And we hate seeing bad pictures of ourselves. We tear them up, cross them out. Yet we must look like that from some angle at some point.
Seeing ourselves in frozen moments has become quite common as a way of remembering our experience. We see things because of photographs a lot more. And also certain kinds of painters are terrifically important. Schiele, and offshoots like Freud. But Schiele, Balthus The way of compiling a scene in a book I draw a lot from paintings.
Eric Fischel is a great influence. Lee Friedlander. His book of nudes is just fantastic. I look at it from the compressed point of view, looking at the scene and looking at it as press photographs, as coverage. And I do a lot of scenes like that. I wasnt conscious at the beginning, but it became more so when I found it worked. So you have a sense reading a scene that Ive written, that it has somehow been photographed.
Which others have played an important role? In another form Antonioni had a huge influence. And I know he still remains. Antonioni is an Italian and his films look like Ferraris. La Notte looks like it was built by Bertone. Is it for the sale of the book or is it getting something in a shape that I love?
So that aspect does interest me. In other words, non-adjectival description which gives you an image, is it selling or is it perfecting? Whether it sells or not, that interests me. I was aware of it in La Notte. And on the whole I think I did. The despair would have been well worth the design of their lives.
I liked the place, I loved that look, incredibly stream-lined. L'Eclisse is another film which is just startling. I pick up pieces of film that are missing, not what is there. They are based on missing things. Why not? As a director I will still direct odd films I think. I think I was on the wrong track. And the other thing to be said is, if it can be done. In other words. So at the moment, this month anyway, my feeling is that film is a very unsuitable form for what preoccupies me now.
For what I want to quite clearly express, film seems to be ham-fisted. But I think the sort of demands that film makes on the director in relation to the audience, a clarity that is not banal, is not my strong suit.
So my films were better when they were ambigious rather than when they were trying to conform to an audience expectation. The next one has characters in the film industry. One of the reasons is because I know what people do. It dawns on you after a bit that you are in another space. But no one knows that unless they were there.
The ones where I invent the story that might have been. Another writer with erotic content? Or would he have taken to another course? How did she do this? A huge impact. I was 11 or In other words the first scene is everything. Since the above interview Paul Mayersberg has completed the second novel, entitled Violent Silence. It too will appear in November. Many of the points discussed in the interview are directly relevant to the novel, as one would expect.
While using the structure of a thriller, the story is a further exploration of the sexuality of a group of characters in a more extreme way than in Homme Fatale. The central issue upon which all hangs is one of disappearance. What happens to a person when their partner suddenly disappears? This is an issue not discussed above, though in the light of the earlier film, The Disappearance, it raises enough questions to become the starting point for another conversation.
Lobsang Rampa is Number One. Number One best-selling, popular metaphysical theoriser? Or perhaps, Number One most popular purveyor of fringe-lunatic, pseudo-occult non-fiction? And whatever the answer to this riddle may be, there can be no doubt that as a publishing phenomenon, the self-styled Dr. Over a period of twenty-three years, Rampa produced no fewer than eighteen books which collectively sold in excess of three-and-a- half-million copies and gained him a world-wide following that ran into many millions more.
So much so that today, some eight years after his death, second-hand copies of his books—especially hardback editions — are still in demand. But who, precisely, was T. Lobsang Rampa? Was he, as he claimed, a fully initiated and medically qualified Tibetan lama, sent to the West to disseminate occult knowledge and wisdom? Or was he the very clever perpetrator of one of the greatest literary impostures of all time? To approach the answer to the question involves a fairly lengthy, complex and — often unintentionally — humorous story.
On publication, it ran into nine hardback editions and numerous paperback reprints — and sold in excess of , copies. Right from the outset, the physical appearance of Lobsang Rampa on the London literary scene created what can only be described as confusion.
His appearance aside, Rampa told Mr Warburg he was a Tibetan lama, had qualified as a surgeon and was living in England. Mr Warburg recalled being surprised that the document was in English rather than in Chinese, but did not at the time make any comment. In fact, before he could say anything, Rampa grabbed his hand, inspected the palm carefully, then quite accurately told him his age and the fact that he had recently been involved in an important court case, which happened to be true.
In fact, the Corgi paperback edition of his second book. Doctor From Lhasa, had its copyright attributed to C. Kuon Suo, while his third opus, The Rampa Story, first published in , was copyright-credited to C.
He had been selected by the royal astrologers at the age of seven to be taken from his wealthy parents, placed in a lamasery and initiated as a lama and trained as a surgeon. There were descriptions of the strange Tibetan environment, of the harsh, harrowing life of a neophyte, the tough regimen of the monastery and the difficult training required to develop psychic powers.
It is a clumsy method of moving around It sub- 26 Lobsang Rampa sided, and I became aware of subtle scents which I could not identify. That, too, passed away and was replaced by a feeling as if I was pushing, or being pushed, against a resilient veil. Suddenly, there was a blinding flash For a moment, the pain was intense, like a searing white flame. The sliver of wood remained, it would stay in place for two or three weeks For the rest of your life you will see people as they are and not as they pretend to be.
Mr Warburg and his colleagues were highly intrigued There was so much in the manuscript that was fascinating and eminently readable — yet practically impossible to verify. But it did make such a damned good yam.
It was obvious that expert advice would have to be sought. Their opinions were so contradictory that no positive result emerged. Some questioned the accuracy of one section, some of another, what was doubted by one expert was accepted unquestioningly by another. He was even given the opportunity of admitting that the book was a work of fiction — and assured that it would still be published, as fiction. But he stuck to his guns; the account, he insisted, was one hundred percent true.
At the prior suggestion of one of the experts, Mr Warburg set Rampa a simple test in elementary Tibetan. He failed it lamentably. When asked to explain this gross anomaly, Rampa provided a cleverly considered but, equally unverifiable explanation.
After leaving Tibet, he had fallen into the hands of the Japanese, he claimed, and had been 27 Rapid Eye tortured. Rather than give out secrets about his homeland, he had exercised his psychic prowess and put a total auto-hypnotic block on his knowledge of the Tibetan language, an erasure he had, of course, since been unable to remove.
Snellgrove, of the London University School of Oriental and African Studies, in The Daily Telegraph, but these were overshadowed by the paeans of praise meted out by the other quality newspapers and by the sensationalist approach of the popular Sundays. Lobsang, meanwhile, was reputed to be busily at work on his sequel.
Doctor From Lhasa. Then, in , a sizeable spanner was inserted in the works. Not only that, in this earlier life, he had answered to the decidedly non-Oriental name of Cyril Henry Hoskins. Chief district water engineer. In it, the author claimed he had gone to China from Tibet to train as a surgeon, taught himself to fly and been enlisted as a flying doctor in the Chinese air force. These details were picked up by another journalist, Mr John Pitt, of the London-based weekly.
Psychic News. Pitt visited Weybridge and managed to locate various people who had known and remembered Hoskins during his sojourn there. He said he had been badly smashed up in a plane crash when his parachute failed to open. And a Mrs Ablett, also of Weybridge, said Hoskins was a pleasant, if odd, individual who talked of strange stories about China where he said he had been taken as a boy.
He had had a keen interest in the occult, eagerly casting horoscopes for anyone who might be interested, although he was often inclined to contradict himself when recounting his past. Finally, a Mr Sutton of East Molesey, who said he met Hoskins in , had been surprised by being told that he Hoskins had been born in Tibet, since he looked and talked exactly like an Englishman.
Around this time, Mr Sutton said, Hoskins had taken to calling himself Dr. Carl Kuon Suo. Was there one who had been brought up in a Tibetan family?
For these reasons the Author must bear — and willingly bears — a sole responsibility for the statements made in his book. How could the man alleged to be Cyril Henry Hoskins, known to me as Dr. Kuon, write a book which has thrilled the world? Why did he choose this subject? How did he gain the material? From where comes his writing ability, his superb imaginative power?
Did he believe his own fantasies? Was he, perhaps, the mouthpiece of a true Lama, as some have alleged? To these questions an answer must be found. And it was not long before national newsmen tracked him down to a villa on the cliffs, overlooking the bay at Howth, just outside Dublin. A few weeks later, the same journalist is said to have been the sole survivor of a plane crash. It was in , in his third book. But it was also true that at this same period, the Tibetan Lama-surgeon and self- taught air ace T.
The secret of this mysterious, bi-locational existence was quite easy to explain. It was simply that, at that time, there were two quite distinctly different people: Lobsang of Tibet and Cyril of Thames Ditton, late of Plympton.
It was only later that, in a curious sense, they were to merge into one human entity. Where, incidentally, he was fortunate enough not only to witness, but to survive unscathed. The Bomb! He crossed into Russia at Kraskino, to the south-west of Vladivostok.
He made his way, peppered liberally with James Bond-type danger and adventure, to Moscow and, again after some hair-raising moments, managed to escape from Russia.
He travelled for some time in Canada, then sailed for England. At Southampton, however, his papers not being in order, he was deported back to the U. There were more minor dallyings there before he finally managed to make his way back to Tibet.
And it was there, Rampa explained, that his Masters warned him that his body would not stand up to much more wear and tear. He would definitely need a new one if he were to fulfil his mission — of bringing esoteric wisdom and learning to the West. The Masters, it seems, had had their astral eyes for some time on poor old Cyril Henry Hoskins who, despite his interest in the occult and some amateurish dabbling in astral travel, had become quite disillusioned with dreary Thames Ditton, and almost suicidal.
First of all, Lobsang made a preliminary astral journey to Thames Ditton, for an introductory and explanatory talk with Cyril. Suddenly, the branch on which he was resting snapped and Cyril plunged headfirst to the ground. We are not told where the unfortunate ex-plumber may have been bound.
Next, Lobsang severed his own cord — in this case, presumably, stretching all the way back to Lhasa — and quickly tied a remaining small length of it to a similar portion still protruding from the prone earthly form of Hoskins.
And so the amazing transfer was complete. The succeeding two appeared in hardback under the imprint of Souvenir Press and the remainder continued to appear as Corgi paperbacks. In addition, after The Rampa Story, the copyright line switched from C. Kuon Suo, or C. Kuonsuo, to plain T. Lobsang Rampa. Barely a single one of his succeeding fifteen volumes is without at least one or more passages in which he bitterly and sometimes angrily bemoans the fact that the news media will not leave him in peace.
And yet, by his sixteenth title. As It Was! Nor have I been asked to appear on T. Apart from furnishing lots of detail about Lhasa, its people, its terrain, its layout, life-style and flora and fauna, it may also be suggestive of where Rampa got his Tibetan-sounding names. David-N6el died in September, , a few weeks short of her st birthday. Again see bibliography. However, it is fairly clear that, whatever his sources, Rampa did not pay too close attention to them.
For example, when describing his own training as a monk in Lhasa, he fails to state to which of the three chief Schools — although there are more — of Buddhist philosophy he was attached. Although judging from his outlines of the sixteen steps and laws of the Middle Way, it would seem that he learned something of the Madhyamika School, known to Tibetans as the Uma-pa Dbus- ma-pa , which had its origins in India under the teacher Nagarjuna during the second century A.
But then we must also remember Dr. In various places, Rampa alludes to the fact that he was on more than nodding acquaintance with the present Dalai Lama, who took office following the death of his predecessor in Yet one cannot help but note the total indifference to the itinerant Dr.
In his latter years he was confined to a motorised wheelchair and, finally, to bed — a paraplegic sufferer. Rampa emerges as a kindly disposed, well-meaning sort of gent. But, as I noted earlier, his writings are not without unintentional humour.
They cannot come to close or they would explode, but they are exploring just the same as we send a rocket to the Moon [sic] People complain that if there were anything in this saucer business the people aboard would land or make contact with people upon this Earth.
The whole truth of the matter is that they cannot, because if they touch down there is [sic] an explosion and no longer a flying saucer.
Rampa could count on one hand. Relatively speaking, of course So the Communists have an incalculable advantage over the rest of the world, they have the highest and most efficient sites from which to launch rockets into space or at other countries. This, he claimed, would enable the early diagnosis of many virulent and indeed otherwise fatal diseases and bring great benefit to medicine and mankind in general.
He died never having apparently achieved this aim. Others, meanwhile, continue their experiments with the Kirlian technique and its variations.
Rampa onto a typewriter. In addition to writing books, the Rampa cult — for such did it become over the twenty-three years of his career — also offered via the pages of various magazines, aids and accessories to those on the mystic Path. These included cassette tapes and records of the Master giving instruction in meditation; meditation figures mandalas?
But perhaps most touching of all was the foreword to one of his lesser-known written works, a curious little volume entitled My Visit To Venus. The book, written in a rather kitsch.
Fifties science-fiction style, involves a rather tedious visit to the second planet in our system in a flying saucer piloted by two only vaguely articulate denizens of that planet, known as The Broad One and The Tall One. The foreword, however, stipulates quite positively that any and all monies received in royalties by the author will be donated to: Save A Cat League, West 25th Street, New York City.
Evans-Wentz ed. Blavatsky and some of the works of Dr. Richard Kern was bom in North Carolina in By the time he was in his early twenties, he felt the classic inner twitching of the misfit. So he packed his bags, just like the cliche goes, and headed for the big city. In , he arrived in low-rent Manhattan.
They just had an inkling that, to paraphrase Artaud, the best way to wake up your audience is to throw a bucket of guts in their faces, or something equally jolting. It was an attitude of its time. It was also the immediate post-punk era, when white kids were toughening up their attitude, looking for whatever action the Age of Disillusion could offer. Lydia Lunch, then a vocalist with Teenage Jesus. Kem and Lydia were naturals together.
An artistic pardon the profanity union made in Hell. The idea that screwing someone could be outrageous was right out of the window by now, it pre-dated the Rolling Stones appearing on the Ed Sullivan Show. When Kern and his ensemble took sex on board, they entwined it with all the other items that bugged their lives. A desire to get even; a lust to dominate; a need to transcend their entire fucking dirty existence if only for one moment, by the extremes of pain as well as pleasure.
Kern spent several years making notorious short movies, on 8mm and later on video, featuring characters like Lydia Lunch, Jim Foetus a. Clint Ruin, or whatever he was calling himself that month , Cassandra Stark later to become a post-fern movie maker , Karen Finley better known as a performance artist , David Wojnaro- wicz a transgressive movie-maker himself, now infected with the AIDS virus and telling all in a book of memoirs , plus of course Kern and Zedd themselves.
All had to submit to being victims, or perpetrators or both , of extreme, graphic violence. All had to be shown in acts of extreme sado- masochism, mostly authentic, sometimes feigned.
And they took to it with gusto. Textbook feminists have decried the way women are degraded in the films, overlooking the fact that the abuse and violation of men is depicted with the same hideous degree of realism, or cartoon sadism. If the malevolent intent has to be analysed. Kem was to bow out of film-making for nearly three years, with the sole purpose of cleaning up his act and saving his life. Zedd remains sporadically active to this day, though rumours abound as to his state of mind and body.
One minute into the original version of The Evil Cameraman , the monitors went blank and the DJ was told to throw me out of the club by the owner. This is the biggest club in New York City, and notorious for its bouncers. I got out only steps ahead of a charging group of goons who intended. Unfortunately, the film destroyed belonged to another person. The audience, swollen to twice the normal size due to bad press, loved the performance section provided by these nazis.
The gore is simulated, the sex gaggingly real. Souder apparently finds sex more nauseating than violence. Series curator Joel Shepard says Mr. The chance that any of these people will show up tonight may be the best reason for you not to. Cleaned up and straightened out, his new shorts were in the same style but with a new sensibility.
In answer to any fan who thought Kern was living a life of twilight glamour, he points out the absurd voyeurism of his role, and the non-aroused nature of his female cast. Meanwhile, the cinema of transgression throws up a new name. Baylor is also straightforwardly honest about his influences. Richard Kern, nihilistic video terrorist, has helped to spawn a whole new genre of film-making.
When I spoke with Kern, he was working as a carpenter on a building site, just to survive until his next projects get off the ground. Cartoon carnage, with pathos. Woman At The Wheel — Juxtaposes arguments over cars between yuppies and white trash. Music by Wiseblood. Alienation, loneliness, and nihilism en extremis. Contains a straight-in-the-mouth necrophile blowjob.
Kern surrogate lives with blonde-maned beauty in low-rent apartment. He earns his keep by selling grass — back home, his girl turns herself into a lookalike by burning herself with a clothes iron.
On his return, he goes 45 Rapid Eye berserk, committing suicide with a barbell. She immolates herself with the frying pan. Bloody sad, and fucking absurd. We take in the pom theatres and grindhouse cinemas naturally. Kern appears, burning his face with a cigarette. A copulating couple indulge in a terminal strangulation match. A guy giving a blowjob gets axed through the head by his male partner. The images become more intensely sado-masochistic, including a flick-knife dance by Lung Leg, a decaying junkie, a bloody mutual strangulation by two lovers, a bullet through the brain of a guy in a bondage mask, and Clint Ruin Foetus screaming in his own blood.
Starts with Lydia giving phone sex. She follows him into his life of brutal sex and casual murder the latter of which is pure slapstick. The dialogue is hilarious — total profanity, but very rhythmic and carefully timed, though it appears to be ad-libbed. From here, heinous events flow forth at a ridiculous rate.
The sleazo rapes the pissed-off Lydia with a gun. It can be both, depending on your state of mind at the time. Whereas it was just disgusting—I had to hold my nose all the time I was shooting because it stank so bloody foul. Nazi-a-gogo — Starts with a chick in a Nazi fetish costume.
Enter Foetus, and Lydia, sucking a switchblade Submit To Me Now —Takes place at a pitch of absolute terror. The soundtrack is chaotic. The cast, composed largely of people who had been begging to appear in a Kem film, run through an escalating cycle of sexual scenarios: it begins with fever-pitch, onanistic dancing; Foetus jerks off; Lydia masturbates with a cane; a pudgy guy gives a close shave to his pubes.
Pierce —Title says it all. Nipple piercing. The Evil Cameraman — A young oriental woman is trussed up in extreme bondage garb. Tied, restricted, hooded, belted. A blonde is hung upside down. A sexy brunette, a very willing participant, is bound to the wall with tape.
In the original version, which Audrey Rose insisted be suppressed, she was fucked by Kern for half an hour until he walked off without climaxing. Close-ups show her looking bored shitless. X is Y — The number recurs endlessly on the soundtrack, as a girl plays with her machine gun. In a state of mild shell-shock, I was expecting to meet a borderline psychotic, at the very least perhaps someone pitched between the character Travis Bickle, from Taxi Driver , and John Waters.
What I got was a relaxed, witty kinda guy. They were only too willing. Her and Foetus would both help to gather the people needed for the film — they both wanted the notoriety. He was more than willing to do anything, and Nick Zedd, he was my best friend, a guiding light. Everyone wanted to get noticed, and everyone helped each other. From I dropped out, went to stay in California. To finance the videos, I uh They take audits, they confiscate your belongings.
I just packed up and left. It was a pretty intense time for me. I was having delusions of grandeur, I was paranoid. So I went to hammer nails for a living, I just had to chill out. The stick through the dick really freaked some people out, you know. But I did some even worse stuff that never got properly finished or shown.
I think I was on the verge of collapse at that time. The Jap girl at the beginning of the film was scared. It was an exercise in power, I guess. She offered me a mutual sexual experience without touching. I mesyi, can I say no?
I was pretty pissed off when I made those films. But there was a lot of stuff picked up from everyday life. People react to it in different ways — when the films showed in Holland, they thought I was making it all up. People react to Fingered very strongly. I was expecting this really negative feminine reaction, but a whole load of women asked me 49 Rapid Eye where they could find a guy like Marty! Some people come expecting the world, and are disappointed.
And then, some people are really disarmed by this weird Super8 stuff. One was suicide, a couple were AIDS. One girl got beaten up by a drugs dealer, and died afterwards. The guy who committed suicide had AIDS. Everyone should have an AIDS test. I just had mine, and it came back negative. Seriously, the deaths bother me. I still like a lot of what we did. But artistically, I feed more off of the strippers I know.
Is your work ever motivated by revenge? I did make a movie about 42nd Street once Goodbye 42nd Street. This was just the stuff I saw going on all around me. This was supposed to be an avant-garde venue. Later, I saw The Evil Dead for the first time, and the effects really shocked me.
Now, they seem more commonplace. It was kind of a cheap trick, submitting art movie lovers to horror movie effects. How do you feel about that? After Fingered, I expected women to be shocked, but a lot of them just wanted to know where they could meet a guy like Marty. Fingered was meant to be a comedy. The Evil Cameraman was meant to be a joke, too They were bom out of my main love — walking around with a camera, trying to get people to do things.
For that, I get total artistic control. He knows that as long as the odd maverick mind exists on an arts council, someone, somewhere, will always finance his entertaining, deeply disturbing, anti-art films. COMPTON With the latter quote scratchily handwritten on a black caption card, the cinema screen rolled onward into one of its rare confrontations with the forbidden.
What followed shocked and repulsed some of the most hardened exploitation film enthusiasts, and has continued to do so for four years. The motorist couple we are introduced to in the opening frames exist, like so many cinematic ciphers, only to die.
The woman has been severed directly in two — her upper trunk and torso like a bloodstained Venus De Milo. The scene is set for gothic horror of the modern kind — psycho killings, nauseating attention to detail. The ensemble team headed by young director Jorg Buttgereit including creatively active producer Manfred O. At home, we see that the girlfriend of Robert, the repressed JSA worker, shares his necrophile tendencies he gets over the torso to an alarming degree.
They get it on after she cuts her arms in the bath, in a mock-suicide ritual. He perceives living dreams among the day-to-day, like some drugless descendant of Cocteau. Like all deep dreams, Nekromantik hinges on a visual motif. Naturally, these scenes are a major contention with film buffs who accuse Buttgereit of gratuitousness. The reverse gutting of the rabbit sequence at the end of the film illustrates that what has been destroyed is now restored; old wounds heal and bad things turn good again.
To necrophilia. Like the lonely young Dennis Nilsen, lying motionless before the mirror adorned in heavy blue mascara, imagining himself dead. The slaughter of the rabbit may irk us, chew beneath our skin. The haunting piano theme plays, like Satie interpreted by a staccato-heavy Liberace figure. Man and wife discover their purest pleasure, with a rotten cadaver as the focus of mutual affection.
Franz Rodenkirchen and I talked a lot about that, and that the orgasm and the moment of death must emotionally have a lot in common. Of course, the appeal for most of the audience those who can endure is their rare sympathetic glance into the pathological sexual psyche, not any vicarious jollies brought about just by the mortuary looting scenes. Still, it could just be that, in an age where sex, disease and death are becoming more closely entwined than ever, death, the final taboo, is becoming sexy.
Jorg Buttgereit, now in his 30th year, made Nekromantik over a month period concluding in late During the film-making apprenticeship of his early twenties, Buttgereit made a string of shorts such as Hot Love softcore erotica. Though sometimes verging on outrage, with scenes of tacky bad taste, his formative works give no great inkling of the obsessive morbidity which was to come. Franz and I had German censorship in mind when we were writing, which gave us this kind of angry power.
Dovolim si nesuhlasit. Citujes Vyhlasku 50, konkretne paragraf o kvalifikacii pracovnikov. To nema suvis s udelovanim zivnostenskeho opravnenia v rozsahu volnej zivnosti.
Aby som to napisal zjednodusene, tak predaj elektroniky aj predaj komponentov PC, alebo celych zostav nespada medzi remeselne, alebo viazane zivnosti. Teda je to zivnost volna, na ktoru vyhlasku nepotrebujes. As a musician, you pick the instrument that you can speak through without your voice being involved.
I can listen to this song over and over again. It's about the spacing of the instruments and the phrasing. It's so emotionally raw, so real. Kurt Cobain put the chords together in such a fresh, unusual way. And the bass line adds a brilliant, melodic component to the song.
It starts with his name. Join the family and Ring In the New Year with soulful cheer! Neither cheap nor expensive, these amps represent a new benchmark in value.
So whether your tastes run toward the vintage bubbly of the Subways, or Vtwin Pedal To right this wrong, we asked Sir Edward, the guitar hero's guitar hero, to focus his sharp eye and dry wit on the 17 tracks featured on this, the first ever Van Halen retrospective.
Actually, when I get up high on the neck I make a mistake, but what the hell? I just started slamming on two chords—A minor and G—and we were having a gas! I spent two weeks of rehearsals just pounding out this groove on an old Wurlitzer electric piano through an MXR flanger and a stack of Marshalls.
Finally, one chord came and it all snapped into shape. All the changes, the verse, the solo, the breakdown, all the pieces came after going nowhere for ages. GW: Do songs often reveal themselves to you in that fashion?
Sometimes nothing comes. But one thing is for certain: you gotta keep working to enable it to come. It's a wicked feeling when a complete piece of music comes to you.
I was chosen to do this, and the more sober I am, the clearer I am. The unit has a Speed control, a Wave control which varies the oscillator waveform continuously from a sine wave to a square waveform, and a Depth control to adjust the amount of oscillation distance.
Check out both new pedals at your nearest RFX dealer and check out all four effects. Advertised items must be factory sealed new product. Call Operator for Toll-Free Number! NJ NewHavea. And a saxophone and a fretless bass. I swore to this therapist that there was no way that she would ever get me to write without a few beers. Drinking was the one thing I could count on to help me break down my inhibitions and loosen up.
And then we went outside and did a bunch of weird exercises for half an hour, to the point where I almost passed out. And then she had me sit down and relax. Really try and feel that place. I couldn't believe it. It only took an hour! I just didn't want to believe I could do it without drinking. That whole album, Fair Warning, was kind of a dark period. GW: It was also a very important song for the band. We had just done a tour with them the year before. The energy It was a theater-sized tour—3,seaters.
We headlined a bill featuring Ronnie Montrose and Journey. I think Aerosmith and Foreigner were co-headlining. I was really happy. It blew my mind. How did that come together? You know what I mean? What would you sing over that? But that would be the shit if it could be done. And that to me is the essence of a great and complete song: great music that stands on its own, great melodic music, great counter-vocal melody and great lyrics.
And of course a good performance. GW: Do you believe you've reached those goals on any specific track? Mick got the credit, but was really a band-produced effort. Brought to you by the same people that created the revolutionary Lace-Sensor.
What's so new about this technology? Check out his newest recording with Jonas Hellborg and Apt. Or the exposure. But the schlep. Yet it gives you all the sound quality and reliability that JBL is known for. At a price that is noticeably lighter. And plans to get to the top. Oddly enough, this is where Mr. While Antichrist Superstar may not deliver a wholly redeeming message, it sure makes the countdown to the apocalypse seem like one hell of a party.
Whether hamming it up playing slide with a beer bottle, imitating a pedal steel with uncanny precision or picking a lightning-flash cascade of notes GOMORRAH Caress the Grotesque Black Mark There are two ways to caress the grotesque: one is with a Baywatch marathon and a jumbo bottle of Jergens. The other is with this serviceable black metal album and its accomplished, Slayeresque riffing.
The latter option is a lot less And those are its good points. Unfortunately, the statement comes across as a disclaimer rather than a tribute. The singer has a voice like a cable TV wrestler singing the hit arias of Placido Domingo. I guess I can finally throw out all my Ramones records. Lockwood should amply satisfy even the most insatiable appetite for tasty licks. And he succeeds, resoundingly so.
Bug out! He got a bit too far out for his own good, though, and for the last decade or so the much-copied guitarist has been wandering in some weird universe of his own. The question is, who is the real Vinnie Moore? Now, if only Craig could sing and write songs with the same aplomb. Force partiale. Thumbs up! All rights reserved. Crows are back with an album full of catchy and consistent tunes. However, Fulflej is an apple of a slightly different color. Jazz and hip-hop influences—hence the performing handles M.
No Joke G, Andre Fill-Ups and Maff-yoo Nillsun—also show up throughout Fulflej , which makes the album's dynamics a bit sharper than those of a typical Pumpkins outing. A devoted disciple of the guitar army school, No Joke seldom indulges to excess, which works to the benefit of this estimable debut. That also explains folks like Shawn Lane and Jonas Hellborg. Recorded live in Europe, the album features Lane and Hellborg with Apt. Q a. V Check out the results on Mr.
Big s latest release. Digital effects that can only be described as sweet Welcome to the DigiTech Studio Guitar System with dual Distortion paths, digitally controlled analog WahWah, programmable Cabinet Emulation and new Silencer noise reduction all combined with studio quality digital effects that can be placed in any order. Visit your local DigiTech dealer today and get a taste of the warm, sweet, and smooth Let Cribnote help you learn barre chords and their locations fast.
Cribnote is a guitar barre chord and fingerboard memory enhancer that uses a patented new method of static plastic strips attached to the back of the guitar neck without damaging the wood finish. Each set of Cribnotes includes three different strips, instructions and exercises to help beginners learn guitar chords quickly and easily. It was eerie. I dug them all, but Faith No More moved me in a different way, and way more than anything else. That shit was just so bad. It totally changed my direction.
It showed me that you could just fuck around and come up with your own thing. Then, six months later, they were all over MTV and the same fuckers who were booing were probably lining up to see them.
That taught me something, too. Before that, I was listening to dirthead shit, just straight-up metal like Iron Maiden and Metallica.
I became obsessed by it. Actually, they were the last albums to blow my mind, but I'm still searching. I'm constantly looking for that phat-ass band that will rock my world. BOX It really amazed me that Dylan could make what was still basically folk music sound so cool. Tamborine Man. This was just before the Doors formed. Every song was just great. I had it on vinyl, and I would slow down the record and learn the guitar parts. Also, they looked so cool. I started listening to that in about , when I was pretty young.
I read an interview with [Love leader] Arthur Lee, and he said that the whole time he was doing this record, he thought he was going to die. My parents had it, and when I was about 13 I took it up to my room and started playing along on my first bass, which cost 99 dollars, including an amp. That record was also was the first time I had heard someone who sounded like they were putting their whole soul into what they were singing. I knew that she had died young, and my interpretation was that she had died because she had put so much of herself into her music that there was nothing left.
There was one section where she was just moaning, and I remember wondering if I could ever put that much of myself into my music. It really moved me. I tried to use him as a basis for my vocal style, along with Aretha Franklin. I just loved the interplay between the two guitars [of Keith Richards and Mick Taylor]. Van Halen. Satnam, Cantrell. Extremely valuable for any rocker bored playing the same old hcks.
Even an old dog like me picked up fresh ideas How come no one made anything like this when I started to play? Wicks: Screaming harmonics, whammy bar. Box , Dept. Howard Beach. After that I spent the remainder of high school in my room, smoking pot and playing guitar.
It was my first real hard rock album, so I identified with that. Alondra Blvd. Box Des Plaines. IL For posters of Head and Munky. J Jiffi i WrS r. I just freaked out. I didn't do cartwheels in the room or anything, but it just completely changed my conception of reality.
When it came out, I was in seventh or eight grade, listening to Ted Nugent 96 percent of the time, so it was definitely a change of pace. The intensity and the precision of the playing completely blew me away. I spent an entire summer in college working at a toll plaza, blaring Atomizer in my little booth. An angry, scary, yet oddly uplifting record that convinced me that bass guitar rules the world.
Just Accurate, Reliable, Really Loud. It's your best choice. I took three days off, and this was literally the first thing that came out of my hands when I sat down. Also, I have to say that recording the piece string section was probably one of the most exciting recording experiences I have ever had. My voice was hoarse from so much shouting. Flood threw up his famous mikes, and I just did it live. I used my trusty Gibson acoustic, with the rusty strings.
But I always liked that crazy go-go beat. Recorded in Sydney, Australia, and Chicago, this song has about nine rhythm guitars, all playing the same three notes. Also, many of the guitars were sampled out and destroyed going back in.
I'm hooked! Otis Rush, etc. Neodymium magnet assemblies also mean that these mics produce some serious output, ensuring that your vocals soar over even the heaviest rhythm section and your instruments retain their crisp presence without getting stuck in the mud. No hassles. No applications. No additional finance charges. T gtbe 1 mI:? D 'P'. Flood and I tried about four different versions before settling on this one [see Queen's Hot Space album]. One version that I liked was just me and a distorted guitar.
But in the end this version won, only to be mixed into eternal obscurity as a B-side. Also, we added a Bay City Rollers-style stomp, with me and about eight of my friends stomping along with the third verse nicely out of time.
Tracked live with overdubs added later, this is a true mover as well as the first song that was recorded for Mellon Collie. James has always said this reminds him of Judas Priest. GW: So don't try this at home? GW: Was Albini full of guitar tricks? And it sounds amazing. Just metallic shards of sound. GW: Like a thin strip? About the width of a fret?
Maybe a little thinner. Just put it through the strings and plug into an amp. He gave me some—a metal pick with a chunk taken out of it. It's a really nice sound. Get a horrible sound and he loves it. The more extreme the sound, the happier Steve gets. GW: Is your slide stuff in an open tuning? But I barely do any slide stuff on this album. On the last album, I used to tune the top two strings to B—and occasionally a dropped D.
Gives you more of an edgy sound. But no, there's not really any slide on this record. If I tried it, it would always sound like Here comes George Thorogood! But it was really quite turgid Thorogood I like, though.
GW: Do you guys share many musical tastes? I was quite surprised. That is, apart from Big Star. I really want to like Big Star because everybody says how seminal they are. I did like some of the sweeter string stuff that N igel played at the back of the bus all the time we were touring.
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Except Dave likes a lot of dub, which I love. I can't really work my way through Soundgarden, that lot. A bit turgid, that That's the only problem I have with the whole alternative thing. And so a lot of them are just heavy rock bands with checked shirts on.
Like Soundgarden. If you know anything about music, you can hear the difference. Pearl Jam are now I think he does those mid-tempo songs really well.
I like them. The drummer, Patti, is really good. And the bass player, Toby. I've seen them a couple of times and they're very impressive. GW: Did Courtney Love teach you anything about dealing with media attention?
A lot. She basically always has been, and still is, really helpful to me. There was a kind of furor [in the media] because I was friendly with her. Then it all died down and everyone forgot that. I just never went anywhere public with her. GW: So it was never a relationship? GW: Were you at all prepared for the mass teen hysteria that Bush generated in America? The sound of all that squealing flesh. On the last tour of America, we played all the arenas and we had, like, the biggest rig.
A two thousand-ton rig. And it wasn't because we were too loud on stage. It was because of that wall of screaming when we came on.
Your ears would just close down. Quite amazing. My favorite ones are those who have some connection with a lyric or the music. Then it's less fun. The only time I would get away was to go into my room and play your record. And naturally, we love the sound of tube amps we build and sell many thousands each year. Guitarists who have played our TransTube series are convinced.
We think you will be too. Warm up a Special at your Peavey dealer. That kind of stuff. But to be a pin-up just for pin-up's sake undermines all the work we put into this. GW: So, Nigel, are you content to leave that kind of adoration to Gavin? I don't really even think about it. But we all get some of that, you know. It just seems absurd. But it's our life. GW: How do you like married life, Nigel? Just like life before, to be honest. Except I have this heavy weight.
I recommend it to nearly anybody. Got too much respect for my wife. Besides, I can always kill her if there are any problems. Theirs is more I hate to say the word intelligent Most of the bands the Kinks toured with were just in it for the fun: to make money and buy a nice car. But with the Who, you got the feeling that they were out to rewrite the rules. Which attracted me, because I was trying to do the same thing. Pomp has never appealed to me. GW: Musically, at least, you never seem to have had much use for psychedelia, either.
Like everybody else, I've done my share of experimenting. And at the time, there were other people who were doing that very well. So why should I? The Uni-Vibe-legend lives on!
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I played this riff fingerstyle. As with many other Zeppelin riffs, I originally came up with this figure on the electric bass guitar while jamming with John Bonham. Notice the pervasive use of silence in this figure, especially the gaping hole created by the half-note rest on beats 3 and 4 of the first bar.
Dropping half a beat from the two-bar phrase sounded good to our ears, so we just went ahead and did it. I played this bassline fingerstyle as well. Looking at the first measure, notice that beats 1 and 2 are comprised entirely of 16th notes the G octaves , while beats 3 and 4 are completely empty except, of course, for the drums. You may recall that during beats 3 and 4 of the fourth bar of this riff Page plays a punchy chord fill F-F with the drums.
I felt that it was more effective for me not to double the F-F walk-up and instead lay out until beat 1 of the next bar.
Keep in mind that what you don't play is just as important as what you do play. See you then. But if you crave doom inducing, stanky funky, monster meltdown- from-the-netherworld tone, it may be something to seriously consider. Your guitar's stock pickups may be decent all right. And this is about you, after all. You don't have to have a Jr name like Slash, Dweezil or Blues to make guitar playing your life.
Lots of guys with regular-sounding names like George and doing just fine, thank you see above. See, these guys know that pickups are the heart and soul of their guitar.
Pickups determine the individual voice of your instrument. With the right pickups, harmonics will leap off the neck. Sustain a note, go grab a bite, come back, it'll still be KWH singing. You'll sound better. You'll play better. You'll run faster. You'll jump higher. You'll gain instant popularity. With the wrong pickup- well, you might as well just give up on life and become a drummer.
Now, Seymour Duncan makes a lot of pickups. A lot of pickups! But, we've also got a Day Real World Exchange Policyjya go ahead and check out your new pickups for up to three weeks with your own gear, in the Real World.
L If you're not 1 blown away, just trade them in for another set. No risk. No hassle! For this first reverse rake, allow the open top three strings to sound, but mute the open D 4th and A 5th strings by lightly resting your fret-hand fingers against these two strings. This muted reverse rake appears on the upbeat of beat 1 in each bar of this example: in bars 2 and 4, all of the strings are muted, so lay the fret- hand fingers across all of the strings.
Use a downstroke for each downbeat and an upstroke for each eighth-note upbeat. In a few spots an eighth-note triplet figure is played in the place of two eighth notes. In the first bar of this example, a normal B7 chord is played, but, on beat 2,1 switch from a B bass note to an F bass note. On beat 3, I switch back to the B bass note.
In the next bar, I play a single-note lick based on E minor-pentatonic through most of the bar. In the last bar of this example I play a walk- up figure on beat 2 to set up the B7 chord on beat 3. For emphasis, I like to slide into both of these chords.
There are literally mi 11 ions of ways to play a rhythm part like this. You know, the cool stuff. You have to protect yourself and your music and you really have to keep on top of your business. Maybe you want to concentrate on getting a major label deal. Whichever path you choose, you have to start making business decisions. This happens all the time; have you heard of The English Beat, for example?
The L. Also, did you know that in Canada, Bush are called Bush X? Lucky for them, I guess See you next issue. Burge I t all started in ninth grade as a sort of teenage rivalry. But somehow she always had an edge that made her the star performer of our school. It was frustrating. What does she have that I don't? I'd wonder. One day she bragged on and on about Linda, adding more fuel to my fire. My heart sank. Her fantastic EAR is the key to her success I thought. How could I ever hope to compete with her?
An ear like that would give them a mastery of the entire musical language! It bothered me. Did she really have Perfect Pitch? I got up the nerve, approached Linda, and asked her point-blank if it were true. But Perfect Pitch was too good to believe. Now I'd make her eat her words My plan was ingeniously simple: I picked a moment when Linda least suspected.
Then I boldly challenged her to name tones by ear.VŠEM - Vysoká škola ekonomie a managementu. eAplikace VŠEM ePlatby VŠEM English Přihlášení do SIS.