White Metal

electric-witch:

madtopp showed me an amazing thing today

an hour long mashup of david bowie’s greatest hits through all his eras

(Source: youtube.com, via missjune-1975)

(Source: israellund)

thelovegangster:

John Lennon- Be My Baby

John Lennon during the “Lost Weekend” (1973-1974)

(via fat-single-and-readytomingle)

theheterogeneous:

"New Beer" - Marijuana Policy Project NASCAR Ad

(Source: the-clutter)

(Source: husssel, via tysegallandpizza)

jurassiraptor:

Early Jurassic Park logo designs

In the original novel, Michael Crichton described the Jurassic Park logo as blue and featuring a sauropod. Artist William Stout incorporated the sauropod idea in these concept logo/sticker designs commissioned by Steven Spielberg. From The Dinosaur Sketchbook Volume 3.

zzz

(via johnnychallenge)

(Source: gotasalviento, via abjecthoney)

Anton Trofymov
christopherschreck:

click HERE to download a .doc of Steve Reich’s 1968 essay “Music as a Gradual Process”
“I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music… I do not mean the process of composition, but rather pieces of music that are, literally, processes.
…James Tenney said in conversation, ‘The composer isn’t privy to anything’. I don’t know any secrets of structure that you can’t hear. We all listen to the process together since it’s quite audible, and one of the reasons it’s quite audible is, because it’s happening extremely gradually.The use of hidden structural devices in music never appealed to me. Even when all the cards are on the table and everyone hears what is gradually happening in a musical process, there are still enough mysteries to satisfy us all. These mysteries are the impersonal, unattended, psycho-acoustic by-products of the intended process. These might include sub-melodies heard within repeated melodic patterns, stereophonic effects due to listener location, slight irregularities in performance, harmonics, difference tones, etc.Listening to an extremely gradual musical process opens my ears to it, but it always extends farther than I can hear, and that makes it interesting to listen to the musical process again. That area of every gradual (completely controlled) musical process, where one hears the details of the sound moving out away from intentions, occurring for their own acoustic reasons, is it.”
(click HERE for some background information on Process music)

christopherschreck:

click HERE to download a .doc of Steve Reich’s 1968 essay “Music as a Gradual Process”

I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music… I do not mean the process of composition, but rather pieces of music that are, literally, processes.

…James Tenney said in conversation, ‘The composer isn’t privy to anything’. I don’t know any secrets of structure that you can’t hear. We all listen to the process together since it’s quite audible, and one of the reasons it’s quite audible is, because it’s happening extremely gradually.

The use of hidden structural devices in music never appealed to me. Even when all the cards are on the table and everyone hears what is gradually happening in a musical process, there are still enough mysteries to satisfy us all. These mysteries are the impersonal, unattended, psycho-acoustic by-products of the intended process. These might include sub-melodies heard within repeated melodic patterns, stereophonic effects due to listener location, slight irregularities in performance, harmonics, difference tones, etc.

Listening to an extremely gradual musical process opens my ears to it, but it always extends farther than I can hear, and that makes it interesting to listen to the musical process again. That area of every gradual (completely controlled) musical process, where one hears the details of the sound moving out away from intentions, occurring for their own acoustic reasons, is it.”

(click HERE for some background information on Process music)