I discovered Erik Satie while in college. The music seemed perfectly fit for such strange and brightly-colored cartoon mornings, rainy afternoons, very sad and lonely drunken nights. Perfectly fit for a dude who felt out of time with himself, a mishmash of incomplete angles and ideas, a dance party, a moonlit walk along a muddy trail, a stranger, a desperate fuck.
Tone and intonation are key—as in any fretless instrument.
Is there a unified field theory for biology?
<I>The Space Review</I> has published an interesting look at Heinlein's collaborations with filmmakers. You've got to love an article that contains lines like this: "To the extent that such an awful piece of filmmaking can actually have a message, <I>Rocketship X-M</I> has a shallow and not terribly original message that nuclear war is bad for children and other living things. The universe is hostile, God hates us, and we’re all doomed. Have a nice day."
Rowan Atkinson demonstrates what happened to the hi-fi industry.
Apparently, Newton, not those modifiers, was right all along. F=ma totally rules!
The Fraunhofer Institute is working on an active soundproof window that's "particularly effective at frequencies of 50–1000Hz." I want one now—but it'll be four years before they make it to market.
We'd say we told you <I>Sound Grammar</I> was a winner, but we were really just echoing what Fred Kaplan said. His essay on the record is worth reading again—or for the first time, if you didn't take our word for it the first time around.
Walking to the office on this sloppy Monday morning, through April's cold rain, with a mind full of dreams and promises of warmer, brighter things, I got the feeling that it might as well be last Friday all over again. What the hell?
After last week's question about money spent on recorded music each year, reader Joe Hartmann wants to know how much do you spend on live performances in a year?