Real Rock Drummer for NON-pussy band (L.A.)
Date: 2012-05-25, 12:28AM PDT

I do NOT play to a click track or backing tracks and GO SCREW if you think I’m gonna “tone it down a little, bro” so you can piddle away on your stringed sissy box. I WILL NOT play hotel cafe and don’t take direction from ninnies who live in their fucking parents basement and whack off to dreams of hanging with Jack Johnson and rapping about his “process”, you piece of shit. I am a real mother fucker with balls of steel and have a drumset that loves to be ass fucked mercilessly from behind and I need to join a band who understands that stage-sex is part of the fucking game, dude. So when I’m fucking the shit outta the kit, you can’t be the guy in the corner beating your limp, taffy dick wishing that you could stick your dick in too, NO! You get that dick hard and fuck the stage with me, pussy boy. I’m so sick of stealing the show and would really love to meet some real sons of fucking bitches who aren’t afraid to use a sweat band for its intended purpose: wiping off fucking sweat, cum, groupies, pussy juice, blood, etc.

Do not write me for reasons of sass because I will FIND YOU and shred your fucking face with my SHIT-STORMING DRUM GODLINESS!

{ craigslist | via copyranter }

Music is one of the basic human needs for recreation and entertainment. As song files are digitalized now a days, and digital libraries are expanding continuously, which makes it difficult to recall a song. Thus need of a new classification system other than genre is very obvious and mood based classification system serves the purpose very well. In this paper we will present a well-defined architecture to classify songs into different mood-based categories, using audio content analysis, affective value of song lyrics to map a song onto a psychological-based emotion space and information from online sources. In audio content analysis we will use music features such as intensity, timbre and rhythm including their subfeatures to map music in a 2-Dimensional emotional space. In lyric based classification 1-Dimensional emotional space is used. Both the results are merged onto a 2-Dimensional emotional space, which will classify song into a particular mood category. Finally clusters of mood based song files are formed and arranged according to data acquired from various Internet sources.

{ arXiv | Continue reading }

artwork { Ruben Nusz }

Over the past half-century, pop hits have become longer, slower and sadder, and they increasingly convey “mixed emotional cues,” according to a study just published in the journal Psychology of Aesthetics, Creativity and the Arts.

“As the lyrics of popular music became more self-focused and negative over time, the music itself became sadder-sounding and more emotionally ambiguous,” according to psychologist E. Glenn Schellenberg and sociologist Christian von Scheve.

Analyzing Top 40 hits from the mid-1960s through the first decade of the 2000s, they find an increasing percentage of pop songs are written using minor modes, which most listeners—including children—associate with gloom and despair. In what may or may not be a coincidence, they also found the percentage of female artists at the top of the charts rose steadily through the 1990s before retreating a bit in the 2000s.

{ Pacific Standard | Continue reading }

photo { Weegee }

{ Robert Glasper, Smells Like Teen Spirit | Thank you Blacky II }

{ MCA tribute at the airport | Chris Chapman }

Most of the songs played on Top Forty radio are collaborations between producers like Stargate and “top line” writers like Ester Dean. The producers compose the chord progressions, program the beats, and arrange the “synths,” or computer-made instrumental sounds; the top-liners come up with primary melodies, lyrics, and the all-important hooks, the ear-friendly musical phrases that lock you into the song. “It’s not enough to have one hook anymore,” Jay Brown, the president of Roc Nation, and Dean’s manager, told me recently. “You’ve got to have a hook in the intro, a hook in the pre-chorus, a hook in the chorus, and a hook in the bridge.” The reason, he explained, is that “people on average give a song seven seconds on the radio before they change the channel, and you got to hook them.”

The top-liner is usually a singer, too, and often provides the vocal for the demo, a working draft of the song. If the song is for a particular artist, the top-liner may sing the demo in that artist’s style. Sometimes producers send out tracks to more than one top-line writer, which can cause problems. In 2009, both Beyoncé and Kelly Clarkson had hits (Beyoncé’s “Halo,” which charted in April, and Clarkson’s “Already Gone,” which charted in August) that were created from the same track, by Ryan Tedder.

{ The New Yorker | Continue reading }

illustration { Jordan Metcalf }

The Moving Picture Experts Group (MPEG) is a working group of experts that was formed by ISO and IEC to set standards for audio and video compression and transmission.

It was established in 1988 by the initiative of Hiroshi Yasuda (Nippon Telegraph and Telephone) and Leonardo Chiariglione, who has been from the beginning the Chairman of the group. (…)

The MPEG compression methodology is considered asymmetric as the encoder is more complex than the decoder.

{ Wikipedia | Continue reading }

When you think about science fiction theme tunes, chances are there are a few that are especially stirring and heroic. Star Wars. 2001: A Space Odyssey. Star Trek: The Next Generation. Superman: The Movie. And all of these theme tunes have something in common: they rely on the same basic intervals.

We talked to music experts — including legendary composer Bear McCreary — to find out why so many famous theme tunes use the “perfect fifth” for their hook.

Most people will instantly recognize the first few notes in 2001: A Space Odyssey, which was originally known as “Also sprach Zarathustra” by Richard Strauss. It starts with a low C, and then goes up five notes to a G — that’s a perfect fifth right there. And then the next note is another C, up an octave from the first C.

But the Star Wars theme, by John Williams, relies on a similar progression. The first few sustained notes in Star Wars are a G, going up a perfect fifth to a D, and then a higher G. Williams also plays with a descending perfect fifth in the Superman: the Movie score. And his E.T.: The Extraterrestrial theme also starts with an ascending perfect fifth. (…)

“It has its basis in physics,” says McCreary. “It’s a physical reality.” There’s an actual physical phenomenon behind the perfect fifth, and the octave above that, called the “overtone series.” Here’s how it works, according to McCreary:

{ Wired | Continue reading }

Very little research has investigated whether smells really do evoke vivid and emotional memories, more than other sensory cues. What follows is a new, rare attempt. (…)

“It could be argued that a necessary implication of the Proust phenomenon is that odors are more effective triggers of emotional memories than other-modality triggers,” the researchers said. “Under such strong assumptions the results reported here do not confirm the Proust phenomenon. Nonetheless, our findings do extend previous research by demonstrating that odor is a stronger trigger of detailed and arousing memories than music, which has often been held to provide equally powerful triggers as odors.”

{ BPS | Continue reading }

photo { Stephanie Gonot }

I’ve long heard that the Port Authority is one of many public spaces across the country that uses classical music to help control vagrancy: to drive the homeless away. (…)

In 2001, police in West Palm Beach, Fla., blasted Mozart and Beethoven on a crime-ridden street corner and saw incidents dwindle dramatically. (…)

Some sources report that Barry Manilow is as effective as Mozart in driving away unwanted groups of teens.

{ Washington Post | Continue reading }

{ Hello by Matthijs Vlot | thanks glenn }