By the second level of Lego Pirates, I was running around Tortuga with a swashbuckling woman, a midget with a blunderbuss, and a drunken blacksmith. Jack Sparrow was riding a pig, and I, as Will Turner, was running about slapping everyone I could find with a large fish. I do not think there is an upper limit to how much I could do this.
Checkpoints for the next level in life by Joe Alterio. His thoughts behind these works:
The role of loneliness in a public space grows in proportion to the intended scope of the space to serve the public, namely, a separation created by the manifestation of the rubric of “public space” - large cold monuments, open forums with nowhere to hide, grandiose pretensions that minimize the individual. Public spaces beget private yearnings.
We are also made more alone by our shared digital space. The conundrum of free public wi-fi, for example, serves to create digital walls which we can’t breach with normal every day interactions. Everyone is now in their own digital space of their own making. Our space perception is more and more confused with our digital perception of space; is the train station a level to beat? Is that bus to catch a challenge that will reward a player with points? Don’t I recognize this building from that video game?
Joe Alterio via HiLobrow
propellers for umbrellas: On the boat lots of people are well drunk. They steal photographs with... →
On the boat lots of people are well drunk. They steal photographs with fancy cell phones and tip inconsistently, but always I’m thanked for windblown portraits below the GG, the woman with her husband’s fist in her hair. I keep these people, holding one another if only as some brief island, asking after Sausalito, prices in Marin, and is it always so cold in California? Also I keep the occasional older Japanese man, rounding his mouth and pointing, his friends tittering a little, he feigning no embarrassment when asking to be photographed with, not by, me. This is because I pass him at the bow, muttering now and then, sumimasen, or thank him awkwardly in formal Japanese when he hands me twenty bucks. But I am not much more novel to him, or men like him, than I am often to boys in coffee shops who fill to-go cups entirely with foam. Life being performative and whorish, but never entirely untrue, how hands don’t think before attending, briefly, to the obstruction of some stranger’s elbow, please and thank you, the plea somehow arising quite honestly as everyone leaves: Do have a good night! Enjoy the rest of your evening. We hope you enjoyed this cruise. And then, how really gratifying it is to be tired at the end of the night.
<3
I Know
from VideoSongs Volume 2 (2008) by Jack ConteThis is an awesome track, and I love this outro bit; those two chords and the uneven rhythms in the melody. I hear this as a BMaj6 to A#7/B. I find examples like these useful/fascinating because I tend to under use inverted chords, and because it’s another cool sounding pedal point. Another useful thing to do is to play the non-inverted versions of the chords with the same melody (in this case, G#Min7 to A#7), so you can hear how drastic of a difference there is without the pedal point bassline. Be sure to listen to the whole song for better context.
My intention with this blog is to showcase bits of music I like and attempt to explain why in a way that can be understood by anyone with a basic musical background. Let me know if anything confuses and I’ll do my best to make things clearer.
Fascinated by how this sounds more consonant than medieval music. Makes you wonder about lost musical ideas from millennia ago.
Song of Seikilos
imma go and blast some ancient greek mourning songs.
I made a new tumblr. Music Morsels is a collection of music fragments I like. I also attempt to explain why I like them.
C.M. Blues
from Solo Piano (2004) by GonzalesReally fantastic use of pedal point. I love the way he interweaves the pentatonic figures and the pedal in the same range.
(Feel free to chime in on any of these posts if you hear something in a different fashion.)
