuse in musician culture.

Hirshon, Bob. “27 Club Myth.” Science NetLinks, http://sciencenetlinks.com/science-news/science-updates/27-club-myth/.

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dilettantereviews · 6 years ago

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Due to some personal circumstances, finishing this list took longer than I’m proud of, but I hope it’s worth it.

Isolation by Kali Uchis- This was a hard album to write for, not because of the quality (obviously), but because it’s so all over the place and hard to classify. I first paid attention to her through an ONTD original about pop stars with personas, then I thought of her as an indie pop girl, and her collaborations with rap and Latin artists make me compare her to women in R&B or urban music as well. But she’s just Kali. People always talk about “it took Ms.Nancy 8 years for her debut but it’s iconic!!” but for Kali I definitely feel it. The psychedelic baroque intro alone lets you know that you’re about you go on a journey of an album. Songs like Miami, Tomorrow, and Your Teeth, My Neck (and I guess Just a Stranger) all talk about the uncomfortable intersection between wealth and desire, while songs like Dead to Me (lol) give some brevity and energy to this album. For critics who think she can’t sing, Killer has a great Winehouse-esque performance. The album cover looks like a Prince Protege vanity set fantasy painting.

Joyride by Tinashe- Tinashe had a weird 2017, with Flame flopping, Light Up the Sky dropping, and a bizarre Taco Tuesday outing (why?!?! They said it was a networking event, but for who? The girl has more collaborations than all the different companies Pepsi distributes for), but her 2018 was better. We got a random HQ picture that turned out to be the first cover for a tringle that lead to Joyride. She answered many questions like yes, she did need to use legal options to release Joyride, and no, she didn’t like Flame. She release a great pop album that is a little Frankensteined together but you can still use all the songs. Although things seem murky now, I feel that Tinashe will keep giving us great, unique music. Personal favorites include No Drama, Faded Love, No Contest, and Ooh La La.

Caution by Mariah Carey- I keep seeing people mention that this is their first Mariah album, which is appropriate, because this feels like a new beginning for her. It’s my first Mariah album too, but I’ve seen one Popjustice member say that this is her only album where she mainly sings in a lower register and where the background instrumentals are darker electronics. I’ve heard that Me.. I am Mariah at least tried out new things, but this incorporated everything successfully. I’ve never really listened to Mariah before because I just figured it would be mostly ballads and midtempos, but this album kept things unique. Highlights include GTFO, A No No, Giving Me Life, and Portrait. This album is the sonic equivalent of putting your favorite Bath and Body Works moisturizer on, making a warm drink, and hiding under a weighted blanket, and who doesn’t want that in a year like this?

Take Me to the Disco by Meg Myers- People say that there are too many meaningless buzzwords (true) but I don’t think alt vs indie rock is one of those. Indie is generally minimal and guitar based but alt is left of the middle rock and expansive. Meg went for category 2. Following her great debut album from 2015, she went for a bigger, better, and darker sound this time. It reminds me of Tori (Tear Me to Pieces and Jealous Sea sound very Choirgirl), PJ, Trent, and the Smashing Pumpkins. Take Me to the Disco is a nice ballad that starts out the album, which doesn’t prepare you at all for Numb, the following track. Done and Funeral are also strong. Listen if you’re tired of slackers in music.

Childqueen by Kadhja Bonet- If music indicates mood, I don’t know what Spotify premium subscribing, Allmusic reading, time travelling aliens would know about 2018. Sure, there were some political albums, but I feel like the pace of crappy events was faster than (High quality) political music. Even on a personal level, 2018 wasn’t ridiculously iconic or anything for me, and I was still petty and had grudges to work on. That being said, I have no clue how psychedelic music became big for me this year. We had Moodoid, Melody’s Echo Chamber, The Internet (sort of), and Dita Von Teese. But my favorite is perhaps Kadhja Bonet, whose theatrical sounds are like the score to an old Disney movie. Mother, …, and Second Wind are great. Bonus EP was released this fall.

so sad, so sexy by Lykke Li- I haven’t really listened to Lykke before, so I figured her pop reinvention was a good time to get into her. This album reminds me of Nelly Furtado for indie songwriting but with hooks. Although sometimes the trap parts are a little awkward (use vaporwave instead!), this was a good reinvention. My favorites include Two Nights featuring Amine (he is NOT a rent a rapper!), Jaguars in the Air (you and me we’re psychedelic!), and of course, sex money feelings die. I would love a Jessy Lanza remix album commissioned.

Silk Canvas by Vanjess- Everyone loves whisper registers and high pitched whisper singing in R&B (Diana Ross, Janet, Aaliyah, Ciara, Cassie, Tinashe) but what I really love is a deep voice (or at least one that sounds a little raspy). Vanjess joins Her, Total, and T Boz and even The Weeknd in the deep vocals crowd. Don’t mark these Nigerian princesses as spam, just give them a stream, no bank accounts required. I like that they have a better understanding of making a cohesive album with different genres and still staying in a certain vibe instead of doing the same song 12 times. Even their remix EP gets that. Control Me and Addicted, the big singles from this album, are good symbols for their moody R&B sound but they have more than that. Touch the Floor is more uptempo in the vein of Kaytranada, as are the excellent Through Enough and Another Love. My Love reminds me of Aaliyah’s One in a Million. The One picks up where the 80’s revival trend left off, but improves on the synth funk sound. Even Cool Off the Rain, a 2 minute interlude, is worth listening to.

7 by Beach House- I don’t know what made this album click with me. This is my 4th album for Beach House, so I thought I just wouldn’t get them by now, I listen to dream pop and shoegaze enough where I thought I’d like any vibey music. This album didn’t reinvent the wheel but it has warmth to it, without losing their signature ‘when your arm has pins and needles and you need to wiggle yourself to a healthy blood circulation again’ sound. Favorites include Lemon Glow, Black Car, Dark Spring, and Girl of the Year. I also recommend Wax idols and Pinkshinyultrablast if you’re looking for more shoegaze..

Dita Von Teese by Dita Von Teese- This was always going to be a niche passion project by a burlesque artist, so I don’t think it was ever going to set the charts on fire, but not even the internet cared about this? If you miss Lana’s old Hollywood glamour, you should check out this album. It mixes 60’s psychedelics with electronic music to create a perfect loungy sound. I’m not saying I’m those “I miss 2012 Lana!!” but I stuck with her through her Old Hollywood Jackie Kennedy Born to Die phase, her 60’s Manson Girl Ultraviolence cult phase, her 50’s (?) maps to the stars Honeymoon, and 70’s singer songwriter Lust for Life phase, so I was excited to see what other incarnations we would get. Would we get a full on spaced out culty version of Honeymoon? An 80’s Midwest goth album? A late 90’s vaporwave mixtape? Okay, most of these are just words thrown together that nobody would want, but Dita’s album had the concept and the execution there, all it needed was the audience. The French songs have a certain sadness in them. I like Bird of Prey and Dangerous Guy as well, but the whole album is well produced and beautiful sounding, so you should listen to it if you just want some easy listening that’s riskier than most of pop and alternative’s current artists.

Black Panther- Yes, this should count as an album. I’ve seen people treat The Hunger Games soundtracks (yes, those movies didn’t spontaneously appear on TNT one day) as real albums and stan Lorde’s vision for it. I’ve seen people stan the soundtrack for A Star is Born, like it’s a real Lady Gaga album, but Black Panther is where y’all draw the line? Okay. Aside from the breakout single, you get a good vocal performance from SZA, a top tier Jorja Smith song, the best flute performance of 2018, and the downtemp Seasons. That a random soundtrack can have that much cohesion is good for Kendrick Lamar but bad for other artists.

#best of #best of 2018 #kali uchis #tinashe #mariah carey #meg myers #kadhja bonet #lykke li #vanjess #dita von teese #black panther

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licensedproducers · 2 years ago

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#Canada'sCannabisIndustry #LegalizedLSD

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auercbdsblog · 3 years ago

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holidayloading48 · 3 years ago

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Goya Guitar G15

Goya Guitars G 10 Value

Goya Guitar G-10

Goya Guitar G150

The Goya guitar information spotlighted on this page comes from different sources (and individuals via email) and will sometimes conflict. Hopefully, enough facts come through to provide enlightenment to the history of the Goya guitar. At the bottom of this page is the list of some of the sources that I used. If you have any additional information about Goya guitars or the companies that produced and distributed them - please

Goya Guitar G15 En Que Consiste La Psicologia Del Color Download Train Simulator 2009 Taraftar Tv Indir Dragon Age Inquisition Full Download Akhkharu Vampyre Magick Pdf Drag Racer V3 Download Tms Tamil Songs Lyrics Create Simple. Goya was the first classic guitar line to put the trademark name on the headstock, and also created the ball end classic guitar string. Sep 09, 2015 This guitar had two cracks on the back of the base. VTG 1956 Goya G15 Acoustic Classical Guitar 50s Gretsch Martin Sweden Orig Case You are bidding on an authentic vintage 1956 Goya classical acoustic guitar. This guitar is in very good condition.

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email me. ThanksThe guitar brand name 'Goya' existed from the mid 1950's to 1996. Nylon and steel string acoustic and acoustic/electric guitars, hollow body electric guitars, solidbody electric guitars and basses, thinline electric archtops guitars, banjos, mandolins and amplifiers. The Goya brand name was initially used by Hershman Musical Instrument Company of New York City, New York, in mid 1950's for acoustic guitars made in Sweden by Levin, particularly known for its classical guitars. NOTE: As best I can tell, 'Goya' brand guitars were made starting in 1954 and ending in 1996. The Goya brand name was initially used by the Hershman Musical Instrument Company of New York (Goya Guitars Inc.). The 'Goya' name comes from Francisco Jose de Goya, the famous 18th century Spanish painter known as the father of modern art (Francisco drew a lot of Spanish guitar players too). The distribution for Goya guitars went from Hershman to Kustom Electronics Inc. in 1970 and then over to Dude Inc. (both of Chanute, Kansas) in late 1972 as best I can tell. Most of the acoustic guitars during this perion (1954-1973) were handmade in Sweden by the Levin company (I believe the possible exceptions were the G-50 models made in the USA based on descriptions in some of my Goya catalogs). The Goya brand then went to Martin Guitars in 1974 (the same year they acquired Levin) and lasted until 1996. These Goya guitars were made in Japan, Korea and Taiwan (I've never seen a Martin 'Goya' that said made in Sweden).

Sparkle plastic covered Model 80 (ESP24 Standard) and Model 90 (EDP46) hollowbody electric 'Les Pauls' (with replaceable pickup assemblies) - made by Hagstrom - introduced mid 1959. These are relatively rare.

By 1963 company had become Goya Musical Instrument Corporation, marketing primarily Goya acoustic guitars. Goya purchased by Avnet, Inc., prior to 1966, when Avnet purchased Guild Guitars. Probably some 1970's guitars were made in Japan.

Justbroadcaster for periscope. Goldspy. Brand name purchased by C.F.Martin in late '70s with Japanese-made acoustic guitars, solidbody electric guitars, basses, banjos and mandolins imported in around 1978 and continuing through the 1980's. Brand name was then used on high-quality Korean-made acoustic and acoustic/electric guitars, banjos and mandolins. Brand name 'Goya' discontinued in 1996.

Goya instruments were originally produced in Sweden by the Levin Company that has been making guitars since the 1900's. Distributed by Hershman Musical Instruments Company of New York. Later Goya instruments were built in Korea from the early 1970's to 1996, and were distributed by the Martin Guitar Company, located in Nazareth, Pennsylvania. The Goya trademark was originally used by the Hershman Musical Instrument Company of New York City, New York in the 1950's on models built by Sweden's Levin Company (similiar models were sold in Europe under the company's Levin trademark). Levin built high quality acoustic flattop, classical, and archtop guitars as well as mandolins. A large number of rebranded Goya instruments were imported to the U.S. market. As a side note - Anders Wasén of Gothenburg, Sweden (where Levin/Goya was made) provides this additional information: H.C. Levin was from Sweden and as I was told worked in the United States as a trainee at the Martin Guitar Company. Nomachine for mac. So did his son just before World War I (as he told me himself). H.C. went back to Sweden and formed the Levin Guitar company (Goya in the US).

In the late 1950's, solidbody electric guitars and basses built by Hagstrom (also a Swedish company) were rebranded Goya and distributed in the U.S. as well. In 1963 the company changed its name to the Goya Musical Instrument Corporation.

Goya was purchased by Avnet in 1966, and continued to import instruments such as the Rangemaster in 1967. By the late 1960's, electric solidbody guitars and basses were then being built in Italy by the EKO company. Avnet then sold the Goya trademark to Kustom Electronics. It has been estimated that the later Goya instruments of the 1970's were built in Japan.

The C.F. Martin company later acquired the Levin company, and bought the rights to the Goya trademark from a company named Dude, Inc. in 1976. Martin imported a number guitar, mandolin, and banjo string instruments from the 1970's through to 1996. While this trademark is currently discontinued, the rights to the name are still held by the Martin Guitar company.

The Goya company featured a number of innovations that most people are not aware of. Goya was the first classic guitar line to put the trademark name on the headstock, and also created the ball end classic guitar string.

Levin-Era Goya models feature interior paper label with the Goya trademark in a cursive style, and designated 'Made by A.B. Herman Carlson Levin - Gothenburg Sweden.' Model and serial number appear on the label, as well as on the neck block.

Albin Hagstrom's company produced guitars in Sweden from 1957 through the early 1980's. Early distributors included the Hershman Musical Instrument Company of New York (under Goya logo) and Selmer, U.K. (under Futurama logo). Hagstrom really came into it's stride during the beat boom of the early 1960's, making functional, affordable models such as the Kent. Hagstrom also began to export widely, often badging guitars to suit the marketing brands of the customer. Thus some US Goya-brand guitars orginated at the Hagstrom plant, as did a number of British Futurama models.

The earliest known Goya guitars that I can VERIFY are from 1958. I have a 1958 Goya Guitar catalog to base that statement on. Also, all Goya guitars with labels saying 'Made by A.B. Herman Carlson Levin, Gothenburg, Sweden' have serial numbers showing a 1958 date using the 'Locksley Serial Number List.' I believe that list can be ONLY be used for Goya guitars having that label. All other Goya guitars CAN NOT use the 'Locksley Serial Number List.'

Goya Guitars G 10 Value

Goya guitars were imported from Sweden by Kustom Electronics in the late 60's to early 70's. I have a 'Kustom Goya Ad' dated 1971. I've been told that Kustom didn't put serial numbers on the Goya guitars. The Goya distributorship was then sold to Keith Dodd of Dude Inc. in the early 70s who I've been told did put serial numbers on the Goya guitars. Kustom Electronics originated in Chanute, Kansas as did Dude Inc. Around 1977 the Goya franchise was sold by Dude to the Martin Guitar Co., who began importing Goya guitars from the orient (I have a 1977 Goya Martin Guitar catalog).

Goya was a brand applied to guitars imported into the US by Hershman. From 1959 some were made by Hagstrom in Sweden, with distinctive touches including colorful plastic finishes and multiple control layouts. By the late 1950's the influence of electric guitars had spread worldwide, evidenced by other countries' contributions to the cause, and some of these did make their mark on a pre-beat boom British market. In Sweden, accordion maker Hagstrom decided it wanted a piece of the electric guitar action and launched two- and four- pickup solidbody models in 1958. These visually arresting guitars boasted banks of pushbuttons and chromed panels plus abundant sparkle and pearloid plastic - all unsurprisingly appropriate in view of their accordion-derived ancestry. Such exercises in excess even fared well in the US where Hagstroms bore the Goya brand name.

Jimi Hendrix played a psychedelic (paisley design) Goya Rangemaster, which can be seen in the 'Jimi Hendrix Electric Gypsy' book by Shapiro & Glebeek. The picture in the book has this description 'Goya - probably made in early 1968. This photograph (taken around March 1968 in the USA) shows Jimi playing this Italian-manufactured guitar - the first psychedelic guitar available on the market.' NOTE: I believe I saw the guitarist for 'Country Joe and the Fish' playing a Goya Rangemaster during a performance that was shown on 'The History of Rock 'n' Roll' shown on PBS television.

Stevie Nicks of Fleetwood Mac fame composed her first song 'I've Loved and I've Lost' with a Goya guitar, her very first guitar, given to her by her parents on her sixteenth birthday. Asked during a MTV interview, 'How long, actually, have you been composing songs?' she answered, 'Since my 16th birthday, the day I got my Goya guitar. I wrote a song that day.' Another great artist that used a Goya guitar in all her songs was Melanie. If you ever saw the 1967 movie 'The Sound of Music' then you saw Julia Andrews playing a classical Goya guitar (I believe it was a G-13 model).Another artist associated with Goya guitars is Mason Williams, who gave us the great guitar instrumental 'Classical Gas.' His second guitar was a Goya which he bought in 1958.

The Goya Rangemasters electric guitars were produced between 1965 - 1969. The 'Goya' brand name was used at various times by Hershman Musical Instrument Company of New York, an importing firm, and as was so often the case with distribution companies one brand name turns up on guitars from a number of different sources. The Rangemaster model, for example, is of Italian origin, reflecting a 1960s predilection for multiple control layouts and most likely comes from the EKO factory. The vibrato bar, however, was provided by another Goya supplier, the Hagstrom company of Sweden.' NOTE: Someone informed me that they had talked with a production manager from 'EKO' in the 60s who said they had no involvement with Goya. That same person suggested to me that the 'Polverini Brothers' in Italy made the Rangemaster guitars. It has also been suggested that Italian guitar maker Galanti made the Goya 'Panther' models. The Goya Panther and the Galanti guitars look nearly identical.

The Japanese manufacturers who started to mass produce electric guitars in the early 1960's included Fujigen Gakki which made guitars with Goya, Kent and other importer brands. Greco instruments were imported to the U.S. through Goya Guitars/Avnet. Avnet was the same major company that also acquired Guild in 1966. NOTE: The 'Greco' brand guitars as owned by the Hershman Musical Instrument Company of New York (Goya Guitars Inc.) during the 1960s are NOT the same as the Japanese made GRECO guitars made in the 70s and 80s. The Hershman 'Grecos' were made in various European countries and are listed in my Greco catalogs. I believe the 'Greco' name comes from the 16th century painter El Greco (there were no guitars around during his days). The logo for the Hershman Grecos are in the same style as the Hershman Goya logo and different than the Japanese made GRECO guitar logos. By the way, speaking of logos, the Goya logo did go through a change sometime in the 1980s when Martin owned the Goya brand - some of these guitars were made in Korea.

Today is a good day I would suppose. I ran over to one of my old friends houses whom I don't see very often. He is heading off to college Sept. 1st to finish his degree and is trying to get rid of useless shit in his house. He doesn't play guitar and had this acoustic lying around from some house party he had AGES ago. Some stupid kid left it there. I am assuming its really not that valuable, considering the kid left it, oh, at someones house. He got wind that I had started playing guitar and asked if I wanted it, told me it would be a fixer cause it had been lying around his house for, well, ages. It is indeed a fixer-upper (Well kinda..) It needs new strings and a new nut (missing it, where the hell it is, G-d only knows. But- Its a Goya by Martin Model # G310

I know nothing of this guitar, and I am probably retarded and cant find anything online really of use, ie- value, where to find parts (aka-this nut that I need) and some way to tell what year etc I have on my hands. From what I can find, they stopped making this guitar in 1992. So..Ah..Little help here? Please. Por Favor? Love Tan.

Goya Guitar G-10

Goya Guitar G150

The Guitar Illiterate.

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recentanimenews · 4 years ago

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SSSS.Dynazenon – 02 – What Are We Now?

The first of many wonderful decisions made in this exquisitely directed and impeccably detailed second episode is that we catch a second look at the end of last week’s kaiju battle from Yomogi’s POV. It’s great to see this confused ordinary kid simply along for the ride as Dynazenon leaps, flies, and takes its opponent down.

After that, the dino-mecha vanishes, or rather reverts to its resting form of four toys distributed among the three new co-pilots by Gauma. When Yomogi says he didn’t even do anything, Gauma says it’s possibly Dynazenon recognized his innate aptitude.

Then immediately goes back to what he was doing before the attack: castigating Yume for standing Yomogi up, leading Yomogi to ask for calm. Gauma goes on to say a group called the Kaiju Eugenicists controlled the kaiju, and they’ll be back, so the group has to train. Everyone agrees to meet up tomorrow…even Yume.

The next day at school and in Koyomi’s room, everything seemingly reverts back to normal, except for the compression of classes due to the kaiju attack. Yomogi’s friends want him to hang, but he has work. Chise points out to Koyomi that if he’s a robot co-pilot then that means he’s technically employed.

After school Yume gets a piggyback ride from her best friend Mei on a grassy hill near the flood gate. We’ve never seen her so outwardly joyful, laughing until she’s out of breath before heading to training session, this time keeping her word. Mei, a photog, notices this sudden change in Yume’s attitude and snaps some gorgeous candid shots of her as she parts.

Yomogi, who’d classically be the one most “into” this new kaiju-punching mecha scenario, has to work instead, missing the first training session. When his manager what happened on his date, he says “way too much” happened, though none of it “erotically”. He then goes home for a soak and is shocked when Gauma comes in to join him in a far-too-cramped tub.

There’s a lovely juxtaposition between Yomogi and Gauma’s bath and Yume’s. Yomogi was thinking about what having “aptitude” for Dynazenon means, while Yume is thinking about apologizing to Yomogi. Her parents are arguing on the other side of Yume’s bathroom door, one instance of many of Dynazenon’s elite sound design.

From the tinny sound of voices on radio or TV, voices muffled through walls, far away, close up, outside and on the train, we hear voices in Dynazenon just like we do in real life. Also adding to the immersive realism are the extremely lived-in interiors. Like Gauma, we feel like an honored guest in the cozy, realistically cluttered home Yomogi shares with his mom and aging granny.

It’s also clear from this scene why Yomogi is working so much he’s missing all of Gauma’s training sessions: with no siblings or father, now that he’s old enough to work he wants to help support his family as much as he can. As odd as Gauma is, he still seems to get this, and isn’t hard on Yomogi’s choice to skip training for work.

But as we’re introduced to four suspicious figures near a wrecked station, he won’t be able to ignore his Dyna-duties for long. Yume tracks him down and decides to give him a one-on-one lesson on how to access his Dyna-vehicle. She starts by accessing hers: the aerial Dyna Wing, and he accesses Dyna Soldier. Then she merges with him, giving his robot the ability to fly and giving her robot arms and legs with which to fight.

The two combine quickly and without any fanfare, but it still feels like an intimate act, and it was foreshadowed by Yume piggyback riding on Mei’s back. Now she’s piggybacking on Yomogi, and their maiden flight together results in a very sweet and simple conciliatory talk from 40,000 feet travelling at mach 0.8.

Yume is sorry, and Yomogi isn’t mad. Yomogi asked “What are we now?”, referring to their combined Wing/Soldier form. But you could just as easily answer that “what they are now” … is friends. They were able to bridge the distance between them and start fresh…all thanks to robots.

In a very slick transition, their combined “Dyna Wing Soldier” flies behind a building as the camera pans down, and once we’re at ground level we see Yume and Yomogi walking together. They visit the collateral damage the kaiju battle caused, which distresses Yomogi, but Yume assures him it would have been far worse had they not fought and defeated the kaiju. In light of the mess they made, Yomogi wonders if they should hand off their Dyna duties to someone else—perhaps someone older or more experience.

Yume’s response is instructive: If you always go by the book, there are things you can’t protect. On the train home, Yume opens up to him about how her sister died, in an accident, at the flood gate where she spends so much time. It’s another momentous moment presented with sublime mundaneness. Kudos again to the sound design, as you can hear her voice bouncing off the metal walls of the train.

Just like that, smash cut to the kaiju of the week – initially so unassuming, taking up a tiny portion of the frame as it lurks under an overpass. Then Yuuga, one of the four too-cool-for-school “Bad Guy” kaiju users in marching band uniforms (a Trigger trademark) is chosen by the others to take command, and the kaiju grows to immense size.

The psychedelic kaiju starts leveling city blocks when Dynazenon arrives, just as Yuuga & Co. predicted. Only as expected, this second kaiju is a lot trickier than the first. One can’t just punch it, because it can freakin’ teleport. Yuuga uses this ability to great effect by kicking the shit out of the comparatively sluggish Dynazenon while dodging all it’s counterattacks.

Gauma decides to audible “Disperse!”, and the four Dyna parts split, giving their opponent four targets. The only problem is, without any training Yomogi has no idea how to move his Soldier Dyna on its own, and as he wrestles with the controls his sitting duck Dyna’s arms flail around comically. If that wasn’t enough, his manager calls him from work, a fun instance of his normal life interrupting his new kaiju-bustin’ one.

When the enemy kaiju accelerates its destructo-beams and buildings start to crumble, Yomogi spots a bus full of innocent people in harm’s way, and realizes that whether he’s confident in his abilities or not, he wants to protect them. Yume suggests they do what they did before and piggyback into Dyna Soldier, and with Yume’s added agility is able to destroy the fragile wings the kaiju was using to teleport.

After that, he and Yume launch the kaiju high into the sky, where Gauma is able to finish it off with his Dyna Launcher Burst Missile. Team Dynazenon is now 2-for-2, with Dyna-teamwork making the Dyna-dream work. As they exit their robots and bask in their latest victory, Yomogi asks if Yume was close to her sister. She says they didn’t get along well, but admits that now she’s not so sure anymore.

Just as their regular lives are portrayed so simply and realistically with both sights and sounds, there’s a similar realism to the feelings Yume and Yomogi expressed here. There’s nothing over-the-top or melodramatic about their exchanges. Instead, they’re becoming closer little by little, at their own pace.

Unfortunately the pace of battles is likely to heat up, as the enemy kaiju users Gauma identifies as the “Kaiju Eugenicists” are steaming over their latest defeat. Our ragtag gang of good-hearted souls want to keep protecting what they can, they’ll need to step up their Dyna-battle game, ’cause these drum majors look serious, and the gloves are coming off.

By: braverade

#Anime #News #RABUJOI – An Anime Blog

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dustedmagazine · 7 years ago

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Dust Volume 4, Number 5

Hot Snakes

It’s time for another edition of Dust, our semi-regular short form exploration of music we might not otherwise get to. This time Bill Meyer, Jonathan Shaw, Marc Medwin, Justin Cober-Lake, Jennifer Kelly and Michael Rosenstein ponder basement jazz and large ensemble improvisation, French horror movie synths, Charlottesville-inspired protest and one much loved garage punk band returning to the fray after 14 years. Enjoy.

Aalberg / Kullhammar / Zetterberg / Santos—Basement Sessions Vol. 4 (The Bali Sessions) (Clean Feed)

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This combo may have started out in a basement, but at this point the recording circumstances are a matter of have governmental support. Saxophonist Jonas Kullhammar, bassist Torbjörn Zetterberg and drummer/composer Espen Aalberg first convened to play their version of traditional jazz, which is to say music rooted in the examples of Sonny Rollins in the late 1950s and John Coltrane in the early 1960s. Those elements are still evident; “Pontiac,” for example, is built around a bass line that Jimmy Garrison could have fed Coltrane at the Village Vanguard in 1962. But it seems that Aalberg’s looking farther afield for inspiration these days. On that same tune, Kullhammar and guest trumpeter Susana Santos Silva play harmonies that have more to do with 1970s-vintage Ethiopian jazz. And the session took place not in a Scandinavian basement, but in an Indonesian garden, with full access to a Balian gamelan. Those resonant, metallic sonorities give the music a shimmering quality, as though you’re hearing it through a humid heat haze.

Bill Meyer

Carpenter Brut — Leather Teeth (No Quarter)

LEATHER TEETH by Carpenter Brut

French dark synth act Carpenter Brut announces a key influence in its name: the minimalist, evocative, synthesizer-driven soundtracks that John Carpenter scored for many of his films, including Assault on Precinct 13, Halloween, Escape from New York and They Live. As the “Brut” bit suggests, Franck Hueso, the creative force behind the project, amps up the volume and the pace of that source material. He endows the music with an intensity that reflects the affect and the themes of the films — a perverse joy in aestheticized violence, the gut-plunge one can feel when watching highly manipulated filmic experiences. And this digital LP further collapses the distinctions between media: Leather Teeth is offered as the soundtrack to an imaginary horror film, complete with plot synopsis, promo poster and the oddly spectral suggestion of the seamy, grainy, VHS-quality vibe of 1980s horror cinema. You can just about feel the voluptuous joy of the bright orange fake blood and the fluorescent glow of the final girl’s wardrobe, especially in the title track and in “Inferno Galore.” It’s a sort of feat, making music this processed and slick feel raw and dirty.

Jonathan Shaw

Thanos Chrysakis/Chris Cundy/Peer Schlechta/Ove Volquartz — Music for Two Organs and Two Bass Clarinets (Aural Terrains)

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This is one for headphone listening. Organists Thanos Chrysakis and Peer Schlechta, in collaboration with clarinetists Chris Cundy and Ove Volquartz, have created an album of morphing space and shifting textural planes. The album’s opening and closing moments are magical, as a landscape haunted by nearly recognizable shades unfolds in reverb-drenched murk. The opening of the fifth section dwells in similar half-light; organ and clarinet tones almost match, floating around each other in rhythms too wet to grasp. The recording itself is a study in contrast pitting a dead-center clarinet against one off to the side, living in a semi-spectral world where pitch relations are as fluid as pulse and meter. Each instrument has a shadow self that headphone listening renders apparent. If the motivic material itself is slightly lacking in contrast, volume, register and timbre make up for that. Chamber organ and clarinet both add layers of percussion against the lines interwoven by the other two instruments. The music justifies the label’s name.

Marc Medwin

Elephant9 — Greatest Show on Earth (Rune Grammofon)

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When your hired-gun psychedelic jazz guitarist goes missing, what do you do? In Elephant9’s case, the answer is — go maximal. There may be one fewer musicians and the tunes may be shorter, but there are a lot of notes packed into each of Greatest Show on Earth’s 36 minutes. There’s also a lot of chutzpah; what else can you call it when an organ-bass-drums trio cops an Emerson, Lake & Palmer line for the name of its record? Fortunately, they subscribe to a heavier but less bombastic lineage. If you plotted this record on graph paper, one axis would be Tony Williams’ Lifetime and the other would be late 1960s Soft Machine. The organ seethes, the mellotron freezes, the bass sprints and feints and the drums pummel hard but elaborate on themes that, if you excised the solos and added some brass, would be more than serviceable cop show tunes for the age of leaded gasoline.

Bill Meyer

Hot Snakes — Jericho Sirens (Sub Pop)

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It’s been 14 years since the last Hot Snakes album, Audit in Progress, and eight since the convergence of two post-break-up outfits, Obits and Night Marches, spawned a one-song reunion at San Diego’s Casbah. Much has shifted since the early aughts rock revival that Hot Snakes always sat at the louder, rougher, closer-to-hardcore end of, and neither Obits nor Night Marchers, for all their positive attributes matched the fire-spitting intensity of their predecessor. You might, then, look askance on this latter day revival, coming conveniently just as Sub Pop reissues the entire Hot Snakes catalogue, and yet you could only do that before you hear the songs, which are just as raw, just as spittle flecked, just as full-throttle enraged as ever. The disc’s starts in flames, with the Wipers-slashing guitar attack of “Call the Doctor,” Rick Froberg’s yowl rising in rage over a hailstorm of crashing rock propulsion. Short, manic “Why Don’t It Sink In?” bangs the hardest at Hot Snakes’ hardcore punk beginnings, while “Six Wave Hold Down,” brings in an expansive So. Cal. surfiness into the mix. “Death Camp Fantasy” ramps up a whiplash punk garage assault, with a ragged group chorus to carry it home, while “Death of a Sportsman,” finishes things off in windmilling, power-chording style. Holds barred? I’d say none. Score one for the old(er) guys.

Jennifer Kelly

Joy Ike — Bigger Than Your Box (self-released)

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The title Bigger Than Your Box makes a statement about pianist/singer Joy Ike's personality as well as her art. The artistic angle is clear: Ike hits that sweet spot between soul, jazz and pop, and if she doesn't fit cleanly into a genre, she's fine with that. These tracks — full of bouncy piano, a few lush arrangements, and a startling amount of verve — are also about self-definition. Ike refuses to be put into any box, and her music encourages listeners to step out of their own boxes, to “stand up and walk” as she says on “You Betta'.” Across these 11 tracks, Ike rallies anyone in need of rallying. The radio-ready anthem “Hold On” reiterates that “your hope is coming.” Ike walks close to the edge of cheese; when she sings, “You will find your song” or “You are not your fear,” it could tip into eye-rolling territory, but Ike's drive carries the sentiment. She knows there are people who need this sort of song right now, and she's going to make sure they get it. The tunes are infectious, but it's Ike's heart that resonates.

Justin Cober-Lake

Insub Meta Orchestra — Choices & Melodies (Insub)

Choices & Melodies by Insub Meta Orchestra

It’s impressive to keep a large ensemble with 50 permanent members going for eight years and running. It is particularly impressive when that ensemble focusses on the collective intersection of composition, improvisation and electro-acoustic practice. Founded by Swiss musicians Cyril Bondi and d’incise on the ideas the two describe as “experimentation, of immoderation, of exploring and pushing the limits,” somehow this group of international collaborators has not only managed to keep this project a going concern, they have managed to get together on a regular basis to perform and record. Choices & Melodies is their fifth release, recorded at the same session as their Another Timbre CD from last year (reviewed here by Justin Cober-Lake) and like that one, this LP/digital download is comprised of two pieces credited as “direction and compositions by Cyril Bondi and d'incise.” This iteration of the group is 32-strong, with eight woodwinds, five string players, three guitarists, six utilizing electronics, laptops, and synths, three percussionists, four vocalists, along with hurdy gurdy, viola da gamba and harmonium, forming a rich timbral depth.

First up is “two choices” using the simple instructions of producing two noises per person and the possibility of a change every five seconds. What transpires over the course of the 16-and-a-half-minute piece is a beguiling, dynamic mix of subtly shifting hiss, abrasions, quavers, crackles and low-end rumbles. Eschewing any sense of tonality, the immersive layers of frictive textures engulf the listener, with constantly evolving fields of subtle nuanced vacillations and densities. One gets the sense of listening in the midst of a giant engine or the groaning hull of a ship and the recording does a great job of capturing the spatial distribution of sounds across the ensemble. The second piece, “autonomous melodies,” takes a quite different tack, utilizing kernels of three or four note free melodies which are distributed across the orchestra. Over the course of 16 minutes, it relies on a relatively loud volume to let the various threads accrue in to mercurially morphing chords and drones. Here, the music benefits from the intrinsic underpinnings of woodwinds, strings, electronics, percussion and elusive scrims of vocalizations which commingle and fragment into changeable pulses and currents. In both pieces, the collective, considered intensity of the full ensemble comes through with gripping results.

Michael Rosenstein

Daniel Levin/Chris Pitsiokos/Brandon Seabrook — Stomiidae (Dark Tree)

Stomiidae by Stomiidae (Daniel Levin • Chris Pitsiokos • Brandon Seabrook)

Stomiidae is a family of deep-sea fish, and each of the CD’s seven tracks is named for a genus of that family. Perhaps cellist Daniel Levin, alto saxophonist Chris Pitsiokos and guitarist Brandon Seabrook want to assert that they go deep without being too obvious about it? With their needle teeth and trailing whiskers, Stomiidae look pretty terrifying in photographs, but since they’re usually about six inches long and they prefer to live half a mile under the surface, they pose no threat. But they can handle pressure, and there are moments when this music feels like it is busting out at the seams under the influence of some great internal force. Levin is his usual adroit self, and his confident, quicksilver responsiveness exerts a powerful influence on two other musicians whom I associate more with the delivery of knockout punches than the execution of gravity-defying footwork. But the toughness of their instrumental personalities is nonetheless boiled into their playing, as each note and flinty phrase exerts the persuasiveness of a winning argument.

Bill Meyer

Mien—Mien (Rocket Recordings)

MIEN by MIEN

Mien draws talent from an inter-continental assortment of garage psych players—Black Angels frontman Alex Maas, The Horrors’ keyboardist Tom Furse, Elephant Stone’s raga rock experimenter Rishi Dhir and The Earlies’ John-Mark Lapham — and this self-titled debut is similarly all over the map. “Earth Moon” starts with a drone-y reverie in Dhir’s sitar with sitar-psych droning (there’s more sitar on “Ropes” if that’s your thing), then picks up the kind of ramshackle propulsion and Velvet-y psych whisper that Primal Scream used to conjure. “You Dreamt” runs noisier and more electronic, layering metallic ping and clicks and rattles over abstract washes of hiss and static. “Odessey,” spelled the way the Zombies spelled it, is the sort of slanting, driving, dark-wave garage psych that you turn to Black Angels for, though leavened, a bit, by a come hither chorus. All these songs are drenched in about three coats of reverb, kludged with noise and generally smeared and obscured, so you know you’ve got a winner when “Tired of the Western Shouting” bursts through and makes a mark. Techno-ethnic Brian Jones Massacre may not sound like exactly what you were looking for, but you’d be surprised, once you get into it.

Jennifer Kelly

Keith Morris & the Crooked Numbers — Psychopaths & Sycophants: A Message from Charlottesville (self-released)

After the 2016 US presidential election, too much of the immediate response was, “At least we'll get some good protest music out of this.” That may be small consolation to much of the population, but Charlottesville Americana musician Keith Morris turned related feelings into protest album Psychopaths & Sycophants: A Message from Charlottesville, largely guided by the work of Leonard Cohen (covers of “The Future” and “In My Secret Life” book-end the album). The title track is a reworked version of a song from a few years ago, and the changes epitomize the album. Morris's gospel and country-rock influences still come through, but he pulls the rock sound back. For the most part, Morris gives speak-sing performances that harken back to Dylan. His rage comes through regardless of tone, though. On “67%” Morris and guest vocalist Devon Sproule mix that control with rowdier backing. Some of the tracks are a little on the nose to have legs — this is protest music after all — but the album captures a certain mood from “this shattered town” quite well. With a little Randy Newman in the mix, Morris and his band make emphatic points and offer useful catharsis.

Justin Cober-Lake

Mike Uva—Lights Coming Up (Collectible Escalator)

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Everybody I knew at an online music publication that professed to “review everything” had a handful of favorites that emerged from the slush pile, artists so good and so consistently overlooked that it made made it worth while to wade, once again, into the bins of self-releases. (All the new writers complained vociferously about the taking-all-comers policy until they hit one of these; we called it the conversion experience.) One of mine was Mike Uva, a Cleveland-based songwriter, whose 2004 album Where Have You Been sits right alongside certain GBV, The Folk Implosion and the Capstan Shafts records for smart, tuneful, lo-fi pop excellence. That was a long time ago, but every so often I get a new recording from Uva, and it’s always unassumingly excellent, and this new one Lights Coming Up[JK1] is no exception. The clear highlight is “Waco,” a driving, slanting, amber-lit time-capsule that connects Uva’s late college years, the FBI stand-off and an acquaintance who disappeared off the grid forever (though whether to join a Waco-ish cult or farm organic vegetables is never clear). Like all of Uva’s best work, the song has an off-handed grace, as if it rhymes and scans by accident, as if he just happens to be telling you a story that fits the chords he’s playing. But of course, there’s a lot of skill behind that kind of nonchalance, a skill that shows up again in the sinuously ear-worm “Waiting to Return,” in the dreamily unhurried “Even the Highways.” Lights Coming Up is more indie-pop and less country than Lady, Tell Me Straight, the last Mike Uva album, which came out five years ago, but just as effortless. Here’s to the guys (and girls) who do it for love, and do it well and keep at it and get better anyway, even if no one is paying much attention.

Jennifer Kelly

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auskultu · 7 years ago

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Hits? The Floyd Couldn’t Care Less

Alan Walsh, Melody Maker, 9 December 1967

GIVING POP journalists a hard time is the blood sports of groups. It’s one of the occupational hazards of the job, as anyone who’s ever been on the receiving end of the Beatles rapier remarks will tell you.

Last week, it was the Pink Floyd’s turn, which was surprising, for their latest record ‘Apples And Oranges’ isn’t exactly setting the chart alight. Still, I managed to penetrate their initial unreceptive attitude and asked how they felt about the record bombing after ‘Arnold Layne’ and ‘See Emily Play’ had been so well received.

“Couldn’t care less,” was Syd Barrett’s answer. For the Floyd don’t really regard themselves as primarily a record group. Barrett is an advocate of musical anarchy. He believes that all the group can do is make a record which pleases them. If it’s not commercial—too bad.

“All we can do is make records which we like. If the kids don’t, then they won’t buy it.” Ideally, believes Barrett, groups should record their own music, press their own records, distribute them and sell them.

He feels that the application of commercial considerations is harmful to the music. He’d like to cut out the record company and the wholesalers and retailers. “All middle men are bad,” he said.

Co-manager Peter Jenner said that, anyway, the groups have far more idea of what the kids want than the record companies.

Barrett said that the reason the kids dig the Beatles and Mick Jagger is not so much because of their music, but because they always do what they want to do and to hell with everyone else. “That’s why the kids dig them—because they do what they want. The kids know this.”

I met Barrett and guitarist Roger Waters with managers Jenner and Andrew King at the Central Office of Information in Lambeth. They had been viewing a colour film insert of the group for a magazine programme on Britain networked across America and Canada.

The number they filmed was ‘Jug Band Blues’, written by Barrett which manager Jenner said he had wanted to release as their single instead of ‘Apples And Oranges’. He said he was pressing for it to be their next single in the New Year.

It is almost a poetic recitation by Barrett, with avant garde sound effects by the group. The centre passage is almost free form pop, with six members of the Salvation Army on the recording session told to “play what you like.”

After the filming, we retired to a nearby coffee bar where Jenner said: “The group has been through a very confusing stage over the past few months and I think this has been reflected in their work.

“You can’t take four people of this mental level—they used to be architects, an artist and even an educational cyberneticist—give them big success and not expect them to get confused.

“But they are coming through a sort of de-confusing period now. They are not just a record group. They really pull people in to see them and their album has been terrifically received in this country and America: I think they’ve got a lot of tremendous things ahead of them. They are really only just starting.”

The Floyds entry into the pop arena was as a psychedelic group. They came in on the surge of lights and psychedelia which is dwindling rapidly today. Were they still using lights or had they made any decision to abandon them?

“Not at all,” said Roger Waters. “With us, lights were not, and are not, a gimmick. We believe that a good light show enhances the music. Groups who adopted lights as a gimmick are now being forced to drop them, but there’s no reason why we should.

“In this country, groups were forced to provide their own light shows, whereas in the States, it was the clubs who provided the lights.”

“Really,” said Barrett, “we have only just started to scrape the surface of effects and ideas of lights and music combined; we think that the music and the lights are part of the same scene, one enhances and adds to the other.

“But we feel that in the future, groups, are going to have to offer much more than just a pop show. They’ll have to offer a well-presented theatre show.”

#pink floyd #syd barrett #roger waters #psychedelic rock #1967 #1960s #sixties #60s

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icastplantgrowth · 4 years ago

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Uhh but to answer your actual question:

The Empire is several levels of cheesy dystopia baked into one. It’s technically a theocracy, but since gods are Real it’s a bit weird? Their patron is the god of Order, whose axiomatic influence can exert rules and (perceived) truths into reality. Near the center of the Empire, many kinds of reality-altering and illusion magic just stop working, but presuppositions such as racial stereotypes will alter people’s personalities. They have a single lawmaking body of hundreds of people that will only pass something by full consensus. People are often born and die in specialized cells that meet one type of need for the whole empire. They believe very strongly that certain people are just better at certain things, and you are encouraged to apply to be moved to a different cell if you think that you would be more efficient there. People are encouraged to determine exactly who and what they are (they even wear color-coded Personality Card badges) so they can find their place in the great machine most smoothly. Goods and services are transported across the empire, distributed by the government largely with specialized teleportation technology. The Empire is pretty hostile to outside influence. It believes very strongly in the superiority of its way of life, and doesn’t really trust immigrants at all, and you even lose citizenship for being outside for much longer than a few months.

The Feywild is, like I said in the last response, a giant psychedelic hivemind. Empaths are born under the influence of the god of Chaos, who loosens even the laws of reality and folds all into one homogenous mishmash. People spend their entire lives completely open to everyone nearby and farther, and great mental waves can sweep across and cause people to settle into different surroundings at any time. They don’t really see others as “others”, very much, but technically the great force does go back and forth across borders and gets outside influences that way. They’re very vulnerable to great evil and great goodwill, unfortunately, and the people caught in the wake of some internal struggles can be swept under, and it’s often over before anyone outside really has time to notice. Fun fact: some expats find out as adults that they have almost no innate Empathic abilties and have to learn how to communicate with others.

The Sea of Glass has one single city, where elemental Djinni walk alongside mortals. Most of the outside is magical desert with shifting great plates of glass, and is difficult to cross outside the walls of the Glass City (which is, ironically, mostly sensible stone and metal). The government is a noble family of genasi, humans, tabaxi, and Djinn, and authority turns on a dime in complex, obtuse power struggles. The normal people of the city just kind of let it be and go about their lives. There’s powerful magic to be found there under the arm of the Feywild, but they’re proud of their distinct identity, and that assertion is plenty enough to ward off the weaker waves of Feywild influence.

The Brushsweep is mostly free towns trying to get by without a lot to draw from. It’s mostly supposed to be the Wild West stand-in. They get really solid trade passing through between the Empire and the Feywild, but that does more to cover what they can’t get than it actually gives them the means to make use of all that trade. A pretty big chunk is managed by the sheriff vampire lord Terryn. His influence turns the twilight darker and wolves prowl just outside city limits at all times of night. The townsfolk know he has claim to anyone they catch. On the other hand, he scares off most of the monsters that plague the other towns, so how much worse is it to swap the monster you don’t know for the one you do?

Roaming over them are the Sky nomads, who touch down for their skyswimmers to graze. They do a lot of the cargo transportation, going all the way to the Glass City and back. They ride the huge, floating beasts, feeding largely from harvesting them when they die and from the trades they make. Living on ropes and slings high in the sky all the time keep them safe from ground monsters, and the nomads can fight off the occasional flying monster, and they as the most reliable method of long-distance trade they have reasons for townsfolk to let them touch down.

The Wilds is really a bunch of tiny nations that really only have a common identity by a) not being one of these other things and b) being under the purview of the Peaceguard. The Peaceguard is basically a huge network of semi-volunteer services, kind of structured like a military but without very deep layers and without very strict enforcement? They facilitate trade, do almost all mercenary services and monster hunting services, officially act as a sort of Red Cross neutral party in all national conflicts (members are encouraged to either post themselves somewhere else or temporarily leave when their own nations are in conflict), and basically just kind of exist as weird Scouts? Otherwise, notable nations include the closed-border monarchy of eastern Emendal, ruled by an Orcish line for hundreds of years, the far northern company town miners of Elyss Valleys, coastal trade towns like Mintal, famous trade route towns like Bridgeburrow (built on an enourmous bridge) and Mandala, and just a lot of free towns? It’s kind of semi-feudal in that there’s strong regional identity with farmland in producing for nearby population centers, but the Peaceguard keeps away much need for standing armies to enforce rule over anybody, so you’ll just run into random communes and tiny kings and expanses of hunter-gatherers and self-governing towns all over. It never really quite gets too conglomerated, because monsters roam everywhere in the woods, and the Peaceguard can’t do everything. I’ll note that the Peaceguard maintains a teleportation circle network for passenger transportation, but while the circles can be re-activated, they’re just not physically large enough for large-scale national trade, maybe a pallet or two of something sometimes.

There’s a uhh underground mountain city in between the Wilds and Blackmarsh but I haven’t thought a ton about it and this is already so so so long.

The Blackmarsh is a kingdom ran by a noble family of humans, the Morningstars. Their famed paladins keep the populace safe from dark creatures, supposedly, and they rule in turn. Most of the place is so far removed from them, though, that local leaders tend to actually get things done in the communities of workers and producers. The Morningstar family has led with bitter pride, after losing severely in an attempted campaign north into what is now known as the Deadlands. They were hoping to secure more solid lands for better resources, but instead they just slaughtered people and the Feywild just kept… shifting people… back in? So, now the Deadlands are a super duper haunted by millions and millions of dead people only made worse by the influence of Chaos blurring death and life. Adventurers might stumble upon a dreamlike court of the undead while roaming through, but mostly death mages just draw from this deep well of power to eke out a bitter subsistence on diseased land. The Maze is a small region in the sea. It doesn’t have a government, because it’s based on heavily monster-infested fog that rocky spires jut out of. Anybody living there is a loner or a small family who definitely has some means or other to fly between them, as diving down into the fog is certain death, and something’s gonna dive up at anything prominent you try to build.

Tell me about the government (or as many of the governments as you like). How are they run? How do international relations tend to fare, if there are any?

Oh noo I misread this and thought it was about trade, but I had more to say about it than I thought I would lmao. I'll add more later.

Keep reading

#my posts #god this is long as hell

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themjinterviews-blog · 6 years ago

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47. I got an 8ft bed that never has to be made. You know if it weren't for trucks we wouldn't have tailgates!

1. What type of criminal would you be? An extremely ineffective one. I’m pretty clumsy and severely lack stealth.

2. What are you listening to right now? Brandon’s watching some show on his phone across from me.

3. If you had to choose a stripper name, what would it be? Something awkward and distinctly non-stripper-ish like Constance or Trudy.

4. If your phone started ringing, who would you hope is calling? It’s likely gonna be my folks or Kristy if anything. Or the random number that keeps leaving me telemarketing voicemails in Spanish.

5. Do you drink? Everyone drinks. But if you mean booze, yes, but not too often. It doesn’t serve much functional purpose in my current life. In college and my 20’s it was a way to overcome social anxiety and inhibitions to make friends or meet guys or just get out of my own head. But at 30, I have Brandon and enough already established friendships that I don’t have much use for that particular vice anymore.

6. Do you smoke? Cigarettes, yes, because if I didn’t then how would I get a 5 minute break every few hours at work? “Hey can I sit on the patio and bullshit on my phone for 5 minutes?” doesn’t fly. Weed? On occasion…along the same lines as drinking, it makes me dysfunctional more often than not, and therefor isn’t useful. I’m an uppers and psychedelics type of gal.

7. What is the first thing you notice in someone? Depends on the person and the situation. There isn’t one thing I notice or consistently look for when observing people. I suppose whatever catches my eye about them.

8. Do you get attached easily? Not really.

9. Do you like your eye color? Yeah it’s fine.

10. Have any stupid human tricks? I can sit, stay and give paw.

11. Humor me. What physical ideal do you imagine in a boyfriend/girlfriend/partner? Having ideals like that is kind of a trap. It subconsciously makes you closed-minded to things outside those ideals. If I’m attracted to someone, I’m attracted to them and it’s simple as that.

12. What type of personality traits do you look for in a boyfriend/girlfriend/partner? I already have a fella so, I’m not looking. And again, I never maintained a certain criteria for any potential mates…if we hit it off and I like you, I’m going to like/accept you for the traits you already presently have, not the traits I want you to “ideally” be.

13. Any other essential quirks/interests/other you look for in a boyfriend/girlfriend/partner? Please don’t be a lunatic and eat/ order your steaks and burgers well done.

14. Any romantic gestures you really like? I’m not really romantic. I suppose I do like the idea of going to Bed and Breakfasts. They always have a vintage, cozy sort of interior décor that fascinates me.

15. Any sexual fantasies? Are you daring enough to share one? I want to have sex in the penguin exhibit at the Phoenix zoo while the penguins and passerby watch.

And yes, I’m definitely messing with you. My sex life isn’t Tumblr's buisness.

16. Have you ever been in love? Honestly, I have 0 idea what that entails. Everything in the past I ever assumed or thought was “in love” was either infatuation, co-dependency, obligation, or other actually self-constructed concepts that were created by me (subconsciously) to fit some current narrative of my life. I’m either completely jaded or completely aware, not sure which.

17. Do you have a crush/romantic interest in anyone? Brandon. And Thor.

18. What’s your sexual orientation (if you feel comfortable answering)? I’m straight.

19. What’s your favorite color and why? Yellow, turquoise, some fuchsia-y shades of purple.

20. What was your most embarrassing moment? Don’t have any that really jump out at me as stand-alone singular incidences.

21. Do you ever wish you were someone else? Fuck no.

22. What were you like when you were a kid? Like, a less developed version of me now. A Windows 98. & I gave too many fucks about shit that didn’t matter.

23. What would your dream house be like? Small. No bigger than a cottage or double-wide Two bedrooms, kitchenette, a shower with a bath, some laundry machines and a little patio out back or front. Maybe some citrus trees out back. Even if I were filthy rich, this would still be what I’d look for.

24. What last made you laugh? No idea.

25. Do you have a place you like to go to collect your thoughts? My walk-in closet studio:

26. What is your favorite/least favorite word? Favorite: zany Least: dollop.

27. What turns you on? Uniqueness.

28. What turns you off? Conformity, closed-mindedness, regularly wearing Polo shirts of your own accord. Like if you gotta wear one for your work uniform, whatever, but why recreationally wear one?

29. Have you ever been skinny dipping? Yeah. Pretty much exactly the same as swimming not naked.

30. Would you go bungee jumping/sky diving if given the chance? Fuck no, bro.

31. Do you have any siblings? Younger sister and younger brother.

32. Do you like to dance? Definitely not. One of the most mentally uncomfortable activities in all of existence.

33. What is your definition of cheating? Having an intimate connection either physically or emotionally with another person behind your partner's back.

34. Have you ever stolen anything? Umm like string cheese singles and a Bic lighter.

35. Do you regret anything? Nope. I forgave myself for being a completely inconsiderate cunt a few years back.

36. Do you have any phobias? Not really. There’s shit I don’t like but phobia might be too strong.

37. Ever broken any bones? *knock on wood* No.

38. Ever come close to death? Yeah, once or twice.

39. What is your religion/spirituality, if any? I was raised Roman Catholic but I long since have chosen to bypass organized religions all together. I don’t like being told what to think or believe. Plus, am I supposed to blindly ignore the likelihood of humans modifying the teachings to suit some underlying power plays or political agenda? I simply have no way of knowing for certain, so I don’t really worry about it. Same with God or whatever deities could be chilling. No way to actually, tangibly know until we kick it. I just try and not be a dick as much as possible and keep an open mind.

40. Have you ever been to a psychiatrist/therapist? Yeah. Sometimes a completely impartial human being who can write prescriptions is helpful to have in your corner.

41. Are looks important in a relationship? To a degree. You both have to be attracted to each other. But they don’t matter in the sense of how other people see them. Like, if you like someone but your buddy says their hideous, but you’re instantly love struck, you shouldn't not pursue them.

42. Are you more like your mom or your dad? Not sure, honestly. I think it’s pretty evenly distributed.

43. What is your favorite season? Honestly, it depends where I’m living.

44. Do you have any tattoos? 3.

45. Do you have any piercings? Gauged ears, only, as of now. My job just made me remove my lip ring because our primarily elderly patrons kept complaining about it. It’s not like it’s affecting their food or my ability to provide customer service. I don't like the look of elastic band jeans from Walmart but you don’t see me complaining to my boss to demanding that they remove them, do you?

46. How many boyfriends/girlfriends have you had? Like, 4 officially certified relationships. A few stray flings in between.

47. Have you ever had a crush on a fictional character? Sirius Black (from Harry Potter)…but like before Gary Oldman played him in the movies. I’m not saying Gary is ugly or anything but he’s not the smokin hot John Stamos/Johnny Depp-ish Sirius that my mind concocted.

48. What is your favorite thing to do? Draw/Color.

49. If you could only visit one place outside of your hometown, where would it be? Umm. I don’t know. A tropical island sounds lovely.

50. Do you get jealous easily? Not really. It’s immature, not only do you come off as insecure and emotionally volatile, but being jealous also solves ABSOLUTELY NOTHING. Being jealous of someone just makes you angry and unhappy inside. That is all.

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dogharness-blog1 · 6 years ago

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Dog Harnesses For Toy Breeds - A Smart and Stylish Choice

For all those folks who own toy breeds, the frightening sounds of coughing, shallow breathing or in the extreme, listening into your tiny Maltese honk like a barnyard goose could be too familiar. Most frequently these symptoms result from an upset, or in more severe cases, a collapsed trachea. Even though these signs are unnerving to all those new dog owners that are not familiar with this disorder, it is a relatively common one. Estimates range between 20-40percent of toy dogs will develop some kind of tracheal disorder. The highest risk breeds are among our tiniest canine companies: Chihuahuas, Yorkshire Terriers, Pomeranians, Italian Greyhounds, Maltese, and Toy Poodles.

If your little dog sometimes exhibits these symptoms, you might notice that a tug on your dog's collar, while out for a stroll, may suddenly bring them . It is necessary to see that tracheal disorders are congenital. A yank on a collar rarely, if ever does cause a collapsed trachea. However it can certainly exacerbate an already existing issue or flip a predisposition into the issue. Tugging on a collar may easily make the irritation that leads to coughing, which consequently, further irritates the trachea.

So, whether you are trying to curb the power and exuberance of your puppy friend, take charge of your dog in dangerous circumstances, or only take your puppy out to answer nature's call, harnesses would be an ideal selection for toy breed dogs. Designed to allow your puppy to push together with the chest rather than the neck, a properly fitted harness removes pressure from the small pet's sensitive trachea. Even for smaller dogs without tracheal worries, harnesses are best since they distribute pressure more evenly round the dog's entire body, and are consequently much more comfy. For"Houdini' hounds, harnesses give an escape proof alternative to the classic collar that can sometimes permit your puppy to pull its head back through it. Toy breed puppy collars should be worn to look fantastic and to hold tags only, not for leash attachment.

Once you've made the choice to shop to get a harness, there are a myriad of harnesses to pick from. Unfortunately, for your first-time harness buyer, it's like trying to buy athletic panties - to get somebody else! I have talked to numerous little dog owners that will pull on a harness which didn't work out of the back of the cupboard. Too often, what starts off with all the best intentions, ends up being an exercise in frustration. However, like anything that you wish to feel great about and have for a while, acquiring the right harness requires some planning.

At Moondoggie, Inc. we offer the following advice to our toy strain customers:

TAKE 3 MEASUREMENTS - around your pet's neck, along the length of your dog's spine (topline) from where the collar lays to the base of your dog's tail, and around the biggest part of your puppy (girth) which is usually just behind the front legs. ADD 2 inches into the girth measurement.

THINK COMFORT - Avoid harnesses which have pressure spots where they could rub and irritate your pet's skin. Nylon and a few bare leathers have a tendency to do that. Pick soft fabrics that"breathe". 100% cotton, or soft, porous, semi-stretch, neoprene combinations are excellent because they are machine washable and dry fast. If leather is what you need, try rounded or"tubular" leather, and though it could be a bit more expensive, purchase a buttery soft leather harness. It'll last forever, keep to soften with age, and look fabulous!

LOVE WHAT YOU CHOOSE - If you like the harness you've selected, you'll be motivated to help your puppy learn how to enjoy it as well. Like dog collars and other forms of dog clothes , dog harnesses come in an assortment of topics - preppie, rocker, antique, biker, princess, surfer, athletic, camouflage, floral, patriotic, contemporary, classic, even psychedelic! They come in a normal adjustable design, a vest design, and a flexi design (meaning the head extends through the neck opening with the strap moving up and around the puppy's belly with a quick release mechanism on the side). For all those of us who love to dress our small dogs, there's no need to strap a tap on a gorgeous outfit. Now, even the cutest dog dresses, dog tee shirts and even small dog polo tops were created with hardy harnesses built into them!

HAVE FUN - Dogs are creatures of habit. As you have likely already experienced, new things are approached with caution and often resistance. Adding a tap in your dog's already contented life might require some ingenuity and much more than just a little patience. Be prepared and keep your sense of humor when attempting to harness your dog for the first time. Beware of the classic puppy defensive movement, when initially approached with a harness, that's the rollover. Sometimes it happens before you even get close. More often it occurs just when you think it was a breeze and you'll be able to snap that buckle, and in a flash that your pup rolls and turns into dead weight. When you attempt to set your pup back on all fours, he suddenly develops"jelly legs"! Another move to anticipate is the"I just want to see what you're doing" twirl. It is next to impossible to put a harness on a puppy while it is trying to observe what your hands are doing! (It is pretty funny to watch someone try to, however.)

To avoid these challenges, we advise that you lift and put your puppy on a bench or table in which you have more control over the action and your puppy has less room to maneuver. Talking to your dog on your"good dog" voice also helps. But first and foremost make each time that you put in your dog's harness a prelude to a ride in the vehicle, or a walk into the park, a cookie treat, or something quite enjoyable. If you make the association between the harness and the subsequent positive action really apparent, it won't require more than a few times before your dog is so happy about wearing the harness, getting him to quit wiggling with enthusiasm is going to be your only challenge! Find out more info click Dog Harness

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strangegatewaysbeckon · 8 years ago

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Embracing the Occult With Sweden’s Tribulation [Interview]

Sweden’s Tribulation embrace the black metal style with an almost delightful punk enthusiasm. Their music has all the earmarks of modern blackened metal but there is a certain “old school” quality about them, a nod to the dark past from whence they came, that mellows the harsh edge many attribute to the genre. Instead, what you get is a smooth, almost velveteen evil that is as seductive as a vampire’s gaze.

The band is going to bring their sound as the opener on the upcoming 2016 Decibel Magazine Tour, which will see them share the stage with High on Fire, Skeletonwitch, and one of the biggest names in the black metal world, Abbath!

To celebrate this upcoming tour, we spoke with guitarist Adam Zaars about their latest album The Children of the Night, the tour, and their fascination with the occult and horror. Head on down for this exclusive interview!

Talk to me about the upcoming Decibel Tour. It’s one helluva lineup, one that appeals to several different metal genre fans. What are you expecting? What’s it like knowing you’re going to be touring with the legendary Abbath?

We’re looking forward to going back to the US again, it’s always a pleasure playing there. For some reason it works there for us, we like it there. This time around it’s a bit different than the previous tour we did with Deafheaven since it’s four bands now instead of just the very convenient two, but I’m sure this is going to be cool anyway, we’ve done it before. All of the bands are pretty much new to us so we don’t really know what to expect to be honest. It seems like a very wide line up style wise which is always nice, so we’re expecting a lot of different kinds of people to come! The more the merrier…

‘The Children of the Night’ received incredibly high acclaim from several big name publications. What do you feel this kind of support brings the band?

It of course helps us in some way, but in the end it’s all up to the music and it’s up to us to deliver that music to people live. Albums are of great importance, but we very much see Tribulation as a live band, a full experience, a place to let go of the mundane world and your mundane self. It’s all up to us basically, and the fans, not journalists. Better distribution and better press is never really a bad thing of course and it helps bring any band to new people, but so does touring. That said, of course it’s nice for us to get great reviews in so many different places and in magazines and webzines that are so different in style, it shows that we can reach a wide array of people with our music.

I watched your video for “Strange Gateways Beckon”, which looked to me like it had a strong influence from Ingmar Bergman. There’s obviously a love for the darker side of art with your music and visuals. What draws you to that?

I’m pretty sure Gustav Öhman Spjuth who directed it is influenced by Ingmar Bergman, and we also wanted it to have that old Swedish feel to it. Darkness gives things an edge that is otherwise missing, and it’s what makes Tribulation…Tribulation. It’s always felt like home to us, so I’m not sure what draws us to it, it’s just there and it’s always been there. It’s what makes something otherwise dead interesting I would say. What we are doing, since we’re already immersed in it, is that we’re mining the gold that is hidden inside of it and bring that to the surface. That’s what we’re presenting to the world, because there’s a depth and a width to our music I would say, it’s not only the darkest of dark, there are also glimpses of light.

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I know that Tribulation has some strong influences from the occult and supernatural mythology. Can you tell me about that and what kind of impact it has on your songwriting and general musical approach?

That’s a personal interest finding its way in to the art that we make. It would be strange if it didn’t affect it, and it sure does. I think we all (in the band) have different answers to this question, but to me it’s a matter of a lifestyle choice and world view that is always present even when I don’t compose music, so it’s not that Tribulation is the final outcome of a spiritual life, it’s a part of it, it’s the art of it. To me music in itself is a very spiritual and psychedelic thing because it makes you think, it makes you feel, it makes you travel to different universes and it can completely change your day or even your entire life. It’s activity that creates changes, and so is spirituality. Also when I compose music I always make a thing about making the foundation of the songs, be it a melody or a drum beat, come from some place unknown to me. A long walk is usually the best thing for that for me, eventually I find myself humming a melody and that then makes it into the songs. It’s an unconscious thing, and it’s been a very good formula so far. “Occult”, in a way I guess. The lyrics also always have a spiritual theme.

Metal and horror have long been bedfellows. Do you find inspiration in the horror genre and, if so, what about it intrigues you? What do you takeaway from it?

We take atmosphere and aesthetics (which in itself creates an atmosphere) from it. And it’s not really horror in general, it’s quite specific and I guess anyone can tell really. I mean, we don’t really have zombies all around anymore, and even when we did in the past that wasn’t really the big thing. Ever since the beginning of the band we wanted the music to have the same feeling we get when watching Nosferatu (both of them actually), it’s a very bone chilling atmosphere, deadly and poisonous in way, yet it’s very , very beautiful at the same time. It’s “necromantic” I guess. The music and what the music actually transfers to people is always in motion and it reaches outside of that feeling at times, but that’s still the core of it. Another thing we have taken from horror movies is inspiration from the soundtracks, most notably music by Fabio Frizzi and Goblin. Atmosphere again. I also personally have an interest in a lot of other horror and b-movies, but that doesn’t really have anything to do with Tribulation.

Source: Bloody Disgusting

#Tribulation #Tribulation band #Adam Zaars #Interview #Text Interview #2016 #Bloody Disgusting

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