Our findings suggest that one factor maybe whether your memory system has recently retrieved other, even unrelated, memories or if it was engaged in laying down new ones. I remain fascinated by the development of these models of consciousness and the inner workings of neuroscience. It seems a good week for mis-attributed Francis of Assisi quotes.
He who works with his hands and his head is a craftsman. He who works with his hands and his head and his heart is an artist. This quote was written by Louis Nizer, an American lawyer The issue is who said it. Nizer was an accomplished trial lawyer, author, artist, lecturer, and advisor to some of the most powerful people in the worlds of politics, business, and entertainment, according to Wikipedia.
Very little of what Francis actually said translates well into this sort of bumper-sticker inspirational message the New Age loves so dearly I often think Twitter, with its character limit, was invented for the New Agers who desperately want everything to fit conveniently onto a bumper sticker. Another alleged quote from Einstein is making the rounds. Poor Einstein: for a man of genius, he gets associated with the most mediocre pap.
Match the frequency of the reality you want and you cannot help but get that reality. It can be no other way. This is not philosophy. This is physics. The author should also note that mis-quotes contribute to the general lowering of intellectual standards in literacy, history, science and education. They dumb us down.
Anka claims that he began to communicate, through trance-channeling, with an extra-terrestrial entity called Bashar in He describes Bashar as existing in a parallel reality, in a time frame that we perceive as the future. I know, I know, I almost snorted tea through my nose laughing at that, too.
You gotta love pseudo-scientific gibberish. Karma is not about either punishment or synchronicity. This image does not say anything about what karma actually represents as a theological doctrine. In an era of Wikipedia and the. Maybe both. Buddhanet gives a fairly good explanation of what karma means, from which I quote at length:.
Karma is the law of moral causation. The theory of Karma is a fundamental doctrine in Buddhism. This belief was prevalent in India before the advent of the Buddha. Nevertheless, it was the Buddha who explained and formulated this doctrine in the complete form in which we have it today.
In other words, it is the result of our own past actions and our own present doings. We ourselves are responsible for our own happiness and misery. We create our own Heaven. We create our own Hell. We are the architects of our own fate. It is Karma that differentiates beings into low and high states. Like a mis-attributed quote, a misused word like this creates a bad meme that gets shared, further increasing the general misunderstanding.
You might even say that a misquote like this creates bad karma for the one who spreads it…. I recently joined a small but dedicated group on Facebook. When I say small, it is, by FB standards, tiny: 17 members right now. But that will, I hope, grow as time progresses. Surely there must be more people out there concerned with fact, with accuracy, and with the quality of information. FB plays an important role — as does all social media — in engaging people in all fields, all disciplines, all sciences, all studies and all philosophies.
But as everyone on FB knows, the vast amount of chatter is more of the what-I-had-for-breakfast sort than comments on, say, the relevance of the hunt for the Higgs Boson particle to current cosmological theories. And judging by the number of times a mis-quote gets shared, it seems I am in the minority of people who actually pay attention to what they pass along to others.
You would feel compelled to correct the poster and point out that the song was written by Lennon and McCartney, and performed by the Beatles. I feel the same when someone attributes a saying to Albert Einstein, Shakespeare or Machiavelli that I know is incorrect. Anyway, if you are both interested in this sort of intellectual activity, and have a Facebook account, I recommend you join the group and help build it into something stronger.
As usual, I feel compelled to check out their validity. Francis of Assisi. That seems one of those gooey, touchy-feely New Age thoughts, and Francis never said anything even remotely close to that. I felt embarrassed for him. Perhaps punters had missed the fact, also, that What Is Keith? When I interviewed him back then, Malcolm confirmed his intention to continue to mix humour and levity with art forms that people often take too seriously.
People have a tendency to write off anything humorous as light and lacking in substance, when often the opposite is true. I find nothing funny about laying a guitar on my lap, sitting a mini-fan on it, and bowing it with a cello bow. Yet people still laugh. Escaping to Berlin for a couple of years, it was there that he put the finishing touches to What Is Keith? But was the pivotal year. You got to slow it down. Make it sexier.
I really get it now. He set up the new foundation for us to play off of, and then when I got that, I was all over it then. I did the bass, the synth bass, the sexy synth bass and the beautiful Rhodes and I remember there was this synthesizer called the Oberheim OB The beautiful thing about that was it had these modules that you connected together, but one of the best features about that OB-8 was that it was polyphonic, you could play several notes at a time.
You could set it to where each note had its own portamento. Meaning you hit a note and the time it takes to go from the one note to the next, you could set that individually. When you hit each note you never knew how long it was going to take to get to the next note. They let me on that thing and I went crazy. It was a valuable lesson learned, but I learned it.
Was that informative? We could be here a while. Anyway, yeah. You were a session keyboardist for many years. How do you define the role of what a session keyboardist is?
Obviously, this is beyond that for this particular track, but what do you view that role as? A session musician, regardless of instrument, is a person who has evolved in the craft of making records.
It was back then when I was your age. Things have changed now. You see the difference is that the process of making records these days is vastly different.
You can make a record with this points to computer. This is making a record right here. Back in my day, what we used to do is we used to all get together in a room called a studio. He was an engineer. We had a console, we had engineers and we had musicians, we had a recording studio, we had a producer. Everybody had their roles. It was between the musicians in the room and the producer to kind of bring a new evolution from the demo that would be inspirational for the artists and everyone involved.
That was the idea, and while it may seem foreign to some that a bunch of guys could actually get in a room and create music at the same time, that was normal for us. It was such a golden age because we literally learned how make records, how to make finished products and in all different kind of genres. You just learned, and it was a fantastic process.
You had to deal with different personalities, different producers with their different techniques. OK, let me check that out. Did you feel confined in any way as a musician? What can I do within these boundaries that will make this work? A colleague of yours, Michael Boddicker , I believe, a fellow keyboardist, he once said that you had the deepest pocket since the Mariana Trench.
What do you think that means? No, I know what he means. Pocket refers to groove. The ability to groove without rushing or slowing down. I would just say the experience of playing with different kinds of musicians because while listening to recordings of your inspirations is very important, nothing will expand your musicianship more than just getting in a room with guys and girls and just going at it.
You know? How did I, you mean from the very beginning? Well, I started at two. I started when I was two years old and I started playing by ear. I would go to my next-door neighbors. In their basement, they had an old piano and I would spend a lot of time there. I would sit on it. Actually remember doing that, which is crazy. Then, around six years old, I started taking formal lessons, 'til about the age of — I had three different teachers.
The first one was obviously doing the elementary stuff and then there was more of a mid-level instructor, but the third one was the most influential. Mom actually managed to get the pianist with the Detroit Symphony Orchestra to instruct me. His name was Mischa Kottler. He was one rough customer. He was quite intimidating. He could take this middle finger like this and crack a pane of glass. He was that strong. I left his place many a time with my head between my legs because he was really quite intimidating, but he was what I needed as far as discipline.
Well, along with discipline, just an expansion and appreciation for that genre. You can incorporate elements of that in pop, and jazz.
Very famous artists and bands did. The Beatles did that. It was a wonderful resource to have. Obviously, Motown was based in Detroit at the time. Was it a thing where you thought about working with Motown as a young musician? A lot of people from Detroit will say you were either at the auto plant or you were a musician or both. Were those the options that were set out for you or did you have others? I was just a kid, running around and being immersed in that music, and other genres as well.
I wore that thing out. I had everything coming at me. I was too young to go to the Motown Revue. I never went to one of those. I had that music and it was just wonderful growing up in that time that that was growing up as well. I remember in high school telling friends of mine that I would eventually play with Stevie Wonder. It was in my gut. I had the posters of him on my wall and everything. I really absorbed his music. I just felt like I had this connection with him. OK, fine. When I heard about this, I was thrilled obviously for my good friend.
Ricky Lawson? Ricky Lawson. We played in a band together. I used to go with one of his sisters. We were very good friends. I went to his house the night before he left to hang with him and congratulate him. We were talking. We were all excited, everything.
So what happened was, there were these little things called cassettes and they actually had tape inside and you would throw the thing.
They had the special machines that played these cassettes. You could record on them, or play back. What happened was I played some things on a cassette and he said he would give it to Stevie.
This is the kind of friend he was. He left the next day, and some time passed. It seemed like an eternity, of course, but it was probably two or three days. They just want you to not soil your underwear. In Detroit. There were a bunch of us who knew where he lived. It was a street called Cherrylawn. More troubling, there's a definite overshadow of doom and gloom to The Fabulous Sixties 's script, a sense of foreboding that wasn't present in The Sensational Seventies. One may make the case that the s were a far more chaotic, violent decade than the s, and therefore the darker mood of The Fabulous Sixties is justified.
That may be true, and lighter moments the miniskirt, athletic events, world fairs are profiled to balance the segments.
But there's no denying there are certain strains of condemnation towards western society in general in The Fabulous Sixties 's script, a hectoring return, again and again, to the "waste" and "consumerism" and "violence-loving" of the West, that eventually gets a little annoying "The American gross national product has never been grosser. As well, obvious favorites of the producers are given kid gloves treatment most notably, the Kennedys , while other subjects are subjected to a mocking tone religion, what else?
But that's to be expected with most documentaries, regardless of their claims of objectivity. Ultimately, it's the footage that counts; it really doesn't matter how it's linked - you can judge for yourself the importance of each selection, and filter out the dogma. That's more than half the fun with a collage documentary like this, and The Fabulous Sixties is most definitely an entertaining, enlightening trip back to the s.
And the way that Europe has developed is that the bankers and the multinational corporations have got very powerful positions, and if you come in on their terms, they will tell you what you can and cannot do. Washington Post. BBC News Magazine. Fresh from the DC FanDome event! That speech Chairman Mao - Greg Malcolm - Some Other Time (DVD) a comment on the evils of segregation, then being challenged in the US courts and on the streets of the southern states. The Speaker Chairman Mao - Greg Malcolm - Some Other Time (DVD) the Commons, Sir Harry Hylton-Fosterdid not allow him to deliver a speech from the bar of the House of Commons in April when the by-election was being called. I have been Tony Benn in Bristol for a long time. Dogs and cats, for example, have memories. We knew that we were making a great record, and it was going to be pretty big and important, and Motown was impatiently waiting.
T.B. Sheets - Van Morrison - New York Sessions 67 (Vinyl, LP), Roll Up - Wiz Khalifa - Rolling Papers (CD, Album), Hans-Eckardt Wenzel - Wenzel singt Woody Guthrie (CD), Terry Dene - Geraldine/Love Me Or Leave Me (Vinyl), Se guel guerrier io fossi, Akte 1 - Renata Tebaldi - Aida Hoogtepunten (Vinyl, LP)