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El Monumento homenaje a las víctimas del 11-M. El día que mi ciudad quedó en silencio, después del gran estruendo. / Monument to honor the victims of 11-M. The day my city was silent, after the big bang.
♫ Antony And The Johnsons- Fistful Of Love ♫
Para acompañar la fotografía una canción con una de las voces más fascinantes de la actualidad.
Antony Hegarty con un vibrato que transmite la emoción y la expresión del dolor. Sensibilidad desbordada a raudales. La tristeza es elevada al infinito, y es multiplicada por desesperación y miedo, al no encontrar a alguien con quien compartir el camino de la vida.
El Monumento homenaje a las víctimas del 11-M, se trata de un monumento para homenajear a las víctimas y fallecidos de los ataques terroristas del 11-M en Madrid.
El monumento se encuentra delante de la estación de tren de Atocha, donde sucedieron parte de los ataques.
El monumento se encuentra dividido en dos partes, una exterior y otra interior en la estación.
Por fuera, desde la plaza del Emperador Carlos V se puede ver una gran estructura de cristal. El monolito tiene una altura de 11 metros, y un diámetro de 9,5 metros.
Desde el interior de la estación se accede a la parte inferior del monumento. Una gran sala azul recibe al visitante, que puede mirar hacia arriba cuando está debajo del monolito para visualizar mensajes en varios idiomas que se recogieron tras los atentados y que se han impreso en una gran burbuja de plástico que se encuentra en el interior del monolito.
To accompany the photograph a song with one of the most fascinating voices of today.
Antony Hegarty with a vibrato that transmits the emotion and expression of pain. Sensitivity overflowing in abundance. Sadness is raised to infinity, and is multiplied by desperation and fear, unable to find someone to share life's journey.
Monument to honor the victims of 11-M, is a monument to honor the victims and deaths by the terrorist attacks of 11-M in Madrid.
The monument in front of Atocha train station, where part of the attacks occurred.
The monument is divided into two parts, one outside and one inside the station.
On the outside, from the Plaza del Emperador Carlos V one can see a large glass structure. The monolith has a height of 11 meters and a diameter of 9.5 meters.
From inside the station access to the underside of the monument. A big blue room greets visitors, who can look up when it is below the monolith to display messages in several languages and collected after the attacks that have been printed in a large plastic bubble that is inside the monolith.
Bien que l'exceptionnel soleil de notre été ait brûlé et asséché pelouses, prairies.... quelque part en Cézallier Land'Art m'a profondément inspirée : entre petits moulins à vent tournoyants et fous, colorés et flamboyants, et fleurs préservées par la fraicheur relative de l'altitude, mes yeux ont su capter une réalité frémissante et mystérieusement cachée. Je vous invite donc dans mon petit monde acidulé.
Looks sad ... a prisoner for life ...this little one....
Common marmosets employ a number of vocal and visual communications. To signal alarm, aggression, and submission, marmosets use the "partial open mouth stare," "frown," and "slit-stare", respectively. To display fear or submission, marmosets flatten their ear-tufts close to their heads. Marmosets have two alarm calls: a series of repeating calls that get higher with each call, known as "staccatos"; and short trickling calls given either intermittently or repeatedly. These are called "tsiks". Marmoset alarm calls tend to be short and high-pitched. Marmosets monitor and locate group members with vibrato-like low-pitched generic calls called "trills".
*wiki*
Callithrix jacchus, penseelaapje.
I heard the name 'Rufous Whistler' from a passing birder's group, so checked the Morcombe's smartphone app to memorise the song of this species in preparation for a future encounter. As I listened to the recording on my phone, I noticed a bird flitting around the branches above me, but dismissed it as a Golden Whistler. I eventually realised - with some analysis mind you, as I had never seen one before - that I was attracting a Rufous Whistler. For a couple of minutes I watched as this brazen singer became locked in an intense duet of vibrato and cresendo with my phone. Stupefied, the photographer behind me and I fumbled with our cameras to capture as much of the moment as our skills and reflexes allowed. However when the female turned up I called off the competition, as I had no idea what effects it may have had on their relationship.
15/31 289/366 October 15 2020
El Fuego’s truck fired up with great noise and vibrato. It’s thunderous roar when the gas pedal was pressed would send any roadster scurrying for cover. Not these ghosts…well, maybe just one of them. But he was directed to keep a close eye on the two shipping containers that were in the back which were merely resting on the tailgate platform.
Now, I don’t know where ghosts go to get their driver’s education, but this one ghostly driver must not have done well. He took risks that witches on their brooms wouldn’t even dare to try. Up and down the hills, swerving left and right, even across the center line. No regards for traffic signs. Yet, thankfully, no one else on the road at that very dark hour.
“The Castle of Mystery is just over this…”
The truck took a sudden dip in the road, a sharp right-hand curve, and then straight down hill.
“…hill,” the ghostly driver shouted. “Just keep hanging on until we stop!”
“I…I…I…I will,” This scaredy cat ghost replied hanging on for dear life. But, wait…how can a ghost hang on for dear life? Aren’t they supposed to be dead? Or do ghosts live?
“We’re almost there,” and with that, there is the change up of gears, the flooring of the accelerator pedal, and a loud boom and a bang emit from under the hood. “Ah, raw power!”
“I...I…I…don’t like castles, and I know I’ve told you that I don’t like castles, especially with ‘mystery ‘in their name.”
“Oh, lighten up, will you! You’ll have a blast here. Trust me.”
“I thought you said we were going to blast these shipping containers at the lab?”
“We will. But we’ll have a little fun first. After all, we got this ride until midnight when it turns back into a pumpkin.”
“That’s another thing I don’t like and I’m scared about. It’s…”
Another sharp turn in the road, and another steep hill.
So I built an old truck. Big deal, thats what I always do. Maybe the better story here is not what I did but why.
The tune haunted me as long as I could remember. I’d hear snippets of it in my head or it would be playing very softly in some musty antique shop somewhere and just when I’d try to follow it and really understand it, it would be gone in a flash...nothing but a fading ghosted memory, leaving me not even sure if I’ve heard it in the first place. As it was a wordless instrumental tune, it was impossible to research by keywording lyrics...even a mismatched facsimile of lyrics, as what seems to be normal for me. With no lyrics, no name, and no ability to coherently reconstruct the song from memory, my only choice was to wait for the tune to come to me...and it would, but only on certain occasions. Maybe it has to do with its galloping tribal beat or its heavy use of vibrato, but I associate the tune with battle...but only a certain type of battle. Its the tune that you hear when after months, maybe even years of living in fear you finally stand up to the school bully and take him down, even though he’s a full head taller and outweighs you by 140 pounds. Its the tune you hear when a thug pulls a knife on you in a back alley and you give him a devilish sneer and a promise in your best Clint Eastwood voice that he will surely eat his own balls if he fucks with you. To me, it is the sound of righteous victory against all odds. Its macho enough to be deemed as badass, but beautiful enough to be romantic. Heavy reverb gives it an eerie, lonely sound. It is reminiscent of thunder and the desert...of cactus and buffalo skulls and skies the color of lead. Poetic and forlorn, its the kind of tune that only makes sense in dreams.
Recently, we tuned to a streaming surf rock station on my girlfriend’s laptop. Surf rock is, by in large, wordless and nice to have in the background while doing other things...cool, even badass without being overly distracting. It isn’t overly distracting...unless, of course...that certain song comes on. I’m sure you can imagine my reaction when thirty or so seconds into it, I caught on to what I was hearing. With a racing heart and shaking hands, I scrambled to the laptop to see the name of the song and artist before it was gone...gone for good. I felt an eerie shiver up my spine as I read the title. The song that haunted me...the one that came to me in times of distress, in fight or flight situations and in dreams...the one that occasionally came into mind as a fleeting, ghostlike snippet finally had a name! Apache.
Now that it had a name, I vowed to learn as much about it as possible. It was originally recorded in 1960. In name and in sound, the piece conjures up imagery of the American Old West but it was written by members of a British band called The Shadows. Apache made it into the list of 100 most influential guitar songs of all time...96th to be exact, but to me the song ranks much, much higher. It was covered and sampled several times, even made more famous than the original by the likes of the Incredible Bongo Band, The Sugarhill Gang, Afrika Bambaataa, L.L. Cool J and even Sir Mixalot in his song “Jump On It”. While any version may be good in its own way, (except for the laughable, culturally insensitive disco version by Tommy Seebach) this link provides the song in its oldest, most original form.
So what does this all have to do with the Lego truck? Its a 1960 Chevy Apache panel truck and shares the same name and year as the song. I allowed my subconscious to guide this build, probably more so than any other. It was vitally important to build in dark gray. While not a particularly flashy color, its reminiscent of storm clouds, which to me seems synonymous with the song. Among some very tricky build techniques, it also features a fully detailed engine, spring suspension, opening rear delivery style doors, an accurate looking gas can, Native feathers hanging from the rear view mirror, specially designed suicide doors and a tricky diamond patterned interior reminiscent of diamondback rattlesnakes. Its desert base, of course, seemed like a logical choice and contains a couple of scorpions, a bleached buffalo skull, and even a symbolic harbinger of death perched atop a cactus. This was built for the LUGNuts 2nd Anniversary Challenge that gave us the freedom to build from any challenge of the previous year. Conveniently, this fit within the “Play That Funky Music” build challenge based on songs. So there you have it...a cool new truck to look at and hopefully a newly rediscovered old song for your playlist. Thanks for reading.
In honor of those who paved the road for many musicians and guitarits of today.
BB King
www.youtube.com/watch?v=4Ny5ajCn0xw
Robert Johnson
www.youtube.com/watch?v=Yd60nI4sa9A
John Lee Hooker
www.youtube.com/watch?v=BIvka3SSv9Y&feature=related
Jimi Hendrix
youtube.com/watch?v=sVvtIS2YGVI&feature=related
Stevie Ray Vaughn
www.youtube.com/watch?v=DAa2SvYHdQY
Eric Clapton
www.youtube.com/watch?v=fHPWoDsyE6M
...and so many more !!...
Vintage and worn as I like them. I installed a Mastery bridge and vibrato keeping the original parts. This is a guitar for Nels Cline!
It's a big world out there; with enough pain and misery in it.
(Stevie Ray Vaughan)
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Stevie Ray Vaughan (1954–1990) was an American blues guitarist who is considered highly influential for his driving guitar style soaked with rhythmic style playing. Vaughan was noted for playing a Fender Stratocaster equipped with a left-handed vibrato system. He was also known for tuning his guitar down a half-step and using heavy strings. (Source: Wikipedia)
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Panasonic GF1 + Panasonic 20mm f/1.7
All Rights Reserved. All images on this site are © copyright Juan Pedro Gómez-51.
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"A violin’s vibrato wounds the heart of woe,
A tender heart detests the black of nullity,
The sky, a lofty altar, lovely in the gloom;
The sun is drowning in the evening’s blood-red glow.
A tender heart detests the black of nullity,
And lovingly preserves each trace of long ago!
The sun is drowning in the evening’s blood-red glow …
Your memory shines through me like an ostensory!"
~ Charles Baudelaire, 1821-1867 ~
From "Evening Harmony"
With thanks to Colombes for this version in French:
Harmonie du soir
Voici venir les temps où vibrant sur sa tige
Chaque fleur s'évapore ainsi qu'un encensoir ;
Les sons et les parfums tournent dans l'air du soir ;
Valse mélancolique et langoureux vertige !
Chaque fleur s'évapore ainsi qu'un encensoir ;
Le violon frémit comme un coeur qu'on afflige ;
Valse mélancolique et langoureux vertige !
Le ciel est triste et beau comme un grand reposoir.
Le violon frémit comme un coeur qu'on afflige,
Un coeur tendre, qui hait le néant vaste et noir !
Le ciel est triste et beau comme un grand reposoir ;
Le soleil s'est noyé dans son sang qui se fige.
Un coeur tendre, qui hait le néant vaste et noir,
Du passé lumineux recueille tout vestige !
Le soleil s'est noyé dans son sang qui se fige...
Ton souvenir en moi luit comme un ostensoir !
Not easy to capture with my little camera but I love it so much despite the flaws that it is in here.
BB King in concert, Queens University, Belfast, Sunday 9th of December, 1990.
There was a support band on before him called The International Blues Band, who were playing all sorts of great music, Steely Dan, JJ Cale and others. They were worthy of seeing in their own right and I was wondering just how could BB be any better than they were. They finished. Out came BB's band. They started playing......no real improvement over the support. Then BB came across the stage, strapped in and played a single note, did the vibrato and held it........the place went wild. A concert hall full of BB converts. His tone, his vibrato, his presence were indeed unique.
A virtuoso on this rare, extraterrestrial-sounding 'instrument' - playing famous arias (and the odd pop evergreen) near La Scala...
Detail of my new electric guitar.
See Interesting by RayDS.
RayDS's photosets on Flickriver
On Explore:Highest position: 420 on Sunday, December 16, 2007
"Bylines" Solo Exhibition,
SideGallery, April Brisbane 2019
Prints are available for sale- Editions of 5
© 2024 steffentuck all rights reserved
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Autumn in New York City: Central Park's Bow Bridge and Lake surrounded by fall foliage.
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Camera: Sony a99 | Lens: Zeiss Vario-Sonnar T* 24-70mm f/2.8
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On autumn days
when grey skies
brush across the water
with icy fingertips
and tree branches
cling to their
tattered foliage
the wind plays
a lullaby
for summer:
a slow adagio
whose notes
linger
with warm vibrato
on every fallen
leaf.
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One of the most beautiful places in New York City to enjoy autumn is Central Park. With over 800 acres of a variety of natural landscapes, Central Park comes alive in the autumn as it prepares to hibernate for the winter.
This was taken on a moody autumn day while I was wandering around in The Ramble. The Ramble is a 38 acre woodland with meandering paths. If you follow it out towards some of the main paths, you will eventually come across this beautiful view of Bow Bridge.
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View my New York City photography at my website NY Through The Lens.
Interested in my work and have questions about PR and media? Check out my:
About Page | PR Page | Media Page
To use any of my photos commercially, feel free to contact me via email at photos@nythroughthelens.com
The Jazz Age of the roaring Twenties and Thirties brought together folk and fantasy memories of Africa (melodic themes, cycles, layered melodies) with living blues (vocal additions), ragtime (high cadence dynamic musical gymnastics), Caribbean pulse and work song drive, conventions from church, dancehall, bandstand and 'review'; improvisations (freedom from script), the blue note, an elasticity either side of the beat and a swing of dance flying out from inside the music. The innovations and detailing of the Jazz style and format came fast, with an impassioned folding growth of influence and heavy cross-pollination. Some bands became rich large 'orchestras' and left the pit and took to the stage. In the biggest clubs and halls, the ordered stalls were converted for dance and informal spectator, whilst balconies – where they existed - were for watching the combined spectacle of artist, elite dancers and participating dancing public. Club owners might flout the prohibition in the way that jazz flouted musical academy norms.
Ellington started in the 1920s in clubs such as the “Theatrical grill” (198 West 134th St), but is perhaps best known for his stint at the 'Cotton Club' (644 Lenox Avenue), an elite ticket in the heart of Harlem NYC offering a white audience a chance to see the sort of skills and dexterities available for mixed audiences in clubs such as 'Connie’s Inn' on 131st Street.
www.youtube.com/watch?v=hSIF0yBq5No%2C
'Small's Paradise' (2294+1/2 Seventh Avenue )
www.youtube.com/watch?v=nBJ8x15BcWQ, 'The Harlem Alhambra' (on 7th) and the great 'Savoy Ballroom' (140th – 141 street), which was home to another master of swing “Chick Webb and his orchestra” with his elite dancers and originators of the 'Lindy Hop'; a pre-jitterbug dance that was as physical as the turn of the century Parisian 'Apachi' but without the pimped violence, and with an energy that could out-match a 'Soul Train' that had stopped off for a 'Northern Soul'. Even if the Jazz Age was not always an invited guest, the whole Harlem scene was described within the term the 'Harlem Renaissance' which saw African American artistic-direction mature into new levels for all man. If the 'Cotton Club' had been devised as a patronising colonial voyeurism on race and "degeneracy / superiority narrative" then it clearly failed; the white audiences were inspired by the technicity and lifeforce, the radio stations played the shows, the 78rpm records sold the tunes, sheet music flew off the presses and the major and minor film studios made shorts for between-movie cinema entertainment.
White band leaders such as Benny Goodman converted to the Harlem swing of Ellington/Ivey and Webb (also remembering the influence of the 'Earl Hines Orchestra' in Chicago...), and an authentic black modern art-form took on the world with a musical melange of tones. Ellington arrived to tour London not long after the release of this track.
The 'swing' orchestrated into form and soon sat in with the big band, and some of the freedoms from score witnessed in this track and early 30s period would have to wait a few years for Bebop to turn up in another club around another corner or even the same block.
The track “It don't mean a thing (if you ain't got that swing)" was called a “Fox trot” on the original Brunswick record label, and although the lyrics talk of the need to 'swing', the term had yet to form and the largely 1920s Fox Trot dance style was still being called. Certainly at the time of release, it would have been difficult to imagine that the GI's would choose to 'swing' in and out of a future world war – so often to some of the 1000 compositions penned by the Duke Ellington.
Footage about elements outside of music from the 'Harlem Renaissance' can be seen here:
www.wikiwand.com/en/Harlem_Renaissance
It's from some years after, but here Ellington plays aside 'The Savoy's Lindy Hoppers' - featuring in the second half of this 1940 clip:
www.youtube.com/watch?v=IH1Fru-RttA&list=LL&index=5
The, at times, 'screwball' dancers from the 'Cotton Club' can be seen from around 7 minutes into this clip from 1933 titled 'Bundle of blues". The dancers are more 'free from convention' than 'racially diminutive', with Ellington's orchestra mixing chic with endless melodic cascades. The singer at 3 minutes in the clip is the same Ivie Anderson as for this post. Notice the desire to express differences of character as Anderson appears in character as both 'elite chic' and 'lonely poor': later, and in the same short film, contrasting with the sassy 'Cotton Club' dancing of the beguiling Florance Hill and Bessie Dudley. In total we see range within race, and travel way beyond racist ideas of basic stimulus/response cues from skin tones which feeds the bedrock of racism, stigma and predudice.
www.youtube.com/watch?v=s_GTfl8Hhc8
In an earlier film short from the 'Cotton Club' period (1929) we see the poorest and uneducated illiterate workers aside the skilled and erudite 'Black and tan'. As the simple plot unfolds, illness and death are met with pathos and music that clearly reaches beyond earlier issues of language. This 1929 film 'Black and tan fantasy' shows an outreach of black culture that challenged stereotype with demonstrations of pathos and humanity:
www.youtube.com/watch?v=uLJmgzMnOjQ
A last film short 'Symphony in black - a rhapsody of Negro life' from 1935 shows Ellington the artist, describing with music a dynamic African American humanity of hardship, emotion and entertainment. The films are not 'political' but do offer the detail and light that empathy needs - with empathy and respect here being the base to counter the acid of racism.
www.youtube.com/watch?v=LPD-8-l68L4
Unlike the post-war age of “serious” Modern Jazz, 'The Jazz Age' could be self mocking and indeed 'goofy' (the word from before the dog); both good taste and 'over-the-top', sassy sexy and swaggering, and confident high-chic without the camp of voguing.
From within the Ellington orchestra were true jazz greats, and Ellington conducted and wrote to let them show their individual character. Ben Webster became a legend and for this track, Johnny Hodges provides fine examples of lucidity - 'asking' for modern jazz several years before the 'Bird' would fly.
Ellington would sit or stand by his piano and conduct the evening's score with piano cues and arm and body movements. The liberty to cascade and fly out the notes being his desire to enable talent, coupled with the orchestra's desire to keep in touch with the liberated house dancers that often adorned their immediate vista. When dancers arrived on stage for a chorography, they arrived as individuals loose and vivid, tightening up into the choregraphed moves and releasing with more individuality. As they danced they expressed, and with their body movements they 'asked' for ever complex overlays of melody. The orchestras eyes flashing between Ellington and the dancers in a beautiful expression of total art - perhaps the bright side of the moon to today's moribund 'Whiplash'.
To keep up with the musical swing of jazz, new intelligent singers were required – singers with timing, slide, sly plosive and a narrative of pronunciation: the swing famously found Ella Fitzgerald. Billie Holiday and to a greater extent Ivie Anderson specifically helped Duke Ellington take his sounds to a waiting world. Ellington's Gershwin-esque ambition to climb to high art from the hubbub of the street, and perhaps, and in good humour, to show his 'swing' to contrast with Gershwin's 'rhythm'. At this stage in his career Ellington was an artist able to describe all elements of a subculture whilst adding himself and his own dynamic to art. Today Ivie Anderson is less known, but shares a vibrato, timing and stylistic colour so famous with the mythical Billie Holiday.
AJM 11.02.21
Press play and then 'L' and even f11. Escape and f11 a second time to return.
The Buzz
I'm rooting around the meadow this morning, soiling
My knees as I lap up the sweet, as I shower in sunspray,
A bristled provocateur, but how I want to be glib as
St. Francis and chat with this bee, whose motor I hear
As he thrums past in his yellow dinner jacket or the robins
Atwitter, our flirty neighbors, who zip from green to green.
I want to learn enough conversational buzz so I'm not such
A tourist in these woods. Please, God of this profusion, give
Me tongues of chirp so I can talk birdy birdy or chatter squirrel
Chatter. Let waxwings skim the milkweed or caterpillars rob
The goldenrods. Let dew spread its acres of silver
Fabrication, but attune my tenor vibrato to shagbarks and cedar,
The yellowing crocus or that nearby frog who sounds like Basho
Intoning his poem. Spare me from the road vulture I might become,
Content with his swill of entrails. Spare me the ambitions of men
In their seed caps or the women hoisting percale sails on backyard
Poles. May my tongue warble oriole and flicker in kingsnake.
May I speak to the vole in his subway, the otter sleeking by, water
So clear and articulate, allelu, allelu. O death crouched
In the bushes, you can go on eating your carcass if today you
Keep quiet and let all the other voices teach me to talk back.
--Miguel de Ozarko
While the earliest written records of the dan bau date its origin to 1770, many scholars[who?] estimate its age to be up to one thousand years older than that. A popular legend of its beginning tells of a blind woman playing it in the market to earn a living for her family while her husband was at war. Whether this tale is based in fact or not, it remains true that the dan bau has historically been played by blind musicians. Until recent times, its soft volume limited the musical contexts in which it could be used. The dan bau, played solo, is central to Vietnamese folk music, a genre still popular today in the country. Its other traditional application is as an accompaniment to poetry readings. With the invention of the magnetic pickup, the usage of the dan bau spread to ensembles and also to contemporary Asian pop and rock music. Now, electronics designed for the electric guitar are sometimes employed with the dan bau to further expand its tonal palate.
Originally, the dan bau was made of just four parts: a bamboo tube, a wooden rod, a coconut shell half, and a silk string. The string was strung across the bamboo, tied on one end to the rod, which is perpendicularly attached to the bamboo. The coconut shell was attached to the rod, serving as a resonator. In present days, the bamboo has been replaced by a wooden soundboard, with hardwood as the sides and softwood as the middle. An electric guitar string has replaced the traditional silk string. While the gourd is still present, it is now generally made of wood, acting only as a decorative feature. Also, most dan bau now have modern tuning machines, so the base pitch of the string can be adjusted. Usually the instrument is tuned to one octave below middle C, about 131 Hz, but it can be tuned to other notes to make it easier to play in keys distant from C.
The dan bau technique appears relatively simple at first glance, but actually requires a great deal of precision. The fifth finger of the musician's right hand rests lightly on the string at one of seven commonly used nodes, while the thumb and index finger pluck the string using a long plectrum. The nodes are the notes of the first seven overtones, or flageolets, similar to guitar harmonics at the string positions above the octave, the perfect fifth, the perfect fourth, the just major third, the just minor third and two tones not present on the Western musical scale: the septimal minor third and the septimal whole tone. With the left hand, the player pushes the flexible rod toward the instrument with the index finger to lower the pitch of the note, or pushes it away from the instrument with the thumb to raise the pitch. This technique is used to play notes not available at a node, or to add vibrato to any note.
(Wikipedia)
Credits:
Bikini and hat from Valentina E
Jewellery - Yearn from Son!a
Hair - Vibrato from Lelutka
Mesh body - Lara from Maitreya
Mesh head - Tumble from Catwa
Skin - Dolce from Amara Beauty
Eyes - Triumph from IKON
Make up from Arte
02-24-2014
Buck has the silliest vibrato howl that always makes me laugh. This was his response to being told to lay down. Such a goober.
Explored - thank you everyone for your comments and for looking at my photos! ^^
The White Falcon features '59 styling, High Sensitive Filter'Tron™ pickups, trestle bracing, Neo-Classic™ thumbnail inlays, Space Control™ bridge, sleek Gretsch horizontal headstock logo and a Bigsby B6GB vibrato tailpiece. Comes with deluxe hardshell case.
TOP: Arched Laminated Maple
BRACING: 1959 Style Trestle Bracing
BACK AND SIDES: Laminated Maple Body, 17" Wide, 2.75" Deep
NECK: 3-Piece Maple
PICKUPS: 2 High Sensitive Filter'Tron Pickups
FRETBOARD: Ebony, 12" Radius (305mm)
SCALE LENGTH: 25.5" (648mm)
BRIDGE: Ebony-Based Space Control Roller-Bridge
TAILPIECE: Bigsby¨ B6GB Vibrato Tailpiece
HARDWARE: Gold-Plated
FINISH: Gloss Urethane
NO. OF FRETS: 22
MACHINE HEADS: Grover Imperial Gold-Plated Die-cast Tuners
UNIQUE FEATURES
V-Shaped Falcon Headstock with Horizontal Gretsch Logo
Neo Classic "Thumbnail" Inlay Position Markers
Gold-Sparkle Fingerboard and Headstock Bindings
Oversized Bound F-Holes
Multiple Gold-Sparkle Body Bindings
Gold-Sparkle Inlaid Gretsch Logo on Headstock
Gold Plexi Dove-Style Pickguard with Falcon Detail
Knurled Strap Retainer Knobs
Adjustable Truss Rod
Di indole confidente, è gregario e nidifica in colonie talvolta numerosissime anche assieme ad altri Alcidi, gabbiani ed anatre. Ha un volo rapido, vibrato e con improvvise virate, tenendo i piedi espansi lateralmente alla coda.Of a confident nature, it is gregarious and nests in colonies that are sometimes very numerous together with other Alcids, seagulls and ducks. It has a rapid flight, vibrating and with sudden turns, keeping the feet expanded laterally to the tail.
The Fender Stratocaster, colloquially known as the Strat, is a model of electric guitar designed from 1952 into 1954 by Leo Fender, Bill Carson, George Fullerton and Freddie Tavares. The Fender Musical Instruments Corporation has continuously manufactured the Stratocaster since 1954. It is a double-cutaway guitar, with an extended top "horn" shape for balance. Along with the Gibson Les Paul, Gibson SG and Fender Telecaster, it is one of the most-often emulated electric guitar shapes.[1][2] "Stratocaster" and "Strat" are trademark terms belonging to Fender. Guitars that duplicate the Stratocaster by other manufacturers are sometimes called S-Type or ST-type guitars.
The guitar introduced into the popular market several features that were innovative for electric guitars in the mid 1950s. The distinctive body shape, which has become commonplace among electric guitars, was revolutionary for the time period, and for the first time a mass-market electric guitar did not significantly resemble earlier acoustic models. The double cutaway, elongated horns, and heavily contoured back were all designed for better balance and comfort to play while standing up and slung off the shoulder with a strap. The three-pickup design offered players increased versatility and choice in tone quality over earlier one- and two-pickup electric guitars, and a responsive and simplified vibrato arm integrated into the bridge plate, which marked a significant design improvement over other vibrato systems, such as those manufactured by Bigsby. All of these design elements were popularized and later became an industry standard due to the success of the Stratocaster.
Over the years, countless variations of the Stratocaster have been made. The modular nature of the guitar, with its easily removable components, left players and luthiers to perform numerous modifications to their own guitars, changing out pickups or necks to fit the needs of the player. Fender has released numerous models with different pickup configurations, and has made other small modifications to the electronics and components of the base model, such as changing the initial 3-position selector switch to a standard 5-position selector switch, offering more tonal variety, as well as other small cosmetic changes to things like tuning pegs and types of woods used in various parts of the guitar. Various other companies have produced their own Strat-style bodies known as Superstrats. wikipedia
Walking edgy neighborhoods looking for subjects to photograph, I do occasionally encounter people, but most are not too interested in talking besides "Why are you taking pictures of [that sign/a pile of trash/graffiti]?" But Kelly was different.
Kelly compulsively talks through an ever-shifting stream of conciousness symptomatic of schizophrenia. Before throwing this undershirt on, she had been walking barefoot on 16th Street covered in only a bikini top and another shirt stretched around her waist just enough to cover her frontal area, but still leaving half of her ass showing. A lady at Muhammad Enterprises was decent enough to cover her a bit better with a piece of fabric, but it was ill-fitting and tenuously attached. By the time we crossed paths, Kelly had been gleefully dismissed by the woman who had already had enough of her.
When she saw me, Kelly thought she recognized me and felt that it was somehow our fate that we would meet. She cast me in the role of her new landlord who would tell the people blocking the door to her room that she had authorization to enter. She then told me that I needed to walk with her and listen as she explained the situation.
I was apprehensive, but then I noticed a car pass by slowly with leering eyes checking her out, and then speeding up and turning right. Not yet sold on joining her for a walk, I stood and listened, but the car came back and slowed again. I glanced back at them disapprovingly and they scrammed quickly.
I asked Kelly if she had more clothes, and in a roundabout way, she said a friend of hers she had just met yesterday said he would do her laundry at the laundromat just around the corner, but she had just come from there and didn't see him.
She also was hungry and said she needed to go to the mission to eat, as she does daily, but she said they would not let her come in dressed like that. So, I asked if she knew any place where she could get some clothes, and she said she did. We began walking in that direction.
As we walked, the car passed by again, and the two young men--gaunt and gawky wannabe thugs--parked up the street and got out of the car and waited on the sidewalk for us to pass by. We changed course, and I had to physically direct her and explain why. It's as if she couldn't perceive the threat. But everywhere we went, it seemed, she was drawing the attention of leering eyes of groady men or the disdainful eyes of gentrifiers loading fancy furniture into their victorian fixer-uppers.
We wound up at a strange store on 12th Street called R&B Fashions which is also a smoke shop which always seems to have plenty of loiterers hanging out. I'd noticed it before with leggy big-booty half-mannequins wearing colorful Spanx and other slutty pants. She said she would be able to take any clothes she wants there for free in exchange for the owner letting her do some "modeling work" for him. But he was in no mood to see her, and his wife was especially in no mood for her.
There are six apartments behind the store and a boarding house (something of a halfway house) next door, and she had said that sometimes she can shower and stay in those places, too, but she had no clothes there either.
So we left and continued walking north toward the mission. But now her best plan was for me to go there with her and guard her backside from view. She had mentioned getting Del Taco "with my homegirl" the other day, so I asked her if she might want to go there. She got excited at the possibility, and we walked back in a circle to where I started to get in my car and go.
Then I realized she really stunk, but it was just ordinary B.O. like the kind I remember wafting around crusty punk shows I'd seen at 924 Gilman in Berkeley when I was younger.
Her more paranoid ranting broke as she took over my car stereo and flipped stations until she'd found a song she liked. She sang along to several songs, and very adeptly. She had a pretty fantastic singing voice including a natural vibrato, and she could get deep and ramble through blue notes soulfully in the modern R&B style. I've always disliked how modern singers overdo it with that, but as long as she seemed happy, I was glad to hear her warble through urban/top 40 hits. Some Coldplay came across the channel, and she quickly changed it while claiming to have met Coldplay (and referring to Coldplay as "he" and "him" as if it were the name of a solo artist). He went camping with her and her friends, and he stole all their soda. She loves soda because she doesn't drink alcohol. We passed a man walking a dog and a family pushing a baby in a stroller, and she wove dogs and babies into her story and then seemed to admit having two children taken from her.
Slowly, pieces of her story were coming together through the shards of memory and constant flow of actual things and events happening around us. What I had gathered is that she had been assaulted earlier that day--probably sexually, but definitely physically--resulting in bruises all over her legs and her lack of clothing.
At the Del Taco drive-through I ordered her a #2 combo with a cherry Coke. She just noticed the new churro promotion and giddily gushed about her love for churros. So, I added two churros.
She said she had once worked the drive-thru at a Del Taco. There was also some talk of attending a college somewhere. I think she may have slept outdoors recently in Roseville, but a woman there just drove her to downtown Sacramento and dropped her off.
I returned to near where I had met her in the parking lot of the strip mall that included the laundromat where her friend would be doing her laundry.
This is where I took some photos of her. It didn't cross my mind to take a photo of her, but she had offered to pay me for the Del Taco with a certain type of intimate favor (and I'm sure you can figure out what I mean). I tried to decline politely, but she seemed more intent in her second offer, so I declined again with a bit of added moral reprehension. I improvised the photo opportunity as a way to say "Just give me something to remember you by, and I'll be happy."
As a follower of the gut-wrenching documentary work of Chris Arnade in the Hunts Point area of the Bronx, I've seen him charged with many accusations of exploiting his subjects (he photographs addicts who live on the street or barely one step above the street). I do admit I felt a bit of guilt as I took these photos, but I'm afraid that Kelly truly sees making herself a target for exploitation as a necessity for food, shelter, laundry favors, and even a bag of fast food. I know my intention was to help, and in the end, a photo doesn't really compare to the indignity she must endure, especially if I can try to capture her dignity.
In the previous photo, she's looking over her shoulder into the laundromat with a look belying the feeling of futility that everyone in her life is pretty much expected to fail her.
Next, We walked into the laundromat but found no sign of her friend or her clothes. We walked around the alleyway behind the strip mall to the apartment building where she said she lived. It sounded like it operated somewhat like a halfway house. She warned me that no one wanted her to return there and that's why I had to pretend to be her landlord. I was glad to hear her say "pretend" because I had been believing that she truly had begun to think of me as her landlord. As we turned the corner of the building and entered the parking area, a woman was guarding the door, seemingly ready for her. "NO NO NO NO NO! YOU ARE NOT COMING IN HERE! GO!", said the woman, a middle-aged Latina with the gnarliest, scariest face tattoos I've ever seen in real life. Her neck had bold gothic letters spelling FUCK YOU, and her face had huge crosses and skulls on her neck, chin, and forehead, plus several tears. It was quite a trip to see someone looking like this sound so moralistic as she further explained the grounds for denying her entry: "If you cannot cover up decently, you do not belong near my children, or anyone's children. Do you understand?"
So, we walked back around the corner to check the laundromat again. I seriously gave some thought to just waving a $20 bill in the air and asking anyone to trade me any shorts or pants for it, but I checked my wallet and realized that I was out of cash.
By this time, I was way overdue to return home to my wife and talk about dinner. But I felt Kelly was in no way able to take care of herself if I left. Her behavior was still erratic. She was obviously vulnerable enough to offer herself to me for a small favor of a $7 bag of Del Taco. She was still barely clothed, and after a week that felt like summer came early, this evening felt a bit chilly. I saw no way she would be safe tonight. I left her with a promise to go home and get her some clothes, but I drove a couple blocks away and called 9-1-1. I hope she is being cared for tonight.
Modified Squier CV Jazzmaster- '62AVRI pickups & tailpiece/vibrato, Staytrem bridge &vibrato arm, Vintage Inspired Pots potentiometers & caps.
BB King in concert, Queens University, Belfast, Sunday 9th of December, 1990.
There was a support band on before him called The International Blues Band, who were playing all sorts of great music, Steely Dan, JJ Cale and others. They were worthy of seeing in their own right and I was wondering just how could BB be any better than they were. They finished. Out came BB's band. They started playing......no real improvement over the support. Then BB came across the stage, strapped in and played a single note, did the vibrato and held it........the place went wild. A concert hall full of BB converts. His tone, his vibrato, his presence were indeed unique.
The Story:
Music mogul Darius Reid's radar for hot new talent is always on, and something definitely "beeped" the minute Tae Min's new music video came on for the first time! The second he and his girlfriend saw his uber-cool electric moves and heard the sweet vibrato of his voice, it was pretty clear that they were witnessing the birth of a future worldwide phenomenon and they had to act now!
All it took was a quick phone call to his good friend and star sound engineer Rashad Rouissi for the pair to be on the next plane to Seoul and hopefully, soon they'll be making beautiful music together!
I'm so happy to see Darius back, I really didn't like the previous one from the FW19 Convention ... his screening is so much better and this outfit will add mix and match pieces to my collection ... with his storyline he will be perfect as my Grace Makéda's boyfriend ... (we can suppose the one in the story could be a character from the Meteor line ... we will see later I guess ...)
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German postcard by Edition Tushita, no. B 1147. Caption: Some Day My Prince Will Come. Miles Davis "the 60ies".
American jazz trumpeter Miles Davis (1926-1991) was one of the most important and influential jazz musicians in history. Davis played various styles, including bop, cool jazz, modal jazz and jazz-rock fusion. His style is recognisable and original, and continues to influence jazz musicians decades after his death. His music for Louis Malle's Nouvelle Vague classic Ascenseur pour l'échafaud / Elevator to the Gallows (1957) is one of the greatest Jazz soundtracks in cinema history.
Miles Dewey Davis III was born in Alton, Illinois, in 1926. Davis was the son of a dental surgeon, Dr. Miles Dewey Davis, Jr., and a music teacher, Cleota Mae (Henry) Davis. He grew up in the Black middle class of East St. Louis, having moved there shortly after his birth. His mother wanted him to learn to play the violin. Instead, his father gave him a trumpet for his thirteenth birthday, which he devoted himself to from then on. The family owned a ranch, where young Miles learned to ride horses. When Davis was 15, he played for audiences with bandleader Eddie Randall and studied under trumpeter Elwood Buchanan. Against the fashion of the time, Buchanan emphasised the importance of playing without vibrato. Davis retained this distinctive, clear tone throughout his career. William Ruhlmann at AllMusic: "At 17, he joined Eddie Randle's Blue Devils, a territory band based in St. Louis. He enjoyed a personal apotheosis in 1944, just after graduating from high school, when he saw and was allowed to sit in with Billy Eckstine's big band, which was playing in St. Louis. The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker, the architects of the emerging bebop style of jazz, which was characterised by fast, inventive soloing and dynamic rhythm variations." In 1945, Davis moved to New York, ostensibly to study at the Institute of Musical Art in New York City (renamed Juilliard) on a scholarship. In reality, he neglected his education and went in search of his heroes, such as Thelonious Monk and Coleman Hawkins. He regularly went out with Dizzy Gillespie, and they became good friends. By 1949, he had fulfilled his 'probation' as a fellow player, both on stage and on recordings. His own recording career subsequently flourished. That same year, Davis began collaborating with Gil Evans. This collaboration continued over the next 20 years for many of his major works. The records they made in the late 1940s were released on a limited basis for the first decade. Through New York's jazz clubs, Davis regularly came into contact with both users and sellers of illegal drugs. By 1950, he had a serious heroin addiction, possibly exacerbated by the lacklustre reception of his first personal recordings. In the first part of the 1950s, the talent Davis possessed seemed to be lost. He played several gigs, but these were uninspired. Aware of this, Davis returned to East Saint Louis in 1954, where he tried to kick the habit with the help of his father. The latter mistakenly thought it had to do with his teeth. Davis closed himself off from society until he was free of his drug addiction. By 1954, he had overcome his heroin addiction, although he continued to use cocaine, among other things. Reborn, he returned to New York and founded the first major version of the Miles Davis Quintet. This band included the young John Coltrane and occasionally some other jazz artists known at the time, such as Sonny Rollins and Charles Mingus. Musically, the group continued where Davis left off in his sessions in the late 1940s. They avoided the rhythmic and harmonic complexity of the dominant bebop, and Davis was given the space to play long, legato and essentially melodic lines, in which he learned to make sense of modal music. This was a lifelong obsession for him.
In February 1957, Capitol finally issued the 1949 recordings, together on an LP called 'Birth of the Cool'. He also recorded 'Relaxin' with the Miles Davis Quintet'. These albums defined the sound of cool jazz, one of the dominant trends in music for the next decade and beyond. In December 1957, Miles Davis returned to Paris, where he improvised the background music for the film Ascenseur pour l'échafaud / Elevator to the Gallows (Louis Malle, 1957) with Jeanne Moreau and Maurice Ronet. Davis recorded the music in a single recording session while he watched a screening. He composed it while watching a rough cut and then invited a quartet of French and US musicians in from 11 pm to 5 am one night, improvising each number and allegedly sipping champagne with Jeanne Moreau and Louis Malle. Claudio Carvalho at IMDb: "The soundtrack with the music of Miles Davis gives a touch of class to this little masterpiece. The result is one of the best thrillers entwined with comedy of errors that I have ever seen." While the rest of the music establishment was still trying to accept Miles Davis' innovations, he himself was further along. Reunited with Gil Evans, he recorded a series of albums of great variety and complexity, demonstrating his mastery of his instrument in almost every musical context. On the first album, 'Miles Ahead' (1957), he played with a traditional jazz big band. This had a driven brass section arranged by Gil Evans. In addition to jazz numbers (including Dave Brubeck's 'The Duke'), the two took on Léo Delibes' 'Les Filles de Cadix'. This was the first time Davis recorded European classical music. 'Milestones' (1958) captured the sound of his current sextet, which now consisted of Davis, John Coltrane, Julian "Cannonball" Adderley (alto sax), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums). Musically, this album encompassed both the past and future of jazz. Davis showed he could play blues and bebop (accompanied by Garland), but the centrepiece is the title track, a composition by Davis around the Dorian and Aeolian modes and with the free improvisational modal style Davis made his own. This modal style flourished on 'Kind of Blue' (1959), an album that became a landmark in modern jazz and the most popular album of Davis' career. It eventually sold over two million copies, a phenomenal success for a jazz record. The sextet improvised on short modal themes that had not been rehearsed beforehand. In the group, Bill Evans took over the piano, bringing classical influences to the group. On one of the tracks, Wynton Kelly played piano. He later became a permanent member of the group. After 'Kind of Blue', the group broke up. Coltrane, Evans and Adderley continued as bandleaders. Miles Davis found less inspiration, and his group changed line-ups regularly.
In 1964, Miles Davis formed his second major quintet. Herbie Hancock on piano, Wayne Shorter on saxophone, Ron Carter on bass and the still young Tony Williams on drums. Davis stated, "You have to know the rules first to then be able to break them." Jazz standards were played live, pushing the boundaries of tradition. Long improvisations with much emphasis on harmonic boundaries and tight group playing allowed him to play with texture more than before. Live, he played standards and in the studio new work, especially compositions by his saxophonist Wayne Shorter. The limits were reached on 'Live at Plugged Nickel'. It formed a counterpoint to the free jazz of Ornette Coleman, whom Davis revered in his autobiography. In June 1970, Miles Davis, Chick Corea, Keith Jarrett, Dave Holland, Jack DeJohnette and John McLaughlin, among others, met for four nights at the modest nightclub The Cellar Door in Washington, D.C. A six-song CD of those performances was released in 2006. In the late 1960s, Davis went electric with an electric piano, electric bass and an electric guitar. The 'groove' became important. After Davis heard 'Machine Gun' by Jimi Hendrix at the Isle of Wight Festival, Davis immediately wanted to start a band with him. "It's that goddamned motherfucking 'Machine Gun'," Miles replied when asked what he thought of Hendrix's music. Due to Hendrix's death, it never took place. In the 1970s, he tried to reach black youth by putting funk influences in his music. As heard on the revolutionary album 'On The Corner'. 'Bitches Brew' (1970) became a landmark for emerging jazz fusion music. In late 1975, Davis withdrew from music and no longer wanted to play the trumpet. He again struggled with addiction, this time to cocaine and alcohol. Poor health, partly caused by years of excessive drug use, led to a radio silence of almost six years. Miles Davis returned to music anyway. His style changed more to a pop style. He recorded new, intriguing albums such as electronic-driven Tutu or Amandla, as well as Spanish-flavoured music for the film Siesta (Mary Lambert, 1987) with Ellen Barkin and Gabriel Byrne. Miles Davis died in Santa Monica, California, in 1991. He was 65. Already in a coma, he died of pneumonia following a severe stroke and was buried next to Duke Ellington at Woodlawn Cemetery in The Bronx, New York. Davis was married to Frances Taylor (1958-1968), Betty Mabry (1968-1969) and actress Cicely Tyson (1981-1988). He had four children: Cheryl (1944), Gregory (1946), Miles IV (1950) and Erin (1970). Twenty-four years after Davis' death, he was the subject of Miles Ahead (2015), a biopic co-written and directed by Don Cheadle, who also portrayed him. Its soundtrack functioned as a career overview with additional music provided by pianist Robert Glasper and associates. In 2020, the trumpeter was also the focus of director Stanley Nelson's documentary Miles Davis: Birth of the Cool, which showcased music from throughout Davis's career.
Sources: William Ruhlmann (AllMusic), Piotr Strzyzowski (IMDb), Claudio Carvalho (IMDb), Wikipedia (Dutch) and IMDb.
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Stellar is back again! Thist time with a controversial concept just like their other song "Marionette"!
I remembered before how I used to like get crazy and mad whenever a kpop group did sexy concepts, and when they did 19 rated ones!.. Mostly because I don't want kpop to become more "westernised".. And because I think Korea is a good country when it comes to media and stuff, conservative. That's whu they have these (All, 12, 15 and 19) rated icons in the beggining!
So this song is bae tbh.. I just love this f'ing song! The MV is intresting, few stuff could be removed, like all the closeups. But I love the colours and they members are really good at singing than before!
Digipedi made their MV so I'm not surprised to love it, their MV's are always filled with creative symbolism and vibrant colours! Few MV's is (One More - Stellar, EXID - Up&Down, Rainbow Blaxx - Cha Cha, Ladies' Code - Kiss Kiss, KARA - Cupid) <-- Wonderful MV's!
So yes, here they are, Stellar!
[MV] : www.youtube.com/watch?v=pOmTdFpIDX8&list=LLxgIrbo0Pd9...
RIP to a blues legend. (September 16, 1925 – May 14, 2015)
Best wishes to B. B. King who went into hospice today 5-2-2015
I saw B.B. King once at Eisenhower Park in East Meadow NY. Someone stole his guitar from the stage. It was a free concert in the late '70's.
Chord on Blues is out of business. I thought I should shoot these before someone takes them down.
106 S Riverside Ave
Also known as the River Rockhouse and the Purple Carriage.
Riley B. King (born September 16, 1925), known by the stage name B.B. King, is an American blues musician, singer, songwriter, and guitarist.
Rolling Stone magazine ranked him at No. 6 on its 2011 list of the 100 greatest guitarists of all time (previously ranked No. 3 in the 2003 edition of the same list), and he was ranked No. 17 in Gibson's "Top 50 Guitarists of All Time". According to Edward M. Komara, King "introduced a sophisticated style of soloing based on fluid string bending and shimmering vibrato that would influence virtually every electric blues guitarist that followed." King was inducted into the Rock and Roll Hall of Fame in 1987. King was also inducted into 2014 class of the R&B Music Hall of Fame. He is considered one of the most influential blues musicians of all time, earning the nickname "The King of Blues", and one of the "Three Kings of the Blues Guitar" (along with Albert King and Freddie King). King is also known for performing tirelessly throughout his musical career, appearing at 250-300 concerts per year until his seventies. In 1956 it was noted that he appeared at 342 shows. King continues to appear at 100 shows a year.