I never know he could be so soulful ... this is what I need while we wait for an acquittal to break our hearts. :eyes: — 180 Proof
Also from wiki I discovered that:Frampton's talk box was used to transfer the guitar's sound through a plastic tube attached to a microphone. The effect is Frampton's melodic guitar simulating speech while asking the audience on the live track "Do You Feel Like We Do?"
... he's received a diagnosis that he has inclusion body myositis (IBM), a progressive muscle disorder characterized by muscle inflammation, weakness, and atrophy (wasting).
...In December, 2019, Frampton announced his farewell UK tour to consist of five performances in May 2020.[52] In April this UK/EU tour was cancelled "because of the COVID-19 virus.
Thanks, George & Nina. Thanks, Peter. — 180 Proof
"Turn! Turn! Turn!", or "Turn! Turn! Turn! (To Everything There Is a Season)", is a song written by Pete Seeger in the late 1950s and first recorded in 1959. The lyrics – except for the title, which is repeated throughout the song, and the final two lines – consist of the first eight verses of the third chapter of the biblical Book of Ecclesiastes. The song was originally released in 1962 as "To Everything There Is a Season" on folk group the Limeliters' album Folk Matinee, and then some months later on Seeger's own The Bitter and the Sweet.[1] — wiki
He was in the one of the most influential indie bands ever, but the songwriter prefers life as a visual artist. He talks presidents, parties and photographing his heroes
...in August 2019. Giorno, who was once Andy Warhol’s lover, and appeared in REM’s last music video (for We All Go Back To Where We Belong), died while Stipe was in Europe. His death changed the nature of Stipe’s photography project. “I had the rolls of film in my bag and the moment he died, I thought, I need to include John,” he says. So he expanded the book’s concept to include people other than women – “to de-gender the project”, as he puts it. All the people he wanted to feature “are, for me, insanely heroic. The work that they’ve done, their activism, their art.” — Interview by Miranda Sawyer
...It sounds as if he was just scared. “I’m a very fearful person. Truthfully, a lot of what this book is about is the people who represent fearlessness to me.”
When it comes to fearlessness, Stipe has always taken a lot of strength from his friendship with Patti Smith, whom he admired when he was young and is still delighted to be friends with. He shows me a mask of William Blake with writing scrawled over it; a gift from Smith. “She’s the one who said to me, ‘At some point, you need to walk unafraid’,” he says. “And I turned that phrase into a song about exactly that (REM’s Walk Unafraid). But that fierce fearlessness is something that I still look to. To show me the way, to pull me away from the parts of myself that allow me to be absorbed into fear. And to run towards the thing that scares you the most. As a creative person, that’s maybe a superpower.” — Guardian article
Je crois avoir fait voir qu'il n'y a ni mesure ni mélodie dans la musique française, parce que la langue n'en est pas susceptible ; que le chant français n'est qu'un aboiement continuel, insupportable à toute oreille non prévenue ; que l'harmonie en est brute, sans expression et sentant uniquement son remplissage d'écolier ; que les airs français ne sont point des airs ; que le récitatif français n'est point du récitatif. D'où je conclus que les Français n'ont point de musique et n'en peuvent avoir ; ou que si jamais ils en ont une, ce sera tant pis pour eux.
... that there is neither measure nor melody in French music, because the language is not capable of them; that French singing is only continual barking, unbearable to all unprejudiced ears; that its harmony is brutal, without expression and feeling uniquely like schoolboys' padding; that French airs are not airs; that French recitals are not recitals. Hence I conclude that the French have no music and can have none; or that if ever they had some, they would be so much the worse for it.
Well, I had no idea of this extra talent of Rousseau whose philosophy of human nature I read and failed to appreciate quite some time ago. I didn't take to him. Might change my mind. From wiki on Rousseau.Jean-Jacques Rousseau was a composer, with some modest success — Olivier5
I had brought with me from Paris the prejudice of that city against Italian music; but I had also received from nature a sensibility and niceness of distinction which prejudice cannot withstand. I soon contracted that passion for Italian music with which it inspires all those who are capable of feeling its excellence. In listening to barcaroles, I found I had not yet known what singing was...
— Confessions[19] — wiki
The effect of the quarrel was to open French opera to outside influences that triggered a renewal in the form. In particular, the Comédie-Italienne and Théâtre de la foire developed a new type of opera that combined Italian natural simplicity with the harmonic richness of French tragédie en musique. — Wiki Querelle des Bouffons
It does sound like a mishmash of Italian and French influences, not terribly original. — Olivier5
that there is neither measure nor melody in French music, because the language is not capable of them; that French singing is only continual barking, unbearable to all unprejudiced ears; that its harmony is brutal, without expression and feeling uniquely like schoolboys' padding;
So he was excessive in his pamphlet but maybe that's what it took to make an impact. — Olivier5
https://en.m.wikipedia.org/wiki/Jean-Jacques_RousseauMeanwhile, James Boswell [a friend and biographer of Hume], then in Paris, offered to escort Thérèse Levasseur [JJ's steady girlfriend] to Rousseau.[52][51] (Boswell had earlier met Rousseau and Thérèse at Motiers; he had subsequently also sent Thérèse a garnet necklace and had written to Rousseau seeking permission to occasionally communicate with her.)[52] Hume foresaw what was going to happen: "I dread some event fatal to our friend's honor."[52][51] Boswell and Thérèse were together for more than a week, and as per notes in Boswell's diary they consummated the relationship, having intercourse several times.[52][51] On one occasion, Thérèse told Boswell: "Don't imagine you are a better lover than Rousseau."[52]
To which I add: without good books and bad grrls, life wouldn't be short enough!How little is needed for happiness! The note of a bagpipe. — Without music life would be a mistake. — Twilight of the Idols
He was a rockstar of philosophy: brilliant, mesmerizing, physically beautiful, sexually active, and vain. — Olivier5
Leporello, Don Giovanni’s servant, is proudly exclaiming his master’s catalogue of women in order to dissuade Donna Elvira (a victim of these conquests) from pursuing after this womanizer. The aria has two main thematic sections: the first states the (ridiculous) number of women that Don Giovanni has conquered in various countries, and the second thoroughly describes the many women on this list both in personality and physical aspect. — Sarah Ma
Germany's greatest poet, Johann Wolfgang von Goethe (1749-1832), seemed to have perfectly attuned artistic sensibilities, and yet it was him who utterly failed to recognise the brilliance of the songs Franz Schubert made from his poems.
Professor Richard Stokes, of the Royal Academy of Music, investigates this seeming paradox through a review of Goethe's life and an analyses of his poems and their adaptation into Lieder by Schubert. — Prof Stokes: Lecture and transcript re Goethe
...The song opens with Gretchen at her spinning wheel, thinking of Faust and all that he had promised. The accompaniment in the right hand mimics the perpetual movement of the spinning-wheel and the left hand imitates the foot treadle. The initial key of D minor sets a longing tone as Gretchen begins to sing of her heartache ("Meine Ruh' ist hin/Mein herz ist schwer"). The first section progresses from D minor to C major, A minor, E minor, F major, and then returns to D minor. This, plus the crescendo, builds tension which releases only to be brought back to the beginning, much like the ever-circling spinning wheel... — wiki
"Erlkönig" is a poem by Johann Wolfgang von Goethe. It depicts the death of a child assailed by a supernatural being, the Erlking, a king of the fairies. It was originally written by Goethe as part of a 1782 Singspiel, Die Fischerin.
"Erlkönig" has been called Goethe's "most famous ballad".[1] The poem has been set to music by several composers, most notably by Franz Schubert. — wiki
“One ought, every day at least, to hear a little song, read a good poem, see a fine picture, and, if it were possible, to speak a few reasonable words.”
― Johann Wolfgang von Goethe, Wilhelm Meister's Apprenticeship
The music of ancient Rome was a part of Roman culture from the earliest of times. Songs (carmen) were an integral part of almost every social occasion.[1] The Secular Ode of Horace, for instance, was commissioned by Augustus and performed by a mixed children's choir at the Secular Games in 17 BC.[2]...
...During the Imperial period, Romans carried their music to the provinces, while traditions of Asia Minor, North Africa and Gaul became a part of Roman culture.[5]
Music accompanied spectacles and events in the arena, and was part of the performing arts form called pantomimus, an early form of story ballet that combined expressive dancing, instrumental music and a sung libretto.[6]...
...In spite of the purported lack of musical originality on the part of the Romans, they did enjoy music greatly and used it for many activities. Music was also used in religious ceremonies. The Romans cultivated music as a sign of education.[24] Music contests were quite common and attracted a wide range of competition, including Nero himself, who performed widely as an amateur and once travelled to Greece to compete.
— wiki
:fire:Dancing in all its forms cannot be excluded from the curriculum of all noble education; dancing with the feet, with ideas, with words, and, need I add that one must also be able to dance with the pen? — F.N.
From Mérimée it still has the logic in passion, the shortest line, the harsh necessity; above all, it has what goes with the torrid zone, the dryness of the air, the limpidezza in the air. Here, in every respect, the climate is changed. Another sensuality, another sensibility speaks here, another cheerfulness. This music is cheerful; but not from a French or German cheerfulness. Its cheerfulness is African; fate hangs over it, its happiness is brief, sudden, without pardon. I envy Bizet for having had the courage for this sensibility which had hitherto had no language in the cultivated music of Europe,—for this more southern, browner, more burnt sensibility ... How the yellow afternoons of its happiness do us good! During it, we look into the distance: did we ever find the sea smoother?— And how soothingly the Moorish dance speaks to us! How even our insatiability for once gets to know satiety in this lascivious melancholy!— Finally love, love translated back into nature! [...] love as fatum, as fatality, cynical, innocent, cruel—and precisely in this a piece of nature! — The Case of Wagner, section 2
And those who were seen dancing were thought to be insane by those who could not hear the music. — F.N.
I would only believe in a God who knew how to dance. — F.N.
↪Amity ↪Olivier5 ↪Amity :point:
https://thephilosophyforum.com/discussion/comment/529244 — 180 Proof
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