Jethro Tull - Ian Anderson

Pete Cornish - Judas Priest pedalboards

Pete Cornish: "You are in luck:-)) I found the full details of Glen Tipton's and Kenny Downing's effects boards. I made these in October 1980 so they would have been used on the 1982 recording of "Screaming For Vengeance". I made new remote controlled racks in 1984 so the boards would definitely have been used before that date. The effects in the boards are as follows: KK Downing S/N 054: PC Input isolator>TB-83>NG-2>ST-2>MXR Phase 100>PC Modified Cry Baby>Echoplex EP3 Send/Return>NB-2 (Linear Boost)>Mute>Four isolated outputs to 50W Marshall heads. Glen Tipton S/N 056: PC Input Isolator>TB-83>SS-2>NG-2>ST-2>MXR Phase 100>MXRFlanger>MXR Analogue Delay>Echoplex EP3 Send/Return>MXR 10 Band EQ>NB-2 (Linear Boost)>Mute>Four isolated outputs to 50W Marshall heads>D.I. to PA. As you can see, it is not as simple as just one of my effects units as combinations would have been used. Hope the info is of interest."

cred: facebook.com/Kevin McGinn

Remember, ladies: If you don't stand for something... you'll fall for anything.

Sucker Punch (2011)

A-T-4 091 Lite Year Heartbreaker

If you own a Sugar Hill record or Bob Marley’s Legend collection or Little Creatures by The Talking Heads you may not have noticed but if you look Eric E.T. Thorngren’s will be credited somewhere. Thorngren sadly passed away on Wednesday, the same day as Steve Albini, his contribution to music engineering, mixing, and production is arguably as influential as Albini but Eric E.T. Thorngren’s death has attracted far less attention. Of course Albini continued to tour and release records and that means doing interviews, on top of that to say Albini was outspoken is an understatement. Thorngren was a studio guy considered too boring for the general public, only serious music journals sought him out for interviews, Of course this is nonsense Eric E.T. Thorngren was really cool

Still in his teens New Yorker Thorngren’s first band was Eric and the Chessmen in the 1960s

“Thorngren founded a band named Bulldog with two former members of blue‑eyed soul group the Rascals — guitar player Gene Cornish and drummer Dino Danelli — in 1972, and it was the recording of a couple of albums with this outfit that sparked his interest in engineering.

After the Bulldogs, it looks like Thorngren worked as a session musician, he contributed guitar and songs to a handful of released put out by RCA in the mid to late 1970s including Take Me To Baltimore by Ruth Copeland which was arranged by Patrick Adams, and the disco album Moving Along by Australian artist Renee Geyer which was produced by Frank Wilson, both albums have some great players on them

“"When I was in the studio, I noticed that the sanest guy was usually the engineer,” he remarks. "At that point, I thought I'd like to get in with the same crew and use my fingers to dabble in not only my own career, but other people's, too.” ”

https://www.soundonsound.com/techniques/classic-tracks-talking-heads-road-nowhere

“I knew a guy who was working at a record company in New Jersey, called All Platinum Records. He hated engineering and wanted to be a folk singer. I said, “When you quit, would you call me up and tell me?” I was living on 81st and First Avenue in Manhattan. I got a call from him. “I just quit.” I called them up and I talked to Joe Robinson. I said, “I understand you need an engineer.” He goes, “Yeah, could you work tonight?” I took a bus to the subway and a bus across the George Washington Bridge; it took me an hour and a half to go 12 miles. I got there, I got the job, and I started working there. Sylvia Robinson and Joe Robinson owned the place. Sylvia had been in Mickey & Sylvia, with the song “Love is Strange.” Soon after I arrived, they changed the name, All Platinum Records, to Sugar Hill Records, which is a neighborhood in Harlem. When I first got there, there was a guy doing some recording and playing back on the console. On every channel, the bass was turned full blast. He had it at 100 Hz and they were all wide-open. They certainly needed an engineer to work there that time. They were happy to have me in there doing anything I wanted to do in the studio. They gave me the keys, and I would go in there and experiment.

“I recorded the first record scratching on [Grandmaster Flash & The Furious Five’s “The Adventures of] Grandmaster Flash on the Wheels of Steel.” I learned about beauty from the Crash Crew. We cut a song for them, with horns and the whole full production. They came into the studio, and they said, “Shut that off.” I said, “Really? Okay.” Then they said, “And shut that off.” They’re muting all these tracks, and it comes down to be this simple thing that was just earthy. I was like, “Wow!” The fact that they shut off a bunch of overdubs really opened my eyes to being able to mute tracks.”

https://tapeop.com/interviews/153/eric-et-thorngren/

Much of Thorngren’s career involved the phenomenon of one amazing thing leading to another. While in the process of helping Chris Difford and Glenn Tilbrook mix their lone album as a duo in 1984, their manager introduced Thorngren to Chris Blackwell of Island Records. In turn, Blackwell offered Thorngren the opportunity to select and mix the tracks for the unforgettable Bob Marley and the Wailers compilation, Legend. While working on that project at Compass Point Studios in the Bahamas, Thorngren met Chris Frantz and Tina Weymouth, who asked him to do a new mix of the soundtrack to Talking Heads’ Stop Making Sense, which in turn led to him being asked to record the band’s next studio album, Little Creatures.

https://qthemusic.com/p/rip-eric-et-thorngren-engineer-producer-remixer-grandmaster-flash-to-squeeze/

So I’ve chosen a rarity from 1984 recorded by Eric E.T. Thorngren. In 1984 he had just finished working with Sugar Hill and was remixing Hope Fell Down for Difford & Tilbrook as mentioned above. This led to mixing Bob Marley and Black Uhuru for Island Talking Heads for Sire and he was also working with Eurythmics on their 1984 soundtrack album. In 1985 he would be nominated for a Grammy Robert Palmer’s Riptide album

My Top 10 Favorite Nickelodeon Movies

#10 The Rugrats Movie

#9 Rugrats In Paris: The Movie

#8 Rugrats Go Wild

#7 Playing With Fire

#6 The Adventures Of Tintin

#5 Yours Mine And Ours

#4 Teenage Mutant Ninja Turtles: Mutant Mayhem

#3 The SpongeBob Movie: Sponge on the Run

#2 The Loud House Movie

And #1 The SpongeBob SquarePants Movie

Original Template: https://www.deviantart.com/jackskellington416/art/My-Top-10-Favorite-Nickelodeon-Films-852482372

The Rugrats Movie Belongs To Arlene Klasky, Gábor Csupó, Paul Germain, David N. Weiss, J. David Stem, Animagic Studio, Anivision Corporation, Sunwoo & Company Co., Ltd. Class-Key Chew-Po Commercials, Grimsaem Animation Co. Ltd. Klasky-Csupo, Inc. United International Pictures, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Rugrats in Paris: The Movie Belongs To Arlene Klasky, Gábor Csupó, Paul Germain, J. David Stem, David N. Weiss, Jill Gorey, Barbara Herndon, Kate Boutilier, Grimsaem Animation Co. Ltd. Koko Enterprises Ltd. Seoul Movie, Sunwoo Digital International, Sunwoo & Company Co., Ltd. Tama Production, Wang Film Productions Co., Ltd. Yowza! Animation, MFP Munich Film Partners GmbH & Company I. Produktions KG, Rugrats Production K.G. Klasky-Csupo, Inc. United International Pictures, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Rugrats Go Wild Belongs To Arlene Klasky, Gábor Csupó, Paul Germain, Steve Pepoon, David Silverman, Stephen Sustarsic, DongWoo Animation Co. Ltd. Lotto Animation, Inc. Sunwoo & Company, Co., Ltd. Klasky-Csupo, Inc. Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Playing with Fire (2019 film) Belongs To Dan Ewen, Matt Lieberman, Broken Road Productions, Walden Media, LLC, Anschutz Entertainment Group, Inc. Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The Adventures of Tintin (film) Belongs To Hergé, Steven Moffat, Edgar Wright, Joe Cornish, Casterman, Les Éditions du Lombard, Egmont International Holding A/S, Little, Brown and Company, Hemisphere Media Capital, The Kennedy/Marshall Company, WingNut Films Productions Ltd. Amblin Entertainment, Inc. Amblin Partners, LLC. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Yours, Mine & Ours (2005 film) Belongs To Mort Lachman, Melville Shavelson, Bob Carroll Jr. Madelyn Davis, Ron Burch, David Kidd, Robert Simonds Productions, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon.com, Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, Sony Group Corporation, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Teenage Mutant Ninja Turtles: Mutant Mayhem Belongs To Peter Laird, Kevin Eastman, Brendan O'Brien, Seth Rogen, Evan Goldberg, Jeff Rowe, Dan Hernandez, Benji Samit, Mikros Animation, Technicolor Creative Studios S.A. Vantiva S.A. Cinesite, Mirage Studios, Point Grey Pictures, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The Spongebob Movie: Sponge On The Run Belongs To Stephen Hillenburg, Tim Hill, Jonathan Aibel, Glenn Berger, Mikros Animation, Technicolor Creative Studios S.A. Vantiva S.A. MRC, United Plankton Pictures Inc. Nickelodeon Movies, Paramount Animation, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The Loud House Movie Belongs To Chris Savino Kevin Sullivan, Chris Viscardi, Top Draw Animation, Inc. Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studio, Nickelodeon Movies, Nickelodeon Group, Paramount Players, Paramount Home Entertainment, Paramount Pictures Corporation, Paramount Global, And Netflix, Inc.

The SpongeBob SquarePants Movie Belongs To Derek Drymon, Tim Hill, Stephen Hillenburg, Kent Osborne, Aaron Springer, Paul Tibbitt, Rough Draft Studios, Inc. Rough Draft Korea Co, Ltd. Toon Boom Animation Inc. United Plankton Pictures Inc. United International Pictures, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Release Blitz, Excerpt & Giveaway: These Young Wolves by Glenn Quigley

Release Blitz, Excerpt & Giveaway: These Young Wolves by Glenn Quigley

Title: These Young Wolves Series: Knights of Blackrabbit, Book One Author: Glenn Quigley Publisher: NineStar Press Release Date: 12/20/2022 Heat Level: 2 – Fade to Black Sex Pairing: Male/Male Length: 84900 Genre: Historical, LGBTQIA+, Cornish coast, clockpunk, spec fiction, bears, sailors, law enforcement, historical, non-explicit, enemies-to-lovers, crime, redemption, revenge, tattoos Add to…

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New Release Blitz: These Young Wolves by Glenn Quigley (Excerpt & Giveaway)

New Release Blitz: These Young Wolves by Glenn Quigley (Excerpt & Giveaway)

Title:  These Young Wolves Series: Knights of Blackrabbit, Book One Author: Glenn Quigley Publisher:  NineStar Press Release Date: 12/20/2022 Heat Level: 2 – Fade to Black Sex Pairing: Male/Male Length: 84900 Genre: Historical, LGBTQIA+, Cornish coast, clockpunk, spec fiction, bears, sailors, law enforcement, historical, non-explicit, enemies-to-lovers, crime, redemption, revenge, tattoos Add to…

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Films that share similarities to my games (Pt.1)

6 Days is a 2017 action thriller film directed by Toa Fraser and written by Glenn Standring. A British-New Zealand production, it is based on the 1980 Iranian Embassy Siege in London and stars Jamie Bell, Abbie Cornish, Mark Strong and Martin Shaw.

The siege situation is presented from three perspectives: that of negotiator Max Vernon (Mark Strong), SAS leader Rusty Firmin (Jamie Bell) and BBC news reporter Kate Adie (Abbie Cornish).

Sucker Punch 

This is also one of my favorite movies. I love the costumes (oh, yes, again, the dresses :) ) , I love this fantasy world, alternative reality what she create. The girls are amazing. I am very sorry for them. :( 

I think it’s a film full of serious thoughts, and not just “something sexy”. 

The quotes are EPIC!  Perhaps one of the best of all, Especially what is at the beginning.  You, know, that “Everyone has an angel. A quarduan who watches oves us...”  and what the wise man  said  “  If you don't stand for something, you'll fall for anything. “  Really brilliant 

Jethro Tull - Ian Anderson

You have all the weapons you need... Now fight!

Happy birthday Sucker Punch! (hope one day we'll see the real you)

Middle of the Row – The Podcast: 169 - We Take The Sucker Punch?

Middle of the Row – The Podcast: 169 – We Take The Sucker Punch?

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I love this channel... It's rare to come across content that's actually positive because criticism always gains clicks nowadays... Sucker Punch is a movie with really really great depth and it's not just some eye candy... I know I already posted one sucker punch positive clip... If you liked that one you'll love this one...

Guilty Pleasure #30

SUCKER PUNCH

Dir. ZACK SNYDER; Wri. ZACK SNYDER & STEVE SHIBUYA; Music. TYLER BATES & MARIUS De VRIES; Starring. EMILY BROWNING, ABBIE CORNISH, JENA MALONE, VANESSA HUDGENS, JAMIE CHUNG, CARLA GUGINO, OSCAR ISAAC, JON HAMM, SCOTT GLENN; R.T. 109 mins; 2011, USA/Canada

WHAT IT’S ABOUT: Possibly somewhere in 1960s America, Babydoll (Browning) finds herself locked away in an asylum by her brutal, corrupt stepfather, with just one week to go before she’s due to be lobotomized. As she seeks escape, she slips into a fantasy world in which she’s been sold into sexual slavery at the brothel run by Blue (Isaac), and as she enlists the help of fellow prisoners Sweet Pea (Cornish), Rocket (Malone), Blondie (Hudgens) and Amber (Chung), Babydoll slips further into her delusions, leading her into epic battles against monstrous foes in far-flung, impossible lands …

WHY IT’S GUILTY: Wow, where do I start?  There are DOZENS of reasons why this movie shouldn’t work, and plenty why it DOESN’T – the narrative structure is a twisted mess, riddled with plot holes, wild stretches in creative credibility and more than one shameful use of full-on deus ex-machina, several of the characters are badly drawn ciphers or clichéd caricatures, the pacing can be PAINFULLY inconsistent, and parts of the action sequences drag when they really should race.  Accusations of misogyny have been levelled at the film, and they’re not without foundation, while the rapey vibe of the main characters’ core dilemma can sometimes leave an unpleasant taste in the mouth.  This certainly is one of the strongest examples of a “Marmite film” in cinema, dividing critics and audiences across the board, and while the film ultimately managed to scrape even at the box office, it was nothing like the blockbuster tour-de-force it was intended to be.

WHY IT’S A PLEASURE: And yet, if you just switch off and go with it, there’s still plenty to enjoy here.  This was, after all, written and directed by Zack Snyder (co-writing with relative unknown Steve Shibuya), whose more successful features include 300, Watchmen and Man of Steel, and if there’s one thing we learned from his other (relative) misfires, Batman Vs Superman: Dawn of Justice and Justice League, it’s that even when he delivers a clunker, it’s still an interesting and often ENTERTAINING clunker.  While it becomes an incoherent, bloated mess in places, it’s still visually stunning, every shot of the film designed to almost anal degrees of detail, some compositions genuinely transitioning into realms of high art, so the whole thing looks like a particularly rich and glossy graphic novel brought to vivid life. The action sequences are, for the most part, EXQUISITE (no surprise, really, since they were handled by stunt coordinator Damon Caro, who, as well as working on Snyder’s previous two films, also choreographed the Bourne movies), particularly Babydoll’s initial meeting with Scott Glenn’s mysterious mentor, the Wise Man, which progresses into a moody, evocative confrontation with a three enormous demonic samurai, and the spectacular steampunk-flavoured World War I-set adventure where the girls are first put through their collective action paces.  Indeed, while many characters fall short, one of the film’s genuine strengths is its five strong female leads – Emily Browning (American Gods) may be deceptively slight but once Babydoll picks up her katana and .45 automatic she’s transformed into truly iconic ass-kicker filled with unbreakable spirit, Jenna Malone (Donnie Darko, The Hunger Games) is all fire and unpredictability as troubled teen runaway Rocket, and Jamie Chung (The Gifted) and Vanessa Hudgens (High School Musical) definitely aren’t underdeveloped eye-candy as they both bring true depth and nuance to Amber and Blondie, but in many ways the true heroine of the story is Sweet Pea, Abbie Cornish (Three Billboards, Jack Ryan) adding a powerful “big sister” vibe that brings additional pathos as the tension peaks in the final act – and a genuinely memorable, compelling and creepily seductive villain in future Star Wars-star Oscar Isaac’s Blue.  YES, the film IS misogynistic, but there’s a message beneath the overt sexuality and glossy presentation, Snyder clearly trying to ram a message of feminine empowerment home and sometimes succeeding, even if it does tend to get lost in the noise. More interesting, however, is a more subtle idea buried in the narrative, telling us to keep fighting no matter what, even if the battle really can’t be won.  Clearly it’s one Snyder and co took to heart – this is a deeply flawed film that fails on many levels, particularly the genuinely ridiculous twist ending, but it’s not for lack of trying.