Glenn Hughes, often hailed as "The Voice of Rock," has left an indelible mark on the world of music through his remarkable career spanning several decades.
Not only has he achieved acclaim for his powerful and versatile voice, but Hughes has also navigated the tumultuous waters of a private life that has shaped his artistic journey. This essay delves into the multifaceted life of Glenn Hughes, exploring both his private struggles and his influential musical career. Glenn Hughes was born on August 21, 1951, in Cannock, Staffordshire, England. His early life was marked by a passion for music, leading him to pursue a career in the industry. However, like many artists, Hughes faced personal challenges that influenced both his personal and professional life. Substance abuse issues haunted him during the 1970s and 1980s, threatening to overshadow his musical prowess. Despite these struggles, Hughes emerged from the depths of addiction, embracing sobriety and using his experiences to advocate for recovery. His personal journey serves as a testament to resilience and the transformative power of overcoming adversity. Hughes has openly shared his struggles, contributing to a broader conversation about mental health and addiction within the music industry. Glenn Hughes first gained prominence as the bassist and vocalist for the rock band Trapeze in the early 1970s. However, it was his association with Deep Purple in 1973 that catapulted him to international fame. As part of Deep Purple, Hughes' soulful and dynamic voice added a new dimension to the band's sound, contributing to iconic albums like "Burn" and "Stormbringer." Hughes' collaboration with other legendary musicians, including Tony Iommi in the band Hughes/Thrall and Joe Bonamassa in the supergroup Black Country Communion, showcased his versatility across various genres. His solo career, characterized by a blend of rock, funk, and soul, further solidified his reputation as a genre-defying artist. The diversity of Hughes' musical endeavors reflects his willingness to explore new territories and push the boundaries of conventional rock. His solo albums, such as "Resonate" and "First Underground Nuclear Kitchen," showcase not only his vocal prowess but also his songwriting abilities and musical innovation. Glenn Hughes' enduring legacy extends beyond his contributions to iconic bands and solo projects. His commitment to sobriety and mental health advocacy has inspired many within and outside the music industry. Hughes has become a beacon of hope for those facing personal challenges, emphasizing the importance of seeking help and fostering a supportive community. Glenn Hughes' private life and musical career are intertwined in a complex tapestry of triumphs and tribulations. From battling addiction to achieving musical greatness, Hughes exemplifies the transformative power of resilience. His enduring impact on the rock genre, coupled with his advocacy for mental health, cements Glenn Hughes as a true icon in the world of music.
0 Comments
The Rodenberg Luke OD Overdrive-Pedal is the original version of the three-way Luke SL-OD, which is more affordable than the original version which is loaded, with a sound that is completely accurate.
There has been a close collaboration between Steve Lukather and the German pedal manufacturer Rodenberg for several years. Enough reasons to take a closer look at the Luke OD! In the review pedal today is basically the little brother of the Rodenberg SL-OD we have already tested, which is equipped with three independent channels and costs more than twice as much. In terms of sound, the new Luke OD should be identical to the low and high gain overdrive of the large pedal. You can read its test here. So far, so exciting! But we'll get to the sound later in the practical part. First of all, we have to look at the good piece up close. As usual, the Luke OD is delivered in a box, in which it completes its journey to the customer safely wrapped in foam, as well as an operating manual written in German and English - and it's worth mentioning: there are also rubber feet in the box to stick on the bottom, which is actually shouldn't be worth mentioning, but manufacturers of high-priced boutique pedals in particular often refuse to deliver them with their products. The Luke OD makes an extremely robust and high-quality impression and is completely handcrafted in Fulda. At this point, if you haven't already done so, you should quickly take a look at the selling price again, because it is quite moderate for a hand-made pedal - assuming, of course, that the sound is right. But more on that later. With its 240 grams and dimensions of 59 x 110 x 33 mm, it has standard dimensions, and if you turn the controls, it immediately becomes clear that high-quality components have been installed here that can be moved smoothly but with enough resistance. There is a level control that determines the output volume, a gain control for adjusting the distortion and a tone pot that controls the treble level. There is also a switch for selecting the low or high gain mode and a toggle switch labeled bass that activates a bass boost. Of course, a footswitch that wakes the pedal from its true bypass sleep is also a must. As soon as the pedal is active, the LUKE lettering lights up red, a very nice detail! The connections in the form of input and output on the right and left sides of the black painted housing as well as the power supply socket on the front are still missing. This allows the connection of a standardized 9-volt DC dispenser, but the Luke OD can also be operated with 18 volts. A look at the cleanly crafted interior shows that battery operation is not intended. As expected, there is absolutely nothing to complain about in terms of workmanship, the pedal makes a high-quality, robust impression, which brings us to the practical part. Hall & Oates are embroiled in a confidential legal battle that has led to Daryl Hall getting a restraining order against his former music partner John Oates.
Little information about the lawsuit is publicly available, as the court documents are sealed, but based on court records, Hall filed an undisclosed complaint against Oates on Nov. 16, as well as a motion for a temporary restraining order, as reported by Philadelphia magazine. The following day, the court officially issued a temporary restraining order to begin Nov. 30. he Nashville Chancery Court confirmed the existence of the lawsuit to Variety, but declined further comment because the lawsuit is sealed. On Nov. 23, Hall played a concert full of Hall & Oates classics in Tokyo. As TMZ points out, Hall disparaged Oates on Bill Maher’s “Club Random” podcast last year, saying, “You think John Oates is my partner? … He’s my business partner. He’s not my creative partner.” He went on, “John and I are brothers, but we are not creative brothers. We are business partners. We made records called Hall & Oates together, but we’ve always been very separate, and that’s a really important thing for me.” Hall then went on to diminish the collaborative aspect of Hall & Oates, using the duo’s 1980 No. 1 hit “Kiss on My List” as an example of their apparent creative separation. “I did all those [harmonies],” Hall said. “That’s all me.” Oates is not credited as a songwriter on “Kiss on My List,” but is listed as a co-produced with Hall. Hall & Oates met in 1967, formed their duo three years later and have released 18 studio albums since their 1972 debut, “Whole Oats.” The pop-R&B duo boasts six No. 1 singles, including “Maneater,” “Rich Girl” and “Out of Touch.” Hall & Oates toured together as recently as October 2022, and they released their latest studio album, “Home for Christmas,” in 2006. Both Hall and Oates have solo recording careers and have toured separately over the years, but the duo has never officially split up. Eddie Van Halen, the legendary guitarist of the iconic rock band Van Halen, is widely regarded as one of the greatest and most innovative guitarists in the history of rock music. His unique style and groundbreaking techniques have left an indelible mark on the world of guitar playing. Throughout his illustrious career, Eddie Van Halen used an array of guitars, each contributing to the distinctive sound that became synonymous with the Van Halen name. This essay explores some of the notable guitars that Eddie Van Halen wielded on records and during live performances, showcasing the evolution of his instrument choices and the impact they had on his groundbreaking musical legacy. This essay explores some of the guitars that Eddie Van Halen used on records and in concerts, with a special focus on the legendary Steinberger 5150. Frankenstrat (Frankenstein) Eddie Van Halen's journey to guitar greatness began with the creation of his iconic "Frankenstrat." As a teenager, Eddie modified a 1971 Fender Stratocaster, combining parts from different guitars to form a unique instrument. This guitar, with its distinctive red, black, and white striped design, became synonymous with Van Halen's early sound. The Frankenstrat played a pivotal role in the band's self-titled debut album in 1978, contributing to the groundbreaking tracks such as "Runnin' with the Devil" and "Eruption." Ibanez Destroyer In the late 1970s, Eddie experimented with an Ibanez Destroyer, further showcasing his inclination towards customized guitars. The Destroyer contributed to the recording of Van Halen's second album, "Van Halen II," and demonstrated Eddie's ability to adapt and innovate with different guitar models. Kramer 5150 Eddie Van Halen's endorsement deal with Kramer Guitars marked a significant chapter in his career. The Kramer 5150, based on his earlier Frankenstrat design, became one of his go-to guitars. The Kramer models, particularly the 5150, featured a distinct red, black, and white striped paint job, creating a visual signature that matched the intensity of Eddie's playing. These guitars played a vital role in the success of albums like "1984." Steinberger 5150 One of the most iconic guitars in Eddie Van Halen's collection was the Steinberger 5150. Renowned for its futuristic design and compact size, the Steinberger 5150 deviated from traditional guitar aesthetics. Eddie used this guitar during live performances, adding a new visual dimension to Van Halen's stage presence. The combination of the Steinberger design and Eddie's unparalleled skill created an unforgettable sonic and visual experience for fans. The Wolfgang Series: A New Era In the 1990s, Eddie Van Halen collaborated with the EVH brand to design a new line of guitars, the Wolfgang series. The Wolfgang guitars represented a departure from the striped designs of his earlier instruments, featuring a sleek and modern aesthetic. These guitars showcased Eddie's ongoing commitment to pushing the boundaries of guitar design and performance. The Wolfgang series became a staple of his live performances, giving him the tools to continue evolving his sound. Legacy and Influence Eddie Van Halen's guitars were not just tools of his trade; they became symbols of innovation and creativity in the world of rock music. His influence extended beyond his own discography, inspiring countless guitarists to experiment with new techniques and push the boundaries of what was possible on the instrument. The distinctive look and sound of his guitars played a crucial role in shaping the identity of Van Halen's music and left an enduring impact on the rock genre. Eddie Van Halen's guitars are as legendary as the man himself. From the early days with the Frankenstrat to the strategic collaboration with Kramer Guitars and the evolution of the Wolfgang series, each instrument played a vital role in shaping the sound of Van Halen's music. Eddie Van Halen's guitars are not merely instruments but symbols of his innovative spirit and influence on the evolution of rock music. From the DIY Frankenstrat to the groundbreaking Steinberger 5150, each guitar in his collection played a crucial role in shaping the Van Halen sound. Eddie's ability to push the boundaries of guitar design and his commitment to sonic experimentation have left an indelible mark on the world of music, ensuring that his legacy lives on through the strings of his iconic guitars.
Taylor Swift is Time’s 2023 Person of the Year. In the year of the blockbuster Eras Tour and accompanying film, as well as “Taylor’s Versions” of Speak Now and 1989, Swift was “the individual who most shaped the headlines over the previous 12 months, for better or for worse,” according to the magazine’s criterion. She is Time’s first Person of the Year to be recognized for success in the arts, the announcement notes. Her cover shoot features a cameo from her cat Benjamin Button, as credited in her acknowledgment post.
Time’s Sam Jacobs wrote, “In a divided world, where too many institutions are failing, Taylor Swift found a way to transcend borders and be a source of light. No one else on the planet today can move so many people so well.” This year in particular, Jacobs added, Swift “achieved a kind of nuclear fusion: shooting art and commerce together to release an energy of historic force.” This year alone, Swift has had three No. 1 albums: the two new “Taylor’s Versions” and a brief return to the top for last year’s Midnights. The Eras Tour movie broke box office records for a concert film. And, as Time notes, the tour itself came to symbolize American soft power: “A U.S. diplomat told me how meaningful it was to get Swift to agree to play in his host country,” Jacobs wrote. This is Swift’s second time on the Person of the Year cover, following her appearance in 2017 among “silence breakers” who contributed to the #MeToo movement. Last year, Time honored “The Spirit of Ukraine” and the country’s president, Volodymyr Zelenskyy. Read “Meet the Argentine Taylor Swift Fans Who Have Been Camping Out for the Eras Tour Since June” and, below, Pitchfork’s review of the Eras Tour movie. Plus, check out the Pitchfork Review podcast on the film and the surrounding mania. It might be compared to a new Harry Potter book being announced or the long-awaited Rolling Stones album. Although gamers will say that even the enthusiasm for this contrasts sharply with their expectations.
After years of waiting, a trailer for the new Grand Theft Auto VI was supposed to be released this afternoon, but that was suddenly moved forward to the middle of the night: the trailer then turned out to have been leaked on social medium X, after which the developer decided to release the full-fledged video itself. to give. There are few video games that have been waiting for as many gaming fans as the new GTA VI. Rumors and speculation have been going around for months about what the game will look like. Developer Rockstar Games is still keeping many details secret, but expectations are high. What becomes clear from this trailer: the setting is once again Vice City, a fictional city based on Miami. For the first time, the game has a female protagonist. And the game won't be released until 2025. The previous GTA, the fifth in the series, was released in 2013. It is not known why Rockstar waited so long to release a sequel, but they themselves are silent about it. Experts think the developers wanted to take their time to deliver a good product. There are also critics who say that GTA V is a cash cow that still makes a lot of money. GTA V has grossed more than $8 billion since its launch ten years ago. This makes it one of the greatest entertainment products ever. Avatar, for example, remains far behind as the most lucrative Hollywood film with less than 3 billion. It is not yet possible to say whether Grand Theft Auto VI will live up to expectations. However, images of the game have been leaked in recent months. A hacker posted them on an online fan forum. Rockstar Games confirmed that "a third party" had illegally downloaded confidential information, including footage from the game. Country singers, romance novelists, video game artists and voice actors are appealing to the U.S. government for relief — as soon as possible — from the threat that artificial intelligence poses to their livelihoods. "Please regulate AI. I'm scared," wrote a podcaster concerned about his voice being replicated by AI in one of thousands of letters recently submitted to the U.S. Copyright Office. Technology companies, by contrast, are largely happy with the status quo that has enabled them to gobble up published works to make their AI systems better at mimicking what humans do. The nation's top copyright official hasn't yet taken sides. She told The Associated Press she's listening to everyone as her office weighs whether copyright reforms are needed for a new era of generative AI tools that can spit out compelling imagery, music, video and passages of text. "We've received close to 10,000 comments," said Shira Perlmutter, the U.S. register of copyrights, in an interview. "Every one of them is being read by a human being, not a computer. And I myself am reading a large part of them." What's at stake? Perlmutter directs the U.S. Copyright Office, which registered more than 480,000 copyrights last year covering millions of individual works but is increasingly being asked to register works that are AI-generated. So far, copyright claims for fully machine-generated content have been soundly rejected because copyright laws are designed to protect works of human authorship. But, Perlmutter asks, as humans feed content into AI systems and give instructions to influence what comes out, "is there a point at which there's enough human involvement in controlling the expressive elements of the output that the human can be considered to have contributed authorship?" That's one question the Copyright Office has put to the public. A bigger one — the question that's fielded thousands of comments from creative professions — is what to do about copyrighted human works that are being pulled from the internet and other sources and ingested to train AI systems, often without permission or compensation. More than 9,700 comments were sent to the Copyright Office, part of the Library of Congress, before an initial comment period closed in late October. Another round of comments is due by December 6. After that, Perlmutter's office will work to advise Congress and others on whether reforms are needed. What are artists saying? Addressing the "Ladies and Gentlemen of the US Copyright Office," the Family Ties actor and filmmaker Justine Bateman said she was disturbed that AI models were "ingesting 100 years of film" and TV in a way that could destroy the structure of the film business and replace large portions of its labor pipeline. It "appears to many of us to be the largest copyright violation in the history of the United States," Bateman wrote. "I sincerely hope you can stop this practice of thievery." Airing some of the same AI concerns that fueled this year's Hollywood strikes, television showrunner Lilla Zuckerman (Poker Face) said her industry should declare war on what is "nothing more than a plagiarism machine" before Hollywood is "coopted by greedy and craven companies who want to take human talent out of entertainment." The music industry is also threatened, said Nashville-based country songwriter Marc Beeson, who's written tunes for Carrie Underwood and Garth Brooks. Beeson said AI has potential to do good but "in some ways, it's like a gun — in the wrong hands, with no parameters in place for its use, it could do irreparable damage to one of the last true American art forms." While most commenters were individuals, their concerns were echoed by big music publishers — Universal Music Group called the way AI is trained "ravenous and poorly controlled" — as well as author groups and news organizations including The New York Times and The Associated Press. Is it fair use? What leading tech companies like Google, Microsoft and ChatGPT-maker OpenAI are telling the Copyright Office is that their training of AI models fits into the "fair use" doctrine that allows for limited uses of copyrighted materials such as for teaching, research or transforming the copyrighted work into something different. "The American AI industry is built in part on the understanding that the Copyright Act does not proscribe the use of copyrighted material to train Generative AI models," says a letter from Meta Platforms, the parent company of Facebook, Instagram and WhatsApp. The purpose of AI training is to identify patterns "across a broad body of content," not to "extract or reproduce" individual works, it added. So far, courts have largely sided with tech companies in interpreting how copyright laws should treat AI systems. In a defeat for visual artists, a federal judge in San Francisco last month dismissed much of the first big lawsuit against AI image-generators, though allowed some of the case to proceed. Most tech companies cite as precedent Google's success in beating back legal challenges to its online book library. The U.S. Supreme Court in 2016 let stand lower court rulings that rejected authors' claim that Google's digitizing of millions of books and showing snippets of them to the public amounted to copyright infringement. But that's a flawed comparison, argued former law professor and bestselling romance author Heidi Bond, who writes under the pen name Courtney Milan. Bond said she agrees that "fair use encompasses the right to learn from books," but Google Books obtained legitimate copies held by libraries and institutions, whereas many AI developers are scraping works of writing through "outright piracy." Perlmutter said this is what the Copyright Office is trying to help sort out. "Certainly, this differs in some respects from the Google situation," Perlmutter said. "Whether it differs enough to rule out the fair use defense is the question in hand."
Sammy Hagar, Michael Anthony, Jason Bonham and electric guitar legend Joe Satriani have announced a summer 2024 North American tour that's set to feature a very Van Halen-heavy setlist. Its participants have been careful not to explicitly call The Best of All Worlds, as the tour is being called, a “Van Halen tribute tour,“ as original frontman David Lee Roth, drummer Alex Van Halen, and Eddie Van Halen's son – Mammoth WVH leader and one-time Van Halen bass guitar player Wolfgang Van Halen – do not appear to be involved. Needless to say, though, given that Satriani was long involved in discussions for an official tour with Roth and Alex Van Halen that eventually petered out, it appears that this is as close to a genuine tribute tour as we're going to get. "We're gonna go deep into the Van Halen catalog," Hagar told Howard Stern on Tuesday. "If you're gonna go deep into the Van Halen catalog, you need Joe Satriani." Hagar noted that he and Anthony typically play "five or six Van Halen songs" on the road with the Circle. This time, he'll flip the script and play "five or six of my songs" alongside Van Halen classics and deep cuts. “It’s crazy to think that it’ll be 20 years since Mikey and I played these songs with Van Halen on the 04’ Best of Both Worlds Tour,“ Hagar said in a statement. “With Joe on board, we can take a deeper dive into those years. “We’re going to touch on some hits from my entire career, but seeing fans old and new really embrace [The Collection II, a new box set featuring remasters of Van Halen's four Hagar-era albums] set off something in Mikey and I. We were at my Birthday Bash in Cabo for my 76th and looked at each other and high five-d, like, ‘let’s do it.’ We pulled out a couple of them and it was an instant lovefest with the fans from our first riffs. “The music we created is going to outlive us all,“ the singer concluded. “[The songs] deserve to be heard, so it's time we go out and serve the fans that music, while we still can.“
The statement announcing the tour highlighted latter-day Van Halen classics like Finish What Ya Started, 5150, Good Enough, Best of Both Worlds, Poundcake, and Right Now as examples of what fans can expect to hear at the shows, along with material from Hagar/Anthony/Satriani supergroup Chickenfoot, and modern-day project The Circle. From there, one can naturally infer that – in Roth's absence – the setlists will be light on material from Van Halen's first six albums. The Best of All Worlds tour is set to begin on July 13 in West Palm Beach, Florida and will conclude on August 31 in St. Louis, Missouri, and will be supported by Loverboy. Tickets go on sale this Friday, November 17, at 10 a.m. local time. "Machine Gun" is a powerful and evocative song by the legendary guitarist and songwriter Jimi Hendrix. It was recorded live at the Fillmore East in New York City on January 1, 1970, as part of the Band of Gypsys performances. The song is often considered one of Hendrix's most politically charged and emotionally intense compositions.
Hendrix's performance on "Machine Gun" is considered a masterclass in guitar improvisation. He used the instrument to paint a sonic landscape, conveying the pain, anger, and sorrow associated with war. The song's extended instrumental passages allowed Hendrix to explore the full range of his guitar's capabilities, creating a deeply emotional and cathartic experience for both the musician and the audience. Tragically, Jimi Hendrix's career was cut short when he passed away on September 18, 1970, at the age of 27. "Machine Gun" remains a testament to his musical genius and his ability to use his art to comment on the world around him. The song's enduring impact is evident in its continued relevance and the way it resonates with listeners, capturing the spirit of a tumultuous time in history. Every electric guitarist should have a few pedals in their arsenal to help shape their instrument's tone, boost its dynamics or sonic capabilities, or perform practical duties to ensure they always sound their best. Since the mid-20th century, when guitarists sought heavier sounds without pushing their amplifiers to breaking point, effects pedals have been used to creative effect, changing the face of modern music. In the intervening years, there have been significant advancements in guitar effects, not least with digital modulation and delay effects that are more portable, versatile, and reliable. Modeling technology has further advanced guitar pedals' capabilities by faithfully emulating classic analog units that are more affordable and durable than their original counterparts. From the acoustic player who favors a stripped-down selection of tuner, compressor, and reverb to the progressive rock guitarist whose playing relies upon layers of modulation and delay, everyone has their ideal pedal setup that's as unique to the guitarist as the music they create. Here are 10 types of guitar pedals that every guitarist would find valuable across various musical styles, and our picks of the best models within each category. Tuner Pedal: Boss TU-3 Our first entry is the most pedestrian of guitar pedals but one of the most important. Accurate tuning is fundamental to a good performance, and it can often be hard to determine a perfect pitch while competing against a loud backline. A tuner pedal affords you the peace of mind that your strings are not only in tune relative to each other but also to other musicians. It also allows you to silently tune your guitar on stage before and during a set, so your audience isn't treated to a cacophony as you twang your strings from high E to low E. Modern tuners present a backlit interface that enables easy pitch correction in low lighting (such as stage conditions), and many offer tuning modes so that you can adjust your pedal for alternate tunings with perfect accuracy. Most then detect the string you are tuning and use either a series of LEDs or an LCD to indicate whether you are sharp or flat and highlight when you reach the perfect pitch. The Boss TU-3 is one such tuner pedal that does all of the above but has some useful additional features. It is built with the exact dimensions and profile as most Boss pedals and with the same rugged build quality that looks to last a lifetime. Features include a high brightness mode for outdoor and well-lit conditions. It also provides power to other pedals when connected in series so that the tuner can be plugged into an outlet, and all of your other effects can then be daisy chained from it with a standard cable. This eliminates the need for an additional power bank and leaves your pedalboard neat. Overdrive Pedal: Ibanez Tube ScreamerWhat do you do when you need that extra boost and your amplifier doesn't go up to 11? An overdrive pedal may be the answer to your woes, as it increases gain and adds a moderate level of drive, giving your guitar a warmer, crunchier sound. It is also a useful dynamic tool that helps lead lines and double stops cut through the mix and provides added gain for soloing without oversaturated distortion levels. Unlike distortion pedals, overdrive replicates the sound of a fully-cranked — or "overdriven" — tube amp. Think of the guitar tone on The Kinks' "You Really Got Me." In doing so, they are not as abrasive as their heavier counterpart and are more responsive to pick attacks and changes in volume while retaining the guitar's natural tone. To many, the Ibanez Tube Screamer is the ultimate overdrive pedal. Originally given the designation TS-808, this traditionally green unit has been around since 1979 and was quickly adopted by guitarists Stevie Ray Vaughan and Eric Johnson. It is a simple transistor-based pedal with minimal controls, consisting of "Drive" for adding gain, "Tone" for boosted trebles and mellower lows, and "Level" to adjust volume relative to your amplifier. Its combination of simplicity, quality components, and distinctive tonal qualities won the Tube Screamer legions of fans, and it continues to be among the top-selling overdrive pedals in its latest iteration, the TS9. Distortion Pedal: Pro Co RAT 2 Almost every electric guitarist owns a distortion pedal of some description or, failing that, a switchable high-gain channel on their amplifier. Distorted guitar tones have come to represent the sound of rock music ever since the early days of overdriven tube amp tones, which were first used by blues players of the 1940s and '50s. This was followed by the transistor-based fuzz pedals of the 1960s, as used by Keith Richards on the seminal hit "Satisfaction," which developed into the heavy, saturated stompbox sounds we know today. Distortion pedals provide more aggressive distortion than overdrive and are ideal for heavier rhythm parts and leads. From Kurt Cobain's well-used Boss DS-1 unit that was used on every Nirvana record and sold at auction for $75,000, to David Gilmour's Electro-Harmonix Big Muff Pi, as heard on "Comfortably Numb," we are familiar with the sounds of various distortion pedals, even if we are unaware of their exact make and model. The Pro Co RAT is one such distortion pedal that helped shape the sound of modern rock. It has been championed by James Hetfield of Metallica and Nuno Bettencourt of Extreme for its versatility of tones, which range from smooth-as-silk to chainsawing-sheet-steel. Like the Tube Screamer, it features three controls, namely "Distortion," "Filter," and "Volume," which perform much the same duties, although Filter blends with your guitar's natural tone when rolled back. The latest version, the RAT 2, is exceptional value at $100 for such a rugged piece of essential gear that will not let you down. Delay Pedal: Line 6 DL4 MkIIDelay adds an echo effect to your guitar sound, creating a sense of space and depth. It is used across many contemporary genres, including alternative and psychedelic rock. It can be heard in the signature riff to David Bowie's "Let's Dance," as well as on just about every U2 record ever recorded. However, the delay effect can be traced back to the early days of rock n' roll, well before Boss released the first digital delay pedal, the DD-2, in 1984. The first delay effects used magnetic tape to create a short delay, or "slapback" effect, that wasn't unlike a large hall reverb. Since then, various other methods have been experimented with, including the Roland Space Echo of the early 1970s, the first true solid-state precursor to the digital models we use today. Now, delay has become a guitar staple, and thanks to digital technology, it can be adjusted to tempo and set to multiple rhythmic parameters, making it far more helpful in music creation and performance. While Boss is still a frontrunner in portable delay effects, since the turn of the century, Line 6 of California has made significant waves in digital guitar tech, not least with its DL4 MkII delay module. This beast offers 15 different delays, some modeled on vintage units, and each can be modified within various parameters. It even boasts a high-end loop sampler, which can be controlled via one of its four footswitches. Those looking for one delay to rule them all should undoubtedly have Line 6's flagship DL4 on their radar. Reverb Pedal: MXR M300Reverb is the most commonly used effect in live and recorded music and can be defined as an echo that reflects — or "reverberates" — in under 50 milliseconds. Producers use it to add space to vocals and most instruments (usually except for the bass, which sits in the center of the mix). Reverb is a handy dynamic tool that, when used properly, can make a track come to life or add ambiance and grandeur to a live performance. A reverb pedal simulates the guitar's sound in a particular acoustic space. It enriches the guitar's natural tone and helps add character and "feel" to your playing. Notable uses of guitar reverb in popular music are Jeff Buckley's digital effect on "Hallelujah," Chris Isaak's heavily saturated "Wicked Game," and David Gilmour's Stratocaster on "Shine On You Crazy Diamond." The MXR M300 offers six different reverbs, and each can add a different nuance to your tone. These include the standard plate and spring reverb options (modeled on classic studio and guitar amp technology) and four stylized options, including a rich room reverb and more complex modulation-based reverbs. MXR is known for making high-quality, compact pedals that offer excellent durability for the touring musician. Chorus Pedal: TC Electronic June 60 V2Guitar effects, like many things in life, go in and out of style. It could be said that chorus was the defining guitar sound of the 1980s, and some might say it was overused, but it is still a staple on guitar effects modules, amplifiers, and software. One of the main reasons for its enduring appeal is that it simply sounds cool, and it is one of the more subtle modulation effects that still adds plenty of character to clean guitar tones. Chorus adds a shimmering, doubling effect to a guitar's signal. It helps create a richer and more textured tone and was commonly heard on arpeggiated riffs in late 20th-century rock and pop. Notable uses include Kurt Cobain's main guitar hook on "Come as You Are," Andy Summers' sparse chords on "Walking on the Moon," or Nile Rodgers' funky strumming on "Get Lucky." The TC Electronic June 60 V2 is a faithful reconstruction of the vintage chorus sounds of the 1980s, specifically that of the Roland Juno 60 synthesizer on which its circuitry is based. It is beautifully presented with solid wood sides sandwiching a classic '80s-style interface with retro fonts and switches. It could barely be more straightforward, with switchable mono and stereo sound and two bold yellow switches. Switch 1 activates a slow and emotive chorus, whereas Switch 2 activates a faster, wobbly tone. This pedal is the epitome of the term "plug and play," but its limited sounds are reassuringly sublime. Phaser Pedal: MXR Phase 90Phasing is a modulation effect created by replicating the signal and time-shifting one very slightly. This "out of phase" result affects the frequency spectrum of the sound, which is then modulated using a low-frequency oscillator to produce a sweeping psychedelic or "spacey" tone. Phaser pedals work well with clean tones, and some models can be adjusted to track specific tempos. Some spottings of a phaser in the wild include Brian May's use of one in "Sheer Heart Attack" and on Van Halen's classic "Eruption." It could be said that as a subtler relative of the flanger pedal, the phaser gets less exposure than its more flamboyant counterpart, but when used well, it becomes an essential component of a song. It is also versatile and used by guitarists and electric piano players, especially those who use classic mid-20th century instruments like the Fender Rhodes, including Billy Joel and Donald Fagen of Steely Dan. It's hard to imagine a guitar pedal that is easier to use than the MXR Phase 90. It consists of a single rotary knob for "speed" that alters the intensity of the phasing effect, and that's it. Despite its simplicity, this pedal has become an icon among modulation effects. Famous guitarist proponents include Slash, Paul Gilbert, and the maestro Eddie Van Halen. Need we say more? Flanger Pedal: Alexander F-13 NeoAs oscillators became a defining feature in music technology, we saw a shift in the capabilities of line-level instruments. Suddenly, we could use subtractive synthesis to dial in some of the weirdest and most wonderful sounds via outboard effects, including guitar pedals. One of the most recognized modulation effects is the flanger. Like the phaser, it uses a time delay to create phasing combined with a low-frequency oscillator to produce a distinct swirling sound, but it is far more pronounced. This dynamic and unique modulation effect can be heard in the intro to Rage Against the Machine's "Killing in the Name," the bridge of The Eagles' "Life in the Fast Lane," and also on the drum break in Tears for Fears' "Head Over Heels." Such a conspicuous effect should be used sparingly and usually is, but it can add real identity to musical passages and make them stand out in the mix. While it's hard to fault the durable workhorse effects of brands like Boss, which have been around for decades, one cannot ignore some of the boutique pedals that are increasingly popular for a good reason. One of these is the Alexander F-13 Neo, a pedal claimed to have been inspired by space junk recovered from Area 51. This aesthetic is reflected in its tone, or as Alexander describes it, "interplanetary flange." Stylistically, it's a simple square box, and it looks like they have used a label maker to name its parameters, giving it a homemade, custom feel. But dial in one of its multiple flanger patterns in Step Mode or its Echo Flanger effect, and it lives up to its other-worldly reputation. Wah Pedal: Dunlop CrybabyThe wah pedal (or "wah-wah") alters the guitar's tone by shifting the frequency emphasis. Its onomatopoeic name refers to the vocal expression of its sound that could be likened to an infant crying. As the pedal is rocked back and forth, a ratchet rotates a tone potentiometer, which can be used to accentuate notes or rocked rhythmically to emphasize chord sequences. Some players like Carlos Santana and Frank Zappa used it in a "cocked" static position to boost midrange frequencies. The wah pedal was invented in 1966 when guitar effects were becoming mainstream, and it was quickly adopted by the guitar heroes of the day, including Jimi Hendrix and Eric Clapton. Having found roots in rock music, it helped shape the sound of funk and disco, with its muted "wacka-wacka" chop, as used on Isaac Hayes' "Theme from Shaft." The Dunlop Crybaby is the most popular wah pedal with a bright high end. It remains a common feature on the pedal boards of guitar players, including Slash and Kirk Hammet, each of whom has their own signature model. The range has been extended in recent years to include "Mini" and "Junior" models that are smaller than the original, as well as a "Q-Zone" auto-wah stomp box and the 95Q Crybaby, where you can alter the intensity of the tonal sweep. Compressor Pedal: Boss CS-3A compressor pedal is usually the last item on a guitarist's wish list, as it performs more of a functional role that will barely be noticeable to the average listener. Yet, once added to your arsenal, it is immediately apparent how it improves the dynamics of your playing, helps you cut through the mix, and adds sustain to your distorted leads.
A compressor works by regulating the volume of plucked or strummed notes. Reducing the difference between a loud and quiet attack enhances the guitar's overall sound and tightens up your playing. This is especially useful when playing rhythm lines and for bass players who don't rely as much on nuance and need a punchier sound. There are many compressor pedals for guitarists, each with varying degrees of technicality, but the Boss CS-3 Compression Sustainer ably straddles the line between functionality and usability. The pedal consists of four rotary dials and a switch. The "Sustain" dial allows you to alter the amount the pedal hangs on a note before decaying, and the "Attack" control adjusts the compression-to-signal ratio. Put simply, this is where it kicks in. There's also a tone knob, and a level control, to balance your pedal with the amplifier's output. Then, all that's left to do is turn it on and let it work its magic. American actor Matthew Perry, best known for his role as Chandler Bing in the 90s sitcom ‘Friends’, was found dead in a hot tub at his home in Los Angeles on Saturday, law enforcement sources told TMZ and NBC.
Perry’s body was reportedly found in a jacuzzi at his LA-area home, with no foul play suspected and no drugs found at the scene, police sources told TMZ. The incident was treated as a “water rescue,” according to a law enforcement source cited by NBC. Police sources also confirmed Perry’s death to Rolling Stone. A spokesperson for the Los Angeles Police Department said that officers “responded at 4:10 this afternoon to a death investigation for a male in his 50s.” However, the authorities have yet to officially confirm the identity of the deceased or details of the incident. Perry, a Canadian-American actor, comedian, and producer, was born on August 19, 1969 in Williamstown, Massachusetts and was raised in Ottawa, Ontario where his Canadian-born mother, Suzanne Morrison, a journalist who served as the press secretary for former Canadian PM Pierre Trudeau, moved following a divorce from his father, John Bennett Perry, an American actor. He moved to Los Angeles at the age of 15 to pursue an acting career and first appeared in the TV series ‘Second Chance’ before making his big screen debut in ‘A Night in the Life of Jimmy Reardon’. While ‘Friends’ is his biggest claim to fame, he also starred in memorable films such as ‘Fools Rush In’ along with his father and Salma Hayek, ‘The Whole Nine Yards’ with Bruce Willis, ‘Three to Tango’, ‘The Kid’, ’17 Again’, ‘Getting In’, and many others. Perry also acted in various TV shows – ‘Boys Will Be Boys’, ‘Growing Pains’, ‘Silver Spoons’, ‘Charles in Charge’, ‘Sydney’, ‘Beverly Hills, 90210’, Home Free’, and more. His roles in ‘West Wing’ and ‘The Ron Clark Story’ earned him Emmy and Golden Globe nominations. Despite his humorous side, Perry struggled with drugs and alcohol. He was hooked on the painkiller Vicodin for years and was in and out of rehab even when filming ‘Friends’. He opened up about his struggles in his memoir ‘Lovers, and the Big Terrible Thing’, which was published last year and became a best-seller on the Amazon and New York Times charts. Although Perry became sober a year ago, his appearance during a ‘Friends’ reunion show drew concern from his fans as he appeared unwell, slurring words and looking disorientated. He never married, but was briefly engaged to Molly Hurwitz, a literary manager, before calling off the engagement in June 2021. If you’re a regular follower of vintage guitars or any other guitar-obsessed haunter, you’ll know that when it comes to the vintage market, no other production line model demands the kind of money associated with the 1959 Gibson Les Paul Standard. When one of the roughly 1,400 so ’Bursts produced between 1958 and 1960 (so-called for their stunning sunburst finishes) hits the market, it is news in itself. Even more so when you narrow that to the most sought-after ’59 productions, which are thought to have been limited to just 643 guitars.Now a 1959 ’Burst dubbed ‘Miss Swiss’ is going up for sale via specialist dealer, Carter Vintage, with an asking price of $450,000. The instrument is described by the retailer as being “definitely one of the cleanest examples we've seen come through our showroom” and the images show it is in remarkably good condition for its 60+ years.
However, as Gibson’s Mark Agnesi recently said, they are still loved. “Everyone I know that has bought a ’Burst in the last five years is playing that guitar every single day,” says the Gibson man. “[Ultimately] if the thing doesn't play, it's worthless. So if you're sitting here with it and you're so worried about the value [dropping] you can't play the damn thing, it's worthless… There are far worse things you can do to guitars than put a new set of frets on it and have it PLEK-ed, so it plays like a new guitar again.” All of which, we imagine, will be welcome news to the new owner of the (refretted) Miss Swiss. If you’re in the market for a ’Burst, btw, you might also like the look of Kirk Hammett’s 1960 Les Paul Standard ‘Sunny’ – available for a snip more at $500,000, though it does come with its own Gibson Custom Shop replica model. For more information on the guitar, head to Carter Vintage.
Himono-onna, Minato-ku joshi, Age-Man... You may have overheard these terms or seen them appearing repeatedly on social media. What do they mean, and what have they got to do with women in Japan? Well, this article will answer your questions—and give you a glimpse of not only the women behind those inventive groups but the Japanese society as a whole. If you’ve lived in Japan for a while now you may have overheard people saying things like: “She’s sure an age-man, her husband got promoted right after they got married,” or “That girl is so nikushoku-joshi, she doesn’t care if the guy she has a crush on has a girlfriend or not. She just goes for him,”—or even, “I was a bari-kyari until I got pregnant. Now, I’m a yuru-kyari and earn less than before, but I’m glad I made that decision because everyone in my family is happy!” The list is endless and these are all words and phrases that categorize and describe types of women in Japanese culture. You’ve probably noticed that Japanese women (and men) like to and tend to categorize others--and themselves—based on their personality, actions, and behaviors, as well as how they’d chosen to live their lives. But why so many labels do exist in Japan? This tendency probably has a lot to do with the importance of wa (和, group harmony) in the Japanese society—how one should always belong in and conform to a group, and be both dependent on and responsible to other members of that group. This, I believe, is why there are so many categories/groups out there for Japanese women—and why during a joshi-kai (女子会, women’s get-together) and other similar occasions, you’ll hear remarks such as the ones above made over and over again. Without further ado, let me introduce some common terms and phrases that are often used to depict a certain type of Japanese woman. Some of them have quite a history, but are still commonly heard in daily life; others are buzzwords that have popped on social media and/or appeared in female fashion magazines these last years. ‘Age-man’ & ‘Sage-man’ The term age-man (アゲマン) became a buzzword in the early 1990s, after the movie with the same title directed by Juzo Itami, became a hit in Japan. Called “Tales of a Golden Geisha” in English, this comedy tells the story of a geisha who brings luck to the men with whom she gets involved with. Age comes from the verb ageru, which means “to bring up” or “to raise”—in this case, luck. Where the term man comes from is widely debated, but these two explanations have gained popularity:
‘Bari-kyari’ & ‘Yuru-kyari’ There used to be two big categories separating Japanese women: sengyo-shufu (専業主婦) (full-time housewife) and career women (キャリアウーマン). Nowadays, however, with an increase of women in the workforce—especially working mothers—there are additional terms that express women with jobs. The first one’s bari-kyari, and the other yuru-kyari. Bari-kyari (バリキャリ) is composed of these two words: bari, an abbreviated version of baribari, which describes how one works very hard or does something very energetically; and kyari, which is short for “career women.” So, basically, this term refers to women on a solid career path, who value succeeding in their career over leading a productive personal life. Yuru-kyari (ゆるキャリ), with yuru coming from yurui (meaning “relaxed” or “laid back”), is more or less the opposite of bari-kyari. This is a category of women whose priority is not to work but rather their family, hobby, and/or personal life. As such, they prefer to work at their own pace. As you can probably imagine, a lot of Japanese women shift from being a bari-kyari to yuru-kyari once they have a child—this is because, as I wrote previously, females in Japan have contributed and continue to contribute more to raising kids, compared to their male partners. ‘Yochien-mama’ Recently, I noticed that the other big category of women, sengyo-shufu, has received an “upgrade” too—”yochien-mama” (幼稚園ママ). I first saw this term when flipping through Very, a Japanese fashion magazine for women in their 30s and 40s. The term refers to women, who for the most part, are married (to a high-earning husband), have kids, and leading a fulfilling life. Yochien is a Japanese word for “kindergarten,” so this term directly translates as “a mother who has a child attending a kindergarten.” "Japanese women like to and tend to categorize others—and themselves—based on their personality, actions and behaviors, as well as how they’d chosen to live their lives" The point here is that the child goes to a kindergarten, not hoikuen (daycare). Because yochien typically runs between 9 a.m. and 2 p.m., it’s not usually working-mother-friendly; as such, sending kids to kindergarten is seen as something full-time housewives would do, hence why hearing the term yochien-mama immediately makes one think, “Oh, it must be a chic and trendy way of expressing sengyo shufu.” After all, the latter term is more or less old-fashioned. ‘Nikushoku-joshi’ The term nikushoku-joshi (肉食女子), which was first coined by the columnist Maki Fukasawa in 2006, literally means “carnivorous girl.” As the name suggests, it denotes a type of women who are proactive in pursuing romance and isn’t afraid to take the first step in relationships. They are oftentimes quite sexually open and aggressive too, and don’t normally hesitate to have sex before going through the whole “Would you go out with me?” situation. Nikushoku-joshi was invented as a sort of like an antonym to soshoku-danshi, or “herbivorous guy.” It’s probably easy to imagine the type of men who fit in this category—those who are not really masculine or manly, both on the outside and inside, and do not actively pursue romantic relationships. They tend to not have as much of a sex drive and appear to love spending time with their male friends than with girls. Needless to say, carnivorous girls and herbivorous guys are often said to make a great couple—after all, opposites attract, right? "Nikushoku-joshi was invented as a sort of like an antonym to soshoku-danshi, or “herbivorous guy" ‘Himono-onna’ At the opposite end of the spectrum from nikushoku-joshi is himono-onna (干物女), which translates as “dried fish woman.” The term—first appearing in “Hotaru no Hikari,” a Japanese manga series that was popular in the late 2000s—was used to express the main character, who had no interest in seeking romance and loves to spend her downtime at home alone, wearing pajamas all day and reading manga, drinking beer or sleeping. A lot of female readers sympathized with her, and the term stuck around to this day, but with a slightly wider meaning. It is now used to depict single women in their late teens to 30s, whose love life is dried out (like himono)—yet are not interested in and even feel bothersome to jump back into the dating scene. ‘Minato-ku joshi’ Minato-ku joshi (港区女子), is a word that appears to have gained momentum in the last year or so. These are ladies—mostly university students and those in their early 20s—who love spending time in Minato Ward, one of the most expensive places to live in Japan. By Minato Ward, I mean the chic neighborhoods of Roppongi, Azabu Juban, Nishi-Azabu and Aoyama, where the so-called “high spec guys”—well-educated, good-looking men who earn a lot, such as business owners, doctors or elite salarymen working at big-name companies—live, work and party night after night. Minato-ku joshi’s sole purpose in life is to be around these men, using their youth, beauty, and wit to get what they want—be it free dinner at high-class restaurants, expensive gifts such as designer handbags and jewelry, or connections with celebrities and other rich and famous guys. Many Minato-ku joshi also happen to be kirakira joshi (キラキラ女子), who are leading “shining and glittering” lives. Simply put, they own everything—they’re pretty, have an amazing fashion sense, are cheerful, positive, and fun to talk with. They’re witty and intelligent, and most of them are successful in their careers too.
The above are just a few of the many “labels” Japanese women have invented for themselves or others over time. There will be many more to come for sure and this is by no means a full list of the countless number of categories that exist in the Japanese colloquial dictionary. For now, however, I hope that you will be able to recognize some of the “code words” the next time you’re on a joshi-kai with Japanese women. Russell Brand has been accused of rape, sexual assaults and emotional abuse during a seven-year period at the height of his fame. Four women, including one who was just 16 at the time, have alleged sexual assaults occurred between 2006 and 2013, when Brand was working for BBC Radio 2 and Channel 4, as well as starring in Hollywood films. The comedian and actor also faces allegations of controlling, abusive and predatory behaviour, following a joint investigation by The Sunday Times, The Times and Channel 4 Dispatches. Brand vehemently denies the allegations and in a video posted online, stated all of his relationships have been “consensual”, before accusing the media of a “co-ordinated attack”. It comes after Channel 4 Dispatches aired a 90-minute film titled Russell Brand: In Plain Sight on Saturday night, which saw four unidentified women detail their allegations, and other women speak of their experiences working with Brand on TV sets. It included Brand’s former personal assistant Helen Berger, who called him a “narcissist” in an interview for the programme. Meanwhile, Brand appeared as scheduled at the 2,000-capacity Troubadour Wembley Park Theatre in north-west London to perform a sold-out comedy gig on Saturday evening. His show, titled Bipolarisation, had been due to begin at 7pm, but was delayed by more than 45 minutes and lasted around an hour. While not directly addressing the allegations, audience members told the PA news agency Brand said he hoped they could “appreciate” there were things he could not talk about during the set. The allegations made against Brand include one woman who claims she was sexually assaulted during a three-month relationship with him when she was 16 and still at school. The woman described his behaviour towards her as “grooming” as he would allegedly provide her with scripts on how to deceive her parents into allowing her to visit him. In 2020, the woman contacted Brand’s literary agent at the time, who was also the co-founder of talent agency Tavistock Wood. A statement given to the PA news agency by Tavistock Wood said: “Russell Brand categorically and vehemently denied the allegation made in 2020, but we now believe we were horribly misled by him. TW has terminated all professional ties to Brand.” In the vast landscape of music, certain artists possess a rare ability to transcend generations, captivating listeners with their timeless melodies and indelible charisma. Among these luminaries, Sade Adu, simply known as Sade, stands as a paragon of enduring elegance and musical brilliance. With a career spanning over four decades, Sade has woven an enchanting tapestry of sultry, soulful tunes that have left an indelible mark on the world of music.
Born on January 16, 1959, in Ibadan, Nigeria, Sade Adu's journey to international stardom is a tale of determination, talent, and unwavering passion. Raised in both Nigeria and Essex, England, Sade's multicultural upbringing would later influence her unique musical style. Her father's Nigerian heritage and her mother's English roots offered her a rich cultural palette to draw upon in her music. Sade's journey into the world of music began in the early 1980s when she joined a London-based Latin-funk band called "Pride." This initial foray into the music industry laid the foundation for her career as she began to hone her craft and develop her distinct vocal style. Soon, she formed the band "Sade" along with Stuart Matthewman, Paul Denman, and Andrew Hale. This partnership marked the inception of something truly special. In 1984, Sade's debut album, "Diamond Life," was released to critical acclaim. The album's fusion of jazz, soul, and pop elements, coupled with Sade's smoky and velvety vocals, struck a chord with audiences worldwide. The single "Smooth Operator" became a massive hit and catapulted Sade to international stardom. Her ability to blend genres seamlessly and convey deep emotions through her music set her apart as a singular talent. Throughout the 1980s and '90s, Sade continued to release a series of successful albums, including "Promise" (1985), "Stronger Than Pride" (1988), and "Love Deluxe" (1992). Each of these albums showcased her ability to craft beautifully melancholic ballads and catchy, upbeat tracks with equal finesse. Sade's lyrics often explored themes of love, heartache, and resilience, resonating with listeners on a deeply emotional level. What sets Sade apart is not just her exceptional vocal talent but her mysterious aura and penchant for privacy. She has consistently shielded her personal life from the prying eyes of the media, focusing instead on her music. This enigmatic quality has only added to her allure, allowing her music to speak volumes on her behalf. Sade's influence extends far beyond the boundaries of her chart-topping albums. Her contributions to film soundtracks, such as "Your Love Is King" in "The Last King of Scotland" and "No Ordinary Love" in "Indecent Proposal," have further cemented her status as a musical icon. Her songs have also been sampled by numerous artists, attesting to her enduring impact on the industry. After a hiatus in the early 2000s, Sade returned to the music scene with "Lovers Rock" (2000) and "Soldier of Love" (2010), both of which garnered widespread acclaim. These albums showcased her ability to evolve while staying true to her signature style, proving that she remained as relevant and captivating as ever. Sade's accolades are as numerous as they are well-deserved. She has earned four Grammy Awards, including Best New Artist in 1986, and she continues to fill concert halls around the world with adoring fans eager to hear her perform live. In conclusion, Sade's life and career represent a remarkable journey through the annals of music history. Her ability to create music that transcends time, genre, and cultural boundaries is a testament to her artistic genius. With a voice that can soothe the soul and lyrics that touch the heart, Sade Adu has earned her place as an enduring icon in the world of music, leaving an indelible mark on generations of listeners who continue to be captivated by her enchanting melodies and timeless elegance. |
Thank you for choosing to make a difference through your donation. We appreciate your support.
This website uses marketing and tracking technologies. Opting out of this will opt you out of all cookies, except for those needed to run the website. Note that some products may not work as well without tracking cookies. Opt Out of CookiesCategories
All
Archives
April 2024
|