The Latest

Jul 22, 2014 / 14,921 notes

elle-emeno-pee:

scumsoft:

nock-nock-nock:

妄想工作所

  • きんめちゃん
  • ほっケース
  • アジなケース
  • サンマさん

FEN

i loVE THIS SO MUCH

(via velvetwasteland)

fairytalesfor20somethings:

Um, can authors get automatic invites to beautiful/delicious moments such as these?
Jul 1, 2014 / 1,779 notes

fairytalesfor20somethings:

Um, can authors get automatic invites to beautiful/delicious moments such as these?

Jun 20, 2014

Interview with Genesis Steve Hackett

As one of those musicians who made the history of modern music, Steve Hackett doesn’t need special presentations to music lovers; no doubt he deserves great recognition for his impact on Genesis’ sound and for giving the chance to all those who missed it 40 years ago, to still enjoy live renditions of the English band’s greatest songs thanks to his Genesis Revisited tours.

He’s just come back from the worldwide tour and ready to launch the Genesis Revisited II: Live at Royal Albert Hall CD/DVD/BluRay package – out June 30th – before embarking again on more UK live dates in October and November 2014.

I had a telephone conversation with Steve regarding the times with Genesis, what Revisited means for him and a new album coming in 2015.

Q: What’s your best memory of the old times with Genesis?
A: I have lots of great memories of them. I think working on the very first album, with Phil Collins and Mike Rutherford and Peter Gabriel, Tony Banks, when we were doing Nursery Cryme. It was the first time in 1971, that I was working on an album where I could be truly professional, working with great writers, great players, working with a mellotron, working in the country; I enjoyed it very much, it was a great feeling to be part of it, it was a real blast.

Q: I think you get this question quite often: is there any chance for a reunion?
A: More than any chance of whether it’s a reunion with me, it’s the case of whether there would be any chance of a reunion for anyone else. I know that people want the classic lineup to play together again and there’s always a chance of it, several still hold that hope for that. I’d be very proud to be part of it.

Q: What made you decide to do the revisited project?
A: I’ve always thought that I would love to do a show live of, entirely of Genesis music. I think ever since I saw Paul McCartney on stage doing Eleanor Rigby, I hadn’t hear it for years and years and years, I thought, well, we could do that, we could go back to do what we were doing in the first place and it would be a celebration. I was always up for that kind of festival of music, it always seemed to me that they were sitting there waiting to be celebrated again, because it was such a great response to it. So I thought the best way to put the show together was to really look into the old material in order to enlarge it, playing it with the experience, the control and the technology of now. I have a number of different things that the performers are doing, it was not easy trying to replace Phil Collins or Peter Gabriel; but each of the singers I think did a wonderful job, it’s like the leading part of a movie where you have to share it with a number of different people. So I was able to get a lot of pretty great singers, most of them were already friends, to take part of it, I had a great time doing it, we were hard pushing to finish it in time because Revisited II was an album that took eight months to put together, and considering that we have 30 or 40 people on it, it meant we were working around the clock, with different teams at different times, they were making films with a second camera unit, a third camera unit and a fourth, and I wasn’t always able to be around this, and recording my own guitar work, I couldn’t get into my own studios at times because other things were being done there. You know you have to think there were lots of things we were doing at that time, then luckily everyone came along with fantastic performances. They were perfectly in time, perfectly in tune, it made things easy. It’s a lot of work.

Q: Looking back at the first revisited and the new one, the latest version sticks more to the original arrangements. What made you change your mind between the first and second one?
A: I’ll tell you what, when I came up with the idea of doing a live performance, the keyword for me was authenticity. I wanted people to know we were not gonna trash the original versions. I mean there have been classical re-inventions of this stuff, I know there have been jazz versions of it, but I wanted people to know what they were gonna get, so when I did the version of Dancing with the Moonlit Knight there are variations, but it’s true to the original, I wanted to hold on the parts, the harmonies, the structure of the songs, and to change aspects of it. You know, you get backing vocals details, you get an orchestra or two on some of the tracks, you get extra guitar parts, you might get along with guitar solos, but there are certain things that I thought we should play; Musical Box, there’s no point doing a different guitar solo, cause that part of the song was written as a part of the song. When I was writing that stuff I thought, I’m not just following the notes here, I’m not just bluesing away; I love blues, I didn’t think that was really appropriate for this; you know, blues and jazz, and a lot of aspects of jazz music allows you to play with improvisation, but with this stuff I keep coming back to the fact that there are so many tribute bands, playing with this stuff. So I like to change the things that were old, to expand some of the ideas, but it’s subtle changes. You know, you don’t have to do it all on the mellotron, you can do with an orchestra, there has to be other stuff and I’m very proud of the way that sounds. We had two orchestras at the beginning and one of them we reversed it, so we got a reversal orchestra playing at the same time as the forward stuff, it’s such a big sound beautiful sound, I love the sound of that, I love the way that came out.

Q: What’s your favourite Genesis album?
A: Well, I normally say Selling England by the Pound, because I like the worlds of ideas that were on it but all of the albums have got something unique to offer, and I could say my favourite Genesis album is the one that I’d be mixing myself, because I’d get a chance to fix what I think needed fixing, make it in time and in tune, better sustain, better control, more guitar, all that stuff, but I kinda love all the albums, butSelling England by the Pound is the album where the guitar took off to lead the way to the other albums, and the album got Firth of Fifth on it and Dancing with the Moonlit Knight, I think they were great moments.

Q: How do you see the new progressive music, any new progressive band that you find particularly interesting?
A: I think that progressive stuff has always been there, but they weren’t calling it progressive at that time when people were doing the blue print. I think the blue print of progressive rock term itself started with The Beatles Sgt. Pepper’s, once you got the idea of songs being linked to the atmospheres you got the template of the blue print to follow. I do like the bands who use orchestras, there are people that I like, it might not necessarily be in the progressive area, I like some of what I heard from Elbow, I like some of what I heard from Muse. I’m pleased to have been part of some of the influences in these people, I get a mention from time to time. I think it’s really time to set the record straight and say, you know, tapping, I came up with that. Also, I think you don’t have to call yourself progressive, you know, I think for me it’s in a word, colliding, it’s just producing something creative, something that could be achieved with destructive force where the inevitable object meets the indestructible force, I think with that kind of collision sometimes things can be born out of that change.

Q: Are you working on a new album?
A: Yes I am. I’m very excited about that, it’s not just rock, it’s got some aspects of world music, I’m very pleased to be working with people who are in no way involved in rock ’n roll. There’s lot quite outside the range of rock and violins, didjeridoo, gipsy music, jazz, and crossover, not really playing recognisable stuff, you know. It’s a fantastic sound when they all come together.

Gessica Puglielli  June 16, 2014 


Lovers by Giulia Bersani
Jun 20, 2014 / 2,088 notes

Lovers by Giulia Bersani

(via kitty-en-classe)

Jun 17, 2014 / 2 notes

yekishao:

Zena Assi is a Lebanese artist that produces great art work. Her paintings are really good and she adds to that by being a really cool person.
For her exhibition she wanted an animation that introduces some of her paintings;
With Amandine Brenas as coordinator I brought to life some paintings and designed the sound, giving it even more depth. Nice project.

creativehouses:

Spa-like jacuzzi tub in Brazil
Jun 17, 2014 / 821 notes

creativehouses:

Spa-like jacuzzi tub in Brazil

Jun 16, 2014

hackettupandhowe said: Hi! about that Alan Parson's photoset, he did just do the shorter "hits" pretty much at the Epcot shows since it was split into three 30 minute sets of which he repeated the same set only changing 1 or 2 songs in each one, but I saw him earlier in the year doing a full show and he did everything, incl the full version of turn of a friendly card, my favorite. (I'll post a pic of the setlist I was lucky enough to get him to sign from this show too soon as I find it again.) All Great shows! Thx!

Thank you very much !! I hope I get to meet him too

thefiveanddiamond:

#5Dinspiration - Feeding polar bears from a tank, 50s’ #retro #polarbearsforever (at Inspiration)
Jun 14, 2014 / 2 notes

thefiveanddiamond:

#5Dinspiration - Feeding polar bears from a tank, 50s’ #retro #polarbearsforever (at Inspiration)

Jun 13, 2014 / 106 notes

bobbycaputo:

Baobab, Tree of Generations | Elaine Ling

Few humans ever see these amazing trees in real life. Their natural environments are hot, dry and hostile, yet the Baobab tree is one of the few plants that can exist and thrive under such harsh circumstances. To survive long periods of drought, their massive trunks can store as much as 26,000 gallons of water to keep the tree alive.

In some of the most arid and infertile regions of Africa, Madagascar, and Australia the Baobab tree grows to enormous size. These giants are one of the largest living things on the planet and have a potential lifespan of more than a thousand years (one is at least 1,250 years old). They are great friends to their human neighbors—providing an ever-renewing resource for textiles, netting, baskets and roofing. Their nutritious fruit has many medicinal properties.

(Continue Reading)

(via spatialconquest)

Jun 9, 2014

I have seen in encyclopedias and the National Geographic Magazine breathtaking photographs of sights from various corners of the globe; magnificent canyons and waterfalls, raggedly beautiful mountains. It has never, of course, been my privilege to have seen such things at first hand, but I will nevertheless hazard this with some confidence: the English landscape at its finest - such as I saw it this morning - possesses a quality that the landscapes of other nations, however more superficially dramatic, inevitably fail to possess. It is, I believe, a quality that will mark out the English landscape to any objective observer as the most deeply satisfying in the world, and this quality is probably best summed up by the term ‘greatness’. For it is true, when I stood on that high ledge this morning and viewed the land before me, I distinctly felt that rare, yet unmistakable feeling - the feeling that one is in the presence of greatness. We call this land of ours Great Britain, and there may be those who believe this a somewhat immodest practice. Yet I would venture that the landscape of our country alone would justify the use of this lofty adjective. And yet what precisely is this ‘greatness’? Just where, or in what, does it lie? I am quite aware it would take a far wiser head than mine to answer such a question, but if I were forced to hazard a guess, I would say that it· is the very lack of obvious drama or spectacle that sets the beauty of our land apart. What is pertinent is the calmness of that beauty, its sense of restraint. It is as though the land knows of its own beauty, of its own greatness, and feels no need to shout it. In comparison, the sorts of sights offered in such places as Africa and America, though undoubtedly very exciting, would, I am sure, strike the objective viewer as inferior on account of their unseemly demonstrativeness.