Led Zeppelin and the Occult ?
FILC SYAM
kind of practices were they into.
Thanks
Rich Kurowski
: Is there any truth to Page/Zepplin being heavily into the occult? If so what
: kind of practices were they into.
: Thanks
No. Page had in interest into the occult, but he, and most certainly the
band, didn't "practice" it.
Rich Kurowski
scr...@interaccess.com
Canyaseeme
>: kind of practices were they into.
>: Thanks
>
>No. Page had in interest into the occult, but he, and most certainly the
>band, didn't "practice" it.
>
Who knows? But considering the elobarate fact that the Great Work consumes a
dismal amount of precious time, I would have doubts towards Mr. Page's
inclinations.
Verily, I shall discourse that Occult is not an ill practice, as some may
perceive, hence to their own vulgarity.
As far as Pagey's interests in The Art goes, I reckon he leaned towards the
Thelemic nature of work, which, in itself, comprimises a hefty part of the
ceremonial occult sciences today.
On a further note, I recall reading in quite a few places that, when he was
setting the Boleskine House up for sale, Mr. Page contacted the O.T.O
headquarters for their offer; of course, not bidding with a deliberate sum, the
Lodge missed the chance of disclosing the abode (a true loss!).
ad libidinem vera!
--------------
May the Law be upon us all!
Dave Myers
the rest of led zeppelin was not. And from what i gather from doing some
research on Crowley and the O.T.O. you dont discuss the writngs, "and
whosoever disregards that, will be shunned by all, as centers of
pestilence." ( that quote is taken from the book of law itself. ) That
probaly explains why Jimmy never talks about it.
WyldTurky
involving fish and a willing participant.
Drummer635
because of of something like that. Besdies, Jimmy Page was not a Satanist as
some people seem to think. Having an interest in the occult does not mean that
you practice Satanism.
Dave
From the Moment I Reached out to Hold I Felt a Sound....
Z3DSDEAD
the locals. He never actually lived their according to all I've read on the
history of the house. It is now owned by a couple, who are considered to be
more eccentric then the "Rock star that used to own it". The graveyard across
the street is quite the creepy place too.
Jimmy also had one of the largest collection of Crowlys artifacts, asl well as
owned an occult book store called Equinox.
another pet project of his was the film maker Kenneth Angers' film: Lucifer
Rising.
If Jimmy didn't have an active hand in the occult practices, namely Satanism,
Monica never sucked Bills dick!
Anybody want some more info about bolskine house email me, I''ll sent local
news clippings and photos of the house. It even looks kinda scary.
Rich Kurowski
:
: another pet project of his was the film maker Kenneth Angers' film: Lucifer
: Rising.
How was this a "pet project" of his? Anger asked him to do the
soundtrack because of his sinister sounding violin bow solos. Page
made such slow progress with the soundtrack that Anger eventually
got someone else to do the work.
:
: If Jimmy didn't have an active hand in the occult practices, namely Satanism,
: Monica never sucked Bills dick!
:
Nothing Page has ever said or done has indicated he even had an interest in,
let alone practiced satanism.
Rich Kurowski
scr...@interaccess.com
hootch...@my-dejanews.com
It seems even members of the band weren't sure what his extent was. Now
remember, there are supposedly different types of magic, some good, some bad
(I feel like I'm back in the '70s--where the hell are my tarot cards?).
But I do know Jimmy opened an occult bookstore (in London?) in the late 1970s.
May the force be with you,
Hootch
-----------== Posted via Deja News, The Discussion Network ==----------
http://www.dejanews.com/ Search, Read, Discuss, or Start Your Own
Z3DSDEAD
Were you there? I wasn't either. But the general impression is the that the
little slut blew him.
Rich Kurowski
: Rich, so Monica never sucked Bills dick?
It depends how you define "suck".
Rich Kurowski
FILC SYAM
whatever.I'll return you some cool stuff.
fire...@webtv.net
in the occult. regarding the bookstore---Equinox was bought by Jimmy
for his astrologist, who then repaid him the purchase price in lieu of
rent. it is still in the same place, within walking distance of Covent
Garden, and is a very "posh" place to go & have your fortune told, your
horoscope drawn, and to buy expensive New Age baubles.
Boleskine House was merely an extension of Jimmy's Crowley collection,
and shortly after he did a total renovation of the house, he sold
it---he seems to have a habit of doing that, actually.
regarding Bill & Monica----don't know, don't care---but whatever they
did or did not do is beside the point. Jimmy, whatever he may have
dabbled in, could not have ever been a serious student of the black
arts---he has never had the time, or the concentration to expend on
anything other than his guitar---and Magick & Satanism not only demand
both of those, but also lots & lots of money. (no discounts, even for
Mr. Ledwallet, himself)
the fireclown
"""""""""""""""""""""""""""""""""""""""""
"My grandfather used to write signs and stick them around his neck if he
wanted more food, instead of speaking to her (my grandmother). I tried
that when I was married and it didn't work so well."
-------Robert Plant, 1988
"""""""""""""""""""""""""""""""""""""""""
Visit my Zepsite at
http://members.tripod.com/~thegloaming/musiclz.html
My tape list at
http://members.tripod.com/~thegloaming/tapelist.html
Or my home site at
http://members.tripod.com/~thegloaming/index-2.html
""""""""""""""""""""""""""""""""""""""""""
Joe C. Hecht
Joe
LDuper wrote:
>
> >If Jimmy didn't have an active hand in the occult practices, namely Satanism,
> >Monica never sucked Bills dick!
>
> Occult practices and Satanism are not synonymous. Even black magic is not the
> same thing. They are distinct practices, although there is some overlap in
> philosophy and implementation.
>
> The Thelemic (Crowley) theory and practice of magick has an interest in Lucifer
> as a fallen angel, that is, in his angelic nature, as Son of the Morning Star
> (the meaning of Lucifer), and in this type of power. But they do not worship
> Satan per se--or not solely, at any rate. They are essentially a pantheistic
> lot, worshipping several gods (Crowley himself claimed to be one), especially
> the Egyptian dieties of Horus and Osiris (Isis gets a bit of screen time, but
> Crowley was a genuine male chauvinist pig and gave women--even dieties--short
> shrift). A great deal of their credo is tied up in Kabala, medieval Arabic
> alchemy, and Egyptian dieties. Dark? Yes. Satanic? Only in the larger sense
> of the word., in that it is turned away from the light (IMHO), but not
> specifically Satanic as, say, Anton LaVey.
>
> Personally, I think it's a deeply unhealthy spiritual path, preoccupied with
> power and ego and messing with powers inimical to humans and thus not conducive
> to enlightenment, but that's just my own opinion.
>
> Jimmy had a very active interest in Crowley and sorcery. How far he took it,
> no one knows but him. I suspect too far, hence his difficulties. I also
> suspect he has left it behind him.
>
> The Lucifer Rising film ended up being scored by Bobby Beausoleil, later of the
> Manson Family ("they're creepy and they're kooky, mysterious and spooky,
> they're altogether ooky, the Manson family"<snap, snap>). Jimmy was going to
> write the score, and Anger , a fellow Thelemite, even stayed at Page's place in
> London for a while, but they quarreled and parted ways. I have heard, but
> cannot confirm, that Jimm'y girlfriend at the time was not at all pleased with
> Anger, who was from some accounts a rough-trade homosexual given to tantrums
> and mooching and bringing home unsavory strangers, which may have contributed
> to his departure from Page's place. I've seen the film--don't think much of
> it, although it's not entirely without merit. Marianne Faithfull and Anita
> Pallenberg are in it. It has some arresting images.
>
> A side note I always found amusing: Kenneth Anger's real name was
> Anglemeyer--sounds a bit different, eh? "Little Kenny Anglemeyer, he was such
> a nice little boy, so what happened?" He played one of the fairies in an early
> film of A Midsummer Night's Dream that featured Mickey Rooney as Puck. Trivia
> time! So now there's a degree of connection between Jimmy Page and Mickey
> Rooney--not to mention Shakespeare!
>
> As for the latter assertion in your statement--I don't know, don't want to
> know, and don't care.
>
> Zepectfully tours-
> LindaD
--
Joe C. Hecht
joeh...@gte.net
(850) 689-0877 121 Louise Dr. Crestview, FL 32536
http://home1.gte.net/joehecht/index.htm
LDuper
Lee McCauslin
LDuper wrote in message <19981113233640...@ng43.aol.com>...
>
>The Thelemic (Crowley) theory and practice of magick has an interest in
Lucifer
>as a fallen angel, that is, in his angelic nature, as Son of the Morning
Star
>(the meaning of Lucifer), and in this type of power
<<snipped a lot of wonderfully informative stuff cuz this part reminded me
of something funny>>
The above description of Lucifer was the reason that the church of my youth
gave for branding that singer (Was it Kim Carnes?) who had the song "<Just
call me>Angel of the Morning" as Satanic. We impressionable young'uns were
forbidden to own any of her records. (not that I would have anyway, but for
entirely different reasons) (Barry Manilow is on their list, too)
And *that* is just one of the many reasons that I have very little respect
for christian fundamentalism.
:o)
Lee
Julianlzb87
> y'know z3, a person doesn't have to be a Satanist to express an interest
> in the occult. regarding the bookstore---Equinox was bought by Jimmy
> for his astrologist, who then repaid him the purchase price in lieu of
> rent. it is still in the same place, within walking distance of Covent
> Garden, and is a very "posh" place to go & have your fortune told, your
> horoscope drawn, and to buy expensive New Age baubles.
Wasn't Eqinox originally in South Ken?
Julianlzb87
LDuper
>gave for branding that singer (Was it Kim Carnes?) who had the song "<Just
>call me>Angel of the Morning" as Satanic. We impressionable young'uns were
>forbidden to own any of her records. (not that I would have anyway, but for
>entirely different reasons) (Barry Manilow is on their list, too)
It was Juice Newton. I never owned any of her records, but I liked her well
enough. Love her name.
Why Barry Manilow? I can't think of any song of his that is remotely
blasphemous--but then I don't tend to think that way. It would certainly never
have occurred to me to ban Juice Newton. The song isn't even really hers--it
was a remake of an earlier version I recall from my childhood, but don't
remember who.
So the Barry thing--is it because he's Jewish? Hey, so was Jesus... ;-)
>And *that* is just one of the many reasons that I have very little respect
>for christian fundamentalism.
Agreed. I am a religious person myself and have great respect for faith of all
kinds, but this is not faith, it's hateful idiocy. Religion is supposed to be
about love, not about fear.
End of sermon.
Next week's text: Divine Revelation in "Black Dog" :-)
>:o)
>Lee
:-\
LindaD
Rich Kurowski
:
: But really...Barry Manilow?!?! That guy looks like the most harmless guy on
: earth!
:
Ahh, but that's what makes him so insidious! He lulls you with his innocence,
and BAM!, before you know it you're sacrificing babies.
Rich Kurowski
scr...@interaccess.com
michael gilson
<lee...@bellsouth.net> wrote:
> Because, as near as I can remember, there was a line in "I Write The Songs"
> that was supposedly a parahrase of something Lucifer said in the bible. And
> I am chagrined that I can't remember which line it was,
Hmm... perhaps
"My home lies deep within you,
and I've got my own place in your soul"?
Zep connection: IWTS also contains the line "that's a real fine place to
start." "The Ocean" contains the line "it's a real fine way to start."
Coincidence?!?
as it provided many
> horribly scary nights worrying that I might be possessed if I heard the
> song. (Their chief weapon is FEAR! Fear and Hatred! Fear and hatred are
> their 2 chief weapons! Fear, Hatred and a fanatical delusion that they're
> right! Their 3 chief weapons are FEAR, Hatred and a fanatical delusion that
> they're right! ;o) ) (apologies to M. Python)
There's only one thing to do! Poke them with... THE SOFT CUSHION!
> > It would certainly never
> >have occurred to me to ban Juice Newton. The song isn't even really
> hers--it
> >was a remake of an earlier version I recall from my childhood, but don't
> >remember who.
Quick Net research comes up with the following: written by one Chip Taylor
(who also penned "Wild Thing," "Try (Just a Little Bit Harder)," "Country
Girl, City Man" and "Son of a Rotten Gambler," among others), the song has
been recorded by Merrilee Rush and The Turnabouts, Nina Simone, Olivia
Newton-John, and Chrissie Hynde and The Pretenders, and probably others,
in addition to Juice Newton.
I missed part of this thread, but I take it the reason for banning that
song was that Lucifer is sometimes called the "Angel of the Morning Star",
or something along those lines?
> >>And *that* is just one of the many reasons that I have very little respect
> >>for christian fundamentalism.
> >
> >Agreed. I am a religious person myself and have great respect for faith of
> all
> >kinds, but this is not faith, it's hateful idiocy. Religion is supposed to
> be
> >about love, not about fear.
> >
> >End of sermon.
Amen.
> >Next week's text: Divine Revelation in "Black Dog" :-)
> >
ROTFL!
> A big legged women does, in fact, have a soul? ;o)
>
> :o)
> Lee
ROTFLMAO!
"All I ask for, all I pray, steady-rollin' woman gonna come my way" ;-)
MinM
"Right, we're slowly overcoming our problems... and we've got over
all that running around going on. This is... from the last time we
came here, when we burnt the Tivoli down. Heehee!... Every pop group
burns down Tivoli."
Lee McCauslin
LDuper wrote in message <19981115200312...@ng09.aol.com>...
>>he above description of Lucifer was the reason that the church of my youth
>>gave for branding that singer (Was it Kim Carnes?) who had the song "<Just
>>call me>Angel of the Morning" as Satanic. We impressionable young'uns
were
>>forbidden to own any of her records. (not that I would have anyway, but
for
>>entirely different reasons) (Barry Manilow is on their list, too)
>
>It was Juice Newton. I never owned any of her records, but I liked her
well
>enough. Love her name.
>
Ah yes, that's the ''divvel worshipper'' Thanks for the assist. ;o)
>Why Barry Manilow? I can't think of any song of his that is remotely
>blasphemous--but then I don't tend to think that way.
Because, as near as I can remember, there was a line in "I Write The Songs"
that was supposedly a parahrase of something Lucifer said in the bible. And
I am chagrined that I can't remember which line it was, as it provided many
horribly scary nights worrying that I might be possessed if I heard the
song. (Their chief weapon is FEAR! Fear and Hatred! Fear and hatred are
their 2 chief weapons! Fear, Hatred and a fanatical delusion that they're
right! Their 3 chief weapons are FEAR, Hatred and a fanatical delusion that
they're right! ;o) ) (apologies to M. Python)
> It would certainly never
>have occurred to me to ban Juice Newton. The song isn't even really
hers--it
>was a remake of an earlier version I recall from my childhood, but don't
>remember who.
I don't think it really matters to "independent, fundamental, bible
believin' baptists".
>
>So the Barry thing--is it because he's Jewish? Hey, so was Jesus... ;-)
I don't know that they knew that, but I guarantee that, had they known, it
wouldn't have helped his case any. (And they aren't *really* thrilled about
big J's Jewishness, but they reckon they can't do anything about that. I
believe they just tell themselves that he converted to christianity when he
knew better.)
>
>>And *that* is just one of the many reasons that I have very little respect
>>for christian fundamentalism.
>
>Agreed. I am a religious person myself and have great respect for faith of
all
>kinds, but this is not faith, it's hateful idiocy. Religion is supposed to
be
>about love, not about fear.
>
>End of sermon.
>
>Next week's text: Divine Revelation in "Black Dog" :-)
>
Lee McCauslin
Rich Kurowski wrote in message <72o9of$rnb$1...@supernews.com>...
Yup! The divvel incarnate! Even his name is an anagram for Bi Larry Woman!
:o)
Christie Reimer
<lee...@bellsouth.net> wrote:
<snipped>
>
>Because, as near as I can remember, there was a line in "I Write The Songs"
>that was supposedly a parahrase of something Lucifer said in the bible.
Lucifer/Satan said *he* wrote the songs??? Satan sounds like Barry
Manilow???! (Now *I'm* scared...)
>And
>I am chagrined that I can't remember which line it was, as it provided many
>horribly scary nights worrying that I might be possessed if I heard the
>song. (Their chief weapon is FEAR! Fear and Hatred! Fear and hatred are
>their 2 chief weapons! Fear, Hatred and a fanatical delusion that they're
>right! Their 3 chief weapons are FEAR, Hatred and a fanatical delusion that
>they're right! ;o) ) (apologies to M. Python)
So, it WAS the "Spanish Inquisition"???! <big MP fan, too>
>>Next week's text: Divine Revelation in "Black Dog" :-)
>>
>A big legged women does, in fact, have a soul? ;o)
LOL!
<><><><><><><><><><><><><><><>
"The cup is raised, the toast is made yet again
One voice is clear above the din
Proud *Christiane one word my will to sustain
For me the clouds once more do spin."
Lyrics from "All My Love"
*apologies to Robert for the name switch!
<><><><><><><><><><><><><><><>
Tony Russell
Christie Reimer wrote in message <3650deef...@news.newsguy.com>...
>On Tue, 17 Nov 1998 00:03:03 GMT, "Lee McCauslin"
><lee...@bellsouth.net> wrote:
>
><snipped>
>>
>>Because, as near as I can remember, there was a line in "I Write The
Songs"
>>that was supposedly a parahrase of something Lucifer said in the bible.
>
>Lucifer/Satan said *he* wrote the songs??? Satan sounds like Barry
>Manilow???! (Now *I'm* scared...)
>
Hang on a minute!
I thought the devil had the best tunes. You can't connect Manny Barrilow
with that phrase.
TonyR
Lee McCauslin
michael gilson wrote in message ...
Songs"
>> that was supposedly a parahrase of something Lucifer said in the bible.
>> I am chagrined that I can't remember which line it was,
>
>"My home lies deep within you,
>and I've got my own place in your soul"?
>
Hmmmm, that could be, but I thought it was a line that had to do with
something like being the first (to write songs?), or something. I'll have a
look at the words and see if it jogs anything. (besides my colon) ;o)
>Zep connection: IWTS also contains the line "that's a real fine place to
>start." "The Ocean" contains the line "it's a real fine way to start."
>Coincidence?!?
>
gettin' spooky.........
>as it provided many
>> horribly scary nights worrying that I might be possessed if I heard the
>> song. (Their chief weapon is FEAR! Fear and Hatred! Fear and hatred are
>> their 2 chief weapons! Fear, Hatred and a fanatical delusion that
they're
>> right! Their 3 chief weapons are FEAR, Hatred and a fanatical delusion
that
>> they're right! ;o) ) (apologies to M. Python)
>
>There's only one thing to do! Poke them with... THE SOFT CUSHION!
Fetch the comfy chair!
>I missed part of this thread, but I take it the reason for banning that
>song was that Lucifer is sometimes called the "Angel of the Morning Star",
>or something along those lines?
Correct. Kinda looney, those church folks I grew up with.
:o)
Lee
Lee McCauslin
Christie Reimer wrote in message <3650deef...@news.newsguy.com>...
>On Tue, 17 Nov 1998 00:03:03 GMT, "Lee McCauslin"
><lee...@bellsouth.net> wrote:
>
><snipped>
>>
Songs"
>>that was supposedly a parahrase of something Lucifer said in the bible.
>
>Manilow???! (Now *I'm* scared...)
>
Ok, here it is. Those of you with delicate constitutions may want to turn
away. For you who are brave and have strong stomachs, I present to
you......
The words to a Barry Manilow song.
<<comments in these thingies are mine>>
Manilow Barry
Tryin' To Get The Feeling
I Write The Songs
I've been alive forever,
and I wrote the very first song.
<<I'm almost positive that this was the verse that got their panties in a
wad>>
I put the words and the melodies together,
I am music,
and I write the songs.
I write the songs that make the whole world sing.
I write the songs of love and special things.
I write the songs that make the young girls cry.
I write the songs, I write the songs.
My home lies deep within you,
and I've got my own place in your soul.
Now, when I look out through your eyes,
I'm you'g again, even though I'm very old.
<<I expect that this verse didn't help poor Barry's case any>>
I write the songs that make the whole world sing.
I write the songs of love and special things.
I write the songs that make the young girls cry.
I write the songs, I write the songs.
Oh my music makes you dance
and gives your spiri t to take a chance,
and I wrote some rock 'n' roll so you can move.
<<? Maybe the christians were right! He says he wrote some rock and roll,
and we all know that satan is the father of lies>> ;o)
Music fills your heart,
well, that's a real fine place to start.
It's from me it's for you,
it's from you, it's from me,
it's a world wide symphony.
I write the song s that make the whole world sing.
I write the songs of love and special things.
I write the songs that make the young girls cry.
I write the songs, I write the songs.
If you made it this far, I salute you. And for those about to rock, I
salute you.
Now, go burn those Barry Manilow records and resume your regular,
satan-free, Zeppeling.
:o)
Lee
Lee McCauslin
Tony Russell wrote in message <72rhar$qio$1...@plug.news.pipex.net>...
>
>Christie Reimer wrote in message <3650deef...@news.newsguy.com>...
>>On Tue, 17 Nov 1998 00:03:03 GMT, "Lee McCauslin"
>><lee...@bellsouth.net> wrote:
>>
>><snipped>
>>>
>>>Because, as near as I can remember, there was a line in "I Write The
>Songs"
>>>that was supposedly a parahrase of something Lucifer said in the bible.
>>
>>Lucifer/Satan said *he* wrote the songs??? Satan sounds like Barry
>>Manilow???! (Now *I'm* scared...)
>>
>
>
>
>I thought the devil had the best tunes. You can't connect Manny Barrilow
>with that phrase.
>
>TonyR
>
>
:o) There is a comedian whose name I can't remember who says the same
thing..
"Satan has all the best tunes"
Maybe it was Bart Simpson?
:o)
Lee
Z3DSDEAD
that I wanted to put in the first one.
<<<<"Satan has all the best tunes"Maybe it was <<<Bart Simpson? :o)
Lee
>>>>
Bart Simpson is my hero, as is Matt Groening.
I might add, another of the famous Seattleites!
Stephen
DJ
wrote...
DJ
ECarnabySt wrote in message <19981117181759...@ng132.aol.com>...
>You know, I was listening to "Copacabana," and that song's just about as
bad as
>Marilyn Manson!
>
>Copacabana...the hottest spot north of Havana. Hey, is that a euphemism
for
>Hell?!
>
>Or could it beeeeeeeeeeeeeeee <Dana Carvey as Church Lady> SATAN?!?!
>
>Rebecca ;D
Muz
Incubare) wrote:
>James
<dejanews suddenly crashes as hundreds of amlzers leg it over to their
archives to check posting history of "inc...@daemon.org">
sandra
carol
Muz
stylistic nods to Art Nouveau as far as album fonts goes I always
thought there was more of a Futurist element to them: glorification of
the automobile and the concept of the body as machine (Trampled Under
Foot), the glory of war (Immigrant Song) and the concept of wargasm
(Stephen Davis in Hammer of the Gods mentions that the soldiers in
Vietnam bolted 8-track stereos onto their tanks and rode into battle
playing WLL at top volume), complex polyphony and dissonance in the
form of the theremin as a homage to "noise sound" (the whole middle
section of WLL). Hell: even the Futurists had no time for critics, one
of the aims laid out in the Manifesto of Futurist Musicians being "To
combat the venal and ignorant critics with assiduous contempt,
liberating the public from the pernicious effects of their writings."
And of course while Jimmy's on record as saying the the cover design
for the fourth album is supposed to represent a lament for the way it
used to be (old man with sticks living in harmony with nature etc),
the flipside of that is the triumphant progress of the industrial
machine (new tower blocks springing up behind old slums etc).
Does anyone know whether Crowley was influnced by the Futurists? I
only ask because Lady Frieda Harris, who designed the Crowley tarot,
has a style that reminds me of the Futurist painters, and later the
Vorticists, with their "lines of speed" and rendering of dynamic
sensation (I'm thinking of her designs for the Hermit, the Tower, and
the Knight of Swords in particular as being most reminiscent of
Futurist paintings, but I'd have to look into this a bit more).
Great thread, Greg.
Sandra
L'Crowe
future at least. Incidentally, I think Pink Floyd does a better job of
addressing futurism, on Wish U Were Here (Welcome to the Machine), Animals
(the factory), Final Cut (mechanized savagery).
To the extent that Art Deco embodies futurism.
Greg
Muz wrote:
--
`> a crowe by any other color is still a crowe `>
Tony Russell
Muz wrote in message <36acb319...@news.foobar.net>...
>Interesting concept, but I can't see it myself. Apart from some
>stylistic nods to Art Nouveau as far as album fonts goes I always
>thought there was more of a Futurist element to them: glorification of
>the automobile and the concept of the body as machine (Trampled Under
>Foot), the glory of war (Immigrant Song) and the concept of wargasm
>(Stephen Davis in Hammer of the Gods mentions that the soldiers in
>Vietnam bolted 8-track stereos onto their tanks and rode into battle
>playing WLL at top volume), complex polyphony and dissonance in the
>form of the theremin as a homage to "noise sound" (the whole middle
>section of WLL). Hell: even the Futurists had no time for critics, one
>of the aims laid out in the Manifesto of Futurist Musicians being "To
>combat the venal and ignorant critics with assiduous contempt,
>liberating the public from the pernicious effects of their writings."
>
Oh no, Sandra, I can't go along with that one, much as I respect your
opinion.
LZ were about as organic a life form as there is, they were not metal, we've
been through that before. And it wasn't their fault that soldiers used WLL
as a battle anthem. Although I've read the book I didn't hold on to that.
I'd rather keep it as a love anthem! That middle section has always sounded
to me like free music rather than noise.
Jimmy's use of technology has always been primarily about fingers on
strings, not a soulless machine. Much as I like the Futurists myself, I see
LZ music as a glorification of flesh and blood.
TonyR
Muz
<zeppi...@badsector.com> wrote:
>11) I predict that Windows 2000 will finally ship in 1901.
It's going to be *so* much fun living in the 20th century - again.
I am learning the Charleston in breathless anticipation of the
Twenties.
Sandra
L'Crowe
that LZ is writing war music. You have to look at the music itself, and I don't
hear war in WLL.
Tony Russell wrote:
--
Muz
Francis O'reilly) wrote:
>(list snipped)
>
>"Oedipus Rex and the Motherfuckers" has also been taken, in case anyone
>was thinking of using that name.
LOL!
"A Freudian slip is when you say one thing and mean your mother."
May I also add to the list the sublimely named "Kiss My Poodle's
Donkey".
Sandra
L'Crowe
notice that the factory in Animals has an art deco styling, and the wish you
were here cover was very art deco.
L'Crowe wrote:
> Well, I never thought of Zeppelin as futurists at all, not a mechanical
> future at least. Incidentally, I think Pink Floyd does a better job of
> addressing futurism, on Wish U Were Here (Welcome to the Machine), Animals
> (the factory), Final Cut (mechanized savagery).
>
> To the extent that Art Deco embodies futurism.
>
> Greg
>
> Muz wrote:
>
> > Interesting concept, but I can't see it myself. Apart from some
> > stylistic nods to Art Nouveau as far as album fonts goes I always
> > thought there was more of a Futurist element to them: glorification of
> > the automobile and the concept of the body as machine (Trampled Under
> > Foot), the glory of war (Immigrant Song) and the concept of wargasm
> > (Stephen Davis in Hammer of the Gods mentions that the soldiers in
> > Vietnam bolted 8-track stereos onto their tanks and rode into battle
> > playing WLL at top volume), complex polyphony and dissonance in the
> > form of the theremin as a homage to "noise sound" (the whole middle
> > section of WLL). Hell: even the Futurists had no time for critics, one
> > of the aims laid out in the Manifesto of Futurist Musicians being "To
> > combat the venal and ignorant critics with assiduous contempt,
> > liberating the public from the pernicious effects of their writings."
> >
> > And of course while Jimmy's on record as saying the the cover design
> > for the fourth album is supposed to represent a lament for the way it
> > used to be (old man with sticks living in harmony with nature etc),
> > the flipside of that is the triumphant progress of the industrial
> > machine (new tower blocks springing up behind old slums etc).
> >
> > Does anyone know whether Crowley was influnced by the Futurists? I
> > only ask because Lady Frieda Harris, who designed the Crowley tarot,
> > has a style that reminds me of the Futurist painters, and later the
> > Vorticists, with their "lines of speed" and rendering of dynamic
> > sensation (I'm thinking of her designs for the Hermit, the Tower, and
> > the Knight of Swords in particular as being most reminiscent of
> > Futurist paintings, but I'd have to look into this a bit more).
> >
> > Great thread, Greg.
> >
> > Sandra
>
Tony Russell
L'Crowe wrote in message <36ADB5C8...@ix.netcom.com>...
>Oh, and by the way, The Wall was like '1984', another futurist tale. You
may
>notice that the factory in Animals has an art deco styling, and the wish
you
>were here cover was very art deco.
>
Isn't the factory in Animals Battersea Power Station? That puts it in
period. Do you have a different sleeve to my Wish You Were Here? I can't see
anything deco in the people shaking hands etc., or am I missing something?
TonyR
Tony Russell
Muz wrote in message
>
>It's going to be *so* much fun living in the 20th century - again.
>
>I am learning the Charleston in breathless anticipation of the
>Twenties.
>
Please don't be breathless for twenty years, Sandra, or you'll turn blue!
Just think, only another 60 years to wait and we can all buy a guitar just
like Jimmy's!
TonyR
L'Crowe
greeting....stylized, art deco.
Tony Russell wrote:
--
Muz
<t.ru...@dial.pipex.com> wrote:
>Oh no, Sandra, I can't go along with that one, much as I respect your
>opinion.
I know, I'm just trying to be a fly in the ointment :-/
>Jimmy's use of technology has always been primarily about fingers on
>strings, not a soulless machine. Much as I like the Futurists myself, I see
>LZ music as a glorification of flesh and blood.
Yes - maybe it's just my fondness for dystopian imagery and all things
mechanistic that I'm projecting onto the Zep "oeuvre" here.
Sandra (wee, sleekit and in a strangely downcast mood today after the
drunken excesses of Burns Night, or should I say "Burrrrrrrrns Nicht")
:(
Randy Chang
Muz wrote in message <36adb588...@news.foobar.net>...
By the way, might as the well add the following to the list for safe
keeping: Freudian Slit.
+-------------------------------------------------+
| "I'm lost somewhere between heaven and hell" |
| -Zakk Wylde |
| |
| Randy Chang |
| cold...@uclink4.berkeley.edu |
| http://www.ocf.berkeley.edu/~rkchang/ |
+-------------------------------------------------+
Lee McCauslin
L'Crowe wrote in message <36ADB57C...@ix.netcom.com>...
>I agree Tony. Just become some soldiers played WLL in their tank doesn't
mean
>that LZ is writing war music. You have to look at the music itself, and I
don't
>hear war in WLL.
>
I don't hear war in WLL either, but if I was in the unfortunate position of
being in a tank, WLL would definitely keep me pumped. (I imagine I'd let
the music course through me, let training take care of the task at hand, and
hope I didn't remember anything after).
Lee
:o)
>Tony Russell wrote:
>
>> Muz wrote in message <36acb319...@news.foobar.net>...
>> >Interesting concept, but I can't see it myself. Apart from some
>> >stylistic nods to Art Nouveau as far as album fonts goes I always
>> >thought there was more of a Futurist element to them: glorification of
>> >the automobile and the concept of the body as machine (Trampled Under
>> >Foot), the glory of war (Immigrant Song) and the concept of wargasm
>> >(Stephen Davis in Hammer of the Gods mentions that the soldiers in
>> >Vietnam bolted 8-track stereos onto their tanks and rode into battle
>> >playing WLL at top volume), complex polyphony and dissonance in the
>> >form of the theremin as a homage to "noise sound" (the whole middle
>> >section of WLL). Hell: even the Futurists had no time for critics, one
>> >of the aims laid out in the Manifesto of Futurist Musicians being "To
>> >combat the venal and ignorant critics with assiduous contempt,
>> >liberating the public from the pernicious effects of their writings."
>> >
>>
>> Oh no, Sandra, I can't go along with that one, much as I respect your
>> opinion.
>>
>> LZ were about as organic a life form as there is, they were not metal,
we've
>> been through that before. And it wasn't their fault that soldiers used
WLL
>> as a battle anthem. Although I've read the book I didn't hold on to that.
>> I'd rather keep it as a love anthem! That middle section has always
sounded
>> to me like free music rather than noise.
>>
>> Jimmy's use of technology has always been primarily about fingers on
>> strings, not a soulless machine. Much as I like the Futurists myself, I
see
>> LZ music as a glorification of flesh and blood.
>>
Lee McCauslin
Tony Russell wrote in message <78kgo6$skr$1...@plug.news.pipex.net>...
Not to mention that we can make sure we get in line for tickets to all those
great Zep shows (I'll be a hundred and 5, but dammit, I ain't missin' 'em
this time around!)
Lee
:o)
L'Crowe
running down my leg: pee from fright!
ZeppinHood
> Not to mention that we can make sure we get in line for tickets to all those
> great Zep shows (I'll be a hundred and 5, but dammit, I ain't missin' 'em
> this time around!)
This past year, due to the Y2K problem, some computers in Switzerland
sent notices to everyone who was 105 years old, that they needed to
enroll in kindergarten. (true story)
Joe
M
<nigh...@ix.netcom.com> wrote:
Right. I see LZ as having a very pastoral side to them. Here's a bit of
grist for the mill: How about LZ as a group of anti - industrialists. For
instance, look at parts of "Down by the Seaside", "The Ocean", "Immigrant
Song" conjures images of wooden ships crossing the North Sea, "Bron - y -
Aur Stomp", and "That's the Way" all rely on images from nature. (that was
probably one big run -on sentance)
-M
Lost grammatical prowess
*remove number to reply
-----------------------------------------------
"There was only the ocean and the sky and the figure of Howard Roark."
> Well, I never thought of Zeppelin as futurists at all, not a mechanical
> future at least. Incidentally, I think Pink Floyd does a better job of
> addressing futurism, on Wish U Were Here (Welcome to the Machine), Animals
> (the factory), Final Cut (mechanized savagery).
>
> To the extent that Art Deco embodies futurism.
>
> Greg
>
> Muz wrote:
>
> > Interesting concept, but I can't see it myself. Apart from some
> > stylistic nods to Art Nouveau as far as album fonts goes I always
> > thought there was more of a Futurist element to them: glorification of
> > the automobile and the concept of the body as machine (Trampled Under
> > Foot), the glory of war (Immigrant Song) and the concept of wargasm
> > (Stephen Davis in Hammer of the Gods mentions that the soldiers in
> > Vietnam bolted 8-track stereos onto their tanks and rode into battle
> > playing WLL at top volume), complex polyphony and dissonance in the
> > form of the theremin as a homage to "noise sound" (the whole middle
> > section of WLL). Hell: even the Futurists had no time for critics, one
> > of the aims laid out in the Manifesto of Futurist Musicians being "To
> > combat the venal and ignorant critics with assiduous contempt,
> > liberating the public from the pernicious effects of their writings."
> >
> > And of course while Jimmy's on record as saying the the cover design
> > for the fourth album is supposed to represent a lament for the way it
> > used to be (old man with sticks living in harmony with nature etc),
> > the flipside of that is the triumphant progress of the industrial
> > machine (new tower blocks springing up behind old slums etc).
> >
> > Does anyone know whether Crowley was influnced by the Futurists? I
> > only ask because Lady Frieda Harris, who designed the Crowley tarot,
> > has a style that reminds me of the Futurist painters, and later the
> > Vorticists, with their "lines of speed" and rendering of dynamic
> > sensation (I'm thinking of her designs for the Hermit, the Tower, and
> > the Knight of Swords in particular as being most reminiscent of
> > Futurist paintings, but I'd have to look into this a bit more).
> >
> > Great thread, Greg.
> >
> > Sandra
>
>
>
Lee McCauslin
I'd also wanna hear Rock-N-Roll. That always gets the juices flowing.
:o)
L'Crowe wrote in message <36AE56EE...@ix.netcom.com>...
>If I were in a war, in a tank, I'd play the Lemon Song, because I'd have
juice
>running down my leg: pee from fright!
>
>Lee McCauslin wrote:
>
>> L'Crowe wrote in message <36ADB57C...@ix.netcom.com>...
>> >I agree Tony. Just become some soldiers played WLL in their tank
doesn't
>> mean
>> >that LZ is writing war music. You have to look at the music itself, and
I
>> don't
>> >hear war in WLL.
>> >
>>
>> I don't hear war in WLL either, but if I was in the unfortunate position
of
>> being in a tank, WLL would definitely keep me pumped. (I imagine I'd let
>> the music course through me, let training take care of the task at hand,
and
>> hope I didn't remember anything after).
>>
>> Lee
>> :o)
>>
>> >Tony Russell wrote:
>> >
>> >> Muz wrote in message <36acb319...@news.foobar.net>...
>> >> >Interesting concept, but I can't see it myself. Apart from some
>> >> >stylistic nods to Art Nouveau as far as album fonts goes I always
>> >> >thought there was more of a Futurist element to them: glorification
of
>> >> >the automobile and the concept of the body as machine (Trampled Under
>> >> >Foot), the glory of war (Immigrant Song) and the concept of wargasm
>> >> >(Stephen Davis in Hammer of the Gods mentions that the soldiers in
>> >> >Vietnam bolted 8-track stereos onto their tanks and rode into battle
>> >> >playing WLL at top volume), complex polyphony and dissonance in the
>> >> >form of the theremin as a homage to "noise sound" (the whole middle
>> >> >section of WLL). Hell: even the Futurists had no time for critics,
one
>> >> >of the aims laid out in the Manifesto of Futurist Musicians being "To
>> >> >combat the venal and ignorant critics with assiduous contempt,
>> >> >liberating the public from the pernicious effects of their writings."
>> >> >
>> >>
>> >> Oh no, Sandra, I can't go along with that one, much as I respect your
>> >> opinion.
>> >>
>> >> LZ were about as organic a life form as there is, they were not metal,
>> we've
>> >> been through that before. And it wasn't their fault that soldiers used
>> WLL
>> >> as a battle anthem. Although I've read the book I didn't hold on to
that.
>> >> I'd rather keep it as a love anthem! That middle section has always
>> sounded
>> >> to me like free music rather than noise.
>> >>
>> >> Jimmy's use of technology has always been primarily about fingers on
>> >> strings, not a soulless machine. Much as I like the Futurists myself,
I
>> see
>> >> LZ music as a glorification of flesh and blood.
>> >>
>> >> TonyR
>> >
>> >
>> >
Mosstwin2
>This past year, due to the Y2K problem, some computers in Switzerland
>sent notices to everyone who was 105 years old, that they needed to
>enroll in kindergarten. (true story)
>
>
I believe it and why not? At that age people are way into their second
childhood. You know what the good part is? This time around there's better
toys!
Shayna :)
Tony Russell
Lee McCauslin wrote in message ...
>>
>
>I don't hear war in WLL either, but if I was in the unfortunate position of
>being in a tank, WLL would definitely keep me pumped. (I imagine I'd let
>the music course through me, let training take care of the task at hand,
and
>hope I didn't remember anything after).
>
Thanks for the perspective, Lee. Perhaps it would have been better if the
author of Hammer of the Gods had qualified his sentence in that way.
It's easy for people like me who have never had to go to war to make facile
statements.
TonyR
Tony Russell
Mosstwin2 wrote in message
>
>I believe it and why not? At that age people are way into their second
>childhood. You know what the good part is? This time around there's better
>toys!
>
Hello Shayna,
What's a good age to end your first childhood? Do you think it's about time
I did?
TonyR
mask
>On Sat, 23 Jan 1999 01:10:41 -0600, ZeppinHood
><zeppi...@badsector.com> wrote:
>
>>11) I predict that Windows 2000 will finally ship in 1901.
>
>
>I am learning the Charleston in breathless anticipation of the
>Twenties.
And we'll see Led Zep from the late sixties!!
Hideki - will I get a telegram?
--
- No Spam: remove ".Abyss" from the address to reply. -
Muz
<lee...@bellsouth.net> wrote:
>I don't hear war in WLL either, but if I was in the unfortunate position of
>being in a tank, WLL would definitely keep me pumped. (I imagine I'd let
>the music course through me, let training take care of the task at hand, and
>hope I didn't remember anything after).
Yeah, I saw the instance that Davis quoted as a perfect example of the
"fuck or fight" impulse, with war as substitute for sex (hell, if yer
not gettin' any all that adrenalin and testosterone has to go
somewhere) and where even a song such as WLL that celebrates an act
that is essentially procreative rather than destructive can be used as
a battle cry.
Even if this never happened as Davis describes it's not hard to
imagine. The Viking berserkers used a mixture of music and intoxicants
to whip themselves into a frenzy of blood-lust before descending upon
unsuspecting villages to rape and pillage. The methods and technology
of war may change but the essential parallel between combat and coitus
does not.
Sandra
Mosstwin2
>What's a good age to end your first childhood? Do you think it's about time
>I did?
>
>
childhoods. I should know, my first is still going on too! LOL!
I'm growing older, not up!
L'Crowe
M wrote:
> In article <36AD194D...@ix.netcom.com>, L'Crowe
> <nigh...@ix.netcom.com> wrote:
>
> Right. I see LZ as having a very pastoral side to them. Here's a bit of
> grist for the mill: How about LZ as a group of anti - industrialists. For
> instance, look at parts of "Down by the Seaside", "The Ocean", "Immigrant
> Song" conjures images of wooden ships crossing the North Sea, "Bron - y -
> Aur Stomp", and "That's the Way" all rely on images from nature. (that was
> probably one big run -on sentance)
> -M
> Lost grammatical prowess
>
> *remove number to reply
>
> -----------------------------------------------
> "There was only the ocean and the sky and the figure of Howard Roark."
>
> > Well, I never thought of Zeppelin as futurists at all, not a mechanical
> > future at least. Incidentally, I think Pink Floyd does a better job of
> > addressing futurism, on Wish U Were Here (Welcome to the Machine), Animals
> > (the factory), Final Cut (mechanized savagery).
> >
> > To the extent that Art Deco embodies futurism.
> >
> > Greg
> >
> > Muz wrote:
> >
> > > Interesting concept, but I can't see it myself. Apart from some
> > > stylistic nods to Art Nouveau as far as album fonts goes I always
> > > thought there was more of a Futurist element to them: glorification of
> > > the automobile and the concept of the body as machine (Trampled Under
> > > Foot), the glory of war (Immigrant Song) and the concept of wargasm
> > > (Stephen Davis in Hammer of the Gods mentions that the soldiers in
> > > Vietnam bolted 8-track stereos onto their tanks and rode into battle
> > > playing WLL at top volume), complex polyphony and dissonance in the
> > > form of the theremin as a homage to "noise sound" (the whole middle
> > > section of WLL). Hell: even the Futurists had no time for critics, one
> > > of the aims laid out in the Manifesto of Futurist Musicians being "To
> > > combat the venal and ignorant critics with assiduous contempt,
> > > liberating the public from the pernicious effects of their writings."
> > >
> > > And of course while Jimmy's on record as saying the the cover design
> > > for the fourth album is supposed to represent a lament for the way it
> > > used to be (old man with sticks living in harmony with nature etc),
> > > the flipside of that is the triumphant progress of the industrial
> > > machine (new tower blocks springing up behind old slums etc).
> > >
> > > Does anyone know whether Crowley was influnced by the Futurists? I
> > > only ask because Lady Frieda Harris, who designed the Crowley tarot,
> > > has a style that reminds me of the Futurist painters, and later the
> > > Vorticists, with their "lines of speed" and rendering of dynamic
> > > sensation (I'm thinking of her designs for the Hermit, the Tower, and
> > > the Knight of Swords in particular as being most reminiscent of
> > > Futurist paintings, but I'd have to look into this a bit more).
> > >
> > > Great thread, Greg.
> > >
> > > Sandra
> >
> >
> >
Lee McCauslin
Tony Russell wrote in message <78miut$gil$1...@plug.news.pipex.net>...
>
>Mosstwin2 wrote in message
>>
>>I believe it and why not? At that age people are way into their second
>>childhood. You know what the good part is? This time around there's better
>>toys!
>>
>
>
>Hello Shayna,
>
>I did?
>
>
>
If yer still 'avin' fun, 'tain't time yet.
:o)
Mosstwin2
>If yer still 'avin' fun, 'tain't time yet.
>
>
An excellent rule!
Shayna :)
L'Crowe
day. I have a lot of art books, nice ones, and I used to study art history back
in college, so I am fairly aware of the currents. I have had a beautiful,
descriptive book open for the last month or two on the 'post-impressionist'
period, which roughly traces cezanne, the fauves, cubism, the advent of abstract
expressionism, futurism, and dada. Today I opened a different book for a
change: symbolism: art from the same time period but vastly different in
characteristics. Similar to the spirituality of art nouveau, but more imbued
with a sense of sexuality, and dark and foreboding things, the spirit world,
such as the pre-Raphaelites for instance. The book started off with a prologue
about how this art was effectively killed off by World War 1. Futurism
completely overran it, and the artists from this movement are largely ignored.
World War 1 encapsulated the sublimation of man to the machine. Some of you may
remember my post about The Great War about a month ago. Some people disputed
whether that war was really any different than other wars. I contend it was.
I've researched a lot of wars. Even the Peloponnesian War, fought roughly 400
B.C., which actually had chemical warfare! The Great War was the mutilation of
man by his machines...a turning event of mankind. Kings and kingdoms died on
those battlefields. So too did naive perceptions of a spirit world, of mythical
kindoms and fantasies. Futurism was the new force to reckon with, and was until
the 1960s peace culture threatened it. Unlike the punk movements right-wing
revolution, the hippies sought an earthly nirvana. Led Zeppelin, to me, is the
ultimate embodiment of a return to those pre-raphaelite forms. Hendrix believed
in a coming together with extra-terrestrials and all sorts of things, but
Zeppelin seemed to revive a Tolkein netherworld of fairies and hobgoblins,
princes and princesses and castles. Cream's Tales of Brave Ulysses and
Zeppelin's Achilles Last Stand both harken back to the mythological romanticicm
of the 19th century, and away from the machine.
I don't think Page or Plant believe in a God that one visits on Sundays at the
parish church. More likely, they believe in the spirit forces of nature. Every
living thing is alive, nothing more, nothing less. I am a great believer in the
community of Led Zeppelin, how that ship was run, and I think that Thelema
philosophy that was spoke of recently is definitely worth checking out. It's
just a simple tenet.
Whether man can roll back the clock to before World War 1, when symbolism was
still respected as a viable alternative to mechanisation, remains to be seen. I
imagine that time will come.
Greg
Tony Russell wrote:
> Muz wrote in message <36acb319...@news.foobar.net>...
> >Interesting concept, but I can't see it myself. Apart from some
> >stylistic nods to Art Nouveau as far as album fonts goes I always
> >thought there was more of a Futurist element to them: glorification of
> >the automobile and the concept of the body as machine (Trampled Under
> >Foot), the glory of war (Immigrant Song) and the concept of wargasm
> >(Stephen Davis in Hammer of the Gods mentions that the soldiers in
> >Vietnam bolted 8-track stereos onto their tanks and rode into battle
> >playing WLL at top volume), complex polyphony and dissonance in the
> >form of the theremin as a homage to "noise sound" (the whole middle
> >section of WLL). Hell: even the Futurists had no time for critics, one
> >of the aims laid out in the Manifesto of Futurist Musicians being "To
> >combat the venal and ignorant critics with assiduous contempt,
> >liberating the public from the pernicious effects of their writings."
> >
>
> Oh no, Sandra, I can't go along with that one, much as I respect your
> opinion.
>
> LZ were about as organic a life form as there is, they were not metal, we've
> been through that before. And it wasn't their fault that soldiers used WLL
> as a battle anthem. Although I've read the book I didn't hold on to that.
> I'd rather keep it as a love anthem! That middle section has always sounded
> to me like free music rather than noise.
>
> Jimmy's use of technology has always been primarily about fingers on
> strings, not a soulless machine. Much as I like the Futurists myself, I see
> LZ music as a glorification of flesh and blood.
>
> TonyR
--
michael gilson
this thread for the moment; just want to say I'm fascinated, I think
you're onto something with this, and I feel prompted to do some further
reading.
Keep it up!
MinM
"Good evening! And welcome to our little world for a couple of hours."
L'Crowe
http://www.geocities.com/Vienna/Strasse/8947/ It's an epic tale, such as
the Illiad, the Odyssey, Herodotus' and Thucydides' Histories, or the
Hobbit. Of course, it's also set some of the finest 19th century
music....14 CDs long!
In the story, the gods pursue gold's pleasures, and it leads to their
ruin. Everyone who possesses the golden ring becomes ruined by it. It's
an indictment of the path our society has been taking, favoring materialism
over love. Looking around now, love is a very hard thing to find. People
tend to gravitate towards other people who have as much money. Money is
ruining love, just as Wagner said it would.
Greg
michael gilson wrote:
--
Muz
gilson) wrote:
>Re. Peart and Rush--when I was in high school and college I thought those
>lyrics were like, so profound, man... I recently picked up the Different
>Stages CD (very inexpensive, and definitely worth it for the 1978
>Hammersmith Odeon bonus disc) and started listening to a lot of the old
>stuff again; I was somewhat embarrassed to think that I used to worship
>those lyrics so much...
Tell me about it. I listened to Rush constantly throughout university
and had A Show of Hands on tape - I recently picked up a 2nd hand copy
on CD and decided to give it a listen for old time's sake. Some of the
lyrics are decidedly cringeworthy - "I am Neil Peart, Master of
Alliteration, hear me roar!" Some of the drumming seems overly busy to
me, and while I used to think Peart's drum solo was the dog's bollocks
it really does bug the hell out of me now. I was quite relieved
though, that there were still a couple of tracks I liked - Distant
Early Warning is still a stormer of a track and the Intro segueing
into Big Money still gets the juices flowing.
Man, I remember when I went to see them on the Roll the Bones tour -
anyone remember that bit in the Simpsons where Flanders is singing in
church with that shudderingly high-pitched voice? Well all I can say
is that Geddy Lee's voice sounds two octaves lower on record. It was
quite a shock, I can tell you.
Nevertheless I'm tempted to get Different Stages, if only for the '78
show.
Sandra
Tony Russell
L'Crowe wrote in message
Today I opened a different book for a
>change: symbolism: art from the same time period but vastly different in
>characteristics.
>
Hello Greg,
That's something I've always been interested in too. What I'd also like to
learn about is the earlier system of symbols that relate to things you can
see in european art of around the 15th-16th century. There used to be some
things called "Emblem Books" which listed every symbol and what it meant.
For example, a dolphin represents power and purity, and every saint has his
or her symbol, or "attribute". Combining these can convey a subtle meaning
beyond the obvious, which is lost if you don't know them. A still life can
be an allegory.
Some of these symbols are rooted in western consciousness still.
TonyR
Muz
wrote:
>This topic is still alive and well with me. I have been thinking about it all
>day. I have a lot of art books, nice ones, and I used to study art history back
>in college, so I am fairly aware of the currents. I have had a beautiful,
>descriptive book open for the last month or two on the 'post-impressionist'
>period, which roughly traces cezanne, the fauves, cubism, the advent of abstract
>expressionism, futurism, and dada. Today I opened a different book for a
>change: symbolism: art from the same time period but vastly different in
>characteristics. Similar to the spirituality of art nouveau, but more imbued
>with a sense of sexuality, and dark and foreboding things, the spirit world,
>such as the pre-Raphaelites for instance.
If you ever get to Paris you must visit the Gustave Moreau museum on
the Rue de la Rochefoucauld: it's situated in his original studio and
is filled to the rafters with paintings, sketches, notes and letters.
Fascinating stuff.
I've been thinking about this, and I think you may have a point here.
The whole Crowley/Page/Symbolism trinity is certainly not a
coincidence. I recall reading that Jimmy paid rather a lot of money
for the original manuscript of Crowley's "Scented Garden of Abdullah
the Satirist of Shiraz" and Crowley in turn was, as you're probably
aware, influenced (at least in his writing) by the likes of
J.K.Huysmans, a symbolist writer whose " A Rebours", a torturously
rambling book god help me, incorporates paintings by Redon and Moreau.
(A far better read is La Bas, also by Huysmans, dealing with Gilles de
Rais, the 15th century necrophile, child-murderer and practitioner of
the Black arts, and one of my ongoing obsessions.)
I'm still not totally comfortable with this whole concept of art
nouveau/symbolism/Zep though =) . Far too much bloody swooning and
depiction of classical and Dante-esque heroes in extremis. The
out-with-the-old, in-with-the-new, technology-and-war-are-the-new-gods
bombast of the Futurists serves as a welcome sorbet to cleanse the
palate after all this langorousness IMHO.
I also admit I stick my fingers in my ears at the slightest mention of
ringwraiths, Gollum, the evil one, Mordor and all the rest of the
sorry bunch. Ech. Make them *all* go away...
On the other hand, III, with its pastoral, accoustic, back-to-nature
feel is my favourite Zep album. Go figure. :-/
Guess I'm just a crazy mixed-up kid,
Muz
L'Crowe
representation in the 20th century. while allegory continued to drive the
subject matter through the renaissance and beyond, I most associate it with
medieval art, which seemed to be more motivated towards conveying the allegory
than the quest of vivid pictorial representation. if I am not mistaken, the
renaissance was another period where the mythical and the mystical gave way to
the scientific and the rational. and again, I would more readily associate led
zeppelin with the medieval than the renaissance.
Greg
Tony Russell wrote:
> That's something I've always been interested in too. What I'd also like to
> learn about is the earlier system of symbols that relate to things you can
> see in european art of around the 15th-16th century. There used to be some
> things called "Emblem Books" which listed every symbol and what it meant.
> For example, a dolphin represents power and purity, and every saint has his
> or her symbol, or "attribute". Combining these can convey a subtle meaning
> beyond the obvious, which is lost if you don't know them. A still life can
> be an allegory.
>
> Some of these symbols are rooted in western consciousness still.
>
> TonyR
--
L'Crowe
Symbolist period, more so than me. Like you, I want to run for the exits when people
start talking mysticism, reading tarot cards, asking what my birth sign is, etc. At
the same time, Led Zeppelin fills up my empty well with the kind of mysticism I live
too much without. Taking things to extremes, I find Yes' Jon Anderson's brand of
hippy mysticism less palatable. He is happier talking about fairies and such in
exclusion of real life drama. On the other hand, Tull's Ian Anderson mixes his
metaphors very well. Ian gives me a sense of the guttural and the mystical. My
favorite Tull albums, incidentally are Thick as a Brick, Aqualung and Heavy Horses.
Greg
Muz wrote:
> Guess I'm just a crazy mixed-up kid,
>
> Muz
--
Lee McCauslin
Tony Russell wrote in message <78rt8s$krq$1...@plug.news.pipex.net>...
>
>L'Crowe wrote in message
>
>>change: symbolism: art from the same time period but vastly different in
>>characteristics.
>>
>
>
>That's something I've always been interested in too. What I'd also like to
>learn about is the earlier system of symbols that relate to things you can
>see in european art of around the 15th-16th century. There used to be some
>things called "Emblem Books" which listed every symbol and what it meant.
>For example, a dolphin represents power and purity, and every saint has his
>or her symbol, or "attribute". Combining these can convey a subtle meaning
>beyond the obvious, which is lost if you don't know them. A still life can
>be an allegory.
>
>Some of these symbols are rooted in western consciousness still.
>
>TonyR
>
>
Now that sounds fascinating! If you ever run across more info, or where one
might get that Emblem Book, please let me know. I've been searching for a
way to add more symbolism into my artwork - something that more than just I
would have a chance of understanding. (and sometimes, it's a bit difficult
for *me* to understand me! ;o) )
Lee
:o)
Samanth...@durham.ac.uk
> >
> > Some of these symbols are rooted in western consciousness still.
like owls for wisdom (as per Athene) deer for gentleness etc...as many
are derived from bible stories this is also not suprising.
> >
some new ones have emerged, also, specific to various artists
e.g.Dali puts ants in his compositions to represent his father (weird,
no?)
some symbols' significance are known by the very few e.g. the use of
rabbits as a refernce to the vulva in various paintings....
of course most of the surviving symbols appear to represent sex as this
is what the human mind focusses on e.g. horses, oxen, swans, fox (wily
in childrens stories - in fact a seducer). some of the symbolsim in the
aforementioned medieval bok was arbitrary, just made up (there are too
many saints for this not to be the case)
just what I thought,
Sambo
Muz
>Hi
>
>I must confess to being trigger happy with my delete function.
>I remember reading a message from someone in Dundee who suggested starting a
>Zepp band (Plaid Zeppelin). I would be interested in starting a Tayside
>area band (I'm in Kinross and play guitar), because being 16, my fellow
>class mates dinnae like Zepp (SACRELIGE). : )
Andrew, I no longer live in Dundee, having traitorously moved south of
the border (I know, I know...)
Plaid Zeppelin... man, for some reason this brings up the extremely
disturbing image of the Bay City Rollers doing Zep covers.
Oh the horror, the horror...!
;-)
Muz
Muz
wrote:
>ZeppinHood wrote in message <7936h3$rgn$1...@news-1.news.gte.net>...
>>Last Tuesdays show was about Bobby getting into soccer
>>instead of football...
>
><snip>
>
>It took me a while to make sense of the sentence.
>
>Anyway, can anyone understand what Boomhower (sp?) says?
"Yeah man, I tell ya what, man... That dang ol' Internet, man...You
just go on there and point and click...Talk about W-W-dot-W-com...
An' lotsa nekkid chicks on there, man ... Click. Click. Click. Click.
Click....It's real easy man."
Muz
Muz
wrote:
>In my opinion, being a blues musician isn't based on whether you were left at home
>as a teenager or someone broke your toys. It isn't about memorizing a bunch of
>licks either. I think the role of bluesman, first and foremost, is to provide a
>focus for the community's suffering and well-being, to put people in touch with the
>gruesome beasts and redeeming angels within them, to bring the audience closer to
>their own feelings. Page's guitar in particular goes from supremely jolly to
>woefully tragic.
Exactly.
Ralph Ellison once valorized the Blues thusly: "The Blues is an
impulse to keep the painful details and episodes of a brutal
experience alive in one's aching consciousness, to finger its jagged
grain and to transcend it, not by the consolation of philosophy but by
squeezing from it a near-tragic, near-comic lyricism. As a form, the
blues is an autobiographical chronicle of a personal catastrophe
expressed lyrically."
Can't say I argue with that.
Muz
michael gilson
cryptRE...@REMOVETHIS2.foobar.co.uk (Muz) wrote:
> Ralph Ellison once valorized the Blues thusly: "The Blues is an
> impulse to keep the painful details and episodes of a brutal
> experience alive in one's aching consciousness, to finger its jagged
> grain and to transcend it, not by the consolation of philosophy but by
> squeezing from it a near-tragic, near-comic lyricism. As a form, the
> blues is an autobiographical chronicle of a personal catastrophe
> expressed lyrically."
>
> Can't say I argue with that.
>
Best darn definition of the blues I've ever seen.
MinM
"That last song has particular significance for us, because...
Kashmir... is a place we haven't been yet. So if we can write a song
about it before we get there, wha' 'appens when we get there?"
michael gilson
cryptRE...@REMOVETHIS2.foobar.co.uk (Muz) wrote:
> Plaid Zeppelin... man, for some reason this brings up the extremely
> disturbing image of the Bay City Rollers doing Zep covers.
>
> Oh the horror, the horror...!
>
> ;-)
>
> Muz
Aaaaack!!! Extremely disturbing horror, indeed. I dunno, if we absolutely
*have* to go down this road, I'd rather hear Page and Plant doing
"S-S-S-Saturday Night."
Mosstwin2
>
>"Yeah man, I tell ya what, man... That dang ol' Internet, man...You
>just go on there and point and click...Talk about W-W-dot-W-com...
>An' lotsa nekkid chicks on there, man ... Click. Click. Click. Click.
>Click....It's real easy man."
>
>
Muz has Boomhower down pat! I'd love to *hear* it - that dull monotone. Hehehe.
BTW, everybody keeps referring to the town as "Arland", it's Arlen.
Shayna :)
Lee McCauslin
Muz wrote in message <36b879dc...@news.foobar.net>...
>>Anyway, can anyone understand what Boomhower (sp?) says?
>
>"Yeah man, I tell ya what, man... That dang ol' Internet, man...You
>just go on there and point and click...Talk about W-W-dot-W-com...
>An' lotsa nekkid chicks on there, man ... Click. Click. Click. Click.
>Click....It's real easy man."
>
>Muz
Beautifully done!
;o)