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U2 Rock Paris: Bono, Patti Smith Help City Heal at Inspiring Return Show

https://www.youtube.com/watch?v=PnalyZ_zA6o
 

 

It's been three weeks since the terrorist attacks killed 130 in Paris, but the city is still grieving. You feel it everywhere: in the kindness of taxi drivers, the forgiving nods of usually surly waiters, the quick smiles of people you bump into on the street. On Boulevard Voltaire, near the Bataclan music hall, where 89 people were gunned down during an Eagles for Death Metal concert on November 13th, is an ever-growing mountain of flowers, photos, notes and poems scribbled on rain-streaked paper. Still, an edginess remains: Military personnel with machine guns search the bushes outside the Louvre, and your bag is checked and you are patted down before you enter most public spaces. This is a city at war, even if that war is unlike wars the city has seen before. There are no tanks in the streets, but there could be a suicide bomber at any Metro stop, on any bus. Everyone here knows that, and it gives life in the city a kind of vividness and urgency. It is the kind of moment in history that U2 was born to play for.

 


http://www.rollingstone.com/music/live-reviews/u2-rock-paris-bono-patti-smith-help-city-heal-at-inspiring-return-show-20151207

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Éliane Radigue: The Mysterious Power Of The Infinitesimal

 

http://daily.redbullmusicacademy.com/specials/2015-eliane-radigue-feature/?linkId=19308083

 

 

Éliane Radigue (born January 24, 1932) is a French electronic music composer. She began working in the 1950s and her first compositions were presented in the late 1960s. Until 2000 her work was almost exclusively created on a single synthesizer, the ARP 2500 modular system and tape. Since 2001 she has composed mainly for acoustic instruments.

https://en.wikipedia.org/wiki/Éliane_Radigue

 

 

 

https://www.youtube.com/watch?v=Czcmpfe_eXE

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“Do you remember when you got your magic Les Paul?”

 

So asked Andy Ellis of Peter Green in the November 2000 issue of Guitar Player. The guitar in question was none other than Green’s 1959 Gibson Les Paul Standard, a legendary instrument that the Fleetwood Mac founder used to write and record many of the group’s seminal blues cuts, including “Black Magic Woman,” “Oh Well” and “The Green Manalishi (With the Two-Prong Crown).”

 

Green’s Les Paul was considered “magic” for its out-of-phase sound, a nasal tonality missing from the typical Les Paul repertoire.

 

Oddly, Green didn’t think much of the assessment.

 

“I never had a magic one,” he replied to Ellis. “Mine wasn’t magical.

 

“It might have looked similar to others from a distance, but it was an old-fashioned one with a funny-shaped neck—a kind of semicircle neck. It just barely worked. The pickups were strong, but I took one of them off. I copied Eric [Clapton]. I heard him play one night, and he was on the treble pickup all night long. It sounded so good, I thought I’d take my bass pickup off altogether. Try and wait for the same luck. As if it was luck! It takes a lot of genuine practice and worry to get a sound like that.”

 

 

http://www.guitaraficionado.com/the-deep-secret-behind-peter-greens-magic-1959-les-paul-tone.html

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The Meaningful Of Meaningless. Joseph Nechvatal’s ethics of noise
 

Joseph Nechvatal is an American artist who operates in different fields, such as music (with artists from the NY no wave scene and Tellus Audio Cassette Magazine) and media art. He is known for his research work about the possibilities of using virus/software to generate chaos elements within images.

Nechvatal is not just an artist though, he is also a philosopher and professor, and he published many texts. The most complete and organic one is Immersion into Noise [1]. This is a book created after years of study and it reflects the complexity of a way of conceiving art which is not limited to an aesthetic manifesto about one’s way of doing art. His position is proven by in-depth analysis of the different themes tackled throughout the book: this contributes to making this volume a study with scientific substance. However, Immersion into Noise has been somehow unfortunately kept hidden in the philosophical and essayistic panorama.

The systematic in-depth analysis carried on by Nechvatal always emanates from one point of view: an experience and a perception of art which makes the book very personal. From the very first chapter the author starts sketching transversal lines of his concept of noise, by telling his personal experience at a Hendrix’s concert. On that occasion, he was stricken by the guitar feedbacks used by Hendrix as a self-generative device for noisy signals, which created a constantly exceeding, unexpected and uncontrollable climax. On the one hand, the personal experience helps Nechvatal accounting for the perceptual sensation of what is the main characteristic of noise – the excess – and on the other it helps him mediating the system of artistic production of noise: indeterminacy. It is in fact these two features that help to understanding the view of Nechvatal and of the examples that run through the different chapters of Immersion into Noise.

 


http://www.digicult.it/news/the-meaningful-of-meaningless-letica-del-rumore-di-joseph-nechvatal/

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https://www.vice.com/ro/article/tipul-care-a-fost-batut-la-metrou-la-unirii-pentru-ca-e-gay

„Poate eram îmbrăcat puțin excentric. Dar ăsta nu e un motiv să ataci lumea", îmi spune Sebastian, la o bere. Cu două zile înainte fusese bătut în plină zi, la metrou, la Unirii. În Bucureștiul lui 2017 încă poți să ți-o iei pentru că i se pare nu-știu-cui că arăți cam gay. Sebastian purta o pereche de pantaloni scurți verzi, un tricou simplu alb, bocanci - și bretele în culorile curcubeului.

 

https://www.vice.com/ro/article/tipul-care-a-fost-batut-la-metrou-la-unirii-pentru-ca-e-gay

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9 hours ago, red said:

https://www.ultimate-guitar.com/news/interviews/mastodons_kelliher_i_left_gibson_because_they_treat_artists_like_shit_that_company_is_falling_apart.html

"It was a lot of reasons.

"I never really felt like I was accepted at Gibson. The communication over there is terrible.

"They kept fucking up my guitars that I was asking for. I didn't ask for a lot - I just had a few certain things that I would like with my guitar - I told them I didn't want it chambered and they made my second guitar chambered.

"All the guys I worked with over there - the A&R guys were getting fired left and right and the company just seemed to be falling apart to me. There were new guys who would come in and they didn't know shit.

"It was a breath of fresh air working with ESP. They were interested and would ask me what gauge strings I played and what tunings I play - Gibson never cared about any of that stuff.

E interesant sa citesti partea asta nevazuta a edorsementului dar e departe de ceva obiectiv. "Rockstars being rockstars". 

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