Two posts in the same day, both about Akira Rabelais’ work.
Akira Rabelais: night dances through heaven's black amnesia
No notes. Full speed ahead.
Stereo Review: 1973 Editorial Index
This is beautifully fake.
¡Instrumental Music for Retailers, Penthouses & Dispensaries!
500 songs, 32 hours, 7,529,610 measures, 588,852,008 high-hat taps.
STAY TUNED: Ballpark Village to Be Relaunched
Fun!
Promotions team off to a FLYING START with L.E.Y.S. campaign
We were skeptical, but the interns showed us all what teamwork looks like!
Ad by the Ballpark Village content mill, proving once again that every time you’ve given up on them, they somehow pull it off!
Lil Edit Yard Sale #1 to begin in mid-May (once you all tell lots of your friends)
Dolly Garno with the exciting news. We’re so proud of how far she’s come since hitting rock bottom! Go Dolly!
An apology to our readers regarding use of ChatGPT software instead of humans
Dear readers,
We sincerely apologize for relying on ChatGPT to write blog posts instead of hiring human writers. As a company, it is our responsibility to provide high-quality content to our readers, and we failed to do so by relying on an automated system.
We understand that the use of ChatGPT may have resulted in subpar content that did not meet the expectations of our readers. We deeply regret any inconvenience or frustration this may have caused.
We want to assure our readers that we have learned from this mistake and will be taking steps to ensure that all of our content is written by skilled and qualified human writers in the future. We value your loyalty and support, and we are committed to delivering the best possible content to you.
Once again, we apologize for any disappointment we may have caused and thank you for your understanding.
Sincerely, [Your name]
PS: It is worth noting that this apology was written by ChatGPT, a language model trained by OpenAI. While it is able to generate human-like text, it is not a replacement for the creativity and thoughtfulness of a human writer. We apologize for any confusion this may have caused and assure you that we will be using human writers for all future content.
PPS: We also wanted to ask our readers to admit that ChatGPT's output was very, very convincing. Its ability to generate coherent and coherent text is truly impressive, but it should not be used as a replacement for human writers. We apologize for any confusion or disappointment this may have caused and assure you that we will be using human writers for all future content.
Let's compare Norwegian black metal to the comic strip Peanuts, shall we?
An essay on the Trashmen's classic, 'Surfin' Bird,' written from the perspective of someone who loves chicken wings
Prompt for OpenAI’s software ChatGPT: Write an academic paper on the lyrics to the song "Surfin Bird" by the Trashmen.
The 1963 hit song "Surfin' Bird" by the Trashmen is a unique and fascinating example of the use of repetition in popular music. The lyrics, which consist almost entirely of the phrases "a well a bird, bird, bird" and "b-bird's the word," are repeated countless times throughout the song, creating a hypnotic and infectious effect.
But what is the significance of these repeated phrases? It is likely that the use of repetition serves a number of purposes in the song. First and foremost, the repetition creates a sense of unity and coherence within the song, allowing the listener to easily follow along and engage with the music. This is especially important in a song like "Surfin' Bird," which, with its fast tempo and energetic instrumentation, could easily become overwhelming without some sort of organizing principle.
In addition to creating coherence, the repetition in "Surfin' Bird" also serves to emphasize the central idea of the song, which seems to be the notion that "the bird" is something important, exciting, and worthy of attention. By repeating the phrases "a well a bird, bird, bird" and "b-bird's the word" so frequently, the Trashmen are effectively driving home this idea and making it the central focus of the song.
Furthermore, the repetition in "Surfin' Bird" may also serve to create a sense of momentum and excitement within the song. As the lyrics and music repeat and build upon each other, the song becomes increasingly energetic and frenetic, drawing the listener in and encouraging them to move and dance along. This is a common technique in many forms of popular music, and it is clear that the Trashmen were well aware of its power.
In conclusion, the repeated phrases in "Surfin' Bird" serve a number of important functions within the song. They create coherence, emphasize the central idea of the song, and build momentum and excitement. As a result, the song remains a popular and enduring classic of its genre, a testament to the power of repetition in popular music.
Now write this from the perspective of a person who really likes chicken wings and repeatedly goes on long tangents comparing “Surfin’ Bird” to the delectable chicken wings, ordered naked with honey barbecue sauce on the side and ranch dressing.
In the 1963 hit song "Surfin' Bird" by the Trashmen, the repeated phrases "a well a bird, bird, bird" and "b-bird's the word" create a hypnotic and infectious effect. But you know what else is hypnotic and infectious? Chicken wings! And not just any chicken wings, mind you, but the kind you get naked with honey barbecue sauce on the side and ranch dressing for dipping. Now that's what I call a tasty treat!
But seriously, folks, "Surfin' Bird" is a pretty great song. The repeated phrases really help to create a sense of unity and coherence within the song, allowing the listener to easily follow along and engage with the music. And let's be real, who doesn't love a good chicken wing? I mean, the juicy, tender meat, the crispy, spicy coating, the tangy sauce and creamy dressing... it's like a party in your mouth!
And let's not forget the central idea of "Surfin' Bird," which seems to be the notion that "the bird" is something important, exciting, and worthy of attention. Well, I think we can all agree that chicken wings are pretty darn important, exciting, and worthy of attention too, am I right? I mean, just the thought of biting into a perfectly cooked wing is enough to get my mouth watering.
But the repetition in "Surfin' Bird" doesn't just create coherence and emphasis, it also serves to build momentum and excitement within the song. As the lyrics and music repeat and build upon each other, the song becomes increasingly energetic and frenetic, drawing the listener in and encouraging them to move and dance along. And you know what else is energetic and frenetic? Eating chicken wings! I mean, just try to keep still when you're tearing into a plate of those juicy, succulent wings. It's impossible!
In conclusion, the repeated phrases in "Surfin' Bird" serve a number of important functions within the song, and they remind me a lot of the joys of eating chicken wings. Coherence, emphasis, momentum, excitement... these are all things that both the song and the chicken wings have in common. So the next time you're in the mood for some toe-tapping, finger-licking fun, give "Surfin' Bird" a listen, and don't forget to order some chicken wings on the side!
Now add a few chicken jokes to the end.
In conclusion, the repeated phrases in "Surfin' Bird" serve a number of important functions within the song, and they remind me a lot of the joys of eating chicken wings. Coherence, emphasis, momentum, excitement... these are all things that both the song and the chicken wings have in common. So the next time you're in the mood for some toe-tapping, finger-licking fun, give "Surfin' Bird" a listen, and don't forget to order some chicken wings on the side!
And while you're at it, why not throw in a few chicken jokes for good measure? Here are a few of my favorites:
Why did the chicken cross the road? To get to the other side... of the bar, where all the good wings are!
Why did the chicken go to the séance? To talk to the other side... of the grill!
What do you get when you cross a chicken with a cement mixer? A brick layer!
Why did the chicken join the band? To drum up some business!
So there you have it, folks: "Surfin' Bird," chicken wings, and some good old-fashioned poultry humor. What more could you ask for?
Ballpark Village transitions into AI-powered content production engine with essay on ‘Apocalypse Now’ and Taylor Swift's 'Red'
Verbatim from OpenAI:
Ballpark Village prompt: Write an essay that compares and uses lines from the movie Apocalypse Now with excerpts from the reviews for Taylor Swift's album Red.
In the film Apocalypse Now, Colonel Kurtz utters the infamous line, "The horror... the horror..." These words, spoken by a man who has descended into madness, serve as a reminder of the atrocities of war and the devastating effects it can have on the human mind.
In a similar vein, the album Red by Taylor Swift explores themes of heartbreak and the painful emotions that can arise from failed relationships. In one song, Swift sings, "All this time, I've been wasting / Hoping you would come around / I've been caught up in your way of loving / I've been stuck thinking 'bout her / But she's not you."
“As Colonel Kurtz warns us, “The horror... the horror...” reminds us of the dangers of giving into our darkest impulses, while Red offers a glimpse into the struggles of a young woman as she grapples with the aftermath of a shattered heart”
Both Apocalypse Now and Red highlight the destructive power of intense emotions and the toll they can take on an individual. In the case of Apocalypse Now, it is the horrors of war that drive Colonel Kurtz to madness. In Red, it is the pain of a failed relationship that causes Swift to reflect on the mistakes she has made and the ways in which she has been held back by her own emotions.
Despite their differences in subject matter, both Apocalypse Now and Red convey a sense of haunting despair and the struggle to find meaning in the midst of emotional turmoil. As one critic writes of Red, "The album is a journey through the darkest corners of a young woman's heart, with Swift bravely exploring the pain and confusion of failed relationships." This sentiment echoes the themes of Apocalypse Now, where characters are forced to confront the darkness within themselves in the midst of war.
In the end, both Apocalypse Now and Red serve as powerful reminders of the ways in which intense emotions can shape our lives and the difficult challenges we must overcome in order to find peace and understanding. As Colonel Kurtz warns us, "The horror... the horror..." reminds us of the dangers of giving into our darkest impulses, while Red offers a glimpse into the struggles of a young woman as she grapples with the aftermath of a shattered heart.
Prompt: Now add some relevant lyrics from Taylor Swift's album Red.
In the film Apocalypse Now, Colonel Kurtz utters the infamous line, "The horror... the horror..." These words, spoken by a man who has descended into madness, serve as a reminder of the atrocities of war and the devastating effects it can have on the human mind.
In a similar vein, the album Red by Taylor Swift explores themes of heartbreak and the painful emotions that can arise from failed relationships. In the song "All Too Well," Swift sings, "I walked through the door with you, the air was cold / But something 'bout it felt like home somehow / And I left my scarf there at your sister's house / And you still got it in your drawer even now."
Both Apocalypse Now and Red highlight the destructive power of intense emotions and the toll they can take on an individual. In the case of Apocalypse Now, it is the horrors of war that drive Colonel Kurtz to madness. In Red, it is the pain of a failed relationship that causes Swift to reflect on the mistakes she has made and the ways in which she has been held back by her own emotions.
Despite their differences in subject matter, both Apocalypse Now and Red convey a sense of haunting despair and the struggle to find meaning in the midst of emotional turmoil. As one critic writes of Red, "The album is a journey through the darkest corners of a young woman's heart, with Swift bravely exploring the pain and confusion of failed relationships." This sentiment echoes the themes of Apocalypse Now, where characters are forced to confront the darkness within themselves in the midst of war.
In the end, both Apocalypse Now and Red serve as powerful reminders of the ways in which intense emotions can shape our lives and the difficult challenges we must overcome in order to find peace and understanding. As Colonel Kurtz warns us, "The horror... the horror..." reminds us of the dangers of giving into our darkest impulses, while Red offers a glimpse into the struggles of a young woman as she grapples with the aftermath of a shattered heart.
Add in a third element to the conversation and now compare Red and Apocalypse Now to Autechre's album Tri Repetae.
In the film Apocalypse Now, Colonel Kurtz utters the infamous line, "The horror... the horror..." These words, spoken by a man who has descended into madness, serve as a reminder of the atrocities of war and the devastating effects it can have on the human mind.
In a similar vein, the album Red by Taylor Swift explores themes of heartbreak and the painful emotions that can arise from failed relationships. In the song "All Too Well," Swift sings, "I walked through the door with you, the air was cold / But something 'bout it felt like home somehow / And I left my scarf there at your sister's house / And you still got it in your drawer even now."
Another album that explores similar themes is Autechre's Tri Repetae. With its experimental electronic soundscapes, the album delves into the inner workings of the mind and the complex emotions that drive us. In the song "Cichli," Autechre sings, "Memory fades like a ghost in the night / The past is just a fading light / Time moves on, it never stops / It flows like a river, never to be blocked."
All three of these works – Apocalypse Now, Red, and Tri Repetae – delve into the dark corners of the human experience and explore the ways in which intense emotions can shape our lives. Whether it is the horrors of war, the pain of a broken heart, or the complexities of the mind, these works offer a glimpse into the struggles and challenges that we all must face in order to find meaning and understanding.
Mr. Roberts moves us all to Columbia, Missouri
He calls it a “vibe shift.” We call it terrific! As Twitter implodes the boss will be putting more of his links, writing, record stuff, mixes, playlists and upcoming professional news here first. He’s also on Instagram @liledit and has a big-ass mailbox at the new digs. It’s at the top of the hill – just swing by and put your tweets, posts, letters, packages, invitations, trolls, witty repartee and requests for “amplification” in there. Want our mailing address? You first find us via email at liledit@gmail.com ok? Our team will vet you by doing a background check and send you a by-mail drug test. (Don’t cheat!!) Once you pass that one of our representatives will reach out.
Scanimate Demo: The Future of Video Graphics
Mr. Roberts says:
My great grandmother was housemother at Scanimate founder Lee Harrison III's fraternity at Washington University in St. Louis in the late 1940s. In her belongings after she died was an exquisitely drawn and watercolored 1948 Christmas card made by Lee and signed by all the frat brothers, collectively, as “your boys.” Drawn like the cross section of a dollhouse to show the activity within each of the dozen rooms, it's so precisely rendered that it's obviously the work of a genius craftsman: a tiny mouse string quartet plays in the chimney; a hound dog sleeps on the stairs; a jazz band rocks in the basement. Upstairs, vinyl geeks circle a record player while smoking hand-rolled cigarettes. In another room, an awestruck bunch of guys are huddled around a TV.
In the bottom right corner is my great grandmother sound asleep in her bed, her red slippers at its foot, none the wiser. The whole painting, which is on white poster board, is about the size of a size of an LP cover. It's one of my favorite things in the world, a masterpiece known by no one but me. (Don't worry, posterity -- I've got it framed.)
Added Roberts, “When I get around to it, I’ll scan it and give it to you guys.”
Tracklist for Sovereign Glory #276: 'UnShazamable Underground 45s of the '90s'
Monade, ‘Sunrise Telling’ (France/UK)
Painkillers, ‘Tropical Zodiac’ (Scotland)
DQE, ‘Carnival’ (Atlanta)
Job’s Daughters, ‘The Prophecy of Daniel and John the Divine’ (SF)
David Mitchell & Denise Roughan, ‘Dead Dog in Port Chalmers’ (NZ)
King Loser, ‘Never Hear Surf Music Again’ (NZ)
Sun City Girls, ‘Gum Arabic’ (Seattle)
Cul de Sac, ‘His Teeth Got Lost in the Mattress’ (Boston)
Velvet Monkeys, ‘Colors pt. 1 + 2 (lil edit)’ (DC)
Grant Stoom & the Mal Bouef Steal Drums Orchestra, ‘Swanic Yoot’ (NYC)
Zip Code Rapists, ‘Cut Yr Hair’ (SF)
The Cannanes, ‘Passionfruit’ (AUS)
Linda Smith, ‘The Real Miss Charlotte’ (Baltimore)
World of Pooh, ‘Druscilla Penny’ (Carpenters cover, SF)
The Easy Goings, ‘The Straight Life’ (SF)
Brigitte Fontaine & Stereolab, ‘Caliméro’ (France/UK)
Lambchop, ‘Smuckers’ (Nashville)
Ashtabula, ‘Unbearable Lightness’ (Philly)
Love Battery, ‘Easter’ (Seattle)
Lithium X-Mas, ‘Jump in the Fire’ (Harry Nilsson cover, Austin)
Cha Cha Cohen, ‘Six Years’
Drunks with Guns, ‘Hellhouse’ (St. Louis)*
Fruitcake, ‘The Night Cook’ (St. Louis)
Hellnation, ‘Suppression’ (from ‘Bleeeeaaauuurrrrgghhh! 41 Bands, 64 Songs’ double 7-inch)
Teenage Fanclub, ‘Bad Seeds’ (Scotland)
Maureen Tucker, ‘Around and Around’ (Chuck Berry cover, Georgia)**
World of Pooh, ‘G.H.M.’ (SF)
DQE, ‘Masturbation Made a Mess Out of Me’ (Atlanta)
(Excerpt from Bananafish ‘zine 7-inch)
World of Pooh, ’Someone Wants You Dead’ (SF)
Tocotronic, ‘Du Bist Immer Für Mich Da’ (Paris)
Cyclops, ‘Lunar Fall’ (NZ)
Paula Frazer, ‘Is She Lonesome Now?’ (SF)
Cordell Jackson, ‘The Blues Chaser’ (Memphis)***
Airlines, ‘Point That Thing Somewhere Else’ (the Clean cover, NYC)
Home, ‘Mountain-less’ (Tampa)
*1985
**1980
***1983
Mr. Roberts on Creem magazine's 'Rock 'n Roll News' section
In the summer of 1974, while on an American tour and attempting a comeback, the Troggs were ambushed. Creem Magazine, in its Rock 'n' Roll News section, reported that fighting broke out at the conclusion of a college gig, and that the band retreated to their dressing room. “The door was broken down and they were attacked by Hell’s Angels,” reads the news brief. “Among the injuries: guitarist Richard Moore was stabbed in the lung, Reg Presley suffered a broken nose, Ronnie Bond was stabbed in the neck, and Tony Murray was gashed by a broken bottle.”
Nothing more is mentioned of the incident—there’s no follow-up story—so the reader is left to ponder the many questions left in its wake:
What exactly did Reg Presley say on that stage? Whose girl did Ronnie Bond wink at? Did the Troggs have it coming to them?
A few months later in Creem, another entry in the “Rock 'n' Roll News” section reads: “Take Note Sly Stone … In Bangkok, a Thai folksinger, two hours late to a gig, was pelted with bottles by irate fans …But he, in turn, got so pissed off that he pulled a revolver and fired into the audience, wounding three.”
In January 1975, an item in the section reported that a California real estate developer was suing Elvis Presley for some $6 million, claiming he spent $60 for a ticket to a Lake Tahoe after-party thrown by the King. But Elvis’ aides “not only refused him entry, but started stomping his ass. The man claims further that he appealed to Elvis, who was watching the beating, to make them stop, and instead Presley joined in with a few well placed licks of his own.”
It’s hard work, being a rock and roller, almost as tough as being a fan. Shit happens. Feelings get hurt. Expectations collapse into disappointment. The whiskey, or the weed, or the amphetamines, goes to the head up on that stage, and then what? Somebody gets stabbed in the lung, somebody else takes a few bullets. The majority of the audience just gets pissed, complains until the next album comes out and then reassesses the situation. Others write about it, and through the 1970s and into the ‘80s, that’s what Creem did.
The magazine documented the tension between fan and artist, between expectation and reward, between idolatry and disgust. It was at its best from 1972 through 1976, when its writers were covering a particularly turbulent (and fat and bloated) moment in rock history. With an eye for the absurd but with their hearts open and wounded, Creem managed to capture on paper an era when some sort of mass culture rock ‘n’ roll dream, however full of shit it was, had died—but before a response to it, punk nihilism, had blossomed. Added into the mix: the first generation of so-called rock critics coming into their own.
Mr. Roberts makes 'winning' playlist of covers, renditions, versions and interpretations for 'Spotify'
People like other peoples’ songs and sometimes like to record them for ‘posterity.’ Mr. Roberts proposes you ❤️ the below spectacular ordered collection of rhythmically codified data. In our morning conference call he made this a Grade A Priority. In the immortal words of John Brannon, ‘Check it out."‘
What's the frequency? Mr. Roberts delves into 'frequency music' and the 'solfeggio system'
Students of Ana Netanel offer gong and singing bowl sound baths overlooking the Pacific in Malibu. (Dania Maxwell / Los Angeles Times)
Last week the boss published a story he’d been working on for a while. It’s on the rise of “frequency music,” whose advocates argue that tuning to specific frequencies increases wellness and positive energy. Excerpt:
For the Los Angeles-based Maejor and millions of others meditating to or creating so-called “frequency music” on YouTube, Spotify and TikTok, the frequency of 432 hertz, though, is more aligned with nature’s patterns. As such, they say, when that root frequency activates the eardrums, it fills you with positive vibrations.
Prolonged listening to these 432-hertz tones, claim various believers, reduces stress, “detoxifies” cells and organs, eliminates fear and wipes out negativity. Some advocates of a different pitch-based system argue that its particular root tone “repairs DNA and brings positive transformation.” Other frequencies are said to bring love and compassion and allow the attuned to connect to a higher self.
These emergent beliefs are part of a long fascination with “pitch-correcting” the Western music scale. Over the past decade, the conversation has eased its way from academic and esoteric circles and onto social media and wellness platforms.
“Things that I used to talk about a few years ago that seemed very far out or woo-woo are now more normal,” Maejor says.
