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through the hourglass 335. brb x oc
a/n: im so tired of my internet issues ughhh (comments and reblogs are super welcome and encouraged!)
pairing: plus size!oc x rooster
warnings: none uwu
goodness gracious (pls read this one to know more what this fic is about!!)
chapter
1/
/316/317/318/319/320/321/322/323/324/325/326/327/328/329/330/331/332/333/334
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-
“Have you been to Disneyland before?”
She looks up from her phone when he asks, sunglasses low on her nose as she purses her lips, “Hm?”
Rooster’s caravans shone as the sun hit the lenses, one of his arms resting by the window as they wait in traffic, pointing forward, “Disneyland,gorgeous.” he smiles, “You’ve been there?”
“Oh yeah, not too often. You know, my parents could handle me and Leo maybe Mike? But,” she shrugs, “We often came here with other family members, but it was really fun.” she smiles at him, looking back to check on the kids. Nicole was the only one awake, holding her stuffed chicken toy - again, his friends were hahah so funny - with her big light eyes moving around.
The twins were sleeping so soundly Bea was jealous, “Anyway,” she cfontinues, “I asked Dr.Connelly again if it’s okay for them to come–”
“Didn’t we check with her yesterday,gorgeous? Didn’t she say it was fine?”
“Well yes,” she types down, “But you gotta make sure,Roos.”
Rooster nodded,smiling to himself as the traffic finally move forward "You're right, gotta make sure everything's in order. We want this trip to be perfect for them."
Beatrice smiled, nodding as she waits for the pediatrician’s response. "Exactly. I want it to be a magical experience for all of us, stress-free."
As traffic inched forward, Rooster glanced at Nicole in the back seat. "Nikki seems excited. She's been eyeing that stuffed chicken like it's the key to the Magic Kingdom."
Beatrice chuckled, casting a glance at Nicole who was now inspecting the stuffed chicken with a serious expression. "That chicken is her travel companion. It goes everywhere with her. I have no idea how she got so attached to it." and she gives him a side eye look, “Who knows why,right?”
He narrows his eyes playfully, “I don’t know what you mean.”
“Our daughter likes chicken themed stuff? Wow,” Bea giggles, “Can’t say I saw that coming.”
“Chickin!”
“Yes,baby girl it is a chicken.” he adds while looking through the rear view mirror, “So, since you’ve been there before can you,” a shrug, “Give me the basic rundown of what I’ll see first? I think I haven’t seen anything Disneyland related since the 90s.”
Beatrice smiled, eyes shining immediately, hands spreading. "Sure thing. Disneyland is divided into different lands, each with its own theme and attractions. The first land you'll probably see is Main Street, U.S.A. It's designed like a nostalgic American town from the early 20th century, you know, with shops, restaurants, and the iconic Sleeping Beauty Castle at the end."
Rooster nodded, his eyes gleaming with anticipation. "Sounds charming. What's next?"
"Well, from Main Street, you can branch out to different lands. There's Fantasyland, where you'll find classic attractions like 'It's a Small World,' 'Peter Pan's Flight,' and the 'Mad Tea Party' – you know, the spinning teacups. Perfect for Nikki."
"I can already picture Nikki insisting on spinning the teacups faster than anyone else."
Beatrice laughed, "Exactly. She'll probably challenge you to a teacup spinning competition."
Rooster smirked, tilting his head so he could see better "Bring it on. What's next after Fantasyland?"
"Well, there's Adventureland, where you'll find 'The Jungle Cruise' and 'Indiana Jones Adventure.' It's got a tropical jungle theme."
"Sounds like my kind of place. I'm ready for some jungle exploration."
“Yeah, you would.”
Both of them looked down at his Hawaiian shirt. And he snorted, “Hilarious, what else?”
"Then there's Frontierland, with a Wild West theme. You'll find 'Big Thunder Mountain Railroad,' a roller coaster. And oh! 'Splash Mountain,' a log flume ride with a drop at the end."
Rooster's eyes lit up at the mention of roller coasters. "I'm definitely trying those. What's after Frontierland?"
"New Orleans Square is next. It's got a Southern charm with cobblestone streets and a haunted mansion. The 'Haunted Mansion' ride is a must-see, especially if you like spooky stuff."
“That could be interesting. What's left?"
"Uuuuhhhh,well, there's Critter Country, which has the 'Winnie the Pooh' ride. And finally, there's Tomorrowland, a futuristic-themed land with attractions like 'Space Mountain' and 'Buzz Lightyear Astro Blasters.' she grins, “And hmmm…let me think, there must be something else.”
“You got that all from memory?”
“Course not hon,I memorized everything remember?” she grins, tapping her phone, “So we’d know what to do.”
Rooster chuckled, "You're like our personal Disneyland encyclopedia. Impressive."
Beatrice grinned, tapping her phone screen. "Well, it's a big park with a lot to offer. I just want us to make the most of our time there, experience everything the kids might enjoy." she smiles more “And you. You look good by the way.”
He smirks, face still forward, “Do I?”
“Hard to look,bad,Roos.”
“Aw,keep going like that and I’ll have to take you on a date,gorgeous.”
Beatrice's laugh rang through the car, a warm and melodic. "A date at Disneyland? Now that sounds like a plan. We could even try one of those character dining experiences. Maybe have dinner with Mickey and Minnie?"
Rooster grinned, the image of sharing a meal with Disney characters sparking his amusement. "Sure, why not? I'd love to see kids’ reaction."
"I bet they’d love it."
As the traffic inched forward, Rooster stole a quick glance at Beatrice. Her enthusiasm was contagious, and the sparkle in her eyes mirrored the excitement building within him. "Gorgeous, this trip is going to be incredible. Thanks for making it happen."
Beatrice met his gaze, her eyes softening with affection. " I'm just making sure it's filled with magic for all of us."
The car finally reached the entrance to Disneyland, and the iconic Sleeping Beauty Castle came into view. Rooster couldn't help but marvel at the sight, the grandeur of the castle against the backdrop of a clear sky. "We made it.”
Beatrice grinned, her excitement bubbling over. "We sure did.Ready?."
Rooster chuckled, "Sure am."
-
Nikki's eyes widened at the sight of Cinderella's Castle, and she tugged on Rooster's hand. "Dada, big! Inside?"
Rooster chuckled, lifting her onto his shoulders. "Maybe later, sweetheart. Let's explore a bit first." he keeps her up on his shoulders and her tiny hands land on his cap as they walk forward, “There’s…a lot of people here.”
Bea pushes the stroller forward, the twins now awake, “Yeah. But it’s less than often. I think we’ll be okay.” she does grab his bicep as they move forward, to stay close at all times.” Where do you want to go first?”
Rooster scanned the parl, considering their options. "How about we start with Fantasyland? I’m…kinda overwhelmed right now,hah."
“That’s okay,Roos,we’ll start slow.”
Rooster and Beatrice navigated through the crowd, the twins in the stroller, and Nikki on Rooster's shoulders, her eyes darting from one magical sight to another.
Nikki pointed excitedly at the spinning teacups of the Mad Tea Party. "Dada!"
“Yeah,baby girl. I know, we can go there later.” his eyes looked around for a bit, lips pursed, “...you know, it feels…weird? A little?”
Beatrice nodded, understanding the mix of emotions Rooster was experiencing. "It's a lot to take in, especially for the first visit. But we'll take it one step at a time, alright?"
Rooster smiled appreciatively, squeezing her hand. "Yeah, one step at a time. “ the kids were having a blast at least, Nikki was just babbling so happy on his shoulders that he just couldn’t help smiling, “Do…they have anything to do with the sword and the stone?”
Beatrice thought for a moment, then nodded. "Yes, they do! The Sword in the Stone is right in front of King Arthur Carrousel. We can check it out."
“...really?”
“Yeah!”
Rooster’s lips parted and he just…looked like a little boy for a second, lips quirking, “Wow…wow uh…wow.” he was fidgeting a bit with excitement, “Can we…can we go there?”
Beatrice chuckled at Rooster's childlike enthusiasm. "Of course, we can. It's a classic Disney experience. Nikki, what do you think? Want to see if Daddy can pull the sword from the stone?"
Nikki clapped her hands "Yea!"
“I think daddy is worthy enough too,” Bea smiles, rubbing his arm and seeing how his cheeks heated up as he dropped his gaze, “We can go Roos. If you want to start there,we can go there.”
He looked so delighted by that idea, he looked so so happy. “It is your favorite movie, right Roos?”
Rooster grinned, his eyes lit up with a genuine excitement. "Yeah, it is. 'The Sword in the Stone' has always been a favorite. I mean, who wouldn't want to try pulling that sword out?" he pauses “My mom…and I watched it often.”
“Yeah?”
“And…Robin Hood.” he smiles, “Do they have stuff like that here? Robin Hood?”
"Oh, they definitely have nods to Robin Hood. We can explore the area around the castle, and I'm sure we'll find something related to the legend of Robin Hood. Maybe even a character meet-and-greet!"
Rooster's eyes sparkled with excitement. "That!...sounds amazing. Yeah,yeah, gorgeous."
The Bradshaw family made their way to Fantasyland, and Bea was so happy that all her loves looked like they were having a blast. As they approached the King Arthur Carrousel, Nikki's eyes widened with. Rooster carefully lifted her down from his shoulders, and she immediately ran towards the majestic spinning horses.
"Dada, horsies! Wide one?" Nikki's little hand was pointing forward while looking back.
Rooster grinned, glancing at Beatrice with his hands on his hips "What do you think, gorgeous? Ready for a carousel adventure?"
Beatrice nodded, her eyes twinkling with excitement. "Why don’t you two go first? I’ll stay with the twins first.”
‘You sure?”
“Yeah,” she grins, “You two have fun,yeah?”
Rooster smiled appreciatively at Beatrice, his shoulders relaxing"Thanks, gorgeous. We'll catch up with you right after."
“I’ll be right here,” she points to a bench, “Don’t worry.”
Nikki was practically bouncing on her toes, her eyes flickering between the carousel and her parents. "Come on, Dada! Horsies!"
Rooster chuckled, taking Nikki's hand. "Alright, let's go baby girl."
As Rooster and Nikki joined the line for the carousel, Beatrice found a comfortable spot nearby to park the stroller. The twins were wide-eyed, taking in the colorful surroundings. Beatrice glanced around, with Aurora being a loud babbling baby as she watched people go by.
She couldn't help but feel a warm sense of contentment, hand on her cheek as she watches. She just wanted him to have a good time, he’s been through so much and he deserves a break. The carousel music began to play, and Beatrice marveled at the joyous expressions on their faces, pulling out her phone to film them for a short while. Nikki was getting so tall, even for a one year old, she’s half his calf already.
She only watched with her eyes shining. This was going to be a good day.
#bradley rooster bradshaw#rooster bradshaw#bradley bradshaw x oc#top gun maverick#bradley bradshaw x reader#bradley bradshaw x female reader#bradley bradshaw x named reader#tgm oc#tgm fic#tgm fanfiction
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Leo|IDV icons
repost or like to use,don't claim as yours,give credit,thanks! ♡
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Once Upon a Pointe - Chapter Two
Story Summery:
“Annabeth, you’re with Percy,’ Chiron said. Annabeth. She looked like the figurine in a little girl’s music box had come to life to dance in City Ballet. Percy felt like every opportunity to dance with her was a privilege. Just don’t forget the choreography, Percy thought as he got into the right starting spot for the wedding pas de deux. Don’t forget the choreography, and don’t drop her.”
Percy, a soloist with the ballet company, and he is offered one chance to dance with Annabeth, one of their star principals. If he nails the choreography, he might just earn a chance to dance with her. And, if he’s really lucky, he might get a date out of it as well.
Chapter 2/12 - “Do Your Job”
Read on AO3
Chapter One
Percy didn’t need to be at the rehearsal for the Rose Adagio, but he had nowhere else to be for two hours. Might as well get more acquainted with the ballet.
The adagio was iconic. The ballerina had to balance in en pointe on one foot for what seemed like an eternity, using only her own balance, core strength, and the occasional supporting hand from one of the four princes. She had to do that twice.
With few exceptions, men didn’t go on pointe, so Percy couldn’t image ever pulling something off like that. Hell, he wasn’t even sure he could do that on demi pointe.
Annabeth hardly seemed to have any issue with the balances, though, standing firm through the first pass of it, before continuing the five-minute dance. The second promenade was harder than the first, with each prince turning her around as she stayed en pointe, switching between the four princes, each with their own turn.
When she went up for the second set of balances, Percy could tell that she was off her leg by the way she seemed to hold on tightly to her partner’s hand as they went around and how quickly she brought her arm up and back down out of fifth position before taking the next prince’s hand. It didn’t have to be perfect – this was only the second day of rehearsal since choreography finished, and performances were rarely perfect. But Percy knew from dancing with her that Annabeth had different standards for herself.
Percy held his breath when the third prince walked up. He was a young dancer. He’d only been offered his corps contract a few weeks before rehearsals started, and he didn’t seem to be the strongest partner yet. But Chiron made choices like that sometimes; he threw younger dancers into a bigger role as a trial by fire. It made some of them better dancers, and it had broken some of the others.
Annabeth was probably ready to kill Chiron for putting this dancer in that spot about now. Percy could tell that he was distracted, leaving Annabeth to partner herself for most of the dance. He had the same issue as he partnered her around the promenade.
“Stay with her, Leo!” Chiron yelled from the side. Typically, if Chiron wanted to give a note, he’d stop the pianist and the dancers to correct something. It was rare for him to yell notes as during the dance.
Chiron’s comment only pulled Leo’s attention farther away from Annabeth. He stopped the turn short and released her hand before he was sure that she was ready to move on to the next prince. Annabeth knee and shoulders quivered as she fought to find her balance, before losing it, dropping out of her releve.
Percy winced for her as he watched her foot drop. Such a small action was a big mistake in the adagio. Audience members rarely noticed choreography mishaps. As long as a dancer stayed on their feet, they could adapt or change choreography on the spot if they needed to. No one ever had a perfect show, but the audience never knew the difference. But the adagio balances were one of the rare moments in ballet that had to be precise, because even an audience member unfamiliar with the ballet would notice if the ballerina falls out of the balance when she isn’t supposed to.
And Annabeth Chase wasn’t supposed to.
She popped back onto releve to continue, but Chiron called for the music to stop. She dropped out of her pose, taking a few deep breaths. Leo stepped towards the back of the room, clearly embarrassed. He stared at the back of Annabeth’s head like she was the high school bully ready to beat him up in the parking lot.
He is a high school kid, Percy remembered. He was only eighteen. Percy knew Chiron well as a director and mentor. There was a good chance that Chiron remembered Leo’s age and took pity on him. Percy wasn’t too sure about Annabeth, though.
“Let’s try that again. This time, Leo, stay with her. She needs your support to get through this,” Chiron said. He gave a few more detailed instructions to all the princes’, and then a few notes to Annabeth, who took them with a gracious nod, before going up again, this time for a more gracious set of turns.
~*~*~
Chiron called for a short break before they started running some of the act two sequences.
Annabeth walked over to one of the barres on the side of the room and started stretching as she caught her breath.
Percy walked up to her, hoping he didn’t bother her too much.
“What’s up, Percy?” she asked before he could say anything. She seemed annoyed, but not annoyed with him, which was a good sign.
Percy cleared his throat. “I just wanted to say that I know act one is really hard for Aurora,” Annabeth’s cheeks flushed, and Percy back peddled. “I mean, it’s hard for every Aurora. It’s one of the hardest –”
“What do you want?” She said. Now she did sound annoyed with him.
“I just wanted to say that if there’s anything I can do to make act two and three easier for you, please let me know,”
She glared at him. An “I’m going to kill you” glare, an “I will snap you like a twig” glare, an “I will have my husband hire a hitman to smash your knees with a baton to end your career” glare. Percy suddenly regretted every decision he had ever made between his first ballet class at the YMCA and that moment.
“Do you really want to help me?” She asked him.
“Yeah,”
She turned away from the barre to face him. “Then do your job,” she said, before turning away from him.
~*~*~
Percy hung around Piper, their Lilac Fairy, for the rest of rehearsal. The last thing he needed was to annoy Annabeth more as they worked on the dream sequence.
Their progress was slow. Chiron seemed to stop them every few steps to give a note.
“Piper, you’ve really got to convince this guy to come save the princess.” “Annabeth, charm him. You need him to wake you up.” “Percy, be a little less sure of yourself in the beginning. You don’t know who this woman is. Some fairy just showed up in the woods and told you to go after this dream girl. It’s going to take some convincing.”
Percy took in all of the notes and did his best to apply them right away. Just do your job, he told himself.
“Before we end for the day,” Chiron said, “Percy, I want to run your variation from the top of act two,”
Percy nodded and stepped to the center of the room. The variation was slow and emotional. It was more about artistry than technical skill. It wasn’t an exciting one, but it was a chance for Percy to show off to Chiron that he could do more than jump high in the air. And Percy knew it was artistry that got you promoted to principal.
Chiron watched him throughout the dance, not interrupting him for notes. When he finished, he glanced at Annabeth, who was leaning against the barre, smiling at him.
Chiron had a number of notes and corrections for him but was generally complimentary.
“Alright, go home, rest. Tomorrow we’re going to finish working acts one and two,”
“Percy,” he heard Annabeth say as he walked towards his dance bag. He turned around to look at her.
“What’s up?” He asked.
“I wanted to apologize for being kind of bitchy earlier,” she said.
Percy smiled, “It’s alright. Things get intense sometimes, I get it. But seriously,” Percy said, “you shouldn’t worry about shit like that. You’re the best dancer here,”
Annabeth just shook her head in response. “See you tomorrow,” she said, smiling at him before walking out of the studio.
~*~*~
Percy walked out of the rehearsal room after doing his stretches and nearly collided with a familiar figure.
“Watch where you’re going, you don’t want to end up like me,” Beckendorf said, shaking one of his crutches at Percy.
“Beck!” Percy said, smiling wide. “What are you doing here?”
“Got tired of sitting at home feeling bad for myself, so I figured I’d come here to bad about myself in the company of my wife,” He said.
“I’m sure Silena loves that,” Percy said.
Beckendorf gave him a slight shove. “Come on, we’ve got a hot tea for you downstairs,” he said, leading Percy towards the costume shop.
“I’m sure you’ve had a long day of rehearsals,” Beckendorf said to Percy as they went headed to the costume shop in the studio elevator, “but I wanted to see how things were going,”
“Things are good. Rehearsals got a little intense today, but I think it’s coming together,” Percy told him.
“I’m sure it will be great when it goes up,” Beckendorf said. Percy opened the costume shop door for Beckendorf and followed him inside. “Hello gorgeous,” Beckendorf called into the room. Silena appeared behind a rack of costumes.
“Took you long enough. The tea might be cold my now,” she said.
Beckendorf hobbled over to her. She met him halfway, tilting her head up so that he could kiss her more easily. When they broke apart, he apologized, “I don’t move very quickly these days,”
They sat down around the table, sipping their tea as Percy told them about the ballets practice.
“Pretty sure Leo thought he was going to be fired on the spot this afternoon,” Percy said.
“Poor kid. It’s not easy to keep up with Annabeth,” Silena said.
“I know, she’s …” Percy trailed off and felt himself smiling thinking about her.
“Well, look at that, Percy’s in love,” Beckendorf joked.
“I am not,”
“Better that you aren’t,” Silena said. “I doubt she’s ever going to date company men again,”
“I don’t want to date her,” Percy lied. “And why wouldn’t she date company men again?”
Silena looked at him like he was stupid. “Come on,” she said, asking him to think about it himself.
“Was her breakup really that bad?” Percy asked.
Beckendorf looked at him, a dark, serious look in his eyes. “It was. It was really fucked up too,”
“What happened?” Percy asked.
“Still can’t tell you,” Silena said. “Just … don’t get your hopes up with her. She might not even be ready to date again yet. I mean … they were together since she was what? Twenty?”
“Yeah,” Beckendorf answered, “it was right before she was promoted to soloist,”
Percy traced the timeline of Annabeth’s career in his head. “Was he a principal when they started dating?”
“Yeah,” Beckendorf answered.
Percy nodded and stared at his teacup. He thought about her frustration during the Rose Adagio and the way she never seemed to take his compliments. “Did people give her shit for that?” He asked, “I mean, did they think that she got promoted just because –“
“Some people did, yeah,” SIlena answered.
“Obviously they were wrong,” Beckendrof added, “she’s a fantastic dancer, and she’s earned everything she’s ever gotten but –”
“-- Couple those rumors with the end of a six-year-long relationship, and …” she trailed off, but Percy was smart enough to get her meaning. Annabeth was determined to prove herself, prove to the company that she deserved these opportunities, and this ballet was the chance to do that. That didn’t leave a lot of space for guys in general, especially not company guys.
Percy suddenly felt a lot closer to Annabeth. She’d always seemed so untouchable, unshakeable. But she was probably feeling the pressure of this ballet as badly as he was.
He didn’t have a lot of fancy dance training before joining their company’s ballet school at fifteen. He started dancing at the Y when he was ten. Most of his colleagues had started dancing at three, four, or five years old. He’d gotten lucky (very lucky) with a few scholarships and grants along the way, but he knew most of the people in the company and at the school thought he was a wild card. Until his promotion, only Chiron and his mom really believed in him. And now, if he could do this ballet right, he might just make principal. This was his shot.
You shouldn’t be worried about dating either, he told himself, just do your job.
#percy jackson#annabeth chase#percabeth#Percy Jackson and the Olympians#piper mclean#charles beckendorf#silena beauregard#Leo Valdez#once upon a pointe
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Rules and Muses
Before interacting, there are a few things you have to consider before approaching me:
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Jim Hopper (Stranger Things)
Uncharted
Rafe Adler (Uncharted)
Sam Drake (Uncharted)
Nathan Drake (Uncharted)
Red Dead Redemption
Arthur Morgan (RDR2)
John Marston (RDR2)
Far Cry
John Seed (FC5)
Joseph Seed (FC5)
Jacob Seed (FC5)
Staci Pratt (FC5)
Men in Black
Agent H (MIB International)
Life is Strange
Nathan Prescott (LIS)
Sean Eduardo Diaz (LIS)
Daniel Diaz (LIS)
Until Dawn
Joshua Washington (Until Dawn)
Christopher Hartley(Until Dawn)
Michael Munroe(Until Dawn)
The Dragon Prince
High Mage Viren (The Dragon Prince)
Crownguard Soren (The Dragon Prince)
King Harrow (The Dragon Prince)
James Bond
James Bond / 007 (FC: Daniel Craig)
Kingsman
Gary “Eggsy” Unwin (Kingsman)
The Nice Guys
Holland March (The Nice Guys)
Blade Runner
K /Joe (Blade Runner 2049)
Man of Medan
Conrad (Man of Medan)
Blair Witch
Ellis (Blair Witch)
Baby Driver
Buddy
Breaking Bad
Saul Goodman
Jesse Pinkman
Walter White
Michael “Mike” Ehrmantraut
Todd Alquist
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dad is it gay to like girls (ask cynical gardener)
[Image Id: the illustration depicts Leo Beck and Kevin Alonso from Identity v.
Leo is sitting in a sofa ,wearing,smiling and looking towards Kevin. He is holding a newspaper which reads :
Tracy Reznik
Gay Icon
----
Twentybiteen still going strong
---
Manor Rats
Where is Riley?
Kreacher still at large
Stealing wallets
Stealing wives!
Kevin is in the background, looking through a window. He is wearing Leo's shirt, a pair of "are you nasty" shorts, and knee-high socks. His hair is tied back in a ponytail
There is violet draping on the wall,as well as a portrait of Leo's daughter, Emma.]
#identity v#leo beck#hell ember#ask hell ember#embers and caffeine#leo beck identity v#identity v hunter#askhellember#ask leo beck#iv#ask#idv#kevino alonso#kevin alonso#identity v Kevin#identity v kevin#idv kevin#kevin idv
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hey Steph! it's you valentine! I hope you had a great birthday! Today i was wondering if you could list your top ten bucky moments? I love him so much and would love to hear which moments you love most with bucky in them! (also if you feel like doing it then top 10 seb characters? it's always interesting to see which roles you think that he played were best!) hope you have an AMAZING day and remember that youre amazing and deserve all the love!
Hi there valentine!!! I did, thank you so much! 💕🤗 Ahhh i love this idea! Let’s see if I can pull it off:
Top 10 Bucky Moments: (It was so hard to only choose ten!!)
The iconic scene in The Winter Soldier where he is thrown from the car and grabs the highway with his metal arm (I just love that so much!)
When he spins Rocket around to be a carousel of destruction in Infinity War
When he says the iconic line, “Who the hell is Bucky?”
The entire fight scene in Civil War that starts in his apartment with Steve and ends with his arrest 😭
When he yells “No, not without you!” in The First Avenger
When we see him at the end of Black Panther finally in a peaceful and serene state
When he comes to Steve’s rescue in the back alley of the theater
The helicopter scene in Civil War…just the look in his eyes during that whole sequence gets me!
The airport scene is Civil War where him and Sam are fighting Peter and bickering at the same time 😂
The look on his face when he sees himself at the Smithsonian in The Winter Soldier post credit scene
Top 10 Seb Characters:
Bucky Barnes, MCU (of course!)
Jack Benjamin, Kings
Tj Hammond, Political Animals
Jeff Gilooly, I, Tonya
Dr. Chris Beck, The Martian
Chase Collins, The Covenant
Jefferson/Mad Hatter, Once Upon a Time
Lance Tucker, The Bronze
Carter Baizen, Gossip Girl
This has to be a tie between: Blaine, Hot Tub Time Machine & Leo, The Education of Charlie Banks
I haven’t seen Destroyer yet because for some idiotic reason it STILL isn’t at my local theater yet, but I have a feeling his character would have made this list if I had!
I hope you’ve had an amazing day as well and are staying warm, healthy and happy!! xoxo
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Leo Fender, Les Paul and the Birth of the Solid-Body Electric Guitar Industry
Interesting timing on a number of fronts...chiefly being that a book about this very subject is being released shortly.
Over the past few weeks, I’ve really dove into all the various design details that Leo Fender engineered in the 1950′s, and my favorite parts have been talking about the designs in a historical context. Design features like the foam mute on the P-Bass “ashtray” that helped combat issues with primitive amplification.
And while I’ve alluded to things like “there not being third party parts manufacturers at the time,” I never really touched on the industry in general. Given that some of what I’ve written the past few weeks might be fresh in the memory, it’s a good time to look at the two titans of the guitar world, and how things came to be.
***
The top picture is the two most famous electric guitar models ever made. On the left, a reissue 1957 Gibson Les Paul “Goldtop.” On the right, a reissue 1957 Fender Stratocaster. The bottom picture is the third most famous electric guitar model, an original 1952 Fender Telecaster.
Fun exercise time...I’m going to take every guitar player I mentioned in my Greatest Guitarist Series, and mark if they primarily played one of these three models. I’m going to strike any classical musicians, (non-fusion) jazz musicians, acoustic-primary guitarists and guitarists who made their impact before the Korean War.
Jimi Hendrix STRAT
Eddie Van Halen *MODIFIED STRAT
SRV STRAT
Andres Segovia
John McLaughlin
Jimmy Page LES PAUL
Eric Clapton STRAT (also played Les Pauls)
David Gilmour STRAT (has played all 3)
Steve Vai
Danny Gatton TELE (has played all 3)
Julian Bream
Chet Atkins
Pat Metheny
Duane Allman LES PAUL
Les Paul LES PAUL
Ry Cooder STRAT (has played all 3)
Yngwie Malmsteen STRAT
Keith Richards TELE (has played all 3)
Wes Montgomery
Tony Iommi
BB King
Charlie Christian
John Petrucci
Prince TELE
James Hetfield
John Jorgenson TELE
Chuck Berry (has played Les Pauls and Teles...famous for ES-335)
Robert Johnson
Steve Howe (has played Les Pauls and Teles...famous for ES-175)
Joe Pass
Al DiMeola LES PAUL
Django Reinhardt
James Burton TELE
Brian May
Jerry Garcia (has played Strats and Les Pauls)
Paco de Lucia
Paul Gilbert
Eric Johnson STRAT (has played all 3)
Brent Mason TELE
Shawn Lane
Muddy Waters TELE
Buckethead
Billy Gibbons LES PAUL (also plays Teles)
Slash LES PAUL
Larry Carlton (has played all 3, but his nickname was Mr. 335)
Frank Zappa STRAT (has also played Les Pauls)
Christopher Parkening
Marty Friedman
Robben Ford TELE (has played all 3)
Jeff Beck STRAT (has played all 3)
Buddy Guy STRAT
Lowell George STRAT
Mark Knopfler STRAT (has played all 3)
Ritchie Blackmore STRAT
Elmore James LES PAUL
John Lee Hooker
Joe Satriani
Woody Guthrie
Hank Marvin STRAT
Kirk Hammett
Dimebag Darrell
Jerry Reed TELE
That is a decent representative list of great guitar players, and those three models...the Fender Telecaster, Stratocaster and the Gibson Les Paul...account for the easy majority. And even if a guitarist wasn’t known for one, they likely recorded with one at some point in their careers.
It’s easy to know where to attribute Fender’s success...Leo Fender was an engineering genius. Gibson, however, had an established reputation long before they ventured into the solid-body world...but they wouldn’t have made that transition if not for Les Paul.
***
The State of Things Today
Before we get into the feud, it’s probably a good idea to get to know where each of these two companies are today. The companies we’re going to talk about in 1952 bear little resemblance to each in the modern era, having both been passed from numerous ownership groups.
I’ve talked a lot about Leo Fender’s ouster at the hands of CBS...which led to the company’s darkest period which took more than a decade to dig out of. CBS themselves were ousted by a group of Fender employees in 1985, and the company they started (they couldn’t use the original facilities) now boasts annual revenues well over $500 million.
It’s reflected by the company’s offerings. Never attempting to be high-end our boutique, Fender’s brilliant branding allowed them to manufacture the same instruments that Leo designed, keeping costs low and making it easy to freshen up long-standing iconic models.
Gibson on the other hand, filed for bankruptcy last year. Long derided for resting on the laurels of their name, Gibson is another victim of predatory private equity...being used merely as a conduit to acquire more debt. Bad news intensifies...they’re also responsible for having strict international regulation regarding the types of wood used. Gibson got in deep doo doo for using illegally farmed woods, and varieties of woods that had been prohibited from foresting due to excessive use (Brazilian rosewood).
Their offerings were staid and stale. Any new innovations were seen by the guitar market as clumsy and hideous. And, making things worse, the nature of their guitars’ construction is much more expensive and labor-intensive than Fender’s ever could be.
Fender will live to see the next 50 years. Gibson likely will not...certainly not under this ownership group.
***
This is Les Paul holding his prototype solid-bodied electric guitar, nicknamed “The Log.” Yes, it looks ridiculous. No, another solid-bodied electric guitar did not exist at the time.
Les Paul had a longstanding relationship with Gibson. Gibson was good to him. Being a jazz guitarist, the whole Gibson lineup was perfect for Les, and they gave him ample ear to chew with all his (at the time) crazy ideas. It was a great partnership.
Me being a Fender fanboy and my comments regarding their business should by no means suggest that I’m not a fan of Gibson guitars. I absolutely love them, especially the Les Paul model. They feel like the guitar version of driving a Cadillac...smooth, comfortable, refined, classy.
But, like I said above, Gibson was a long established company even in the late 1940′s. They didn’t make gimmicks. They made works of art out of the finest woods that produced these beautiful, natural, organic tones. Even their electric hollow-body models replicated an acoustic tone as close as possible. Philosophically, it was going to take something major to get Gibson to budge.
"If you don't do something, Fender is going to rule the world."
-Les Paul
***
When Les Paul received Leo Fender’s prototype in 1951, he knew what it meant.
Sure, it was a gift in the sense that Leo Fender wanted him to have that instrument, but it wasn’t just an instrument, it was an overture. Gibson was a guitar behemoth that dominated an industry that was teetering on the edge of being revolutionized. Fender was that metaphorical disruptor. Both were already well aware of each other.
Fender wanted Les Paul on board, plain and simple. They were hardly even a real company at that point, and getting someone of Les Paul’s status on their roster would be a coup of epic proportions. From a marketing and branding perspective, Les Paul was a guitarist that could’ve established their brand before they even released a product catalog.
But that wasn’t it.
Les Paul’s reputation for having prototype solid-bodied guitars had created waves. He was a recording maven, had a giant audience, and whether Gibson wanted him to or not, exposed people to the sounds possible with a solid-bodied guitar. Leo Fender wasn’t a musician, but he was making the same type of noise within in the industry.
Fender sent out one of his right-hand men who reported back to him on the gift-giving. That dude thought Les Paul was kind of an egotistical dude and didn’t think much of it. Les Paul himself actually did like the instrument a lot...a huge amount given what he said to Gibson execs...and as the two guys who were leading the solid-bodied guitar revolution, there was equal parts kinship and rivalry.
*Les Paul with Leo Fender’s gift...a 1951 “Nocaster”...called that because Fender hadn’t come up with the name Telecaster yet, and there was no model under the Fender logo.
I don’t think it needs to be said that Les Paul ended up staying at Gibson.
***
In 1952, Gibson released their first solid-bodied model that had Les Paul’s name on it. It would define their company. Also in 1952, Leo Fender released the Telecaster (and Precision Bass), the genesis of the company that would grow into the largest guitar manufacturer in the world.
The sheer amount of music that’s been recorded using Les Pauls and Telecasters (as well as the Strat) is simply mind-boggling. It’s almost impossible to quantify.
While the electric guitar industry might be well past the point of peaking, they’re still a major part of American culture. Something that’s come to define us internationally as much as baseball or apple pie. And it’s these three models from Fender and Gibson that so many people are able to instantly identify, that have recorded so much iconic music, that will live on well into the future like a Stradivarius violin or Steinway piano.
And for a brief period in the early 1950′s, it almost came to be that the two most prominent figures in the modern electric guitar world joined forces. Almost. It’s a shame they didn’t...might have been a good thing, given that each was given full creative control without the other’s presence...but the modern musical world was largely impacted by these two guys tinkering around in their basements.
It’s a cool story and easy to let your imagination run wild about what they could have done together.
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I was tagged by @aelia-likes-monsters and @thetravelerwrites :)
Rules: Answer the questions then tag blogs you’d like to know better.
Nickname(s): Becky, Becks
Zodiac: Leo
Height: 5′6
Time: 6:24 pm
Favorite bands/artists: Shinedown, Kelly Clarkson, Nickleback. I like a good variety of songs and bands, it just depends on what helps me disassociate better.
Song currently stuck in my head: Shinedown- breaking inside and call me.
Last movie I watched: admittedly it was a hallmark movie, but the last one I paid for was Jurassic World: Fallen Kingdom where I am still in mourning.
Last thing I googled: Kevin Malone actor
Other blogs: @kittygothpastel (this one is my main) and @pastelwitch-puff
Why’d I choose my username: I’m a hufflepuff and I love monsters
Following: 383
Average amount of sleep: about 4-5 hours depending.
What am I wearing: a pink tank top and tan shorts
Dream job: anthropologist or microbiologist. Possibly an author but that requires me to actually start writing my book again..
Dream trip: universal studios :) I’m going in about three months. I’d also like to go to Sweden and reconnect with my viking roots.
Favorite food: mac and cheese
Do I play any instruments: not if my parents can help it
Eye color: reddish-brown
Hair color: dark brown
Languages: English and kindergarten grade level of Spanish
Most iconic song: Breakaway from Kelly Clarkson. I used to binge that song as a kid.
Random fact: I’m actually a mediocre artist :) I do sketches and sometimes paintings.
Describe yourself as aesthetic things: pastels, goth, space, alien, zombie, cats and soft surfaces, heroes, journals and pens, glasses.
I tag: @xspiderfanx, and @peachyteabuck
anyone is free to do this or back out of it :)
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Tagged - I never do these but what the hecko
Tagged by @daffodil-soup, one of my best friends! Check out her blog!
Nickname: I mean my full name is Rebecca so I guess Becky is one, a lot of people call me Beck, Beckster or Bex so I respond to anything, some people at work call me ‘oi’ when they don’t remember my name so I guess that works.
Zodiac: Leo
Height: 5′3″ but nina always says im lying
Age: 19! 20 in 21 days!
Time: 08:43
Favourite Bands / Artists: I go through phases of obsessions but my long standing favourite for years is @flatsound! I have a giant tattoo of him on my leg! Also Enter Shikari and typical drag queen songs like Alaska Thunderfuck and Sharon Needles oops.
Song Stuck In My Head: Battle Axe - Sharon Needles (only the line ‘I’m a boss, applesauce’ has been in my head for 3 days)
Last Movie I Watched: The last movie I watched was Beetlejuice with my boyfriend, he’s had to watch so many movies that I’m obsessed with over and over again! Before that it was Hurricane Bianca with @daffodil-soup, it was my 3rd? 4th? time watching it and she NEEDED it in her life.
Last Thing I Googled: oops it was literally pictures of Naomi Smalls
Other Blogs: I have my side blog that is in my bio and one that I never mention called @henlobuppo! It’s got poetry, dreams and stories!
Do I Get Asks: FCBCVKCING NEVER UNLESS ITS NINA
Why I Chose My Username: I was beckyisinthewoods for about 6 years and then I decided that it bored me and it was the first word that came into my head!
Following: 201
My Lucky Number: I don’t have one? Only even numbers cause they feel good
Average Amount of Sleep: Anywhere between 8 and 12 hours oops
What I’m Wearing: Pjs, black Christmas bottoms with reindeer on, and my comfiest cotton top
Dream Job: Don’t have one, just something that means that I can live a good life in a nice home with my pets!
Dream Trip: Anywhere with sun and a swimming pool, maybe milkshakes by the sea!
Play Any Instruments: Guitar and Ukulele, not much though because I don’t tend to get time. I wish I could play them more!
Favourite Song: Flatsound - I exist I exist I exist
Play Any Sports: I used to but I have patello-femoral pain syndrome and so I can’t move much without pain! I used to run, play netball and a lot of football but now I dog walk a lot and dance on Just Dance
Hair Colour: Brown! It’s naturally a mousey brown but I’ve dyed it a darker colour! It was bright red but I can’t afford to always buy box dyes!
Eye Colour: Bright blue, probably my favourite thing about myself oops
Most Iconic Song: This took forever to pick but I’m gonna pick Problems by Mother Mother or That’s What I Want To Hear by Us & Us Only
Language(s) You Speak: I was pretty rad at French but now the language escapes me often, I speak a little Spanish and Japanese but that’s it!
Random Fact: I’m about to go for a dog walk and I’m excited for once!
Describe Yourself As Aesthetics: SHITPOSTER TO THE EXTREME, GARBAGE
I Tag: The person I thought of was Nina but I can’t really do that so @calebwiidowgast because I’m sure we used to do these way back when!
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Classic Guitar Origins
Part 1 - Fender Stratocaster
Out of the number of models in the Fender catalogue, the Fender Stratocaster is by a far one of the most iconic. Many musicians with an integral part in music history have played the Stratocaster or “Strat”, including Jimi Hendrix, Stevie Ray Vaughan, Eric Clapton, Jeff Beck, Mark Knopfler, Pete Townshend, Nile Rogers, Eric Johnson, David Gilmour, and John Frusciante to name just a few.
In this instalment of Classic Guitar Origins, the timeline of the Stratocaster from the 50s till the 80s will be mapped out and explained.
The Stratocaster was first fully designed in 1954 by Leo Fender and Freddie Tavares (the name ‘Stratocaster’ was suggested by Fender sales chief Don Randall in 1953), however ideas for a successor to follow Fender’s Telecaster started to surface as early as 1951, and work on the new pickups and bridge were in full swing by late 1952. Prior to the Stratocaster being conceived, the two flagship models for Fender were the Telecaster and the Precision Bass. Tavares drew up the idea for the Stratocaster by combining the features of the Telecaster and P Bass.
The features of the first Strat are as follows:
A single piece ash body
Two tone sunburst finish
Single piece “D” profile maple neck
7.25” radius fingerboard
3 hand wound single coil pickups with a 3 way pickup selector switch
(Unbranded) Kluson Deluxe tuners
Contoured body shape
Tremolo system (which had issues)
Original RRP was $249.50 (with tremolo) and $229.50 (without tremolo)
The Stratocaster’s iconic contoured body was first suggested by guitarist Rex Gallion, as the Telecaster had a more square body that was uncomfortable for the guitarist to play.
Originally the sunburst finish on the Stratocaster only consisted of two colours; ‘Salem’ (black) on the outside and ‘Canary Yellow’ on the inside. This gave the guitar a more high end look.
After initial release the Stratocaster wasn’t received very well by guitarists. Most musicians in the Rock N Roll scene at the time played flat top acoustics or hollow body electrics by big companies such as Gibson or Gretsch. The tremolo also didn’t work very well at first, and took some trial and error in order to get it to the point where it was useful.
The Stratocaster was worked and re-worked until perfected in 1957. Between initial release and 1957, the ash body was replaced by an alder body, the neck profile was briefly changed to a V and medium V shape, and hardware elements such as the string trees and knobs continued evolving.
1958 saw the introduction of the three tone sunburst finish, which featured more red hues along with the yellow and black seen in the two tone sunburst. A U shape profile also replaced the V profile for the neck.
In 1959 the neck changed from maple to rosewood on many of the models. The pickguard was also changed from white single ply to a 3 ply celluloid nitrate pickguard.
By 1965 Fender was sold to CBS for $13 million, which to many marked the end if an era and the beginning of more mass produced products. This can be seen in the Stratocaster by the fact that by late 1964 the headstock logo changed, and pearloid inlay dots replaced clay. The headstock size and shape also changed dramatically from the mid 60s to mid 70s.
In 1968 the tuners changed from Kluson Deluxe to F-style, and a thicker polyurethane finish started to replace the original nitrocellulose.
The 70s brought along more change for the Stratocaster. A three-bolt neck plate and a “bullet” truss rod adjustment system were introduced in 1971, in 1977 the 5-way pickup selector switch was introduced, and during the 70s the overall contouring was made to be less dramatic.
In the 80s however, Fender marketing director Dan Smith aimed to bring the Stratocaster back to pre-CBS historic standard, featuring a smaller headstock and 4 bolt neck plate.
The Stratocaster endured much change throughout its history, however it still remains one of the most iconic and classic guitars in the world.
#classic guitar origins#guitars#guitar#electric guitar#stratocaster#strat#electric guitars#fender#fender guitar#fender guitars#fender stratocaster#fender strat#fender electric guitars#music
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how about a classic becks movie rec post?
This was so much harder to cut down than the books one was! I did the best I could but since @johnwatso wanted my little comments on the vibe and that got long, it’s under the cut
General
The Dark Knight - one of my bby heath’s best performances, one of the only superhero films I’ll ever love
Pride and Prejudice - I love these straights with my entire heart
The Importance of Being Earnest - this is my kind of comedy tbh
Room - really hard to watch at points but it’s one of those movies that made me fall back in love with film, I found it breathtaking
The Truman Show - my worst nightmare in a really good film
Inception - I’m still fucked up by this film honestly, what kind of messed up thriller action @ christopher nolan
The Social Network - andrew garfield going off in this film is everything
Walk the Line - did you know this is another film I used to watch at least once a week for a couple of years
Lion - I cried and cried, the casting for little saroo and then dev patel is perfection
Jackie - admittedly the being brought up around jfk obsession might be an influencing factor here but what a performance from natalie portman
Ex Machina - that oscar isaac dance scene will stay with me
Gone Girl - more women fucking things up tbh!!!
The Lives of Others - this follows a Stasi officer who is eavesdropping on a couple and it’s one of the most fantastically put together, heart beating fast films I’ve ever seen
Get Out - I can’t wait for jordan peele to do more stuff, this was truly an instant classic horror film
Sense and Sensibility - I think in hindsight 7 year old me was just a bit in love with kate winslet in this movie, this is still a go to comfort film for me
Romeo + Juliet - as some of you know, I was weirdly obsessed with this movie at age 5 to the point where I’ve seen it hundreds of times so that’s a thing
Persepolis - such a beautiful mixture of gorgeous style and social commentary
Dead Poets Society - absolutely heartbreaking, even worse now with robin williams but a complete must watch if you’re a film lover
Atonement - so many shots in this are completely stunning, a story that will stick with you and also my fave film costume of all time (keira in that green dress)
The King’s Speech - colin firth as king george vi, v quiet gentle film but fantastic
You’ve Got Mail - the height of 90s romcoms with tom hanks and meg ryan and a classic in my heart
Bridesmaids - honestly I can never remember laughing more in the cinema than I did at this movie, I need more good female comedy films
Catch Me If You Can - I just love the playful chase vibe of this film, leo dicaprio was so perfect for it
Misery - read the book first pls!! but then come and enjoy how fucking incredible and terrifying kathy bates is in this film
Musicals
Moulin Rouge - this is one of the film loves of my life, there’s not a single moment you could ask me if I want to watch it and I’d say no
The Sound of Music - man did I go through a sound of music obsession as a kid, I was brought to the singalong as a 7 year old and
Singin’ in the Rain - the dancing alone brings me an unreasonable level of joy, should also be in the classics section and perfect to watch at christmas
Once - this is close to my heart since it’s set all over my city but it’s also just quietly beautiful with one of my favourite soundtracks ever
Billy Elliot - I love the film even more than the stage version, everything about it is so well done and young jamie bell is perfect as our little ballet dancer
Chicago - this film is just such a joy, like considering the subject matter is murder it’s so much fun
Classics
The Philadelphia Story - I also fell in love with katherine hepburn in this film, her with cary grant and james stewart is some of the most amazing early comic timing
Brief Encounter - this is a classic romance on its head a bit and it was a film I absolutely could not thinking about as a young teen, completely fascinating
It Happened One Night - fucking love it, claudette colbert is unbelievable with that sharp tongue and that hitchhicking scene is Iconic
Rebecca - does it feel conceited to say one of my fave films is my name? sure but while this isn’t quite the book, it’s such a classic suspense film
Funny Face - okay that age difference is fucked but audrey hepburn absolutely shines in this film, there’s one dance scene of hers that going to haunt me forever bc it’s weird and oddly sexy and a little genius
Some Like It Hot - great and hilarious all round with amazing comic timing plus classic marilyn, prob one of the first classics I ever fell in love with as a kid
LGBT
Moonlight - this is up there as my joint fave film of all time, it moved me unlike almost anything else I’d ever seen and I think about it every single day of my life
Pride - great story of the lesbians and gays support the miners movement, there’s so much love and joy and pride in this film and it means so much to me
Brokeback Mountain - fun fact: this is the first gay movie I ever saw and I used to watch it at least once a month if not weekly until heath died and I couldn’t anymore but it’s still one of the most heartbreaking and meaningful things in the world to me even if it’s incredibly tragic and ruined me
Carol - 50s lesbians!! they love each other!! I would die for them!!
The Way He Looks - beautiful brazilian teen love story, one of the scenes is the most tender thing and it still makes my heart flutter
The Normal Heart - all the pain, set during the aids crisis and will shatter your heart completely
A Single Man - this film hurts and just be warned for death in general in it but it’s stylistically stunning, as we should expect from tom ford
I Killed My Mother - I think this is still my fave xavier dolan film, plus the paint scene is another iconic one
Documentaries
Citizenfour - the edward snowden stuff fascinates me, watch this rather than the utter shit that is the snowden film
13th - I would watch anything that ava duvernay makes and this is a particularly well made look into race and the prison system
The Queen of Ireland - a bit of a personal thing since my local gay bar is owned by the drag queen star of this film panti bliss but it’s a good look into lgbt stuff in ireland as well
The Celluloid Closet - essential gay documentary watching, gave me as a baby gay a lot to think about
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PR: Cobra Kai soundtrack
LA-LA LAND RECORDS PRESENTS
COBRA KAI: THE KARATE KID SAGA CONTINUES –
ORIGINAL YOUTUBE RED SERIES SOUNDTRACK
(Burbank, CA – May 21, 2018) La-La Land Records is proud to announce the release of the COBRA KAI CD soundtrack on May 22, 2018 at www.lalalandrecords.com, followed by a general retail release June 1, 2018 and on LP later this year. The hit YouTube Red series, produced by Overbrook Entertainment in association with Sony Pictures Television, debuted on May 2 and stars Ralph Macchio and William Zabka reprising their roles from the original 1984 feature film “The Karate Kid.” As a special exclusive, 300 units of the CD will be available packaged in a 1980's-style replica longbox, via the label’s website (www.lalalandrecords.com), as a tribute to The Karate Kid Saga’s origins. The album features the original score by composers Leo Birenberg and Zach Robinson (SING IT!, SON OF ZORN), with the CD release featuring several exclusive, CD-only tracks.
“For COBRA KAI, we created three unique score worlds that each support a different story being told on the show,” said Birenberg. “We like to say Johnny's music is the representation of how he hears himself: as the ultimate badass, scored with face-melting guitar riffs and bruising arena drums. Daniel La Russo’s theme is supported by more orchestral, Japanese-influenced sounds and his tonal palette our through line that connects us to the earlier films and Bill Conti's legendary score.”
In the highly-anticipated return of two iconic characters, the arch-rivals from the legendary Karate Kid film series reunite over 30 years after the events of the 1984 All Valley Karate Tournament. Now living in the affluent hills of Encino, Daniel LaRusso (Macchio) leads an enviable life with his beautiful family, while running a successful string of car dealerships throughout the valley. Meanwhile, his high school adversary, Johnny Lawrence (Zabka), whose life has taken a rocky turn, seeks redemption by reopening the infamous Cobra Kai karate dojo. Their lives inevitably become intertwined and the rivalry is reignited, setting forth the next generation of “karate kids.”
Composer Zach Robinson explained, “We have the new Cobra Kai students, who are scored with a blend of hard rock (inherited from Johnny), '80s inspired synthwave, and modern EDM. Part of the fun of having established these musical identities was when we got to mix and match them based on the interactions happening between the ever-twisting story arcs of the characters.”
La-La Land Records is proud to announce the release of the COBRA KAI: THE KARATE KID SAGA CONTINUES soundtrack CD being released at www.lalalandrecords.com on May 22, 2018, followed by general retailers (Amazon, etc) on June 1, 2018. A digital version is available now from Madison Gate Records. La-La Land Records will also release an LP edition later in 2018.
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www.lalalandrecords.com
For more information contact KrakowerGroup[at]gmail.com, or @KrakowerGroup on Twitter
About Composer Zach Robinson
Zach Robinson is an LA based composer, music producer, and electronic musician. Most recently, he co-composed the score for YouTube Red’s new mega-hit series Cobra Kai, which takes place in the The Karate Kid universe thirty years after the original film and stars Ralph Macchio and Billy Zabka reprising their original roles. The score features a 70-piece orchestra and a diverse musical palette that includes everything from synthesizers and electric guitars, to asian flutes and chamber strings.
Previously, Zach co-composed and oversaw all music production for YouTube Red’s first developed sitcom, Sing It! created by YouTube superstars, Benny and Rafi Fine. He again collaborated with the Fine Bros for 2017’s feature film, F The Prom. Zach’s other scores include the horror-comedy Bad Exorcists, racing documentary The 200 MPH Club, and the western short Born Again Sinner. He also wrote the theme song for USA Network’s, NFL Football Fanatic.
After receiving his degree in music composition from Northwestern University, Zach cut his teeth working with acclaimed film composer, Christophe Beck, writing additional music for films such as Ant-Man, Edge of Tomorrow, Frozen, Hot Pursuit, Sisters, and The Peanuts Movie
About Composer Leo Birenberg
Leo Birenberg has catapulted to the forefront of TV and film music, becoming one of the industry’s most sought-after composers. Currently, Leo's music is featured in YouTube Red’s celebrated mega-hit series Cobra Kai, which takes place in the The Karate Kid universe thirty years after the original film. The series, which stars Ralph Macchio and Billy Zabka reprising their original roles, features an eclectic score that includes a 70-piece orchestra, synthesizers, electric guitars, asian flutes and chamber strings, among other elements.
Leo's work can be heard in projects across a multitude of genres. He scored Fox’s hybrid-animation comedy series, Son of Zorn, which starred Jason Sudekis and Tim Meadows. In addition, Leo scored Seeso's signature comedy series Take My Wife, truTV’s Adam Ruins Everything, Comedy Central’s action-comedy series Big Time in Hollywood, FL, and the critically acclaimed documentary, Red Army. He also produced songs for YouTube’s original series Sing It!, created by the Fine Brothers.
Leo has been a frequent collaborator of composer Christophe Beck as a writer, arranger, and producer. He contributed additional music and produced the scores to a number of films, including Frozen, Edge of Tomorrow, Muppets Most Wanted, Ant-Man, and The Peanuts Movie.
Kentucky-born and Chicago-raised, Leo spent his childhood making movies and playing woodwinds, eventually combining the two by studying composition at NYU and USC. Originally a woodwind player and vocalist, Leo’s musical background is diverse, with influences from classical, jazz, bluegrass, show tunes, rock, world, and electronic music.
Upcoming projects for Leo include indie comedy Plus One, the documentary In Search of Greatness, and the DreamWorks’ upcoming series, Kung Fu Panda: The Paws of Destiny, which is set to premiere on Amazon Prime Video.
Leo currently resides in Los Angeles. When not composing, he enjoys working out, playing pennywhistle, and going on walks with his fearsome beagle, Napoleon.
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RECORDING ACADEMY ANNOUNCES LIFETIME ACHIEVEMENT AWARD, TRUSTEES AWARD, AND TECHNICAL GRAMMY AWARD RECIPIENTS
SANTA MONICA, CALIF. (JAN. 10, 2018) — The Recording Academy™ announced its Special Merit Awards recipients today, and this year's Lifetime Achievement Award honorees are Hal Blaine, Neil Diamond, Emmylou Harris, Louis Jordan, the Meters, Queen, and Tina Turner. Bill Graham, Seymour Stein, and John Williams are Trustees Award honorees; and Tony Agnello and Richard Factor are the Technical GRAMMY® Award recipients. A special award presentation ceremony and concert celebrating the honorees will be held in summer 2018. Additional details regarding the ceremony will be announced in the coming weeks.
"This year's Special Merit Awards recipients are a prestigious group of diverse and influential creators who have crafted or contributed to some of the most distinctive recordings in music history," said Neil Portnow, President/CEO of the Recording Academy. "These exceptionally inspiring figures are being honored as legendary performers, creative architects, and technical visionaries. Their outstanding accomplishments and passion for their craft have created a timeless legacy."
The Lifetime Achievement Award celebrates performers who have made outstanding contributions of artistic significance to the field of recording, while the Trustees Award honors such contributions in areas other than performance. The Recording Academy's National Board of Trustees determines the honorees of both awards. Technical GRAMMY Award recipients are voted on by the Academy's Producers & Engineers Wing® Advisory Council and Chapter Committees, and are ratified by the Academy's Trustees. The award is presented to individuals and companies who have made contributions of outstanding technical significance to the recording industry.
ABOUT THE LIFETIME ACHIEVEMENT AWARD HONOREES:
Starting his career in the 1950s, Hal Blaine is best known as the lead drummer and founder of the legendary Wrecking Crew. He has recorded with iconic artists such as Elvis Presley, the Beach Boys, Frank Sinatra, and many more. He lent his artistry to Phil Spector's "Wall of Sound" productions, creating one of rock and roll's most recognizable beats. However, Blaine's talent does not stop at the conventional drum kit. Some of his best-known songs include him drumming on Sparkletts water jugs for the Beach Boys' "Caroline, No" and dragging tire chains across a concrete floor for Simon & Garfunkel's "Bridge Over Troubled Water." During his impressive career, Blaine has worked on nearly 6,000 tracks; of those, 350 have been Top 10 hits, and 40 have been No. 1s (including fellow honoree Neil Diamond's "Song Sung Blue"), and worked on six consecutive Record Of The Year GRAMMY-winning tracks between 1965 and 1970.
Throughout an illustrious and wide-ranging musical career, Neil Diamond has sold more than 130 million albums worldwide and has dominated the charts for more than five decades with 38 Top 40 singles and 16 Top 10 albums. Before becoming one of the most noted and successful recording artists in the world, Diamond's early recognition came as a songwriter. His recorded songs have become a part of the fabric of America's songbook with a wide range of international hits that include "Solitary Man," "Cherry, Cherry," "Girl, You'll Be A Woman Soon," "I'm A Believer," "Red Red Wine," "Holly Holy," "Thank The Lord For The Night Time," "Sweet Caroline," "Kentucky Woman," "Brother Love's Travelling Salvation Show," "Cracklin' Rosie," "I Am…I Said," "Song Sung Blue," "You Don't Bring Me Flowers" (with Barbra Streisand), "September Morn," and "Heartlight," among many others. Diamond has won a GRAMMY Award, a Golden Globe Award, the Sammy Cahn Lifetime Achievement Award, and a Kennedy Center Honor, and has been inducted into both the Rock and Roll Hall of Fame and the Songwriter's Hall Of Fame. In 2009, he was honored as MusiCares® Person Of The Year.
Emmylou Harris' career has been evolving since the 1970s, encompassing pop, folk, country, and now, alternative. She has recorded with myriad artists such as Gram Parsons, Beck, Elvis Costello, Johnny Cash, Bob Dylan, Neil Young, and Roy Orbison, to name a few, as well as with Linda Ronstadt and Dolly Parton as part of supergroup Trio. Harris' distinctive voice has allowed her to cross musical boundaries and made her one of the most influential and admired women in contemporary country music. Few in pop or country music have achieved such honesty or revealed such maturity in their writing. Forty years into her career, Harris, a 13-time GRAMMY winner, keeps proving that she never stops looking ahead.
Louis Jordan* enjoyed his greatest popularity from the late 1930s to the early 1950s as the King of the Jukebox. The American musician, songwriter, and bandleader helped pioneer the sound of rock and was dubbed by the Rock and Roll Hall of Fame as the Father of Rhythm & Blues and the Grandfather of Rock and Roll. Jordan's talent, combined with his comedic flair, helped him shatter race barriers, achieving popularity with both black and white audiences. Throughout his lifetime, he was able to duet with some of the biggest artists of his day, including Bing Crosby, Ella Fitzgerald, and Louis Armstrong.
The Meters—Joseph "Zigaboo" Modeliste, Art Neville, Cyril Neville, Leo Nocentelli, and George Porter Jr.—are considered by many to be the founding fathers of funk and, for more than 50 years, they have grooved their way around the globe. They have toured and performed with such artists as the Rolling Stones, Dr. John, Robert Palmer, Labelle, Earl King, Allen Toussaint, and Lee Dorsey. Their trademark sound of syncopated layered percussion intertwined with gritty grooves on guitar, bass, and organ, blends funk, blues, and dance grooves with a New Orleans vibe that is regarded as one of the most influential in music history. The Meters' unique place as a touchstone for countless artists across many genres and as one of the most sampled groups in all of hip-hop and pop music, have kept them relevant to contemporary audiences in a way that few groups can claim.
Tina Turner
In a career spanning more than 40 years, Queen has amassed a staggering list of sales, awards, and hall of fame inductions that is second to none. Their impressive string of No. 1 albums and top-charting singles continue to put Queen in the Top 10 of all-time iTunes sales. The band has received multiple Ivor Novello Awards, an MTV Global Icon Award, and two recordings enshrined in the GRAMMY Hall Of Fame®—"Bohemeian Rhapsody" and "We Will Rock You"/"We Are The Champions," which also remain popular songs at sports events and arenas around the world. Recently, Queen became the first artist ever to sell more than 6 million copies of an album in the U.K. with their Greatest Hits album. Even with the tragic loss of their uniquely talented frontman Freddie Mercury*, Queen remain one of the most revered bands in rock and pop history, able to claim one of the most enduring song catalogs of all time. With their sterling song craft, virtuoso musicality, and colossal spectacle of their live performances, Queen—John Deacon, Brian May, Mercury, and Roger Taylor—captured hearts and conquered charts like no other band in history, a legacy that continues to live through the ongoing work and concert performances fronted by May and Taylor, presently joined for concert performances by the extraordinary American vocalist Adam Lambert.
Tina Turner has been the Queen of Rock and Roll since she started her musical career in the 1950s. She is well-known for her extravagant live performances and impressive raw voice. Globally, her concert ticket sales have broken records for every tour. Turner's albums have all consistently charted on the Billboard 200 and have sold more than 50 million copies worldwide. Her grandeur has been admired by many other prominent figures, including Beyoncé, Eric Clapton, Mick Jagger, Rod Stewart, and David Bowie. Her determination and sheer talent has crystallized her as a household name around the globe.
ABOUT THE TRUSTEES AWARD HONOREES:
At the Fillmore Auditorium, Fillmore West, Winterland, and Fillmore East, Bill Graham* created the modern rock concert. He discovered and managed artists such as Santana, and organized national tours for Bob Dylan, the Rolling Stones, and George Harrison. Having arrived in America as a 10-year-old Jewish refugee from Nazi Germany with not much more than the clothes on his back, Graham raised millions of dollars for charitable causes by staging Live Aid as well as many other benefit tours.
Seymour Stein's cutting-edge consciousness for the next wave in music can be traced all the way back to the late 1960s, when he began his career at Billboard magazine at the age of 15. Having founded Sire Records with producer Richard Gottehrer in 1966, Stein's eccentric taste in music combined with his knack for predicting what the next big thing in music will be, has continuously proven to be prosperous. His talent has earned him the title of Vice President of Warner Bros. Records along with being co-founder of Sire Records, a sub-division of Warner Music Group, and inductions into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. Some of Stein's most notable discoveries include Ramones, the Pretenders, Talking Heads, k.d. Lang, Barenaked Ladies, Echo & the Bunnymen, the Cult, the Cure, Tom Tom Club, Spacehog, Primal Scream, Seal, Madness, Madonna, Depeche Mode, the Smiths, Ice-T, and the Undertones.
John Williams is one of the most prolific and celebrated film composers of all time. He has won 23 GRAMMY Awards spanning the last 50 years, with various honors for composing/scoring, performance, and arranging. In addition to his GRAMMY Awards, Williams has won five Academy Awards, four Golden Globes, seven British Academy Film Awards, and four Emmys. His 1977 soundtrack to Star Wars was an Album Of The Year nominee and was inducted into the GRAMMY Hall Of Fame in 2007. Some of Williams' most notable scores include Jaws, the Star Wars series, Superman: The Movie, the Indiana Jones series, E.T. the Extra-Terrestrial, Home Alone, Hook, Jurassic Park, Schindler's List, Saving Private Ryan, the first three Harry Potter films, Catch Me If You Can, Memoirs of a Geisha, War Horse, and Lincoln.
ABOUT THE TECHNICAL GRAMMY AWARD HONOREE:
Tony Agnello and Richard Factor, through their company Eventide, have influenced the way we make records for nearly 50 years, inventing and producing a wide variety of original audio effects devices, creating the first rack-mounted special effect processors for studio use, and making sophisticated studio processors available to musicians. Founded in 1971 in the basement of Sound Exchange studio on West 54th St. in New York City, Eventide invented the first tape machine autolocator for the Ampex MM1000 multitrack recorder, allowing the operator to precisely and automatically rewind the tape to a specific location at the press of a button—a feature soon standard equipment on every professional machine. Since then, they've created myriad products that have forever changed the recording industry, including the landmark H910 Harmonizer® effects processor, whose underlying technology forms the basis of all pitch-shifting and pitch-correction devices today. It allowed the use of delay and pitch effects separately and in combination, impacting the sound of records such as David Bowie's Low, Kraftwerk's Computer World, AC/DC's Back In Black, and Parliament-Funkadelic's "Aqua Boogie."
*Denotes posthumous award honoree.
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#Music#Special Merit Awards#2018 Special Merit Awards#The Recording Academy#neil portnow#Naomi Jean Richard#naomijrichard#naomi richard#RCV#Red Carpet View#Tina Turner
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Ten Years After Celebrating 50th Anniversary With 10 CD Box Set
Chrysalis Records are proud to release a
50th Anniversary 10 CD Box Set celebrating the
band’s first nine albums, plus a CD of
previously unreleased material.
Released Friday 10th November 2017
Pre-order via Pledge
To coincide with the Ten Years After’s eponymous debut release in 1967 Chrysalis Records are proud to present a 50th Anniversary 10 CD Box Set. This limited edition set includes a CD of previously unreleased material.
To celebrate this special occasion, in November 2017 Chrysalis Records will release a brand new 10 CD Box Set, gathering for the first time, albums from both the Chrysalis and Deram periods from 1967 to 1974.
This set, limited to 1,500 copies worldwide, contains LPs which have been remastered from the original 1/4″ production master tapes along with the bonus disc entitled “The CapFerrat Sessions”, which consists of never heard before recordings from 1972, newly mixed by acclaimed record producer Chris Kimsey. Fans can pre-order the box set from Pledge
The package comes in a luxury hardback format with slipcase and an accompanying book which includes newly commissioned in-depth 10,000 word sleeve notes written by legendary Melody Maker journalist and early champion of the band, Chris Welch, charting the band’s progress from their early beginnings in Nottingham, through iconic appearances at the Woodstock and the Isle of Wight festivals, right up to their eventual split in 1974. There are extensive interviews with the remaining band members plus members of Alvin Lee’s family, and additional recording notes by Chris Kimsey.
“I’m genuinely excited about the new Ten Years After box set that we’ve been working on with Chrysalis due for release in November to celebrate the band’s 50th Anniversary,” says Ten Years After’s founding drummer, Ric Lee. Continues Ric, “The box includes nine studio albums and a bonus CD that features the previously unreleased live album ‘The Cap Ferrat Sessions’. Originally recorded in 1972 in the South of France using The Rolling Stones Mobile recording truck, the session tracks were gathering dust until now. I remember we recorded the live tracks in a villa in Cap Ferrat, South of France. Each of the instruments were recorded in a different room – drums in the ballroom. Between Chris Kimsey, our recording engineer and I, we managed to get one of the best drum sounds on any Ten Years After recording. Natural ambience from the villa’s acoustics helped tremendously. The session tracks were originally planned for the ‘Rock N Roll Music To The World’ album, but due to vinyl restrictions of the time, the tracks were not included in the final album release. More details are on the sleeve notes written for us by Chris Kimsey, who kindly agreed to mix the tracks for this boxed set release 45 years after they were recorded. This is a must-have collection for any avid Ten Years After fan, and any new fans that want to soak up the band’s recorded history.”
Ten Years After stormed the stages of rock, they created a sensation that stunned audiences and quickly won them a coveted place among the pantheon of great British groups. Alvin Lee – one of the most charismatic and admired guitar players to emerge from the British blues boom of the era and deservedly ranked alongside his contemporaries Eric Clapton, Jeff Beck, Jimmy Page and Jimi Hendrix – headed a powerful team of talented musicians, Leo Lyons, Chick Churchill and Ric Lee.
During an intense seven-year period, they embarked on marathon tours, conquering America, enjoying success around the world, whilst also unleashing a succession of ground breaking albums. Their 1967 debut “Ten Years After”was swiftly followed by pioneering live album “Undead” (1968) through the critically acclaimed “A Space In Time”(1971),featuring one of their finest songs ‘‘I’d Love To Change The World”, which is very apt in today’s world, ending with 1974’s ‘Positive Vibrations’.
“The Cap Ferrat Sessions” came as a result of a discovery by Alvin Lee’s wife, who found a box of recordings deep in the vaults of the studio in their house they shared in Spain. They originate from the “Rock N Roll Music To The World” album sessions, which were recorded at a seaside villa in Cap Ferrat, South of France and Olympic Studios in London. Chrysalis Records turned to world renowned producer Chris Kimsey (whose credits include the Rolling Stones, Bad Company, and Peter Frampton), who recorded and engineered the original sessions, to mix these tracks for the first time.
For avid collectors and fans of the band, the legendary Cap Ferrat sessions will have a special appeal and will be an essential addition to their collection. This is a big deal for classic rock lovers and aficionados all over the world.
Ten Years After Celebrating 50th Anniversary
With 10 CD Box Set
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Ten Years After Celebrating 50th Anniversary With 10 CD Box Set Ten Years After Celebrating 50th Anniversary With 10 CD Box Set Chrysalis Records are proud to release a…
#50th Anniversary#A Space In Time#Alvin Lee#Chick Churchill#Cricklewood Green#I’d Love To Change The World#Leo Lyons#Positive Vibrations#Ric Lee#rock#Rock & Music To The World#Ssssh#Ten Years After#The Cap Ferrat Sessions#Undead#Watt
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PRS vs. Gibson
Gibson is a historic, iconic, legendary brand that’s more responsible for shaping the face of western music for the latter half of the 20th Century than any other company than Fender. In a lot of ways Fender and Gibson couldn’t be more opposite...Fender’s are designed to be easily maintained and repaired while being able to literally be lit on fire and still make music on, Gibson’s are brittle and clunky. Fender’s are light and slice through a mix, Gibson’s are heavy and plow through a mix. Fender has had patches of brilliant, forward thinking leadership while Gibson’s C-Suite has been a running comedy of errors since Ted McCarty left (to work with PRS).
I’m not going to compare Fender to PRS because it doesn’t make sense. While PRS’ are considered to be “Fender/Gibson hybrids,” really the only hybrid aspect of Fender you see is the whammy bar and this really bad imitation of the “Fender sounds” via coil splitting the humbuckers. Listen, I’m not shitting all over Gibson’s here...while they have their flaws, there’s a reason that the Les Paul and ES-335 and dozens of other models have been used continuously since they were released. We’ll get to that.
PRS is a close cousin of Gibson more than anything else. And there’s a lot under the hood that you might not notice that represents a significant improvement in design over Gibson’s iconic instruments. Despite everything I’m about to write though, Gibson has the ultimate trump card.
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HEADSTOCK ANGLE
Headstock angle? Really?
Gibson has known about the above fault FOREVER. Strings need to have a proper break angle after the nut...in order to tune properly, resonate clearly and essentially make good sounding notes come out. You can see in the image above how Gibson headstocks are angled backwards (at a 17* angle), so that every string has the proper break when feeding into the tuning pegs.
That idea makes perfect sense. If you don’t have a neck that’s designed to create that proper break angle, you need to do what Fender did, and add an ugly piece of metal right in the middle of your headstock...
Here’s the problem though...if your headstock is angled at an extreme 17*, it’s very suceptible to break. Gibson headstocks are so legendary for breaking like in that image above, there’s a common saying “not everyone is meant to own a Gibson.”
Oh, and there’s a solution for this that’s been known forever too. It’s called a scarf joint, where you take two pieces of wood cut at that 17* angle and glue them together. But then cork sniffers complain about not having “one-piece necks.” Why not make the headstock angle less severe? Because cork sniffers only buy guitars “to vintage spec.”
It’s ridiculous and Gibson is going to die on this hill. PRS headstocks have a 10* angle. Same sonic benefits, same break angle, same construction method...and in all my years in guitar forums, I have never seen a PRS headstock break like the hundreds of examples of a Gibson.
And that’s not the only headstock issue either...
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STRING ANGLE
Another thing that seems insignificant...but it’s fucking huge. Mega important.
PRS’ headstocks are designed for the strings to feed straight from the nut to the tuner. One straight line. You can obviously see on the Gibson headstock, the strings shoot off in different directions after they hit the nut (lol). In theory...old, outdated theory...it doesn’t matter what the string does before the bridge and after the nut, as long as it’s secure.
Which is ridiculous. Here’s the thing, man...what good is music if it’s not in tune? Nothing. It’s garbage and sounds like shit, even if you can’t immediately tell why. What good is a guitar if a string breaks mid-song? Not much of one, unless you know how to deal with it.
These two variables are legitimate things you have to think about if you play in a working band and choose to use a Gibson. The D and G strings (strings 3 and 4) go out of tune frequently, no matter how perfectly set up your guitar is. You gotta be ready to tune at a moment’s notice...and even be able to re-tune mid-song when you notice one of those strings slipped.
The A and B strings (strings 2 and 5) go out less frequently, but when I play Allman Brothers’ “Ramblin’ Man” and I’m at the end where there’s those beautiful harmonies...if both the B and G strings slip, those harmonies are completely ruined. What good is a great sounding guitar if it’s not in tune?
Now, I’m not saying the Gibson goes out of tune when you play 3 notes or something...but compared to a PRS? The PRS and it’s straight-pull headstock alone are designed not to go out of tune...and that’s before we mention that he uses locking tuners, which secure the string completely (where the strings on GIbson tuners can occasionally slip, another flaw).
Less stress on the strings, better tuning...that shit lets you focus on playing music instead of fussing with an instrument.
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ERGONOMICS AND WEIGHT
On the bottom picture, you can see what’s called a “belly cut.” Another thing that might sound ridiculous, but think about how these things are used...
The belly cut was revolutionary when it came out in 1954 on the Fender Stratocaster. Guitars before this...even Leo Fender’s own designs...were on what’s obviously called “slab bodies.” Look at the top pic of the Les Paul, and it’s pretty obvious why it’s called a slab. There’s no contours or anything to fit against a guitarist’s body or where they rest their arm. When this came out...
...oh man, guitarists fucking LOVED it. You can see the belly cut here, where it just melts against your body...and you can also see the contour where you’d rest your arm. Why is this important?
When you’re playing a show or recording, you’re moving around, playing with energy for multiple hours, and when a giant slab of wood is digging into your ribs and forearm over and over, it fucking sucks straight up. When the Strat was released in 1954, the comfort of playing it was as big of a draw as how beautiful it sounded. Hell, look what Jeff Beck did to his famous 1951 Esquire.
He just said “fuck it” and did it himself.
A comfortable guitar to play for hours, is a guitar that you will play for hours. Gibson will never adopt this because of the cork sniffers, even though it’s been the number one complaint about a Les Paul since it’s inception in 1952.
Playing a Les Paul is a labor of love. You have to LOVE playing a Les Paul to make it your main guitar because it’s wrecked so many backs and shoulders over the years, that you know this going in. Imagine playing a gig...two 90 minute sets or something...Les Paul’s typically weigh between 9-12 pounds.
Keep in mind that 9-12 pounds is digging into your shoulder, ribs and elbow for three hours...and because it’s just a slab of wood with no contours, it’s swinging around and moving, making it all more of a pain in the ass. A Telecaster doesn’t have contours, but they’re the lightest guitars out there at 6-7 pounds.
PRS made this a non-issue. Their guitars are rarely over 8.5 lbs., they’re ergonomic and designed to fit comfortably against the guitarist’s body and be played for hours. They don’t swing around, move on the strap, are perfectly balanced...
You have to a fight a Gibson, pretty much no matter what model it is...PRS’ are so balanced and comfortable, you sometimes forget it’s there.
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GIBSON’S TRUMP CARD
To sum up the advantages in design I detailed above...PRS guitars are more stable, more resonant and less likely to have the headstock pop off completely after a very minor fall compared to Gibson. That headstock thing is almost the perfect definition of an Achilles’ Heel.
So why do people still play Gibson’s?
A bunch of intangible reasons that don’t mean much unless you have an instrument in your hands. But these things are the most critical aspects of what an instrument is supposed to do, because if a headstock snaps, making that instrument worthless...just pick up another one!
The most Les Paul-like PRS is the McCarty 594 (named after the former Gibson honcho mentioned above)...but why doesn’t it sound like a Les Paul? Why is it clearly “lesser” sounding when it has almost the same body thickness, pickups, electronics, scale length...all that shit? I honestly don’t know.
But it is. I call the Les Paul the heavyweight champion of the world, because it is unbelievably thick, rich, meaty and huge sounding, almost to an overwhelming degree. That serves a very, very useful purpose with any type of music featuring overdriven amps...so basically anything from blues to the heaviest of metal. And the McCarty comes close in sound...close, but not the heavyweight champion of the world.
The other Gibson design that’s on the Mount Rushmore of guitars is the ES-335...which isn’t as thick and meaty as a Les Paul, but due to the hollow wings, has this wonderful bloom and sparkle. You can feel the hollow instrument vibrating against your body, and it occupies this sonic middle-ground that other semi-hollow and Gibson-styled guitars have never fully captured.
I know it sounds like a cop-out, after all that, to just say “yea well Gibson’s are better sounding, and that’s all that matters,” but that’s the case in my opinion. Also, there’s something psychologically to fighting with your guitar...keeps your mind active in the moment, instead of letting your thoughts drift because it seems like a guitar plays itself. For all the ergonomic advantages of the Strat, while it’s comfortable, you gotta fight it to get it sounding its best. That’s not the case for a PRS.
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PRS’ TRUMP CARD
PRS’ sound damn good, OK? We’re talking splitting hairs here in the sonic differences between, say, a Les Paul and McCarty 594. It’s just the Gibson’s have that certain something extra I can’t define, that’s all...
Fighting guitars is fun when you’re feeling it and it’s a great gig that you’re fired up about...but if it’s some shitty bar gig you regret taking on, 45 minutes away, in front of thirty people that aren’t paying attention, do you really want to have a 10 pound boat anchor digging into your shoulder and ribs all night? Not really.
PRS guitars sound more than good enough to get the job done. No-playing guitar nerds care about specs and stupid things that don’t mean a goddamned thing like “accuracy,” pros care about reliability and durability, the audience cares about NONE of this shit.
Why is that Gibson headstock thing a big deal and not a big deal at the same time? All the audience cares about is if they like what they hear...it’s binary. If they pay attention, it’s good. If they don’t, it’s bad. If something like the drummer knocking a Gibson over and breaking the headstock can keep you from playing, that’s a big deal. If you borrow another guitar, the audience won’t even know it’s borrowed, because...again...they do not care about any of this.
Plus there’s the value proposition. PRS isn’t compared to Gibson’s USA issues...where $3,800 vs. $2,500 for a McCarty vs. a Les Paul seems like PRS’ are ungodly expensive. Given the standard of quality, however...the comparison is to Gibson’s Custom Shop lines, where that $3,800 McCarty is now up against a peer Historic Gibson that will cost you anywhere from $5,500 up to $8,500.
Much different value proposition there.
*for the record, I consider Gibson’s current USA line to be the best value in new high-end guitars.
***
CONCLUSION
I do tho, so fuck you.
0 notes
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