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a-moth-to-the-light · 4 months

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Most-Listened of January 2024

[last month]

Yeah, winter officially hit this month. Half of December was too Finals to be winter, and the other half was me reflecting on the year in music (so lots of 2023's most hard-hitting songs, which weren't exactly cozy winter music!). But in January, the snowy-gray-won't-leave-the-house mood actually hit--and I think it shows in this list (prepare yourself for LOTS of gloomy folk)! There were so many exciting releases this month, though, even though I couldn't muster up all that much energy about them--I'm really excited to see how the Sleater-Kinney, G-IDLE & Andrea Santiago albums will age!

1 . Boy's a liar Pt.2 -- PinkPantheress, Ice Spice

Yeah I sooooo get it now!! Like I don't fully get the lyrics, but it's so charming that I don't care! It's peak girl-next-door sweetness :)

2. BDH - Acústica Versión -- Bely Basarte

The first time I heard this, I wrote down: "Now THIS is how you do layered harmonies, cowards." I stand by my assessment—this is proof that acoustic tracks aren't boring, at least not when you give them a soundscape as beautiful as this one!

3. Tanta adrenalina -- Bely Basarte

This reminds me of the summer I was obsessed with Chung Ha's "California Dream"—even in January, I need some light, fluffy house in my life! (And yes, you can see that my Bely Basarte phase has kept going strong from last month!!)

4. Big Black Car -- Gregory Alan Isakov

I am a sad boy <3 (HOPE WAS A LETTER I NEVER COULD SEND !!!!)

5. Lost On You -- LP

I've been watching Loudermilk this month, and when I heard this song in the end credits of an episode, I instantly went to find it online. It's so wonderfully desolate, especially with those vocals... and the soft jingling of the guitar... *happy arm wave*

6. Southern Star -- Gregory Alan Isakov

Can’t stop singing this one—the melody is pure magic!

7. When the Party's Over -- Faux Paz

I like the original version better, but I'll never get tired of Faux Paz, either!

8. Ungrateful -- Megan Thee Stallion, Key Glock

Saw @shyreol post about this, and I'm so glad I decided to check it out (thank you for sharing)!! I'm absolutely obsessed with the hook—instant comfort song!

9. The Healing Game -- Van Morrison

Loudermilk part 2. This one hasn't even been played in the show yet, as far as I know, it just gets quoted by one of the characters—and deservingly, because these lyrics hit HARD. (And now I can cross 'liking a new Van Morrison song' off my music bucket list for the year—thanks, Loudermilk!)

10. Lalalala -- Stray Kids

This one has lost most of its appeal after a few weeks of listening, but it was very good noise to keep me sensory-happy during some rough weeks (and that ‘lalalalala’ hook is still great)! We'll see how it ages, I guess!

11. The Fall -- Gregory Alan Isakov

Speaking of Stray Kids, Isakov's lower register in this song is GLORIOUS.

12. Soldier, Poet, King -- The Oh Hellos

Believe it or not, I hadn’t heard of this one before December! It’s so good tho :)

13. What's Love -- Empress Of, MUNA

This sounds like the best parts of nighttime—it’s a little more muted than most synthpop these days, but it manages to stand out with just how ethereal it is! The production really just gets more beautiful with every listen—okay, maybe I just have a thing for vocoders…

14. La isla de Lesbos -- Javiera Mena

I don't really remember listening to this one in the past month? But I'm not mad about it being here—it's a classic in my book, because I can never say no to sparkly house music!

15. Smiley -- Yena, Bibi

An instant shot of energy, every time!! So glad I finally added Yena to my stan list, her music soooo deserves it!

Five-Star Songs This Month:

Ungrateful -- Megan Thee Stallion, Key Glock

Hell -- Sleater-Kinney (i mentioned how excited i was about this album right?? i love the texture of this song i love how it go grrrrr i love the line “hell is just a place that / we can’t seem to live without” !! i have a very good feeling about this one helping me get through the year SCREEEEEE)

BDH - Acústica Versión — Bely Basarte

Certainty -- Big Thief (this is what love is to me btw like i realized this month that i don’t think any other song has captured it better so here we are) (YOU LAY BESIDE ME / SLEEPING ON A PLANE / IN THE FUUUUUTUREEEEEEEE)

Was I Just Another One -- Gregory Alan Isakov (i listened to this allll the time in 2020, but i ended up developing a new appreciation for its atmosphere this month like good god i’m in awe GLOOMY FOLK GLOOMY FOLK IT IS A WASTELAND IT IS IMMACULATE EEEEEE !!)

#me when 2024 #the order on spotistats is different from on receiptify but it's basically the same thing so it's fineeeee

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mystrategyis · 1 year

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Tom Verlaine, Variety Playhouse, Atlanta Ga. April 2, 2014 ©mswphoto

When punk rock broke out in the mid 70's I bought every album I could get my hands on. Television's LP Marquee Moon is the album that still resonates the most for all the fuss and fury. The band looked like punks but they played like poets. Something new, something different in every song. Like Van Morrison's Astral Weeks (and nothing like at all), the album cast a spell, it puts you in a dream world, a film noir where you find yourself falling into the arms of Venus De Milo under a lone street light, where you fear no evil!

Tom Verlaine died January 28, 2023.

Just the facts.

"He awoke to the sound of water dripping into a rusted sink. The streets below were bathed in medieval moonlight, reverberating silence. He lay there grappling with the terror of beauty, as the night unfolded like a Chinese screen. He lay shuddering, riveted by flickering movements of aliens and angels as the words and melodies of “Marquee Moon” were formed, drop by drop, note by note, from a state of calm yet sinister excitement. He was Tom Verlaine, and that was his process: exquisite torment." - Patti Smith

(Patti Smith remembers her friend, who possessed the child’s gift of transforming a drop of water into a poem that somehow begat music.)

Verlaine and Jimmy Rip

#tom verlaine #television #atlanta #Jimmy Rip

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heibel · 4 months

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Het luisteren naar rare muziek

Deze week heb ik vakantie. Carnavalsvakantie. Ik kan tijd benutten om naar muziek te luisteren. Nadat ik zojuist de lp The President of the LSD Golfclub van Hooverphonic heb geluisterd, wat overigens een pareltje is, luister ik nu naar de Succour lp van Seefeel.

Waar Hooverphonic in mijn gehoor klinkt als redelijk toegankelijke muziek, is Seefeel een zeer experimenteel geluid. Maar nog niet het "ergste" wat ik ooit beluisterd heb.

Ik kan er goed naar luisteren en hou ervan om mijn brein te plagen met muziek. Maar veel mensen kunnen niets met muziek die ik beluister. Maar ja, het heet niet voor niets IDM houd ik me voor. Intelligent Dance Music.

Je moet, om het te beluisteren wel even open staan en de tijd nemen om er iets van te vinden en er iets met je geest van kunnen maken om het te accepteren. Je hoeft het niet persé leuk te vinden. Van mij niet althans.

Fijnfisjenie is een programma tijdens carnaval op Omroep Brabant. Feestmuziek, inclusief hossende massa, in een tot Fijnfisjenie Café omgebouwde studio. Ieder jaar zet ik het met carnaval op, terwijl ik zelf geen carnavalsvierder ben. Een soort top 2000, gezellig op de achtergrond.

Ik moest er ooit ook even wat moeite voor doen, maar als je doorluisterd naar de carnavalsmuziek, kan ik het accepteren en zelfs waarderen. De lol er van in zien. Ik kan er inmiddels echt we wat nuances in zien.

De lokale artiesten, veelal onder begeleiding van de plaatselijke harmonie maken vaak teksten die op lokale gebeuren slaan. Zachte kritiek op de plaatselijke politiek, of hoe mooi de meisjes uit dat dorp zijn. Als ik zap naar tv L1 (regionale tv Limburg) zie ik dat lokale nog meer. Met als topper Beppie Kraft.

Bij Fijnfisjenie zie je vaak de carnavalscommercie optreden. Een beetje plat. Dikke frikandellen en Ik ben lala lala ladderzat-achtige teksten. De alcohol vloeit er rijkelijk.

En dan doe ik ook moeite om hier naar te luisteren en kan er de lol van inzien. Zelfs begrip tonen. Maar op een gegeven moment moet ik de tv ook wel weer uitzetten.

Mijzelf afvragend hoe iemand er op komt én er überhaupt wel écht iemand op zijn of haar muziek zit te wachten. Uiteindelijk wil iedere artiest Ijn of haar muziek laten luisteren door anderen. En in allebei de gevallen is enig financieel succes handig.

Ik luister nu naar Succour van Seefeel. Luisteren jullie maar even naar dat andere: Want voor de meesten kost het luisteren naar dat 'andere' teveel moeite.

https://youtu.be/6Izra3i4_VA?si=-jKEkrRq5_tq6wEJ

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tradermeximas · 4 months

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Tecnologia De travesseiros de IA a escovas de dente de IA – enlouquecemos? Tecnologia A redução do Countdown Capital não é um mau presságio para os microfundos Tecnologia A CES teve sucesso quase total em expulsar a tecnologia sexual de seus salões de exposição Tecnologia LG abre sua primeira fábrica de carregamento de veículos elétricos nos EUA no Texas Tecnologia FedEx anuncia sua própria plataforma de comércio para comerciantes [box_text icon="W"]Em um mundo onde a tecnologia evolui a um ritmo vertiginoso, é crucial estar sempre atualizado com as últimas tendências e inovações. Nosso site é dedicado a trazer para você o melhor e mais recente do universo tecnológico, cobrindo uma gama diversificada de tópicos que vão desde avanços em inteligência artificial até as mais recentes inovações em dispositivos móveis e computação em nuvem.[/box_text] AllTecnologiaCarros ElétricosNotícias CriptoTecnologiaDe travesseiros de IA a escovas de dente de IA – enlouquecemos?Outra CES chegou e desapareceu e o transporte ainda era um dos atores centrais num dos maiores palcos tecnológicos do mundo. Não foram apenas os carros elétricos que chamaram nossa atenção na CES 2024. Empresas e startups focadas em direção automatizada, carregamento de veículos elétricos, software (e mais especificamente IA), sensores, aviação, barcos, drones, micromobilidadeCarros ElétricosConceitos Honda EV, vans elétricas Kia, conceito de picape Vinfast, Hertz descarta EVs: a semana ao contrárioQuando o renovado Tesla Model 3 Highland chegará aos EUA? Qual empresa passou mais tempo em sua apresentação na CES falando sobre jogos, TV e filmes do que sobre o EV que está ajudando a fabricar? Esta é a nossa retrospectiva da Week In Reverse – aqui mesmo no Green Car Reports – para aTecnologiaA redução do Countdown Capital não é um mau presságio para os microfundosNa semana passada, meu colega Aria Alamalhodaei escreveu um artigo exclusivo sobre o plano de fechamento da empresa de risco de tecnologia espacial e de defesa Countdown Capital. Jai Malik, o fundador da Countdown, disse em uma carta aos seus LPs que devido ao quão competitivo o setor de tecnologia industrial se tornou, ele nãoTecnologiaA CES teve sucesso quase total em expulsar a tecnologia sexual de seus salões de exposiçãoA CES é há muito tempo uma plataforma de lançamento para inovação e tecnologia de ponta. No entanto, no evento deste ano, houve um vazio evidente: a quase ausência de tecnologia sexual. Apesar de ser uma indústria que atende a uma experiência humana universal, a tecnologia sexual sempre teve uma associação desconfortável com a CES.TecnologiaLG abre sua primeira fábrica de carregamento de veículos elétricos nos EUA no TexasA LG Electronics abriu sua primeira instalação de carregamento de veículos elétricos (EV) fora da Coreia do Sul – em Fort Worth, Texas – para conquistar uma fatia do competitivo mercado de carregamento de EV da América do Norte.

Sua nova fábrica de estações de carregamento de EV, com área de 59.202 pés quadrados, temTecnologiaFedEx anuncia sua própria plataforma de comércio para comerciantesA empresa de logística FedEx anunciou hoje sua própria plataforma de comércio chamada FDX. A plataforma provavelmente competirá com a Amazon, oferecendo aos comerciantes serviços como geração de demanda, atendimento, rastreamento e experiências pós-compra, incluindo devoluções. A empresa disse que o FDX está atualmente em versão prévia privada com planos para um lançamento mais amploTecnologiaA correção da Apple para a proibição de vendas do Apple Watch Series 9 e Ultra 2 pode desabilitar um…A Apple está preparando uma solução mais permanente para a decisão do ITC que acabou bloqueando temporariamente as vendas de seus modelos Apple Watch Ultra 2 e Série 9 nos EUA (que agora estão de volta à venda – embora novamente, potencialmente temporariamente). A solução proposta, descoberta em um breve processo judicial (via 9to5Mac) pelosTecnologiaAs avaliações das startups começarão a se recuperar em 2024? Os investidores não têm tanta certezaEm 2021, parecia como se toda startup fosse capaz de arrecadar com uma avaliação inflacionada, independentemente de seu tamanho, setor ou modelo de negócios subjacente. Hoje, as coisas parecem muito diferentes. Comparando as avaliações pré-monetárias, todas as fases de captação de recursos iniciais, exceto o início, viram as avaliações médias diminuir no ano passado emTecnologiaTodo o futuro da tecnologia de transporte que se destacou na CES 2024Outra CES chegou e desapareceu e o transporte ainda era um dos atores centrais num dos maiores palcos tecnológicos do mundo. Não foram apenas os carros elétricos que chamaram nossa atenção na CES 2024. Empresas e startups focadas em direção automatizada, carregamento de veículos elétricos, software (e mais especificamente IA), sensores, aviação, barcos, drones, micromobilidadeTecnologiaSpot Technologies, agora com US$ 2 milhões, verá a tecnologia de segurança de IA entrar nos Walmarts do MéxicoSpot Technologies, uma startup de inteligência artificial com sede em El Salvador, levantou US$ 2 milhões em financiamento. A empresa, com operações no Chile, está desenvolvendo tecnologia em nuvem que transforma câmeras em locais de varejo e logística em um sistema inteligente de rastreamento de análise de comportamento e segurança. Um grupo de investidores incluindoTecnologiaO robô Tesla de Elon é meio que ‘ok’ em dobrar roupas em uma demonstração pré-roteirizadaO robô humanóide Optimus de Elon Musk da Tesla está fazendo mais coisas – desta vez dobrando uma camiseta sobre uma mesa em uma instalação de desenvolvimento. O robô parece ser bastante competente quando se trata desta tarefa, mas momentos depois de Musk compartilhar o vídeo, ele também compartilhou algumas informações de acompanhamento que definitivamenteTecnologiaO ano do ‘isso nos serve’ e a rejeição da reificação2024 chegoue, com isso, um interesse renovado pela inteligência artificial, que parece que provavelmente continuará a desfrutar de um entusiasmo pelo menos mediano ao longo do ano. Claro, está sendo aplaudido por bilionários fanáticos pela tecnologia e pelos lacaios alojados em suas aconchegantes ilhas de influência, principalmente no Vale do Silício - e ridicularizado porTecnologiaO sistema de armazenamento de energia em escala de rede mais avançado do mundo está onlineA Plus Power lançou recentemente sua instalação Kapolei Energy Storage (KES) em Oahu, Havaí. Este projeto é considerado o sistema de armazenamento de energia de bateria em escala de rede mais avançado do mundo, ajudando na transição da energia elétrica do estado de carvão e petróleo para solar e eólica. O projeto da bateria KESNotícias CriptoChirpley voa para a cadeia Ethereum: expandindo os horizontes do CHRP no criptocosmosAmsterdã, 15 de janeiro – Chirpley, o mercado influenciador dinâmico, embarcou em uma jornada transformadora ao abrir

suas asas para a rede Ethereum. Este movimento estratégico se alinha com a visão de Chirpley de ampliar o alcance dos detentores de CHRP dentro da vibrante comunidade criptográfica. Embora a plataforma Chirpley permaneça enraizada na Binance SmartNotícias CriptoBitcoin atingirá US$ 1 milhão em dias ou semanas, analista de criptografiaO CEO da Jan3 e Bitcoiner, Samson Mow, outra vez reiterou seu ultra-otimismo previsão para Bitcoin. O defensor do Bitcoin observou que a ‘Teoria da Dor Máxima’ ainda estava em jogo, e esta é uma das razões pelas quais ele não recua em sua afirmação de que o Bitcoin atingirá esse nível de preço maisCarros ElétricosCEO da Honda planeja tornar realidade os veículos elétricos acessíveis até 2030A Honda construiu sua reputação original em torno de carros pequenos e acessíveis, como o Civic. No entanto, décadas depois, entrando na era dos veículos elétricos, não há equivalente elétrico a bateria do Civic. Como o CEO global da Honda aludiu na semana passada em uma sessão de perguntas e respostas com o Green CarNotícias CriptoTaxa de hash do Bitcoin atinge novo recorde histórico em meio ao frenesi do ETF spotA taxa de hash do Bitcoin, que é o poder de computação da rede, atingiu recentemente um novo recorde em meio ao frenesi que veio com o estreia de ETFs Bitcoin à vista nos E.U.A. De acordo com dados de Dentro do bloco o hashrate do Bitcoin atingiu um máximo histórico de 630,91 milhões deCarros ElétricosREE conclui certificação de EVs full-by-wire nos EUA e inicia entregas de caminhão elétrico P7-CA REE Automotive, uma empresa de tecnologia automotiva e fornecedora de caminhões e plataformas elétricas totalmente by-wire, iniciou as entregas aos clientes de sua cabine com chassi elétrico P7-C seguindo a certificação Federal Motor Vehicle Safety Standards (FMVSS) e Environmental Protection Agency (EPA), tornando é o primeiro a certificar um veículo totalmente x-by-wire. A REETecnologiaOs toca-fitas estão vivos. Um novo walkman está chegando ao mercadoSpot Technologies, uma startup de inteligência artificial com sede em El Salvador, levantou US$ 2 milhões em financiamento. A empresa, com operações no Chile, está desenvolvendo tecnologia em nuvem que transforma câmeras em locais de varejo e logística em um sistema inteligente de rastreamento de análise de comportamento e segurança. Um grupo de investidores incluindoCarros ElétricosEVs reduzirão o custo da eletricidade a longo prazo, sugerem estudosOs VE poderiam ajudar a reduzir as tarifas de electricidade através de uma melhor utilização da infra-estrutura da rede, de acordo com três estudos recentes resumidos pelo Conselho Americano para uma Economia Eficiente em Energia (ACEEE), uma organização de defesa da política energética. Estes estudos descrevem uma mudança para uma carga eléctrica mais elevada, masNotícias CriptoSpot Bitcoin ETFs registram mais de US$ 800 milhões em entradas líquidas na semana de estreia – DetalhesNa quarta-feira, 10 de janeiro, a Comissão de Valores Mobiliários dos EUA (SEC) finalmente aprovou o lançamento de ETFs Bitcoin à vista, representando um evento notável na história comercial dos EUA. Até agora, os dados de mercado sobre esses fundos de investimento confirmaram teorias de aumento da demanda institucional por Bitcoin, com mais de US$TecnologiaEste ringbot retorcido pode rolar como pneus e orbitar como luasPesquisadores da Universidade Estadual da Carolina do Norte (NCSU) desenvolveram um novo design de robô macio que realiza três comportamentos simultâneos: rolar para frente, girar como um disco e seguir um caminho que orbita em torno de um ponto central. Os novos robôs leves, chamados twisted ringbots, operam sem controle humano ou de computador, abrindoTecnologiaProteger aqueles que estão abaixo da linha da pobreza cibernética é fundamental para todosEm 2020, o Serviço de Inteligência Estrangeiro da Rússia mostrou que poderia contornar os controlos de segurança até mesmo das empresas e redes governamentais mais bem defendidas

em todo o mundo quando utilizou o módulo de segurança da SolarWinds para invadir as cadeias de fornecimento de software de dezenas de milhares de alvos potenciais emTecnologiaEmpresa apoiada pela Microsoft converte emissões de CO2 em combustível de aviaçãoA Dimensional Energy de Nova York, pioneira em tecnologia de ponta de utilização de carbono, produção de Combustível de Aviação Sustentável (SAF) e combustíveis e materiais avançados derivados de emissões de carbono, levantou recentemente US$ 20 milhões em financiamento da série A para seu CO2tecnologia de produtos químicos. A rodada foi liderada pela Envisioning PartnersCarros ElétricosAs classificações da faixa Tesla de 2024 caem para o Modelo Y, Plaid S e XA Tesla reduziu as estimativas de autonomia para alguns de seus carros elétricos. Identificado pela primeira vez pela Electrek, o site da montadora agora lista um alcance de 310 milhas para o Modelo Y Long Range, em comparação com 330 milhas antes. Tesla agora lista um alcance de 285 milhas para o Modelo Y Performance;Prev123Next

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wqbytop100 · 5 months

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WQBY (rankings)

TOP 100 for the week ending December 17, 2023

Other Boys --Marshmello, Dove Cameron -1

I'll Be There --Robin Schulz, Rita Ora, Tiago PZK-2

See You Again --Vicetone, Anna Clendenning

Spend The Night --BJ the Chicago Kid, Coco Jones

Dark Skies -- A R I Z O N A -5

Go Off --Mike Candys -7

AEIOU ---PNAU, Empire of the Sun -8

Diamond Therapy --Diplo, Walker & Royce, Channel Tres -6

Sorry Now -- A R I Z O N A -13

Summertime Friends --The Chainsmokers -9

Good Morning --Timmy Trumpet, Alle Farben, YOU -11

Strangers --Kenya Grace -10

**One On One --The Knocks, Sofi Tukker -(new)

Tied To You --Elderbrook -18

Hangin On -- A R I Z O N A -17

Dreaming --Marshmello, Pink, Sting -21

Both --Tiesto, 21 Savage, BIA -14

Living In A Haze --Milky Chance -12

One Last Dance --Imanbek, Ali Gatie -16

More Baby --Chris Lake, Aluna -15

Stress You --Lucas Estrada, SUPER Hi -23

Nevada --Vicetone, Cozi Zuchisdorff -20

Wanna Dance --Alie Farben, James Carter, VARGEN -19

Dreamteam --Galantis, Neon Trees -27

Jungle --Alok, The Chainsmokers, Mae Stephens -24

You're Hired --NEIKED, Ayra Starr -68

Save My Love ---Destiny Rogers -59

You --Svidden, Seeb -28

Ohh LaLa --Idris Elba, Sasha Gigi -22

U Miss Me --Vicetone -130

Boyfriend --USHER -31

At Your Worst --Calum Scott -29

Drums --James Hype, Kim Petras -35

One With the Wolves --Robin Schulz -25

Light On --Markus Schulz, Sarah de Warren -32

Strangely Sentimental ---Anabel Englund -26

Lost & Found --Gorgon City, DRAMA -33

Blur ---KREAM, Marlo Rex -40

What We Know --Lucas & Steve, Conor Byrne -41

Following the Sun --SUPER Hi -34

Fight My Demons --Yung Bae, Barney Bones, Leven Kali, Diamond Pistols -56

It's In My Head -- Provoker -36

Subterranean --Miss Monique, AVIRA, LUNA -44

Bigger Than The Song --Brittney Spencer -49

Body Count --Jason Derulo -39

Elevator Eyes --Tove Lo -37

Smiley Water --MIKE. -45

Bite Marks --Ari Abdul -78

On My Love --Zara Larsson, David Guetta -51

Fever --Lewis Thompkins, Punctual, Hight -52

Weird & Bizarre --Posh Choclates -54

Dress Code --Mau P -81

Vogue --NOIZE -48

Die For A Night --A R I Z O N A -42

Waiting For U --Laidback Luke, Ralphi (Jake Silva remix) -61

The Little Mushroom That Got Away --Sultan+Shepard, Lane8 -58

From This Day On --Andrew Rayel, JES -38

Moon --Locklead -46

Stranger On A Train --SUPER Hi -43

We Could Be Love --Hayden James, AR/CO -125

Waiting --LP Giobbi, Redfield, DJ Rae -30

In My Zone --S.O. GIDI -47

De Selby Part 2 --Hozier -50

Dressed For A Funeral --Groupthink, Sunday Scaries -53

All Night ---Charlie Houston -55

Down Like That --Bryson Tiller -57

The Beautiful Letdown ---Switchfoot, Jonas Brothers -60

If Only I ---Loud Luxury, Two Friends, Bebe Rexha -62

Quater Life Crises ---Baby Queen -63

Makeba --JAIN -64

Hip Trumpets --Yolando Be Cool, KVISION -65

Get Dirty ---Return Of The Jaded, Tommy Sunshine -66

Tension ---Kylie Minogue -67

Jealous --Pascal Letoublon, IZKO, Jordan Rys -69

eMtunzini --Muzi -70

Jacare --Sofi Tukker -71

Why You? -Adam Melchor -72

Heat Rising --Pete Tong, Jem Cooke, Jules Buckley -73

We Should Get Married --Dan & Shay -74

It's Euphoric --Georgia -75

Padam Padam ---Kylie Minogue -76

Champagne Shit --Janelle Monique, Latto, Quavo -77

What Do You Do? --Jess Glynne -79

Phone -MEDUZA, Em Beihold, Sam Tompkins (Lili Chan remix) -80

Just Think --Video Age -82

In The City --Charlie XCX, Sam Smith -83

Dare --Gorillaz -84

Midnight Zone --Astrality, TAPE ANGEL -85

The Tower --Future Islands -86

Run Free (Countdown) --Tiesto, R3HAB -87

Motive --Armin Van Buuren -88

The Feeling --Lost Frequencies -89

The Worst Person Alive --G Flip -90

Moonlight ---Laidback Luke, GATTUSO (Antrex remix) -91

Joy (Up the Street) --Joy Anonymous -92

Feel It (Club Edit) ---Jazzy -93

Made Up My Mind --Jonah Kaegen, Lily Meola -94

Killing Me --Conan Gray -95

Cheap Thrills --Walker & Royce, Barney Bones -96

Fall Again --Hayla -97

#alwayshappymusic #music2024

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dealgemeneverwarring · 1 year

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De Algemene Verwarring #93 - 30 May 2023

The ninety-third episode of De Algemene Verwarring was broadcast on Tuesday, May 30, 2023, and you can listen to it by clicking on the link below that will take you directly to the Mixcloud page:

https://www.mixcloud.com/MedialabKortrijk/de-algemene-verwarring-93-30-mei-2023/

Pictured below is the trio Olimpia Splendid from Finland. Olimpia Splendid has a new album out on Kraak Records and Fonal Records, and they presented it last week live in Ghent, and I enjoyed it very much. Long and repetitive meandering songs, a drum machine, and whispered vocals, the kind of thing I like. I had already played two tracks from the new album in previous episodes, so now I’m playing the hit single from their previous and debut album that came out in 2015. Also, I seem to have less inspiration lately to write something here on the Tumblr-page and I’m late to the party again, so my apologies for that. I know you are all waiting for the much needed “duiding”. In this episode I also play tracks from the brand new split release with Röt Stewart and Freddie & The Vangrails on Hopvil Records, new releases also from Yfory, Fantasy Sex, Eyes Of The Amaryllis, and old stuff from the likes of AC Temple, Stone Roses, Eyeless In Gaza, Motorpsycho, and Spunky Onions. And beneath the photo you can find the playlist for this show. Enjoy!

Playlist:

Röt Stewart: Contractor / Nazi Truck (split 7” “All Split Up” with Freddie & The Vangrails on Hopvil Records, 2023)

Hot Snakes: No Hands (CD “Automatic Midnight” on Sympathy For The Record Industry & Swami Records, 2000)

Freddie & The Vangrails: Room For Two Knights (split 7” “All Split U” with Röt Stewart on Hopvil Records, 2023)

The Drin: Stonewallin' (LP “Today My Friend You Drunk The Venom” on Drunken Sailor Records, 2023)

Yfory: Chwaer Pwy? (7” Yfory” on Static Age Records, 2023)

A.C. Temple: Ulterior (LP “Songs Of Praise” on Furthur Records, 1987)

Motorpsycho: Walking On The Water (CD “Angels And Daemons At Play” on Stickman Records, 1997)

The Stone Roses: She Bangs The Drums (LP “The Stone Roses” on Silvertone Records, 1989)

Spunky Onions: How I Lost My Virginity (2xLP “Cease & Desist DIY - Cult Classics From The Post-Punk Era 1978-1982, originally released on 7” in 1979 by Templebeat Records)

Eyeless In Gaza: Seven Years (LP “Photographs As Memories” on Cherry Red Records, 1981)

Move - Still Smoking (LP “Move”, reissue on Mannequin Records, 2015, originally released in 1986 on A&D Records)

Olimpia Splendid: Häpeän Huilut (LP “Olimpia Splendid” on Fonal Records, 2015)

Mount Eerie: Lost Wisdom Pt. 2 (LP “Wind’s Poem” on Tomlab, 2009) - band van Phil Elverum (The Microphones)

Eyes Of The Amaryllis: Walking To The Store (7” “Lunchtime On Earth” on I Dischi Del Barone, 2023) -

Fantasy Sex: Waves Of Skin (LP “Fantasy Sex” on Fördamning Arkiv, 2023)

Arv & Miljö: Høstmørke (LP “Vålnad Av Fornskog” on Discreet Music, 2022)

Brother Theotis Taylor: Stand By Me (LP “Brother Theotis Taylor” on Mississippi Records, 2020)

#radio show #de algemene verwarring #punk #post punk #noise rock #noise #drones #experimental music #gospel #blues

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mywifeleftme · 1 year

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46: Bob Seger // Back in '72

Back in '72 Bob Seger 1973, Reprise

Like a lot of musically-inclined people my age (49), AllMusic.com was a critical part of my early ‘00s descent into abject nerdom and permanent homeliness. It was (and I suppose, still is) an unmatched repository of discographic information and professional reviews of the major pop and rock artists of the past half-century, and I spent hours each week on my shitty dial-up internet trawling through reviews of hundreds and eventually thousands of albums that I would try to imagine based on their writing.

The chief, to me, among AllMusic’s stacked bullpen of critics at the time was Stephen Thomas Erlewine. (Though I’ve become more of a Thom Jurek man in my old age.) Erlewine drew the job of reviewing a lot of the entry-level artists I was most taken with (R.E.M., Elvis Costello, the Kinks, Nick Lowe, the Replacements, and so on), and he had a way of writing what was essentially the Supreme Court majority opinion on a de rigueur classic in a voice that still sounded like a seasoned listener giving his own take. Like any good critic, the comparisons and offhand references in his reviews opened a lot of doors for me—and one of those doors led to early Bob Seger.

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Growing up across the Canadian border from Detroit, I was raised on dad rock radio with a Motor City slant, which elevated local ham-and-eggers like Mitch Ryder to regular rotation and Michigan’s favourite son Robert Clark Seger to peerage with the Stones and Zeppelin. Starting with 1975’s essential double live ‘Live’ Bullet, Seger was a reliable national hitmaker for a good ten years, and he’s remembered fondly for it—but few critics have historically put Bob on a par with similar working-class hero Bruce Springsteen. That’s why it meant something to me that Erlewine, himself born in Bob’s hometown of Ann Arbor, treated the Seger catalogue with the same reverence he brought to the rest of the established canon.

I’d heard a few of Seger’s pre-Silver Bullet Band singles on Detroit radio, when a DJ like WCSX’s Ken Calvert would throw on a scratchy oldie like “Persecution Smith” or “Heavy Music,” but the album-by-album narrative that unwound through Erlewine’s reviews hooked me. An aspiring rocker since he started his first band in 1961, Seger tried out all sorts of gimmicks, from parodies (“The Ballad of the Yellow Beret”) to novelty songs (“Sock It To Me Santa!”) to a Bob Dylan impression (“Persecution Smith”). But Seger’s first taste of regional success was as a feral garage rocker with combos like The Last Heard and The Bob Seger System.

Like Otis Redding, an obvious vocal influence, Seger reaches his high notes by clenching his vocal cords and pushing hard, producing a plaintive quaver he’d eventually deploy toward the melting of hearts. But in his garage days, Bob was melting faces with a venomous arsenal of snarls and shrieks on stone classics like “Lucifer,” “Death Row,” and “2+2=?” that match the intensity (if not the scuzzy low-end) of anything by the Stooges or MC5. If Seger had put down his guitar and gotten a day job after failing to follow up his 1969 hit “Ramblin’ Gamblin’ Man” (his first top 20 national hit, and his last till 1976’s “Night Moves”) he’d be a staple of collector bait reissue labels. But Seger always believed, “You're nobody if you can't get on the radio,” and he kept grinding away, looking for a sound that would make him a star.

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1969’s psych-inflected Ramblin’ Gamblin’ Man LP wasn’t it. Neither was 1970’s balls-to-the-wall raver Mongrel. It definitely wasn’t 1971’s acoustic folk venture Brand New Morning. But, on 1973’s goofily-titled Back in ’72, he suddenly sounds like Radio Bob: thick, white man’s R&B that’s part Ike & Tina, part Van Morrison, part southern rock. A lot of it’s down to the musicians he’s working with. First there’s the Borneo Band (credited here as My Band), a combo as capable of working an R&B audience into a lather as anyone in 1973 (as a number of righteous live bootlegs can confirm). And secondly there’s the Muscle Shoals Rhythm Section, Alabama’s answer to session aces like the Wrecking Crew and the Funk Brothers. They’d played on a few hits in their time, and they represented the professionalism and success Seger aspired to. While Seger could only afford to work with them on three songs during the Back in ‘72 sessions, he’d go on using them as often as possible on his future albums (often to the chagrin of his touring musicians).

There are still some growing pains. Back in ’72 opens with its three weakest tracks: a passable cover of the Allman Brothers’ “Midnight Rider”; treacly original “I Wrote You a Song,” in which Bob sheepishly bleats most of the higher notes; and a cover of Free’s “The Stealer,” a song I am incapable of giving a shit about no matter who records it. From there though, things suddenly and dramatically improve.

“Rosalie,” written for Leamington, Ontario’s teenage tastemaker (and my grandma’s high school classmate) Rosalie Trombley, is an immortal pub rocker that would eventually find a second life through Thin Lizzy’s hit cover; diesel-powered travelogue “Back in ‘72” sets the template for (and easily outmuscles any of) his later heavy numbers; a read of Van Morrison’s “I’ve Been Workin’” turns into a true workout that makes clear why it would remain a setlist staple over the next few years. And then there’s “Turn the Page,” perhaps Seger’s signature song. The version here is more subdued than the better-known ‘Live’ Bullet rendition, and if as a vocalist Seger can’t quite inhabit the weary determination of the lyric in the way he soon would, it remains a worthy rendition on its own merits.

On Back in ’72 Seger and his band(s) finally sound like they’re capable of reaching an arena-sized audience. While it would take another four years before they’d actually do so outside the Midwest, the LP is an essential part of his journey. Few of Seger’s pre-1975 albums are easy to lay hands on these days—Bob seems to consider them juvenilia, the work of someone who wasn’t yet ready for the big time, and has refused to reissue any of them in recent years or allow them to reach streaming platforms. That’s a shame. After reading Erlewine’s rave reviews of his early catalogue, I was lucky to download them from blogs, and I’m still working on hunting down the best of them on wax. (While I prefer 1970’s Mongrel and 1974’s Seven, Back in ’72 is the only one of his formative records I actually own on LP—ironically, it’s among the rarest.) Despite Seger’s dismissal, this era of his career is a good part of what made him a major artist in his time and place, and deserves to be heard by a wider audience.

46/365

#bob seger #the bob seger system #bob seger & the silver bullet band #michigan #detroit #detroit rock city #classic rock #garage rock #music review #allmusic #stephen thomas erlewine #thom jurek #vinyl record #'70s music

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nosvemosenprimerafila · 2 years

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Victoria Ford se cambia el nombre, se transforman en Victorias y anuncia fechas y disco para otoño....... Vuelven mas enrabietados que nunca con un puñado de buenas canciones producidas por Guille Mostaza que verán la luz en el próximo otoño. La banda cuenta el porqué de este cambio: "Por ti, que alguna vez tuviste que presumir de banda diciendo “Ford, como el coche quillo” y por nosotros, que somos la banda que siempre hemos querido ser. Te contamos cómo ha sido todo: La pandemia coincidió con la salida del disco de remixes, ¿recordáis? Aquello rompió de pleno (plenísimo) la gira, la promo y todo lo que conlleva sacar un álbum. El paronazo nos invitó a cuestionarnos muchas cosas. Lo cierto es que fue duro, pero a la vez muy bonito. Cuando por fin pudimos vernos en el local teníamos clara una cosa: desprendernos de aquello que no nos representaba. Ser claros con lo que de verdad somos. Y en ese proceso despedimos con ganas el Ford, hemos renacidos y celebramos VICTORIAS". Victorias (antes Victoria Ford) debutaron en forma de LP en 2019 con 'Grandes éxitos, mejores descartes', post-punk nervioso, heredero de los 80 y con aires neoyorquinos para contar historias cotidianas, puro costumbrismo generacional, desengaño, oscuridad, drama y redención, pero siempre, y aquí es donde su discurso se distingue de la mayor parte de sus compañeros de escena, con el fin de encontrar un camino positivo. Este álbum les llevó a ser asiduos en Radio 3, y tocar en festivales como Interestelar, Monkey Week, y Ojeando. Ya en 2020 publicaron 'Grandes Éxitos, mejores remixes' con las colaboraciones de Nacho Canut, Eme Dj, David Van Bylen, Los Pilotos, We are not Djs, David Kano o Andrés de Niños Mutantes. Llegó la pandemia y tuvieron que suspender la gira de presentación. PRIMERAS FECHAS DE VICTORIAS 16/07 Sant Feliu de Llobregat / Casa de la Juventud 23/07 El Pedroso / Centro de la Cultura 08/08 Burguillos / Parque de los pueblos 08/10 Martin de la Jara / Caseta municipal 14/10 Cádiz / Festival Zahara Indie Continúa en www.nosvemosenprimerafila.com #victoriaford #victorias #indie #emergentes #pop #rock (en Victorias) https://www.instagram.com/p/CfOP8vED7dy/?igshid=NGJjMDIxMWI=

#victoriaford #victorias #indie #emergentes #pop #rock

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natromanxoff · 3 years

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Queen live at Barra da Tijuca in Rio de Janeiro, Brazil - January 19, 1985

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The second night in Rio is as epic as the first. Freddie's voice isn't in quite as good shape as it was last week, but he and the band give their all in a show that would turn out to be a final farewell. This concert marks the end of Queen's love affair with South America, a continent where the band played a dozen shows to over a million people.

Brian isn't able to grab his slide in time for the Tie Your Mother Down guitar solo, and the end result is an aggressive and unique take on it. He also lets it rip in the improv section of Keep Yourself Alive.

In the piano bit between Somebody To Love and Killer Queen, Freddie leads the band into the The March Of The Black Queen jam as he did in Sun City last year. This would happen many times in 1985.

The vocal harmonies in Liar are excellent.

The improvisation section before It's A Hard Life is much longer tonight, consisting of a few lines reworked for the Brazilian audience. It would be officially released in the UK in 1995 as "Rock In Rio Blues", on the "A Winter's Tale" CD single. It was also released on the US CD single of "Too Much Love Will Kill You" in 1995, and later on disc 2 of the 2011 deluxe edition of the final Queen album, "Made In Heaven."

After It's A Hard Life, Freddie begins his vocal duel with the audience with a few bits he used in Now I'm Here a few years back. At the end of it, he proclaims, "Everybody's beautiful".

He does some superb improv at the beginning of Now I'm Here, which is seen on the official VHS.

Brian, before Is This The World We Created, referring to his electric classical guitar: "I have no idea if this little bugger's gonna stay in tune, but we'll try this anyway." Freddie messes up the lyrics of the second chorus, singing "Is this the world we devestated, against the bone" instead of "right to the bone." It's otherwise a very nice version of the ballad.

He then introduces Love Of My Life: "You want to sing with us? Alright. Well, this is especially for you." He changes the subject briefly, saying "I hope you're not too wet out there," as it is raining throughout the show. He continues, "I have to tell you that this song is very special to the people of South America, and we thank you very much for making it special throughtout the world. This is called Love Of My Life." As seen on the video, both he and Freddie are clearly moved by a quarter of a million people, most of whose first language isn't English, singing the song perfectly. The audience chant Brian's name throughout the interlude, and in the emotion of the moment he has to carefully make his way through it.

During his solo spot, Brian plays bits of "Let Me Out", one of the songs from his 1983 solo mini-LP with Eddie Van Halen and others called "Star Fleet Project". He began his solo with an EBow, as he did last week in Rio. This is the last time he has played with an EBow live to date.

Freddie's emotive ending to Bohemian Rhapsody is one-of-a-kind.

Like last week, Freddie introduces Radio Ga Ga - the only times he would do this.

In light of last week's incident, Freddie doesn't come out with his boobs and wig for I Want To Break Free, as seen on the official VHS.

The hour-long (48 minutes without commercials) Globo TV broadcast of this concert was watched by about 200 million people. It showed some shots from different angles than were seen on the official release. The following songs were shown: Tear It Up, Tie Your Mother Down, Under Pressure, Somebody To Love, Killer Queen, Seven Seas Of Rhye, Keep Yourself Alive, Liar, Rock In Rio Blues, It's A Hard Life, Dragon Attack, Now I'm Here, Love Of My Life, and Crazy Little Thing Called Love. In the last song, John is seen smirking at Freddie's overt Elvis impression in the second verse.

We Are The Champions from the second night was also aired on Globo TV.

Brian and John appeared on MTV Japan in May to promote the VHS release, and clips from both Rio shows were shown. The clips of Love Of My Life, I Want To Break Free, We Will Rock You and We Are The Champions are from the second night (the last two songs are notable, as the first night was used for those songs on the video release).

On February 25, Brian would make a guest appearance on a radio show and he actually acted as the DJ for an hour or two. He had a few words to say when asked if he had an outstanding memory from Rio:

"Just looking at the crowd, really. We never quite believed that it was going to happen and we were going to get quarter of a million people a night or whatever, and it just actually happened. They all rolled up and one night it was pouring with rain and they were still there until two in the morning from four in the afternoon. It was very well organized and very well lit which is unusual so you could actually see the audience very well, all in pools of different coloured lights. I think there is going to be a video of that some time and perhaps people will be able to see, but it was quite something I must say. And there was the feeling of it being the first time, which it was, because there never was that much rock and roll in Rio. Now there is mate, I tell you!"

This version of Love Of My Life was released on a cassette single in the US. It is a more raw mix, as the audience was artificially piped up for much of the official VHS release. A few more words from Brian and Freddie are heard before and after the song than on the VHS.

The fifth picture was taken by Antonio Henrique Seligman, and the last one was taken by Dave Matkin.

More pictures from this show can be found at http://www.repfoto.com. You have to register as a user.

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#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queen concerts

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petervc88 · 7 days

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Cappelle Calling - 20 mei 2024

Oud 90FM collega Erik Uit De Bosch schoof bij mij aan. Vroeger schoof ik altijd voor mijn programma bij hem aan in zijn programma Uit De Bosch In De Lucht. Het grootste gedeelte van de playlist was door hem gekozen, op een paar nummers na. Bijvoorbeeld van de LP van de Week: Hoe Sterk Is De Eenzame Fietser van Boudewijn de Groot uit 1973, vanwege zijn 80ste verjaardag. De DisCovered stond in teken van een andere artiest die 80 jaar geleden werd geboren: Joe Cocker.

Terugluisteren kan hier.

Dit was de playlist:

Uur 1:

Garbage - Only Happy When It Rains Billie Eilish - LUNCH Ultravox - Passing Strangers Boudewijn de Groot - Terug Van Weggeweest (LP van de Week) Bruce Cockburn - Lovers In A Dangerous Time BAP - Kristallnaach Joe Cocker - With A Little Help From My Friends (DisCovered) Claw Boys Claw - Rosie Joe Cocker & Jennifer Warnes - Up Where We Belong (Filmplaat - uit 'An Officer and a Gentleman') Artists United Against Apartheid- Sun City Boudewijn de Groot - Wat Geweest Is, Is Geweest (LP van de Week)

Uur 2:

Freddie Mercury & Montserrat Caballé - Barcelona Billy Joel - Prelude / Angry Young Man Boudewijn de Groot - Het Spaarne (LP van de Week) Ce Soir - You Took Me By Surprise The Beatles - With A Little Help From My Friends (DisCovered) Latin Quarter - New Millionaires Boudewijn de Groot - Jimmy (LP van de Week) Midnight Oil - Gunbarrel Highway ABBA - Waterloo Telex - Euro-vision Boudewijn de Groot - De Reiziger (LP van de Week) Son Mieux - Dancing At The Doors Of Heaven Psychedelic Furs - Goodbye (Dance Mix)

Shownotes:

De documentaire Against The Odds van ABBA, waarover ik vertelde in de uitzending, is hier te bekijken op NPO Start.

Cappelle Calling is iedere maandagavond van 20:00 t/m 22:00 te horen op Radio 90FM. Iedere woensdagmiddag wordt de uitzending herhaald van 18:00 tot 20:00. Suggesties voor DisCovered of De Filmplaat zijn welkom via de Facebookpagina van het programma of via [email protected].

#cappelle calling #playlist #filmplaat #discovered #lp van de week #regio90 #90fm #ice radio #radio 90fm

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azpartygirlz · 3 years

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SOFT KILL on tour with Alien Boy and Topographies.

Friday, March 18th at Rebel Lounge (tix/info) Saturday, March 19th at Club Congress (tix/info)

Portland, Oregon’s SOFT KILL, ripped through 2016 with their first release on Profound Lore Records ‘Choke’, the follow up to 2015’s ‘Heresy’ became the band’s most acclaimed LP to date and saw the band on a constant touring cycle in support of it through North America and Europe as demand for the band was on a constant upswing. SOFT KILL now return with the triumphant follow up full length Savior to be released by Profound Lore Records on 5/11/18, bringing their unique blend of gloom, laced with pop charm and flawless song writing that transcends the post punk genre.

The writing for Savior was sparked while returning from tour, frontman Tobias Grave’s wife began to bleed out in the van, at eight months pregnant they were in the middle of nowhere on the side of the road far from a medical facility. The band raced through the night landing at the emergency room of UC Davis Trauma Center in Sacramento where surgery was performed to save both the mother and unborn child. Although the surgery went well, baby Dominick’s lung collapsed on his second day of life causing him to flat line. Grave was forced to standby and watch as the doctors and nurses struggled to keep his newborn child alive with blood transfusions, breathing and feeding tubes. As days turned into weeks, stranded far from home, standing vigil, he purchased a guitar, borrowed a bass from a friend and began to write songs that eventually would become the core of Savior. Grave wrote songs about losing his son, his battle with drug addiction, the many tragedies that came along with that life, and the empty space suspended between mourning and celebration, life and death.

With Savior, recorded/mixed in Kingsize Sudios in Los Angeles and produced by Benjamin Greenberg (Uniform, The Men, Algiers) SOFT KILL have matured into a powerhouse, effortlessly combining genres, always with Grave’s powerful, raw emotional storytelling where we see a person come to grips with their own reflection as seen in the eyes of their dying son. From the pop perfection of “Trying Not to Die” to the swelling and crushing guitars on “Hard Candy” to the unrelenting dirge of “Bunny Room”, Savior is a creative tour de force. Drawing from a diverse musical palette, Savior is influenced by early U2, Gun Club, The Replacements and a requiem to Tom Petty.

#soft kill #alien boy #topographies #post punk #gothrock #darkwave #doom pop

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lateforitall · 3 years

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Bierbrouwen als therapie

Geschreven door Valerie

Kiezen wat het onderwerp ging worden voor mijn eerste stuk op deze site, zorgt natuurlijk voor keuzestress en het gevaar dat ik het daarom helemaal niet meer doe.

Naast keuzestress; geef me teveel tijd en ruimte om ergens over na te denken en ik kan je 100 redenen geven waarom het een slecht idee was om er überhaupt mee te beginnen - “er zijn nu toch veel meer prangende zaken om aandacht voor te vragen, mensen die met veel moeilijkere shit te dealen hebben? Waarom ga ik hier niet strijden voor meer diversiteit & inclusiviteit? Dit platform gebruiken voor het nog meer onder de aandacht brengen van de klimaatcrisis? Het patriarchaat kapot trappen? - en als ik niet met het perfecte stuk kan komen, waarom zou ik dan starten? Ik moet toch beginnen met context, met uitleg over mij, mijn motivatie voor het starten van dit project en mijn levensverhaal? Maar waar begin ik dan?

Beginnen is voor mij altijd een een enorme uitdaging geweest. Ik heb altijd duizend ideeën, maar ook duizend redenen om er niet mee te starten of hier na de eerste stappen mee te stoppen. Ik merk gelukkig wel dat beginnen vaker iets beter lukt sinds ik begin dit jaar gestart ben met medicatie (dexamfetamine). Iets vaker. Iets afmaken gaat beter aangezien ik nu sneller in de hyperfocus terechtkom, maar beginnen (en dan vooral kiezen en prioriteiten stellen binnen alle mogelijkheden, taken, verwachtingen, verplichtingen, verantwoordelijkheden en interesses die ik heb) blijf ik wel een dingetje vinden.

Ik heb een hele sterke ‘maar, dat kan je helemaal niet’ stem die ik al vrij snel na het hebben van een idee moet onderdrukken.Ik zal jullie in dit stuk nog even besparen hoe deze stem is ontstaan en heeft kunnen groeien: ik begin even wat luchtiger.

Naast die stem is het ook de overvloed aan opties en de ‘ja, maar wat als’ gedachte die me vaak blokkeren. Gelukkig lukt het me steeds sneller om deze stemmen weg te jagen en ga ik in ieder geval aan de slag. Mijn plan op papier zetten, een passende playlist maken, een Instagram- en Facebook -pagina maken, iedereen er al heel enthousiast over vertellen, dagdromen over hoe dat er dan uitziet, wie daar allemaal blij van worden, welk gat in de markt ik ga vullen...vaker wel dan niet is de laatste stap dat ik toch ook maar eens ga uitzoeken wat ik daar eigenlijk allemaal voor nodig heb.

Dit is ook tekenend voor één van m’n andere uitdagingen: het grote geheel en de stip op de horizon zien. Waar wil ik eigenlijk heen? Ik verlies mezelf nogal snel in de details (die ik ook allemaal even belangrijk vind; prioriteit? Alles! En ook vooral als eerste de leuke dingen doen, vaak de dingen waarvan ik al weet dat ik ze kan).

Een van de zoveel ideeën is dat ik al een tijdje bier wil brouwen. Mijn eigen bier, met unieke smaak en helemaal alleen door mij gebrouwen, met een mooi logo en een groep fans onder m’n vrienden en familie. Al vrij snel had ik ideeën over welk soort bier ik zou willen brouwen, hoe het zou heten en hoe het logo eruit ging zien. Ik had zelfs al dromend een beeld bij waar het verkocht, gedronken en door de lucht gegooid zou worden zodra het een succes werd. Aan enthousiasme en verbeeldingskracht geen gebrek.

Maar daar heb je het weer: al vrij snel nadat ik ging onderzoeken wat ik daar dan allemaal voor nodig had, raakte ik verdwaald in alle opties en meningen over het perfecte brouwproces en wat je hier allemaal (minstens) voor aan moest schaffen. Na het brouwen laat je het bier een week staan voor het bottelen, nee minstens 2 weken, nee echt 3! Wat is een SG meter? Voor het filteren heb je een extra pan en vergiet nodig, of toch een filterkuip? Hey! ik kan ook gewoon verder met m’n LP’s op alfabet zetten (of op genre, of op autobiografische volgorde; maar net in welke maand je me treft).

Bovenstaande zal vast voor veel mensen heel herkenbaar zijn en hoeft ook absoluut niet altijd als heel vervelend ervaren te worden, net als bij veel van de uitdagingen waar mensen met een neurodivers brein tegenaan lopen (over de perks van een afwijkend brein later meer ;)). Pas wanneer bepaalde zaken je weerhouden ergens verder mee te komen, een terugkerend karakter hebben, sterker voelen dan je wilskracht om dit te veranderen, kan dit problematisch worden. Ik vind vaak dat ik pas echt trots kan zijn op mezelf als ik iets van a tot z zelf hebt uitgezocht en uitgevoerd. Om die reden ligt er nu al 3 jaar laminaat in m’n hal (de gang moet nog gedaan worden, daarna kan de rest weg) en zijn m’n keukenkastjes een zooi, omdat ik niet weet waar ik zou moeten beginnen als ik hier extra planken voor zou moeten zagen.

Daarbij ben ik als het op m’n eigen werk en keuzes aan komt vervelend perfectionistisch, maar ga ik wel blindelings mee*** in het oordeel van een ander, en heeft ‘perfect’ of ‘compleet’ ineens een andere betekenis. Als iemand het zo overtuigend brengt zal het wel kloppen (“Je hebt echt die spijkers van 3,8 mm nodig”) en als iemand iets maakt wat ik niet kan ben ik heel snel enorm onder de indruk (“WOW, die plantenbak heb je helemaal zelf in elkaar getimmerd? Trouw met me!”). Van dit gegeven zou ik eigenlijk vaker het voordeel in moeten zien en er gebruik van moeten maken. Daarover zo meer.

***Disclaimer: belangrijk om te weten is dat dit absoluut niet geldt als het om mijn ‘normen en waarden’, politieke keuzes, onrecht en maatschappelijke kwesties gaat, waar ik dan - heel gek - weer een hele sterke mening en overtuiging over heb, een heel sterk ‘dit is goed / dit is fout gevoel en weinig twijfels of onzekerheid - waar ik ook vol overgave voor uit durf te komen. Wat niet betekent dat ik niet door nieuwe invalshoeken en nieuw inzichten van of door iemand anders mijn mening / oordeel niet wil aanpassen; graag juist en dit gebeurt dan ook doorlopend; ik leef voor goede, diepgaande gesprekken met gelijk-, maar ook on-gelijkgestemden, bij voorkeur buiten social media om. Ik heb het in dit geval echt over mensen die wel kasten kunnen bouwen, schilderen, liedjes schrijven of om kunnen gaan met een heftruck.

Terug naar het bierbrouwen; na maanden hier niet meer aan gedacht te hebben (want o.a. begonnen met pornoborduren, starten met een punk- rock- yoga plan, deze site), kreeg ik niet lang geleden voor m’n verjaardag een hele brouwset. Een brouwemmer, een SG meter, alle ingrediënten om m’n eerste 5 liter blond bier te brouwen, een stap voor stap uitleg van het proces en zelfs extra pannen. Ideaal! Ik hoef niet meer na te denken over welk vergiet ik moet kopen en kon gewoon meteen aan de slag.

Het verjaardagscadeau bevatte zelfs een blok in m’n agenda, dus ook over het perfecte moment van starten na hoeven te denken was weggenomen. Ook de playlist was al gemaakt, dus ik kon dit ook niet uitstellen door eerst nog 3 avonden bezig te zijn met het vinden van alle noodzakelijke flauwe biergerelateerde nummers.

De dag na het brouwen heb ik met tranen in m’n ogen kunnen melden dat het cadeau zelf al geweldig was, maar dat het grootste cadeau eigenlijk is geweest dat alle zorgen over de spullen uitzoeken en het voorbereiden mij uit handen waren genomen.

Tijdens het brouwen zelf kwam ik mezelf aardig tegen, maar stoppen was geen optie: dat bier moest die avond de emmer in, zodat ik het over 2 weken kan bottelen en hopelijk 2 weken later van een eigen biertje kon genieten. Ik ging dit afmaken.

Een paar van de uitdagingen waar ik tegenaan liep:

Te kleine pannen: 2 van de 3 pannen bleken te klein te zijn voor het volume (ik had toch ook zo wel kunnen zien dat er geen 6 liter in die pan past?)

Caring too much, caring too little: 60 minuten lang de temperatuur bijhouden en switchen van obsessief naar de temperatuurmeter blijven kijken naar ‘ik kan vast even die pan alleen laten’ en vervolgens vergeten dat die pan überhaupt bestond.

Dramatisch tijdsbesef: Een timer zetten op 45 minuten, na 30 minuten naar de timer kijken, zien dat deze over 10 minuten afgaat, maar er van overtuigd zijn dat je de timer nog geen 10 minuten geleden heb aangezet, waardoor ik er eerst van overtuigd was dat m’n telefoon stuk was, toen toch accepteerde dat dit wel zou kloppen, maar zo schrikken van m’n wederom dramatisch slechte gevoel voor tijd, dat ik er echt even kort verdrietig van werd.

Perfectionisme: Het perfect en volgens de uitgeschreven stappen willen doen, dat ik het echt heel lastig vond om niet super onrustig te worden van het feit dat de wort al 10 minuten steeds net een paar graden boven de 67 uitkwam waar deze op moest blijven en daardoor het bier straks misschien naar rotte boter smaakt.

Allemaal punten waardoor ik normaal wellicht al had opgegeven, maar deze keer niet:

ACTION to the rescue: Ik heb voor het starten snel een grotere pan gekocht

Turn that shit around: Neergelegd bij het feit dat ik nou eenmaal wat onrustig en onzeker werd en al vrij snel gerealiseerd dat het ook wel mooi was dat ik het in ieder geval zag gebeuren en ook meteen begreep waar dat vandaan kwam.

STIP OP DE HORIZON: Meteen opgezocht hoeveel een brouwketel kost die het reguleren van de temperatuur automatisch doet, mocht ik dit vaker willen doen (In m’n hoofd stond m’n hele huis over een paar maanden al vol met zelfgebrouwen biertjes)

Maar het is dus gelukt! en het biertje is nog lekker geworden ook, maar eigenlijk voelt dit inmiddels als bijzaak.

Ik ben iets (met hulp, samen met iemand) gestart en ik heb eindelijk weer eens iets afgemaakt. Dat ik eigenlijk om 14:30 zou beginnen, dit 21:30 werd (omdat ik eerst mezelf echt goed wilde inlezen, het bestickeren van het notitieboek waar ik het proces in bij kon houden belangrijker vond en een nieuwe pan moest kopen) kon de pret niet drukken. Ik ben s’avonds nou eenmaal op m’n meest productief.

Om half 2 s’ nachts zat er 5 liter soon to be blond bier in de emmer.

Afsluitend, de belangrijkste leerpunten voor mij, met betrekking tot bovenstaande en soortgelijke situaties:

Durf om hulp te vragen; je hoeft niet alles alleen te doen. Daarbij vinden mensen die ergens iets vanaf weten het vaak ook leuk om hun kennis te delen en je te adviseren.Als dank zou ik in dit geval bijvoorbeeld een (drinkbaar) biertje terug kunnen geven.Ook kan iets met iemand samen doen een mooie stok achter de deur zijn natuurlijk.

Begin (deels) onvoorbereid, ook al weet je niet precies wat stap 2 gaat zijn: gaandeweg leer je ook veel, dit hoef je niet allemaal van tevoren al duidelijk op een rijtje te hebben. Dit weerhoudt mij er heel vaak van om te ergens mee te starten.

Niet alles hoeft te lukken, maar probeer je het niet, dan is dat al zeker (hoi tegeltjeswijsheid: niet geschoten, is altijd mis). Daarbij, wat is lukken? Hoe langer ik naar dit stuk kijk, hoe meer ik kan bedenken dat ik anders had willen doen of me afvragen of het sowieso wel iets toevoegt, maar het stuk staat; dat is gelukt.

Durf aan jezelf toe te geven waar je (op dit moment) wel en niet goed in bent. Vertel dit aan de mensen om je heen. Dan komt het ook niet uit de lucht vallen als je zegt dat je gitaar wilt leren spelen, al 10 gitaren hebt uitgezocht, 4 uur Youtube filmpjes hebt zitten kijken, maar echt diegene nodig hebt om de laatste keuze te maken tussen die 6 roze gitaren van 8 andere merken voordat je er echt mee aan de slag kan gaan.

Doe veel verschillende dingen, zeg vaker ja. Ga achterhalen wat je wel / niet kan en waar je blij van wordt (en onthoud dat alles veranderlijk is: dat is oké en juist alleen maar troostend!). Zo leer je ook steeds beter door gewoon veel te doen. Dit jaar alleen al ben ik begonnen met borduren, heb ik m’n gitaar weer eens opgepakt, voor het eerst gezongen in een repetitieruimte, heb ik een trippy ademhalingssessie ondergaan, me opgegeven voor een pottenbak- workshop en ben ik deze site begonnen. Het lastige is dat ik het allemaal leuk vind, ik ook fulltime werk, en daarnaast ook in een klimteam zit waar ik elke maand mee train (oh ja, en ook graag de lieve mensen in m’n leven wil zien, maar ook veel alleen moet zijn om op te laden), maar ik kom er wel steeds beter achter waar ik positief door geprikkeld word, soort van ‘goed’ in ben en energie van krijg. Het feit dat er dit jaar geen concerten zijn en sowieso minder te doen is heeft me hier wel echt de ruimte voor gegeven. Dat deze periode er juist ook voor zorgt dat ik me, zoals vermoedelijk veel van jullie, overall veel minder geprikkeld, actief en creatief voel is weer voeding voor een hele nieuwe post.

Lach jezelf regelmatig uit, dit helpt met relativeren.

P.S. Had ik al gezegd dat kort & krachtig ook niet echt m’n ding is?

Ecostrike- Time Is Now

#neurodivers #perfectionisme #add #bierbrouwen #beginnen #afmaken #luioog

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julio-viernes · 3 years

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¡Que discos hizo Van Morrison entre 1968 y 1974! Me tuvo hipnotizado durante años hasta que pasé a no escucharle en mucho tiempo. Regresando a “Snow In San Anselmo” entiendo bien aquella vieja fascinación. Van era un superdotado, extraordinario cantante y compositor con unos adecuados y expresivos arreglos (los coros, el desarrollo jazz...).

El tema está en “Hard Nose The Highway” (1973), considerado su LP más flojo de esos años. Mi favorito no es “Astral Weeks” ni “Moondance”, sino “Saint Dominic´s Preview” porque incluye todos los Van Morrisons posibles, el de los pildorazos soul- pop y el de los largos trayectos emocionales, terreno en el que es un maestro absoluto en el que puede pasar de un susurro a una explosión temperamental 12º Farenheit en el momento más inesperado.

Ese, y el doble en directo "It´s Too Late To Stop Now" que incluye interpretaciones muy distintas a las de sus LPs de estudio y un buen puñado de versiones sólo editadas ahí, que lo convierten en una adquisición obligatoria. Ain´t Nothing You Can Do.

#van morrison

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pvkid · 4 years

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miguelmarias · 4 years

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Alice in den Städten (Wim Wenders, 1974)

Nada es más poético que todas las transiciones, todas las mezclas heterogéneas.

(Novalis: Fragmentos)

Alice in den Städten (1974) es la más sencilla, lineal y desnuda de las cinco películas de Wenders que conozco; con Im Lauf der Zeit (1976), la que más se aproxima al ideal formulado por Wenders en su artículo 3 LPs by Van Morrison cuando dice —a propósito de Blowin' Your Mind, Astral Weeks y Moondance— «no sé de ninguna música que sea más lúcida, sentible, escuchable, visible, ninguna música que pueda sentirse más intensamente que ésta. No sólo momentos, sino largos y extensos periodos de experiencia que comunican el sentimiento de lo que podrían ser las películas: una forma o percepción que ya no se abalanza ciegamente sobre los significados o las definiciones, sino que permite que lo sensual domine y crezca». Es, también, por eso, la menos narrativa, la menos «contable» y describible, la de apariencia más «documental», al menos al principio, ya que a medida que transcurre el tiempo —está rodada, como casi todas las de Wenders, siguiendo el orden cronológico de la acción— se va introduciendo en ella, sinuosa, oblicua y casi subrepticiamente, la ficción.

Esta progresiva «ficcionalización» que se da en el interior de Alicia en las ciudades prefigura, curiosamente, o tal vez anuncia, la que puede observarse desde la película que nos ocupa, a través de Falsche Bewegung (1975) y En el curso del tiempo, hasta Der amerikanische Freund (1977) y, previsiblemente, Hammett (1979), y tiene su origen y razón de ser, reveladoramente, en el establecimiento de relaciones tanto entre las personas como entre éstas y las cosas —las casas, los paisajes, las ciudades— que las rodean, así como en la conexión —sin que por ello se recurra jamás al flashback— ente el presente y el pasado de los personajes.

Al comienzo de Alicia en las ciudades, Philip Winder (Rüdiger Vogler) es, como todos los personajes de Wenders, un solitario. Sus lazos de unión con el resto del mundo se han roto; ha perdido contacto consigo mismo, con su pasado; desencantado, indiferente, insensibilizado y confundido, es incapaz de comunicarse o expresarse: no puede escribir. América desfila ante su mirada sin dejar huellas en su memoria; por eso hace fotos sin cesar, como si tratase de reunir pruebas de su paso (un poco como el Dana Andrews de Más allá de la duda, preparándose una coartada con ayuda de una cámara fotográfica).

Para el artista, como para el hombre más inculto, no hay ni formas concretas ni formas abstractas. No hay más que comunicación entre el que ve y lo que ve, esfuerzo de comprensión, de relación a veces de concreción, de creación. Ver es comprender, juzgar, transformar, imaginar, olvidar u olvidarse, estar o desaparecer.

(Paul Eluard: Peintres, en Donner á voir).

Philip Winter no ve realmente, precisamente porque no existe la menor comunicación entre él y lo que apenas mira. Más que ver, Philip refleja como un espejo, lo que indiferentemente contempla, y a través de él, ya que reflejar es dar a ver, Wenders permite que seamos nosotros, espectadores activos, los que veamos, separados del personaje al que seguimos constantemente por el hecho de que le vemos a él y también lo que no llega a ver —a comprender, a imaginar— mientras desfila ante sus ojos igual que ante el objetivo de su Polaroid, cámara que, como se sabe, revela al instante, pero no tiene «memoria» (el revelado destruye el negativo, lo que impide la reproducción ulterior de lo fotografiado).

Pero también es verdad que los personajes de Wenders, errantes y desarraigados, si hogar ni familia —salvo Jonathan Zimmermann (Bruno Ganz) en El amigo americano—, "ven en constante movimiento, y que eso favorece le hasar des rencontres. Por eso suelen conocer en el camino a otras personas, a menudo tan solitarias como ellos, aunque de otra manera, es decir, que padecen otra soledad, otra carencia, otra ausencia. Ese rasgo común permite que establezcan, casi siempre reticentemente, un pasajero contacto, que entren en relación con ellos y, a través de ellos, con el mundo, con su pasado, antes de seguir cada uno su camino, de nuevo en solitario, probablemente aun sin rumbo, pero a sabiendas de que no van a ningún sitio concreto, de que su movimiento ha sido, hasta entonces, un paso en falso o de que, a partir de ahora, deberá cambiar de sentido.

Al igual que Wilhelm Meister (R. Vogler) encuentra a Therese (Hanna Schygulla), a Laertes (Hans Christian Blech) y Mignon (Mastassja Kinki), al gordo poeta Landau (Peter Kern) y su supuesto tío (Ivan Desny), en Falsche Bewegung, o que Robert (Hans Zischler) se cruza una y otra vez, En el curso del tiempo, con Bruno Winter (Vogler de nuevo), o que Tom Ripley (Dennis Hopper) se convierte en El amigo americano que cambia y acelera el camino hacia la muerte de Jonathan Zimmermann, en Alicia en las ciudades se ve obligado, muy a su pesar, a cuidar de Alice Van Damm (Yella Rottländer), una niña de nueve años cuya forma de mirar es diametralmente opuesta a la suya; gracias a ella —o por su culpa—, Philip se va viendo obligado a ver, a recordar, comprender, juzgar, imaginar, olvidar u olvidarse, a estar en los sitios que recorre, aunque sólo permanezca en ellos unos minutos, siempre de paso, en lugar de limitarse a cruzar por ellos como un fantasma atraviesa un muro.

Como Robert y Bruno, Alice y Philip se acostumbran a su compañía, a hablar y escuchar, a compartir experiencias, recuerdos, sensaciones y peripecias; se verifica la afirmación de Freud en Cinco lecciones sobre el psicoanálisis: «La transferencia se produce espontáneamente en todas las relaciones humanas, al igual que en la relación del enfermo al médico; trasmite siempre su influencia terapéutica, y actúa con tanta más fuerza cuanto menos se sospecha su existencia», o al menos ésta otra, de Novalis en Fragmentos: «hablar por hablar es la fórmula de la liberación».

Pero todo esto no es más que literatura. Una literatura —casi siempre mala— que proyectamos sin querer sobre las películas de Wenders quienes, por un motivo u otro, nos sentimos profundamente conmovidos, afectados, «tocados» por ellas, identificados con ellas (y no necesariamente con sus personajes ni con su autor); literatura que no sólo es inútil sino que, encima, puede ser utilizada en contra de Wenders, incluso por sus más ardientes —y por ello combustibles, efímeros— partidarios de hoy (que serán, no me cabe la menor duda, sus enemigos de mañana: los que ya se mostraron reticentes ante El amigo americano y su éxito, los que acechan afilando sus plumas el estreno futuro de Hammett, rodada, para colmo de males, en territorio americano y con fondos de Coppola). Literatura, en fin, a la que son por completo ajenas las películas de Wenders, pues carecen de ella hasta cuando ha tenido que desterrar la que había, explícita o latente, en los argumentos de Peter Handke, de Patricia Highsmith o de Goethe.

Esta ausencia de literatura y de psicología es particularmente aguda y evidente en Alice in den Städten. Si Im Lauf der Zeit permitía abarcar, en el curso de sus tres horas de admirables modulaciones rítmicas, una cierta cantidad de temas «trascendentes» —como la soledad, la amistad, la frontera perdida, la desilusión, la muerte del cine— y podía tomarse por una grandiosa ceremonia funeraria; si Falsche Bewegung tiene fama de ser excesivamente explícita a causa de un comentario que dista mucho de sobrar y de ser tan redundante o pleonástico como se han apresurado a proclamar algunos despistados; si Der amerikanische Freund, que no es la más fácil de las películas de Wenders, sino la más difícil para él —otra cosa es que sea la más accesible, precisamente por ser la que cuenta una historia más construida—, ha sido criticada malintencionadamente —puesto que a nadie se le ocurriría elogiar lo contrario— a causa de su evidente maestría, no sucede lo mismo con Alicia en las ciudades, que es la más heterogénea, fragmentaria, frágil e inasible de todas las que he visto. También, por eso, la más «incompleta», la única que puede parecer «inacabada» o «deshilvanada» —ya que el que sigamos constantemente las andanzas de Philip impide que resulte dispersa o confusa—, la más libre, la de aspecto más espontáneo e improvisado. Basta pensar un momento en lo mucho que la separa de Luna de papel (Paper Moon, 1973), del también cinéfilo Peter Bogdanovich, pese a los numerosos puntos de contacto que, en teoría, hay entre ellas, para darse cuenta de que nada en Alicia in den Städten es literatura. Y es que si el mundo de Wim Wenders se caracteriza, fundamentalmente, por la inestabilidad, la fluctuación, lo pasajero, el movimiento sin meta, el camino desandado, el cruce de fronteras, el paisaje despoblado —sea urbano o rural— , el uso de todos los medios de transporte imaginables, es evidente que no podía ser otra cosa que cineasta —uno de los pocos auténticos que han surgido en los años 70—, ya que el cine es el medio de expresión que mejor permite construir con esos materiales que son el tiempo y el espacio; puede verse una buena prueba de ello en que el novelista Peter Handke, cuyo mundo es en buena parte el mismo que el de su amigo y colaborador Wenders, haya decidido convertirse también en cineasta (Die linkshändige Frau, 1978), consciente de que la literatura no le permitía ir más allá de Carta breve para un largo adiós en el empleo de estos dos materiales básicos.

En Alicia en las ciudades todos los temas están implícitos, sin que ninguno sea subrayado, exteriorizado o desarrollado en el film, que actúa, como la piedra lanzada al agua, mediante ondas concéntricas que repercuten en el espectador. Los elementos estáticos están reducidos a su mínima expresión: condenados a la fugacidad del esbozo, permiten el predominio absoluto de lo cambiante, de lo inestable, del movimiento. No hay en esta película ni una sola escena «completa», acabada, «redonda», sino fragmentos, huellas de escenas muy breves, disueltas prematuramente en un fundido en negro que da paso a otra, separada horas y kilómetros, tal vez días y fronteras, de la anterior mediante numerosas elipsis. Nada es explícito, expreso, aunque toda sea evidente: los personajes están dados a través de su comportamiento, de sus palabras, de sus gestos. La cámara se mueve, pero no en los raíles de un travelling, sino montada en un coche, un «elevado», un tren, un avión, una lancha, un autobús o un helicóptero, casi siempre acompañando los incesantes desplazamientos de los personajes en los más variados medios de locomoción, bien a través de las carreteras, las estaciones de servicio, los moteles o las coffee shops del Sureste americano, bien en los hoteles, los apartamentos, los aeropuertos, las calles, las salas de espera de Nueva York y Ámsterdam, bien por las viejas ciudades de la cuenca del Ruhr. Las imágenes de Alice in den Städten no tienen peso específico, no son enfáticas ni «significativas»; pero dicen por sí solas, cada una aislada de las demás; es precisamente su sucesión acumulativa la que las hace elocuentes, la que permite inducir de ellas una trama, unas relaciones, un sentido.

P.D.: Aunque sus primeros 45 minutos transcurran y estén rodados en Estados Unidos, esta película no tiene absolutamente nada de «americana», por mucho que se empeñen los que invocando no se sabe qué «dependencia de las convenciones narrativas del cine americano tradicional» tratan de desprestigiar a todo cineasta que domine sus medios —por escasos que sean— , no ceda autocomplacientemente a la fascinación y el vértigo de poder rodar, y no haga, en general, ninguna de las tonterías —casi siempre perjudiciales para la vista, molestas al oído y ofensivas para la inteligencia de los espectadores— que, todavía, pasan por «modernas» en algunos barrios. Pero qué se le va hacer, ya dijo Schopenhauer que «lo que falta en las cabezas vulgares son dos cualidades emparentadas: juzgar y tener ideas propias», salvo recordar que, como advirtió Goethe, «nada es tan peligroso como la ignorancia activa».

Miguel Marías

Revista “Dirigido por” nº 63, abril-1979

#miguel marías #alice in den städten #wim wenders

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