Mr. Tea

Let's Talk About Ceps
Because I genuinely do not care, hun. I'm more worried about present day tyranny, you seem untroubled by that, as long as everybody keeps their head down and follows Klaus Schwab's orders.
Oh horseshit, you'd be first in line for a nice shiny new pair of jackboots. You've spent the last several years making it abundantly clear that that's where your sympathies lie.
 
Not at all, I'm all about maximum freedom for everyone, and minimal, ideally no state interference whatsoever. Governments are dangerous and should be banned.

Fuck knows what you think, if you think at all. Some weird mishmash of the last things you read. Paper person, drone, strutting nonentity.
 

WashYourHands

Cat Malogen

Abstract
This dissertation explores the cultural conditions for the popular appreciation of “high” art, experimental, modernist and avant-garde elements, and the resulting incongruous mélange of genres, through a study of the history of such transgressions of aesthetic boundaries in the San Francisco Bay Area from 1965 to 1975. Based on archival research, interviews with participants, as well as the analysis of key musical works and practices that influenced and realized such boundary crossings, it offers new insights into the role of this particular time and place in creating the more inclusive musical world of today. Particularly underexplored in earlier scholarship on popular music from the Bay Area at this time is the way in which this type of performance practice has functioned to challenge distinctions between large categories of music, specifically those broadly categorized as popular that are defined, at least partly, in opposition to those considered “high art.” Though undoubtedly popular in terms of performance environs, audience, and many qualities of the music performed, the use of musical elements normally understood as outside the usual purview of popular music were quite common during this period in the Bay Area. Yet, in spite of the exceptional nature of this stylistic hybridity, there has been comparatively little prior scholarship about the specific ways in which those involved negotiated between musical traditions previously understood by many people as irreconcilable, as well as detailed analyses of the techniques and practices used to realize such connections. Because the rock band the Grateful Dead is the most significant example of these various issues from the time and place that form the focus of this study, as well as the most influential, they are the primary concern of this dissertation, though the work of some other related musicians and ensembles is also discussed.
 

WashYourHands

Cat Malogen
1.1 “That’s It For The Other One,” The Grateful Dead (1968)
1.2 “Feedback,” The Grateful Dead (1969)
2.1 “Dark Star,” (Excerpt) The Grateful Dead (9/27/1972)
2.2 Electric bass excerpt, “Dark Star>Cumberland Blues,” The Grateful Dead (9/27/1972)
2.3 Electric bass excerpt, “Cumberland Blues,” The Grateful Dead (9/27/1972)
3.1 Introduction and section A, “Jack Straw,” The Grateful Dead (5/3/1972)
3.2 Section B, “Jack Straw,” The Grateful Dead (5/3/1972) 3.3 “The Main Ten,” The Grateful Dead (1969-70)
3.4 “Playing in the Band,” The Grateful Dead (1971)
3.5 “Eyes of the World” introduction and first verse,
The Grateful Dead (1973)
3.6 “Eyes of the World” chorus and solo form, The Grateful Dead (1973)
3.7 “Eyes of the World” coda, The Grateful Dead (1973-74)
4.1 “Alone,” “Still-Life,” “Moonface,” Ned Lagin Manuscript (1972-75?) 5.1 “Stronger Than Dirt” bass riff, The Grateful Dead (3/23/1975)
5.2 “Blues for Allah” introduction, The Grateful Dead (1975)
5.3 “Blues for Allah” main theme analysis, The Grateful Dead (1975)
5.4 “Under Eternity” refrain, The Grateful Dead (1975)
5.5 “Blues for Allah” coda, The Grateful Dead (1975)
5.6 “Blues for Allah” invocation, The Grateful Dead (10/6/1981)
 

Clinamenic

Binary & Tweed
“The antidote that we have seen now, and we have tons and tons of research, is urine therapy,” Key said in the video. “Okay, and I know to a lot of you this sounds crazy, but guys, God’s given us everything we need.”
 

Clinamenic

Binary & Tweed
Certainly this is, ahem, a golden opportunity for Trump to bottle his essence to bolster his constituency from their insides.
 
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Reactions: Leo

Leo

Well-known member
we used to smoke dunhills, cuz it was so much cooler to smoke imports. and every kid in Tokyo was smoking Marlboros.
 
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