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Wednesday, November 19, 2014

About Music Blog Week 7

Below is the second of four images, to see the first check out last weeks post... 

The Young Man leans out over the cheap plastic fence, it cowers against the brush, the dingy light spills through him as he looks down into the cul-de-sac. From the bridge he might appear as a young king, captured and confined to a tower, his gaze wedding thoughts of his kingdom, the lonely street an untrodden path.

A few gentlemen huddle in the corner of the vestibule, adjacent to the apartment hangar, the Young Man gives them a wild wave and they return the gesture, one amongst them approaches him. 

The Gentleman, taller and thinner than the Young man, is about the same age, he leans beside him and joins in gazing onto the cul-de-sac.

“It is dreadful, the way we are gripped.” he says, straightening his shoulders and making a peer to either side of them. The wood is black and encroaching, the walk, the entirety of the structure has given ground over the years. The Young Man never raises his eyes, a smile like warm butter spreads across his face, it is short and favors one side.

“I don’t mind it so much, I never have whenever. It grips only for attention, when you go around in it, it will inevitably ease up.” The two men stand and turn to face the hangar, it is a pointed plastic pavilion of sorts, with rounded columns that in the night blackened, and in the day imitated life. Underneath, red doors line the right side of the hall, the white doors that lined the left were lost in the lighting, no longer dingy but beaming pure and radiant. 

It is a hideous structure really, you can see straight through to the ridgeway, a paved street that rounds the corner into a cloak of trees with no end in sight.

“We’ve no reason to go out anymore, what we’d needed is here now, who can have the trouble?” the Gentleman replies, the two of them walk to where the hangar meets the entranceway, the Gentleman takes a seat on a milk crate with the others, up close they seem evermore an amalgamation, an ageless, thoughtless mass. 

The Young Man ponders the wood and the the trouble, the bleak motif of the surrounding landscape, turns over his shoulder to see the bridge, stoned and thrown.

“I suppose, I’ve always found it a beautiful wood. I really should be going gentleman, have a fine evening.” They bid him the same and oddly glare as he goes, one among them silently calls to ask for a word that describes an inability to acknowledge odd glares, but he is in the hangar, outside of the first door on the right.


The Young Man knocks once. 

After a moment a man opens the door, as soon as he lays eyes on the Young Man he takes a calculated step backward. 

“How are you old friend?” The Young Man says, his voice utter calm, his smile whipping up again, the Old Friend settles and returns a bubbling grin.

“I’d wondered when you’d come back around.” he says. Their charmed looks continue in a silence, a gust rattles the wood over top, the bare trees sway, their branches splinter and shiver and shake, the hangar rings and winds at their command, there is the sound of pebbles tumbling down the brush to the cul-de-sac, pooling every hour.

“May I come in?” the Young Man says clutching himself, the wandering in his face finally shows, he keels slightly, looks up smiling again, plainly.

“Of course you may.” The Old Friend says. 

The Young man closes the door behind him, it is in the corner of the room, one entirely of bare wood with musical instruments tangled along the walls. The Old Friend sits at a slick upright piano beside the bed at the other corner of the room. The Young Man looks about, most curiously at an upright bass, before taking a seat on the bench by the door. He fingers the small acoustic guitar that is leaning on the bench, the strings are loose and clang as he pulls it onto his lap. 

The Old Friend slowly opens the rounded cover to the piano, he watches as his face runs warmly into a jagged capacitance,  fingers glide quickly across the keys, then a slow bluesy rhythm, chords corralled and stammering in a blind fuss. He looks over at the Young Man, feeling out the instrument, the possibilities in a chorus or verse, two notes, four chords, a rest, then a movement into shapes of silence. The Young Man picks into the tension, his mitts hiccup against the frets, a few strums, and a clumsy carriage gets rolling. 

The two of them play into a downtown, a narrow street and the radiant colours, it is early on a weekday and the pumpkin paste bricks of the cathedral seem to be fitted into a sky whose blue has become littered with the white of the clouds. There is no one around, the narrow street is empty yet the Young Man whispers

“So many instruments and nothing to record with.” 

The Old Friend crosses the street, it begins to snow and he lies along the sidewalk in a patched quilt all alone, he is drowsy and his eyes fall on the carriage, immobile, uncertainly occupied.

“I have a few different things, I keep them out of sight... could be in the closet or under the bed, or behind one of the walls, something might be recording, or maybe not, but I listen back and there’s the song.”

Thursday, November 13, 2014

Pangea Gaming Episode #8

Last week on Pangea Gaming

Coming Soon

Last week the crew focused on some rather big releases including Far Cry 4, Sonic Boom, and the yearly Call of Duty release, Advanced Warfare. They also discussed the remakes of two classic games in Kingdom Hearts 2.5 and Pokemon Omega Ruby/ Alpha Sapphire (you can tell Nintendo is running out of colors)

Retro Throwback

Retro Throwback featured some more craptastic games last week with Cheetahmen, Michael Jackson's Moonwalker, and McKids, a game made by the fine folks over at McDonald's (yes McDonald's made a video game and yes it is just as unhealthy as a Bic Mac)

Glocal Minute

David played Gauntlet (....yeah that's all I got)

Uncle Tassy's Mailbag

This week Doug and David actually got some Twitter questions! It's a Christmas Miracle, y'all! Tune in to find out the boy's favorite Zelda weapon/item and also what the there favorite video game of all time is (SPOILER: Neither said Smash Brothers. Like bruh!) Be sure to submit your questions using the #UncleTassy and see it answered live on the show! 

Wednesday, November 12, 2014

About Music Week 6: Notes on Bjork's "Debut"

By Ty Jenkins

In the five weeks prior I have written pieces about the following albums: Alt-J's "This is All Yours" (2014), Edith Piaf's "The Best Of..." (30's, 40's, and 50's), Carole King's "Tapestry" (1971), Judy Collins' "Wildflowers" (1967), and Rickie Lee Jones' self titled debut (1979) ".

They've been reviews of sorts with no particular aim, fine to write and read, but not something one would want to do for six weeks straight. Originally the idea was to do just that with Bjork's "Debut" (1993) as the subject. While that album will remain the subject, I've figured to show you something I've been working on outside of here.

This week, and for the rest of the semester, I am going to post excerpts from an ongoing series of which Bjork's "Debut" played a part. The series is a type of experiment that seeks to transpose the reality of a dream one has had while listening to an album, and to do so as faithfully as possible so that it will inevitably sync with the art contained in the album. That's the short of it, and maybe in the future I'll do an article about how the project came to be, some literature that gave me the idea, other albums I've done, etc.

Until then...

Below is the first of four images from a dream that occurred as Bjork's "Debut" played throughout the night, each image will include song titles whose lyrical themes correspond to the those I've found in the image. Some of the thematic commonalities are more apparent as the entire story is revealed, others are readily apparent. I'll post all four parts together iafter the final part is posted, it will be the final week of the semester:

“Notes on Bjork’s ‘Debut’:
Grade Top Apartments, An Old Friend, and Men Out by the Entrance Way”

("Human Nature", "Big Time Sensuality", "The Anchor Song")

On a very blue and vulgar evening, the shank of it, thin leys of light run through the sky into another, and from a point over yonder to the rear of the grade-top apartments.

There is an old stoned bridge that extends between the ridgeway leading to the small homes and the apartment structure and a path loyal to light and sound.

Beyond the bridge is a short bit of road that runs into a cul-de-sac, a wide sea of grey, glistening concrete quartered by brush of tumbleweed, tiny stones, crisp leaves, and small trees all bent into packed earth. 

The cul-de-sac is encircled by a fresh curb, reaching up around it are nearly vertical walls of the tireless brush, at the west the ridge crests, and directly above, the vestibule to the apartments, masked and pouring a shy yellow beam onto the street below.

On the eastern coping of the wall, along the edge of the unforgiving wilderness that traps both the lights and the sound, is a perfect view of the vestibule, and tonight the Young Man, a small shadowed figure moving slowly through the long feverish torch of the entranceway...

Wednesday, November 5, 2014

Pangea Gaming Episode #7 Halloween Special!

Last Week on Pangea Gaming

Coming Soon

Doug and David discuss some of the upcoming Horror games including Alien: Isolation and the mysterious P.T. demo. Seriously, consult with your cardiologist before checking out these titles #DeadBabyInASink

Retro Throwback

The boys take a journey back to 1996 and take a look at the original Resident Evil (no not the crappy movie series)

Glocal Minute 

David sticks with the Halloween theme as he shows us his Lets Play of Five Nights at Freddys. SPOILER ALERT! He borderline poops his pants.

Sneak Peak

Be sure to tune in Thursday at 10:30 for a jam packed show! With Halo:Master Chief Collection, Assassins Creed Unity and World of Warcraft: Warlords of Draneor coming out within the next week it's sure to be a blast! Be sure to tweet us your questions using #UncleTassy and tweet us @Globesville.

Monday, November 3, 2014

The Beret and Tunes of Rickie Lee Jones

                      The cover art for Rickie Lee Jones eponymous debut is a photograph by South African photographer Norman Seeff. It is modeled after a similar photo of Jones’ father; she wears a burgundy beret and holds a cigarette slow burning. The image is thoughtful, and for the right set of eyes, unforgettable. There are many great cover images, with concepts and imprints that are part of the primary work, and while often great artists are privy to this link and many many others, specifically it seems foolish to talk about Rickie Lee Jones, the album and the artist, divorced from this image. 
            After the release of Rickie Lee Jones in 1979, the beret would become decidedly bohemian-hip, and has remained as much. The symbol’s endurance is a testament to the successful collaboration of celebrity, art, and popular culture within the context of this particular project, its evolution (as one should expect) sees it moving within different spheres of creativity, making a reexamination of the work associated with its origin all the more interesting.
            The musical stylings that Jones implores throughout her debut are largely foreign to the millenial pallet, the debuts presence on Rolling Stone’s “40 Albums that Baby Boomers Loved that Millenials Don’t Know” at least begins a conversation about her placement of jukebox-blues motifs, sidles between the rock n’ roll of the time and some twisted visions of country, and negotiations with the forms of jazz standards. This is most certainly not the idea that the beret conjures up in the present, at least as I’ve seen it, it has become particularly static as of late. Jones’ placements though have a quality of perpetual freshness, tracks such as “Chuck E.’s In Love”, “Coolsville”, and “Weasel and the White Boys Cool” refuse to be pinned down by any of the popular, contemporary ideas of song, and in live performance, often meld into story.
            This is where the current idea of the beret regains a slice of credibility, as a universal symbol of ‘other’ or ‘creativity’ as a tangible whole. Jones’ ability as a storyteller brings her tunes into timeless prospect with strong narratives that strike at musical choices that might immediately turn listeners off. “The Last Chance Texaco” for example is a vivid parable about a woman’s need for a man, and in her voice you hear just how dire that need can become. The images are hard and dark, the lights from the fueling station spill into the car at the start of the tale, and again before the ending as the character is checking out the dying vehicle. Like many of Jones’ stories, this one has no discernible conclusion, largely Jones allows them to serve broader points and leaves much for the listener to derive from smaller details. “Easy Money” might be an even better example of that style, with the repetition of the song title as a treatise in and of itself, placed at points within a tale that is both fluent and fractured. Jones use of the beret is a bit looser then, not universal at all, not tangible but nevertheless challenging and attractive.
            On Rickie Lee Jones, Jones’ relationship with the hat (as one might also expect) counters what it has come to represent. Her cooperation with the ideas the hat roused even in the day (Apparently she recounted people not recognizing her if she didn’t wear it) sound stark to the co-opting that has occurred since. The eccentric artistry of the above tracks are laced with vulnerable ballads (“Company”, “After Hours [Twelve Bars Past Midnight]”, “Saturday Afternoons in 1963”), and middle of the road rock tracks for the time (“Young Blood”, “Night Train”), none of which diminish or hang up the work at all. As it were, Jones’ doesn’t wear the hat to symbolize where creativity lives, she uses it as a boone to those who might not believe in it, it gets them in the door, and from there she takes them around.

Sunday, November 2, 2014

Judy Collins’ “Wildflowers”

By Ty Jenkins

Thus far we have looked at Edith Piaf’s The Best Of… and Carole King’s Tapestry in the two weeks prior, parsing the records for something that might both appeal to and inspire the current twenty-something. This week we jump backwards a few years from King’s 1971 triumph and less parse so much as appreciate Wildflowers, the 1967 statement by bohemian folk-princess Judy Collins.          “Statement” is an apt description of Wildflowers, and much of Collin’s work, consisting of mostly covers that at any one moment can transport you from your world to hers. In each iteration it is a world made of fields, hills, rivers, streams, the embodiment and poetry of wildflowers out beyond a township. “Statement” goes a ways in describing how that ability allowed, and continues to allow (Collin’s appeared in the first season of HBO’s hit series “Girls” performing in a club) Collin’s to permeate America’s collective memory despite such a small part of her catalog being of any interest whatever.
            In a few listens to Wildflowers it doesn’t seem any use to mine the work for instruction, as a tool for teaching. Instead it exudes an understanding that Collin’s gravity is expressed through different pallets of sound, spread across her entire body of work, that transpose her gift of rendering often overwhelming emotional landscapes in a few brief strokes without devoting herself to classic originality. That is where I’d like to focus, on Judy Collins as an auteur impartial to her own voice, specifically on Wildflowers.
            The ideas of  a “cover” is futile in Collin’s work, for example, she handles a Cohen (“Sisters of Mercy”, “Priests”, “Hey, That’s No Way To Say Goodbye”) with the same care as a Mitchell (“Michael from Mountains”, “Both Sides, Now”) but would never give them identical treatment. You can hear her voice beaming, gliding over a low Cohen mumble in “Sisters of Mercy”, even the adjusted height of the arrangement cannot bury his voice. As for Mitchell’s “Michael from Mountains”, try as she might, Collin’s cannot budge the writer’s grip on the tune, to interesting effect. Along with the five Mitchell and Cohen cuts, Collins takes on a Jacques Brel recording (“La Chanson Des Vieux Amants or, The Song of Old Lovers”), and a composition by 14th century Italian composer Francesco Landini (“A Ballata of Francesco Landini" (ca. 1335 - 1397) Lasso! di Donna”).
            The melding of Collins’ negotiations with the material of others and her first originals (“Since You Asked”, “Sky Fell”, and “Albatross”) makes Wildflowers a special group of songs. By 1967 Collins had been acclaimed as an interpretive singer of both traditional and contemporary folk, but her seamless transition into songwriting is unlikely if not downright serendipitous. Each of the three originals contain the hanging gypsy strings that composer Joshua Rifkin drapes around the album, “Since You Asked” and “Sky Fell” could be the two best cuts on the album, the former defined by its smooth, pendulum movements, the latter, descending chords in the chorus. Albatross is somewhere in between and provides a nice segue into the last Cohen “Hey, That’s No Way To Say Goodbye”.
            As her biggest commercial success, Wildflowers is a rare collection that can also be called the panoptic view of both sides of Judy Collins; the creator and the devoted scholar, the writer and the listener, the artist and the performer. There have been many cover artists and an explosion of sample-heavy genres since Collins released Wildflowers in 1967, but very few if any cease doubt about the appropriation of other’s material in the way that it does. Her devotion and vulnerability in the aura of music she truly loves is what allows her to occupy that realm alongside those she admires, whether it’s Cohen or Ladini, Mitchell or Dylan, and when she sings her own songs, oh, that’s beauty.

* The "About Music" blog is in association with Pangea Music, catch it on Globesville.com from 2:00 p.m. to 4:00 p.m. Thursdays each week.

Wednesday, October 29, 2014

Pangea Gaming Episode #6


Coming Soon

Last week on "Coming Soon" the boys discussed the upcoming release of Evolve, the new game from Turtle Rock Studios. Turtle Rock Studios is the same company that brought us the highly acclaimed Left4Dead series. Will Evolve live up to the Left4Dead legacy, or will it die a horrible painful death?

Retro Throwback

Episode #6 of Pangea Gaming gave us a glimpse of the dreadfully bad Superman 64. This game is so terrible, it gives the ET NES game a run for its money. Also tune in to Episode #7 to see if you correctly guessed the mystery song!

Glocal Minute

Our Glocal package for last week was David's interview with NYiT's League of Legends captain. We also had September's Loot Crate unboxing.

Sneak Peak at Episode #7 of Pangea Gaming

Halloween is finally here!!! Join us live on Thurday at 11 am to see what Doug and David dress up as. They'll also bring you some of the best (and worst) horror games of all time. Additionally, tune in to see a special guest appearance from a Globesville alum! Be sure to follow us on twitter @Globesville as well as tweet us your questions using #UncleTassy.

Thursday, October 23, 2014

Pangea Sports Episode 3

By: Calvin Paul

Whats up everybody! If you missed episode 3 of Pangea Sports, here is the place to get your sports update. In this episode, as we stepped into the Bear Cave, we were able to catch up with NYIT's women's volleyball coach, Gail Wasmus and discuss the current status of the team. The show also touched upon the teams performance, as well as the possible changes the team might see in the next season.

This week in the Liam Vs Jp match, the two show host went head to head in a rhythmic gymnastics challenge. J.P started of the match of with a performance intertwined with his native, hispanic culture. Following J.P's performance, we saw Liam break it down to Nicki Minaj's new hit, anaconda. in his performance. The challenge was quite the performance, however, we need a winner, and we'll be able to determine that with your vote. Check out the matchup on Globesville.com and then tweet your vote to @Globesville via twitter.

In Sport News, Liam and co host, John-Paul Veliz talked about the slight brawl that went on during a soccer match between Serbia vs. Albania for a qualifiers. The brawl reportedly began after a drone flew over the field hovering the Albanian flag. A player from Serbia managed to get a hold of the drone and took the flag off, he was immediately approached by the Albanian team- then the fist were thrown.

Pangea sports also reported on the Dallas Cowboy's Joseph Randle. Randle was arrested for shoplifting in Dallas department store. He was accused of stealing $123 worth of cologne and underwear. When a security guard and police officer approached him, Randle said, "alright, y'all got me," in a nonchalant manner.

Last but not least, the sports news segment discussed a physical altercation that happened between rugby players, Ben Flowers and Lance Hohaia. During the rugby match, Flowers and Hohaia were extremely physical with each other which became a litter personal to Flowers. Hohaia and Flowers tussled around for a while, but after one to many, Flowers tackled down Hohaia and gave him two blows to the face. After the match Flowers commented, "I sorry for what happened last night, There is no defense for my actions...." Hohaia said he "holds no grudge" against Flowers, "These kind of things happen in the heat of the moment."

For unusual sports, this weeks focus was on Quiddich. Quiddich is a game that originated in the Harry Potter series. The sports is played with 7 players on each team, and the objective is to throw balls into the opposing teams goals and get the most points or to catch the golden fly which is an automatic win. Fans of the Movie series were so infatuated with the idea of the sport, that it is now a recognized collegiate level sport. You can see visualization of the sport on the Globesville.com.

Makes sure to catch episode 4 thursday evening, October 23 on Globesville.com. Follow @Globesville on twitter for all the updates on Globesville.