Random (Music and Guitar Related) Thoughts Thread

[specialk]

[stobro]

12 hours ago, specialk said:

If you don't know me by now
You will never, never, never know me....

[specialk]

If I won the lottery I wouldn't tell anyone but there would be signs:

https://www.davesguitar.com/collections/all-vintage-items-for-sale

Edited April 21, 2024 by specialk

[DaveH]

34 minutes ago, specialk said:

If I won the lottery I wouldn't tell anyone but there would be signs:

https://www.davesguitar.com/collections/all-vintage-items-for-sale

Are you saying that entire page would be OOS? 😂

[Dave Scepter]

 

[django49]

[django49]

[django49]

Whether or not you are a country music fan, these are truly the words of a deep thinker, and a highly intelligent person.

So simple, yet so profound!

The Penis Poem

by Willie Nelson

My nookie days are over,

My pilot light is out.

What used to be my sex appeal,

Is now my water spout.

Time was when, on its own accord,

From my trousers it would spring.

But now I’ve got a full time job,

To find the gosh darn thing.

It used to be embarrassing,

The way it would behave.

For every single morning,

It would stand and watch me shave.

Now as old age approaches,

It sure gives me the blues.

To see it hang its little head,

And watch me tie my shoes!!

[django49]

Tonewood is important!

 

[django49]

Music(?)

Not that there was a chance of me listening to the new Taylor Swift release. But this pretty much confirms that notion....

Chris Richards, over in the Washington Post, asks the more than fair questions of how and why the biggest pop megastar in America has built her career on songs about how hard life is for her:

As a 21st-century pop omnipresence, Swift remains mercilessly prolific and unwilling to edit for length, which makes this extended version of her new album, “The Tortured Poets Department: The Anthology,” feel miserable and bottomless. The big surprise is how much of that misery is intentional. In concussive contrast to the good times she’s been having in the public eye — highest-grossing concert tour in the history of the species; highest-grossing concert film to match; on-field kisses with her boyfriend after he won the Super Bowl — Swift’s new ballads are sour theater, fixated on memories of being wronged and stranded, sodden with lyrics that feel clunky, convoluted, samey, purple and hacky. There are song titles that burn hot like distress flares (“I Hate It Here”), and lines that feel waxy with Freudian slippage (“I know I’m just repeating myself”), and a profusion of soft-edged, slow-moving melodies — produced by Swift, Jack Antonoff, Aaron Dessner and Patrik Berger — that do her lyrics few favors. As she unloads every last item from her grievance vault, it’s hard for sentient listeners to not want to reciprocate. . . .

These are highly embarrassing combinations of words made to serve an even more embarrassing narrative: the childish idea that the most famous singer alive should be pitied for living alone atop her mountaintop of money, feeling sad and aggrieved. We should all try our hardest to forget the manipulative underdog posture that Swift refuses to forfeit with each passing album, especially when the genuine tragedy-like feeling to be gleaned from all of these songs — and from nearly every Swift song that came before, too — is that Swift has traded her adulthood for superstardom.

 

Poor little rich girl.

[velorush]

2 hours ago, django49 said:

These are highly embarrassing combinations of words made to serve an even more embarrassing narrative: the childish idea that the most famous singer alive should be pitied for living alone atop her mountaintop of money, feeling sad and aggrieved. We should all try our hardest to forget the manipulative underdog posture that Swift refuses to forfeit with each passing album, especially when the genuine tragedy-like feeling to be gleaned from all of these songs — and from nearly every Swift song that came before, too — is that Swift has traded her adulthood for superstardom.  - Chris Richards, Washington Post

She is merely the spokescomplainer for an aggrieved generation.  A generation (notable exceptions to be absolutely sure and to be celebrated) with no historical perspective and a millimeter's depth of personal awareness.  Her lyrics resonate with their myriad grievances - this permits (encourages) overlooking the irony of her personal situation vis-a-vis her art. [/opinion]

[hamerhead]

On 4/22/2024 at 3:07 PM, Dave Scepter said:

 

"When plain old regular torture isn't enough, try....."

[mudshark]

[DaveH]

On 4/23/2024 at 9:46 PM, django49 said:

Tonewood is important!

 

Tone fur.

[hamerhead]

On 4/24/2024 at 8:17 AM, django49 said:

Music(?)

Not that there was a chance of me listening to the new Taylor Swift release. But this pretty much confirms that notion....

Chris Richards, over in the Washington Post, asks the more than fair questions of how and why the biggest pop megastar in America has built her career on songs about how hard life is for her:

As a 21st-century pop omnipresence, Swift remains mercilessly prolific and unwilling to edit for length, which makes this extended version of her new album, “The Tortured Poets Department: The Anthology,” feel miserable and bottomless. The big surprise is how much of that misery is intentional. In concussive contrast to the good times she’s been having in the public eye — highest-grossing concert tour in the history of the species; highest-grossing concert film to match; on-field kisses with her boyfriend after he won the Super Bowl — Swift’s new ballads are sour theater, fixated on memories of being wronged and stranded, sodden with lyrics that feel clunky, convoluted, samey, purple and hacky. There are song titles that burn hot like distress flares (“I Hate It Here”), and lines that feel waxy with Freudian slippage (“I know I’m just repeating myself”), and a profusion of soft-edged, slow-moving melodies — produced by Swift, Jack Antonoff, Aaron Dessner and Patrik Berger — that do her lyrics few favors. As she unloads every last item from her grievance vault, it’s hard for sentient listeners to not want to reciprocate. . . .

These are highly embarrassing combinations of words made to serve an even more embarrassing narrative: the childish idea that the most famous singer alive should be pitied for living alone atop her mountaintop of money, feeling sad and aggrieved. We should all try our hardest to forget the manipulative underdog posture that Swift refuses to forfeit with each passing album, especially when the genuine tragedy-like feeling to be gleaned from all of these songs — and from nearly every Swift song that came before, too — is that Swift has traded her adulthood for superstardom.

 

Poor little rich girl.

Missing the point. Taylor Swift - love her or hate her - is inspiring young people to become musicians. Would it be better if she were a guitar virtuoso? Yes. But she is reaching kids and is making a difference in a positive way. She's not my particular cup of tea but anyone who can draw in - and hold the attention of - young people nowadays, AND point them towards something good like a guitar or piano or whatever instrument, is doing it right. We need all we can get.

[specialk]

[Steve Haynie]

[django49]

Yep. That'll work for church on Sunday.....

[django49]

[Jimbilly]

On 4/24/2024 at 6:17 AM, django49 said:

Music(?)

Not that there was a chance of me listening to the new Taylor Swift release. But this pretty much confirms that notion....

Chris Richards, over in the Washington Post, asks the more than fair questions of how and why the biggest pop megastar in America has built her career on songs about how hard life is for her:

As a 21st-century pop omnipresence, Swift remains mercilessly prolific and unwilling to edit for length, which makes this extended version of her new album, “The Tortured Poets Department: The Anthology,” feel miserable and bottomless. The big surprise is how much of that misery is intentional. In concussive contrast to the good times she’s been having in the public eye — highest-grossing concert tour in the history of the species; highest-grossing concert film to match; on-field kisses with her boyfriend after he won the Super Bowl — Swift’s new ballads are sour theater, fixated on memories of being wronged and stranded, sodden with lyrics that feel clunky, convoluted, samey, purple and hacky. There are song titles that burn hot like distress flares (“I Hate It Here”), and lines that feel waxy with Freudian slippage (“I know I’m just repeating myself”), and a profusion of soft-edged, slow-moving melodies — produced by Swift, Jack Antonoff, Aaron Dessner and Patrik Berger — that do her lyrics few favors. As she unloads every last item from her grievance vault, it’s hard for sentient listeners to not want to reciprocate. . . .

These are highly embarrassing combinations of words made to serve an even more embarrassing narrative: the childish idea that the most famous singer alive should be pitied for living alone atop her mountaintop of money, feeling sad and aggrieved. We should all try our hardest to forget the manipulative underdog posture that Swift refuses to forfeit with each passing album, especially when the genuine tragedy-like feeling to be gleaned from all of these songs — and from nearly every Swift song that came before, too — is that Swift has traded her adulthood for superstardom.

 

Poor little rich girl.

My 16 yr old daughter likes to go on drives with me and listen to music: she drives, her music, she LOVES music and we agree on quite a bit of it. We drive around in her mom's car which has the best stereo, listen to different tunes, and we talk about random stuff (I'm not oblivious to how special this is).

On Saturday, I asked her if she still listens to Taylor Swift, no, she's grown tired of TS, she liked some of the older stuff, but in her opinion this new stuff is terribly written, she thinks it just awful, and especially given TS's age and experience.

[django49]

I'll need at least five for surround sound......

[django49]

[Steve Haynie]

[Steve Haynie]

[specialk]