It is difficult to firmly place TFF in the proper turning. They are Boomers with very Xer-themed songs. Their first single, "Suffer the Children" came out in 1981: http://www.youtube.com/watch?v=8C47KpadwtIOriginally Posted by Eric the Green
Good one, PrinceYeah, me too. I really liked the entire Listen Like Thieves record back
when I first went away to college in '85. Great band. And I remember
we were talking about Tears for Fears-Sowing The Seeds Of Love.
How about XTC-Mayor Of Simpleton.
Plus, it's only a "guilty pleasure" if you actually feel guilty about it!!
Prince
PS:
My pleasure.! Here is another for you and the Rani - http://www.youtube.com/watch?v=UNZbP3ZVem4
Let's take two stock standard pop rock songs here, and I'll show my point here.
Steppenwolf - Magic Carpet Ride:
https://www.youtube.com/watch?v=9dFg...e_gdata_player
Green Day - Basket Case:
https://www.youtube.com/watch?v=1Fxx...e_gdata_player
Clearly, you can see the problem with the Steppenwolf song. It's the 2 and a half minutes of sonic masturbation you have to sit through before you get to the 2 minute pop rock song. I can't even count that garbage as an intro or an outro because it had absolutely nothing to do with the song. And the only person who doesn't seem to realize it sucks is the guys playing it. Most radio edits cut all that garbage out, because it's pure garbage and nobody wants to hear it.
Meanwhile the Greenday track is comparable, but the critical difference is the pocket presence. They use the gaps created by the music to draw the listener back in. Not only that, but even though the principal song writer is the guitarist, the bassist and the drummer really jump in there more. Neither of these songs are "greatest song ever" material... They're just pop rock songs. But you have to cut out the pure garbage of only one of the songs to actually get something worth listening to (and it's over half the song). One is guys playing together, and minding what eachother are doing, the other is there because the guitarist found a new pedal and thought it would be great to drive it into uselessness by excess.
But I loved it and thought it was the highlight of the song, although I loved the whole song. You are just not oriented to "tripping" and inner space exploration. You need to "let the sound take you away." You are a materialist, according to your stated arguments on other threads. Real music glorifies God. You are just not sensitive to that kind of music, but I am. I think a song that has an extended instrumental like that is superior to one that is just a song. Instrumentals are what music are all about. But then, I am an organist. I guess the most popular prototype was Light My Fire; it opened the way for others. Another famous one was In A Gadda Da Vida. I think the best instrumental part of a vocal song was, guess what, Won't Get Fooled Again. By the way, I used Magic Carpet Ride (the long version) as the theme for my radio show I had for a couple of years called Friday Night Flights. My favorite piece of music of all time is 8 minutes of "sonic masturbation" called the Toccata in F.
Here's another typical great Awakening rock song that has great instrumentals (speaking of "green")
Sugarloaf - Green Eyed Lady
http://www.youtube.com/watch?v=Xc1PHk9FhIk
Are you talking about that one song, or "only one of the songs;" your statement is not clear.Meanwhile the Greenday track is comparable, but the critical difference is the pocket presence. They use the gaps created by the music to draw the listener back in. Not only that, but even though the principal song writer is the guitarist, the bassist and the drummer really jump in there more. Neither of these songs are "greatest song ever" material... They're just pop rock songs. But you have to cut out the pure garbage of only one of the songs to actually get something worth listening to (and it's over half the song). One is guys playing together, and minding what each other are doing, the other is there because the guitarist found a new pedal and thought it would be great to drive it into uselessness by excess.
I usually like Green Day's songs; they are probably the best rock group of the 00s. The song was good, once it got going. The instrumentals of the song you linked above are OK, especially at the end, though sometimes a bit repetitive in the middle.
Last edited by Eric the Green; 03-28-2013 at 08:59 PM.
I'm plenty sensative to plenty, and hardly a materialist. I've just never considered deifying myself as a legitimate course of action. Much like I don't bother to consider how God would vote, I don't waste my time considering what music is "glorifying" to God because music isn't magical. It's notes arranged together to make a particular sound. This sound can evoke an emotional response, and if emotions were bad God wouldn't have bothered to give them to us.
Glorification of God is in intent, not arrangement, and just a guess, but Iron Butterfly's 17 minutes of drunken excess is more a celebration of Mammon than anything God would be interested in. So invocation of the divine just doesn't work unless you're propping yourself on that pedestal, and even that would nullify your statements because I could declare the same.
I was specifically talking about Steppenwolf's song there.
It's pretty magical
And I think you are on balance, leaning materialist, certainly compared to me. You think telepathy depends on the brain. But you could take my questionnaire and see, or prove me wrong. Rags manage to score just above the horizon. He likes both 2T and 3T music, so being in between the spiritual 2T rock and the materialist 3T rock would seem to fit. I know I'm generalizing there, a bit tongue in cheek.
And it's a fine song, and the instrumental was fine. It's something to take you for a ride. If you were "sensitive" you would not claim otherwise about it, or about the Iron Butterfly song either. Magic Carpet Ride, Iron Butterfly; these are clues to the intent of the music. And it delivers. 3T brashness does not. It takes you nowhere. It is flowers that did not bloom from their roots in the 2T. The 3T failed to blossom, except on the new age fringes. Do you think Bach is musical masturbation too? If not, what's wrong with rock groups imitating Bach's organ music-- as they did?Glorification of God is in intent, not arrangement, and just a guess, but Iron Butterfly's 17 minutes of drunken excess is more a celebration of Mammon than anything God would be interested in. So invocation of the divine just doesn't work unless you're propping yourself on that pedestal, and even that would nullify your statements because I could declare the same.
I was specifically talking about Steppenwolf's song there.
And you can't duck the question by only mentioning one song. Your point is about 2T music. The Doors, Iron Butterfly, Sugarloaf, The Who, etc., created excellent examples of extended instrumentals in rock songs. Those are some of the best songs ever made, and certainly infinitely better than most 3T rock songs. But Green Day is fine.
You must forgive Eric, he hasn't experienced the Rococo or Neo-Classical movements yet in terms of his thinking.So if he sounds a little like a Baroquen record, it's to be expected.
~Chas'88
"There have always been people who say: "The war will be over someday." I say there's no guarantee the war will ever be over. Naturally a brief intermission is conceivable. Maybe the war needs a breather, a war can even break its neck, so to speak. But the kings and emperors, not to mention the pope, will always come to its help in adversity. ON the whole, I'd say this war has very little to worry about, it'll live to a ripe old age."
But I like Classical Gas better than Baroque-a-Nova.You must forgive Eric, he hasn't experienced the Rococo or Neo-Classical movements yet in terms of his thinking.
~Chas'88
Last edited by Eric the Green; 03-29-2013 at 01:21 AM.
I was teasing, Senor Verde.
~Chas'88
"There have always been people who say: "The war will be over someday." I say there's no guarantee the war will ever be over. Naturally a brief intermission is conceivable. Maybe the war needs a breather, a war can even break its neck, so to speak. But the kings and emperors, not to mention the pope, will always come to its help in adversity. ON the whole, I'd say this war has very little to worry about, it'll live to a ripe old age."
It's a gas gas gas!
Oh, and the instrumental at the end is the best part!
I'm not materialist, I just land more on the arostotilian side of things. In other words, the material and the spiritual interact, and the spiritual is not on some inexplicable, inaccessable plane of existance only available to the chosen few. In terms of "what's wrong" with the extended jams in 2T music is that it goes nowhere. The difference between most classical and the music of the 2T is that the overall progression doesn't change. There's often no actual motion in the music. It's the same song aside from one instrument, maybe two. Sometimes, it abruptly changes for no rhyme or reason, it's considered the same song, but there's no reason to think it is. So it sounds like the equivalent of musical cancer. It grows and grows but produces nothing.It's pretty magical
And I think you are on balance, leaning materialist, certainly compared to me. You think telepathy depends on the brain. But you could take my questionnaire and see, or prove me wrong. Rags manage to score just above the horizon. He likes both 2T and 3T music, so being in between the spiritual 2T rock and the materialist 3T rock would seem to fit. I know I'm generalizing there, a bit tongue in cheek.
And it's a fine song, and the instrumental was fine. It's something to take you for a ride. If you were "sensitive" you would not claim otherwise about it, or about the Iron Butterfly song either. Magic Carpet Ride, Iron Butterfly; these are clues to the intent of the music. And it delivers. 3T brashness does not. It takes you nowhere. It is flowers that did not bloom from their roots in the 2T. The 3T failed to blossom, except on the new age fringes. Do you think Bach is musical masturbation too? If not, what's wrong with rock groups imitating Bach's organ music-- as they did?
And you can't duck the question by only mentioning one song. Your point is about 2T music. The Doors, Iron Butterfly, Sugarloaf, The Who, etc., created excellent examples of extended instrumentals in rock songs. Those are some of the best songs ever made, and certainly infinitely better than most 3T rock songs. But Green Day is fine.
Now, jazz on the other hand, moves all the way through, and all the instruments function together in sync with one another and while it goes in many different directions, the motion is obvious. Blues often works the same way. There's motion and the movements are clear because everyone is playing together. Most of your extensive jamming in 2T music (a few notable exceptions would be Pink Floyd where you're going out of one song and into the next and your prog rock groups like Yes! or Rush, who were using a more movement oriented style or your protometal groups like Black Sabbath and some Led Zepplin, who were functionally more like blues groups, or Zappa, who actually wrote all that out and it's not actually jamming) is just dudes running through scales with no rhyme or reason or goal or direction.
Most psychadellic rock is half baked, they've got one side of it alright, but the other side just is incomplete and doesn't really move, it just loops, or everyone just does their own thing. So groups like Clutch or White Zombie who came in the 90's, while they have a strong psychadellic influence, still manage to produce coherant songs with that strong 3T pocket presence.
It's the later 2T stuff that actually works well, and it's because they learned how to end songs (also, I was hardpressed to find a metal band that was popular in the first half of the Awakening that wasn't started in the 70's, so before you lambast entire genres, then proclaim your preferred turning's musical prowess was superior, you might want to check out what was going on in that turning).
Did you take the questionnaire?
So as an Aristotelian, music must be logical. I disagree. Your opinion is based on your logical worldview. You say 2T jams go nowhere, but I said they take you somewhere. That's the difference between trippy 2T rock, and aimless 3T noise. 3T rock is what goes nowhere; it buries you in a narrow, painful prison. It does not stimulate imagination or whimsy or idealism. Perfect for Gen Xers who can't see beyond the limits of their S&H type.In terms of "what's wrong" with the extended jams in 2T music is that it goes nowhere. The difference between most classical and the music of the 2T is that the overall progression doesn't change. There's often no actual motion in the music. It's the same song aside from one instrument, maybe two. Sometimes, it abruptly changes for no rhyme or reason, it's considered the same song, but there's no reason to think it is. So it sounds like the equivalent of musical cancer. It grows and grows but produces nothing.
I'm not sure what pocket presence means; they stay within the confines of the verses of a song?Now, jazz on the other hand, moves all the way through, and all the instruments function together in sync with one another and while it goes in many different directions, the motion is obvious. Blues often works the same way. There's motion and the movements are clear because everyone is playing together. Most of your extensive jamming in 2T music (a few notable exceptions would be Pink Floyd where you're going out of one song and into the next and your prog rock groups like Yes! or Rush, who were using a more movement oriented style or your protometal groups like Black Sabbath and some Led Zeppelin, who were functionally more like blues groups, or Zappa, who actually wrote all that out and it's not actually jamming) is just dudes running through scales with no rhyme or reason or goal or direction.
Most psychedelic rock is half baked, they've got one side of it alright, but the other side just is incomplete and doesn't really move, it just loops, or everyone just does their own thing. So groups like Clutch or White Zombie who came in the 90's, while they have a strong psychedelic influence, still manage to produce coherent songs with that strong 3T pocket presence.
Your example of Magic Carpet Ride does not work; the instrumental is good. We disagree on Iron Butterfly. So, so far you have cited no examples at all of "dudes running through scales with no rhyme or reason or goal or direction" in any "solid standard" 2T rock piece. Maybe I can help you out on that though; I don't claim they were all good.
Did you listen to Green Eyed Lady? To me it just looks like you have a preconceived idea and you just put whatever label you want on whichever music you want. Most of Yes and Rush is pretty boring and noisy compared to the original psychedelic groups like Jefferson Airplane, Country Joe & the Fish, early Pink Floyd, H.P.Lovecraft and the other favorites on my list.
I know pretty much. The earliest stuff was the best; the later it came along, the less true it was to the original inspiration, the less sensitive feeling it had, and the more it got lost in noise and bombast; until the 3T began and the inspiration was totally lost. 80s 3T heavy metal music deserves all the lambast I can give it! And more! Won't Get Fooled Again, Light My Fire and Jumping Jack Flash have three of the best endings of any songs. Perhaps the best ending ever to a song was the single of Goldfinger (1965). Now that's a climax!It's the later 2T stuff that actually works well, and it's because they learned how to end songs (also, I was hardpressed to find a metal band that was popular in the first half of the Awakening that wasn't started in the 70's, so before you lambast entire genres, then proclaim your preferred turning's musical prowess was superior, you might want to check out what was going on in that turning).
Yes, I live in a world that is mostly governed by logic and where there is an order which determines cause and effect. Some of the order is obvious, some is situational, but it's all governed by the fact that there is an order. That doesn't make me a materialist, it just means that I view the spiritual as having an order which syncs with everything else, because it's not magic or outside the realm or bounds of the universe, it's just another layer of order.
Just like pocket presence. The pocket is a point in music which is open, where a musician can step out and riff or fill without stepping over the rest of the song. There are obvious and less obvious places for it, but it's there. 2T musicians don't handle this well, and that's why there's these long winded solos and extensive jamming. They don't understand efficiency and they don't mind stepping all over eachother.
Here's a great band for pocket presence, The Aggrolites (the song is Free Time): https://www.youtube.com/watch?v=m2nl...e_gdata_player
Not only does their drummer (who is by far and away the best member of the group, and takes them from being too cheesy to being really enjoyable) get pocket presence, he also gets that playing 10 drums when he can play two and allow the sound to linger a bit is awesome (and that's an extremely hard quality to develop in a drummer). That's one thing that punk rock got right: efficiency. There's no reason to be "developing" anything in a 3 or 4 chord song. You've got 2 verses, 3 choruses, and a bridge. Get in, play your song, get out, on to the next song. If you've build something more structurally complex, take your time, but if you're writing pop/rock songs you usually do not.
The impression I get is that you aren't going to my links, so I'll look at yours when you look at mine.
I think punk was up front about ditching the inspiration of the Awakening. They don't do extended solos because they have nothing to say.Not only does their drummer (who is by far and away the best member of the group, and takes them from being too cheesy to being really enjoyable) get pocket presence, he also gets that playing 10 drums when he can play two and allow the sound to linger a bit is awesome (and that's an extremely hard quality to develop in a drummer). That's one thing that punk rock got right: efficiency. There's no reason to be "developing" anything in a 3 or 4 chord song. You've got 2 verses, 3 choruses, and a bridge. Get in, play your song, get out, on to the next song. If you've build something more structurally complex, take your time, but if you're writing pop/rock songs you usually do not.
Forgot to respond to this.FYI, Boomers and to some extent Jonesers can self justify anything.
(Music has to artful to be good)
As more down to earth, but just as bad case of self justification.
The Federal Reserve has trashed bond yields, so Rags has to stoop to buying a known subsidy snarfer, Exxon-Mobile stock to keep the cash flow coming in to his IRA.
The average Xer or Millie is unaware of this fact and will write numerous posties in an attempt to convince said Boomer/Joneser that he/she is messed up in the head. However, it won't work. Just sayin'
Oh, I'm quite aware. It's not for them it's for everyone who sees it.
I'm going to them as often as I can, but I'm on mobile when I'm here, so your assessment, which I trust about as much as I trust that political spectrum test that libertarians like to give out, isn't sizing right, and I'm not going to take a litmus test whose only purpose is so you can continue to feel comfortable being judgemental. If it sized right or if I could click a drop down and not have to score myself, I might be inclined to play.
And actually, I think punk doesn't do extended solos specifically because the musicians have something to say (now the relevance of that is definitely debateable) and didn't want to waste a listeners time. You can't expect for people to get the message of "California Uber Alles" if your audience can't remember what you said in the 1st and Second verse.
Well I do have sympathy then if you didn't do my questionnaire. I do think it's quite fair and accurate, and not judgmental at all; I have worked hard on that. If you are really Aristotelian that should show up easily, and you should be near to Aristotle on the chart. But I for one don't understand how you or anyone can participate in forums or read websites on a mobile device. The screen is too small. I don't understand this passion for mobile. Like twitter it encourages superficiality. But you could have listened to Green Eyed Lady I would think, and that should have given you a great example of a 2T rock instrumental. But then, as I said, I am an organist, and organ is the principal instrument in these "extended jams" along with guitar. It's the organ sound that makes it trippy, and that's a big reason why I liked it, and part of why I became an organist (though a classical one, and Bach was more important).
Awakening psychedelic rock did extended instrumentals (often but not necessarily solos) in order to say more. It was not a waste of time; the rest of the song was only the intro to the real thing; the extended part. Music is the medium to say things in music, not mere words. If you want to say words, just write lyrics or an essay. Punk rockers had less to say, so they said less. Stands to reason! If you have less to say, keep it short.And actually, I think punk doesn't do extended solos specifically because the musicians have something to say (now the relevance of that is definitely debateable) and didn't want to waste a listeners time. You can't expect for people to get the message of "California Uber Alles" if your audience can't remember what you said in the 1st and Second verse.
Last edited by Eric the Green; 03-30-2013 at 02:03 PM.
Mobile devices have a cumulative multitasking advantage. It's a seperate device, which is easily accessible. So I don't need to be stationary to punch something out, and I can be watching a show or playing a game on another device, find a quick minute to punch something out and do it. Or if I need to I can stop really quick and pocket it (which is good for when tiny hands come by and try to snatch it, an advantage my laptop does not have). Mobile device sites are usually pretty good (this forum's are fairly solid). Sometimes the apps suck (Youtube has a tendency to need to be force closed and reopened every so often).
I did listen to that song, and it's not the first time I'd heard it (both my dad and stepdad were big into psychadellic music). Organ was also prominant in early ska (which is also 2T), and while psychadellic rock mostly bores me, it's a got a great tone so I get why you like it.
Now, when we're talking about "saying" something, emotional evocation isn't "saying" something, it's just effective use of scales, and triggering a response by using particular sounds frequently or in a particular manner doesn't make one form of art intrinsically better than another. Depending on the intention of the creator, it could actually be completely ineffective (and that's been known to happen). This is also not "saying" something, it's just creating an emotional response through music which is fair enough, but there's no statement there, such as there is in the work of, say, The Dead Kennedys or Against All Authority. Evoking an emotional response is great, but it's a very ineffective way to communicate. Usually saying something works better.
It's a good example of how the instrumental can be very elaborate, and mystical too (and in this case bewitching). Ska is what really bores me. But thanks for listening to Green Eyed Lady.
I beg to differ greatly. Music evokes states of awareness, memories, visions, aspects of personality, the inherent structures of life, etc., and it's a lot more than scales. Just calling it emotion trivializes it. But great melody (along with the many other aspects of music such as sound and tone quality, counterpoint and harmony, etc.) does seem very important to me; some of the new 4T stuff such as the Owl City songs (e.g. Good Time, an amazingly grand melody) and the Joe Brooks songs (These Broken Hands of Mine; see the Good New 4T songs thread); not to mention JB; make very effective use of it. Melody is mostly scales and arpeggios, and yet it has great power. A classically-shaped, powerful melody evokes a lot, and says a lot.Now, when we're talking about "saying" something, emotional evocation isn't "saying" something, it's just effective use of scales, and triggering a response by using particular sounds frequently or in a particular manner doesn't make one form of art intrinsically better than another. Depending on the intention of the creator, it could actually be completely ineffective (and that's been known to happen). This is also not "saying" something, it's just creating an emotional response through music which is fair enough, but there's no statement there, such as there is in the work of, say, The Dead Kennedys or Against All Authority. Evoking an emotional response is great, but it's a very ineffective way to communicate. Usually saying something works better.
Merely verbally saying something, means very little; I can go on this forum and say something. I notice how ineffective it is; peoples' minds rarely change as a result of what anyone says here. But words are thin, and what they have in accuracy, they lose in depth and subtlety. Trying to describe music in words is next to impossible. But that's what I mean when I say you're not very sensitive to some of this music, or you wouldn't knock it. If you don't hear anything but an "emotional response to scales," and the words, you are totally missing the music and what it evokes. It's a big trend in our culture; intellectuals rarely understand these things. It's very common to focus almost entirely on the verbal. That's like trying to catch the ocean in a sieve.
No need to beg, Eric; It's just so unbecoming.
(and especially considering your station, Old Man!)
It appears Master Kepi is "immune to your consulations".
Yup. Everything looks in order here;
(" ????-O' Clock and All's Well, ...!").
.........................!
Ding-Dong!
12? 10? A "baker's-dozen"?
(!!!!!!!!!!!!?)
<Prince, shakes head>
Tell me about it!
(fixed that for you!)
Eric, Young Kepi has no need for the Dream Police, IMO.
("Beware of Platitudinous Ponderosities"!
You though, on the other hand, may be in need of the Green Police!
Prince
PS: Now, don't think too hard on any of this, Eric; It may not be meant for you(*grin*)
[Note: Not enough smileys in the world for my taste;
Insert anywhere and everywhere at you're own discretion(*regular-smiley*)].
I Am A Child of God/Nature/The Universe
I Think Globally and Act Individually(and possibly, voluntarily join-together with Others)
I Pray for World Peace & I Choose Less-Just Say: "NO!, Thank You."
I beg to differ (although I don't know about what; as Marlon Brando once said, "what do you got?"
I do think we need more green police, and Kepi needs more more plati..whatever. I am happy to supply them. It passes the time during a bad week.Eric, Young Kepi has no need for the Dream Police, IMO.
("Beware of Platitudinous Ponderosities"!
You though, on the other hand, may be in need of the Green Police!
Cheap Trick sounds like a pale imitation of The Who.
Last edited by Eric the Green; 03-30-2013 at 11:55 PM.
Since Rani declined, lemme try. It's a self-preservation mechanism for the scenes. When something in the underground gets popular in the mainstream, it attracts the unninitiated in numbers too large for the folks who know what they're doing to control. The uninitiated then tend to wreck things until said thing is no longer popular, then move on. It's really bad for locally driven scenes.
One of the ways that you regulate that is by declaring artists "sellouts" who change their sounds to something more accessible to the mainstream (a regular departure album might offend your diehards for a bit, but it shouldn't get a "sellout" sentiment) or switch to major labels. This is a mixed bag, but it's an effective mixed bag.
On the one hand there were a lot of bands that had nowhere else to go and their currently label couldn't meet their needs. That's not selling out, that's "a fish too big to survive in this tank", but if you switch to a label that isn't an indy all the sudden, you're a sellout. Groups like The Mighty Mighty Bosstones got screwed by their indy, I totally understand not wanting to sign to another, especially in the point in time they went over to Mercury. Less Than Jake signed on to Capitol and produced their best two albums of all time, calling them "Sellouts" over that seems lame, because that frequently was a way to find their back catalog into stores, which opened the store to a wider array of that labels artists. Also, when ska got popular, that part of the scene was nearly destroyed. There was virtually no new ska for about 5 years. And the bands didn't sell out, the dominant taste just switched to ska for a hot minute.
Now on the other hand, if you hadn't had groups from the greater punk scene triage ska out for a while, it would have sent waves and waves of uninitiated kids into the overall scene and probably would have made it a toxic enviroment. Without independant production and/or labels, stable scenes are impossible. Greenday and Operation Ivy removing their back catalogs completely sunk Lookout! Records (now granted, Lookout! Records needed to go because they weren't treating their artists fairly), but consider the case of Jello Biafra vs. The Dead Kennedys, which removed most of their catalog from Alternative Tentacles due to a royalties mistake the label itself discovered and paid in full before the court case ever existed... That label paid it's artists, paid fairly, and would have been sunk if it hadn't had been for a couple albums Jello Recorded with the Melvins.
So that's selling out, and why it's a thing.
You added plenty already, Rani. I really appreciate your initial comment;
It was right-on as far as I'm concerned.
I/r/t the two vids I posted, I was really just posting the post-1985 ones
because Eric seemed to miss them the first go-round over on that 3T Music Thread.
Despite the extra "polish", I still believe the messages make it through.
I mean, somebody was listening to those tunes(eg: me!
So, I wasn't posting them because they were my faves or anything
(although I do like both songs). I can't think of my faves for both bands,
but I've always been particularly drawn to XTC's: Love On A Farmboy's Wages.
An interesting nugget:
XTC-This Is Pop?
XTC-This Is Pop?(single version).
Prince
PS: As far as "selling-out" goes, here's my thoughts:
Cheap Trick-At Budokan(the opposite of "selling-out").
Cheap Trick-Lap Of Luxury("total sellout"!).
Last edited by princeofcats67; 04-01-2013 at 05:01 AM. Reason: Aesthetics
I Am A Child of God/Nature/The Universe
I Think Globally and Act Individually(and possibly, voluntarily join-together with Others)
I Pray for World Peace & I Choose Less-Just Say: "NO!, Thank You."
Wow!
Prince
PS: I must say, your Trivium and Quadrivium are looking good, M'Lady!
(Dirty, phucking philistines...and nouveau bohemians!
I Am A Child of God/Nature/The Universe
I Think Globally and Act Individually(and possibly, voluntarily join-together with Others)
I Pray for World Peace & I Choose Less-Just Say: "NO!, Thank You."
This!
"Who could ask for anything more?"
Whoops; Looks like I spoke too soon!
Je ne parle pas Francais!
(IOW, I don't speak Ericais!
Prince
PS:
Did you like this tune from Pete Townshend: Slit Skirts?
I Am A Child of God/Nature/The Universe
I Think Globally and Act Individually(and possibly, voluntarily join-together with Others)
I Pray for World Peace & I Choose Less-Just Say: "NO!, Thank You."
It's an interesting testament to selling-out and the validity to it in the face of history, as I've heard At Budokan (and enjoyed it) while I've never heard anything off Lap of Luxury. Growing up in a subculture where at one point or another we were all labeled as sellouts and posers and new jacks, it's kinda nice to see that accusations that tend to be false fade away (and I've seen that happen).
