David Wilcock
08-09-2005, 02:17 PM
From: asc2k@yahoogroups.com (/group/asc2k/post?postID=nNZa5TXNybz38i781OKVFENEPnO0TCXpECzhbN boNMPBqT1bH7uFhuukLl-C1odNbpir8oBzME06K6E6) [mailto:asc2k@yahoogroups.com (/group/asc2k/post?postID=nNZa5TXNybz38i781OKVFENEPnO0TCXpECzhbN boNMPBqT1bH7uFhuukLl-C1odNbpir8oBzME06K6E6)] On Behalf Of M.W.
(Bill )Gieskieng
>Listening to music I sometimes feel akin to the
Frankenstein Monster in trying to pluck notes of
music out of the air as if they were butterflies!
DW: Well, Bill, you just won real points as a psychic as well. You made a
direct comparison between Frankenstein and music. Somehow you read my mind!
I'm not really surprised by these things any more. It's clear that we made a
heart connection over this recent incident and somehow you telepathically
picked up a very interesting data point. How likely is it to compare
Frankenstein and music?
This shows that we, as a group, are forming the beginnings of a social
memory complex- a shared collective consciousness. Here's the punchline.
Since this was so obvious, I am going to post my father's most recent
article that he just sent me this morning, in its entirety. Also, note that
he emailed it at exactly 10:10am, and the article is set to publish on the
legendary crop-circle synchronicity date of August 11th.
Prepare to see evidence of telepathy in action. What do we call this, TQ?
Scoring it could be tricky. Here goes:
-----Original Message-----
From: Donald Wilcock
Sent: Tuesday, August 09, 2005 10:10 AM
Subject: Edgar Winter next Wednesday at Empire State Plaza
Edgar Winter for 8/11/05 Troy Record
By Don Wilcock
Is Frankenstein the monster or the monster's maker? That question
has been confusing film fans for more than 70 years. "Frankenstein" the song
has caused similar questions for pop music aficionados for about three
decades.
Released in 1973 as the flip side of "Hangin' Around,"
"Frankenstein" was the only number one hit for Edgar Winter, brother of the
higher profile Albino blues guitarist Johnny Winter and special guest star
with Grand Funk Railroad Wednesday at Empire State Plaza in Albany.
Featuring a swirling and descending rhythmic synthesizer run, the
instrumental put the synthesizer on the map as a lead instrument and became
instantly recognizable for its outlandish sound to several generations of
pop music fans.
"Some people thought there was some association on my part with the
monster, the Frankenstein monster, which is not the case at all," says Edgar
today. "I always saw myself as the mad scientist."
The song had its origin as" The Double Drum Song," a number Edgar
used to play as a dual drum solo with Red Turner, who was brother Johnny's
drummer. It was a vehicle for introducing Edgar to Johnny's fans in 1969.
Years later, bass player and vocalist Dan Hartman suggested the Edgar Winter
Band record "Double Drum Song" as a flip side to "Hangin' Around" on Edgar's
fourth album.
"We were just calling it the instrumental then. Consequently, we had
three or four versions of it that were like 15 or 20 minutes long, and Rick
Derringer (producer of the album it's on, "They Only Come Out at Night") had
the idea, 'Why don't we mix that instrumental.' 'I don't know,' I said.
'It's so long.' 'Well, maybe we could edit it into something more focused
and concise that would be like a record.'
"It sounded like a real cool excuse to me to get even more blasted
than usual at an end of session editing party. Back in those days, the only
way to edit something was to physically cut the master tape into pieces, and
then paste it back together with splicing tape. So, we were in the studio,
and we had it all draped over the back of chairs and spread out on the
console and on the couch. I said, 'Well, there's a body there. That's the
head over there.' We were trying to figure out how to put the thing back
together, and Chuck Roth (drummer) mumbled the immortal words, 'Wow, man,
it's like Frankenstein!'
"As soon as I heard that, I said, 'Wow, that's the perfect imagery.'
The song itself has that lumbering monster vibe to it. I couldn't have
written a song that sounded more like a monster if I tried. So, the monster
was born."
Like brother Johnny, Edgar is an Albino, too, and endured his share
of ridicule as a youngster growing up in Beaumont, Texas. The idea that he
as an Albino might be thought of as a monster, especially with a song called
"Frankenstein," definitely was something he considered before releasing it
with that title. "I thought it was very likely to come up, and I thought,
'Well, if people do think that, I'll straighten them out.' But, yeah, I
wasn't oblivious to the idea that it could be construed that way, but that
double entendre is part of art and music. That's part of what made it cool
to me, but I wasn't unaware of the irony of it."
I can remember seeing Johnny Winter at the Fillmore East in 1969 and
thinking what a delicious irony it was that four years after Paul
Butterfield made it kosher for white boys to sing the blues, that along
comes this charismatic character who not only had adapted the hitherto
uncopied slide techniques of African American masters like Elmore James and
Earl Hooker, but was whiter than white and had a brother who was, too.
Perhaps it was Edgar's struggle with prejudice toward his Albino
condition that opened his mind to the beauty of creatures others might have
found ugly in classic horror films like "Frankenstein." But the fact was, he
not only sees beauty in such Universal Film classics as "Frankenstein,"
"Bride of Frankenstein" and "Dracula" but has always harbored a desire to do
a synthesizer soundtrack to the silent German film classic "Metropolis." And
if there is any discomfort over being identified as the monster rather than
the mad scientist on his instrumental "Frankenstein," it's overshadowed by
the benefit of that song's redefining of the synthesizer's potential as a
lead instrument.
"I like the imagery and the idea of the synthesizer being a symbol
of technology out of control, running amuck and man's attempt to harness and
reshape, using new tools and information," says Edgar. "It all made sense to
me. So, I thought of myself as the mad scientist, the creator of the song
and the synthesizer as the symbol of technology and the song is the
monster's creation."
Edgar is a very versatile musician who plays many instruments and in
fact considers sax his first love. But "Frankenstein" has labeled him a
rocker in this country, and he has to go to Japan and Europe to be accepted
as a jazz musician. That said, the song, on the other hand, has allowed him
to present the synthesizer in a very different light than most musicians. He
is credited, for instance, with inventing the strap he wears that allows him
to move about the stage while playing and thus turning a basically
stationary instrument into one that gives its player the versatility of a
guitar.
"When I saw the Arp 2600 in a music store, I said, 'Wow! Let's put a
strap on it and walk around without any problem,' which is exactly what I
proceeded to do," says Edgar. "And I think it really helped change the
image of keyboards. It was sort of an instant sensation from the first time
I did it. I know I saw Billy Preston, played a show with him and two weeks
later saw him doing it on TV. That must have been a good idea.
"I variously have been accused and acclaimed for ushering in that
whole era of the synthesizer. Acclaimed in that at the time it was new
cutting edge technology, but it also put a lot of musicians out of work, and
people use the synthesizer to emulate the sound of already existing
instruments like a piano or a string section or a horn, and that wasn't at
all my approach. I loved the old sci-fi movies like "Forbidden Planet" that
used Theremin and synthesizer. My whole idea was here was an entirely new
instrument capable of creating unique, never before heard sound. That's what
I attempted to do with it."
Edgar Winter still finds playing "Frankenstein" for an audience to
be as much fun as when he first came up with the idea for the song in 1969.
And while it may have labeled him as strictly a rocker with American
audiences, it was that same audience that chose the song as a rallying cry
for creativity and rebelliousness. "The one song that captures the
imagination of the fans was a song that we were never serious about," he
concludes. "It was just something we did purely for fun, and if I had any
advice to offer people out there, it would be simply to follow your heart
and do what you really enjoy and do what you believe in rather than be so
concerned about finding an audience. Be yourself and let the audience find
you."
One small aside: if you've seen brother Johnny Winter lately and
been disappointed in his ability to play because of his deteriorating
health, catch Edgar. At 58, Edgar Winter plays with the energy and charisma
of a man one third his age.
Edgar Winter is the special guest of Grand Funk Railroad at a free concert
Wednesday, August 17th from 7 to 10 p.m. at Empire State Plaza in Albany.
Don Wilcock
Editor-in-chief
Elmore Magazine
DW: Well, for those of you who are skeptics you might be able to deny this,
but for those who have eyes to see- it's pretty evidential.
Peace be with you -
- David
(Bill )Gieskieng
>Listening to music I sometimes feel akin to the
Frankenstein Monster in trying to pluck notes of
music out of the air as if they were butterflies!
DW: Well, Bill, you just won real points as a psychic as well. You made a
direct comparison between Frankenstein and music. Somehow you read my mind!
I'm not really surprised by these things any more. It's clear that we made a
heart connection over this recent incident and somehow you telepathically
picked up a very interesting data point. How likely is it to compare
Frankenstein and music?
This shows that we, as a group, are forming the beginnings of a social
memory complex- a shared collective consciousness. Here's the punchline.
Since this was so obvious, I am going to post my father's most recent
article that he just sent me this morning, in its entirety. Also, note that
he emailed it at exactly 10:10am, and the article is set to publish on the
legendary crop-circle synchronicity date of August 11th.
Prepare to see evidence of telepathy in action. What do we call this, TQ?
Scoring it could be tricky. Here goes:
-----Original Message-----
From: Donald Wilcock
Sent: Tuesday, August 09, 2005 10:10 AM
Subject: Edgar Winter next Wednesday at Empire State Plaza
Edgar Winter for 8/11/05 Troy Record
By Don Wilcock
Is Frankenstein the monster or the monster's maker? That question
has been confusing film fans for more than 70 years. "Frankenstein" the song
has caused similar questions for pop music aficionados for about three
decades.
Released in 1973 as the flip side of "Hangin' Around,"
"Frankenstein" was the only number one hit for Edgar Winter, brother of the
higher profile Albino blues guitarist Johnny Winter and special guest star
with Grand Funk Railroad Wednesday at Empire State Plaza in Albany.
Featuring a swirling and descending rhythmic synthesizer run, the
instrumental put the synthesizer on the map as a lead instrument and became
instantly recognizable for its outlandish sound to several generations of
pop music fans.
"Some people thought there was some association on my part with the
monster, the Frankenstein monster, which is not the case at all," says Edgar
today. "I always saw myself as the mad scientist."
The song had its origin as" The Double Drum Song," a number Edgar
used to play as a dual drum solo with Red Turner, who was brother Johnny's
drummer. It was a vehicle for introducing Edgar to Johnny's fans in 1969.
Years later, bass player and vocalist Dan Hartman suggested the Edgar Winter
Band record "Double Drum Song" as a flip side to "Hangin' Around" on Edgar's
fourth album.
"We were just calling it the instrumental then. Consequently, we had
three or four versions of it that were like 15 or 20 minutes long, and Rick
Derringer (producer of the album it's on, "They Only Come Out at Night") had
the idea, 'Why don't we mix that instrumental.' 'I don't know,' I said.
'It's so long.' 'Well, maybe we could edit it into something more focused
and concise that would be like a record.'
"It sounded like a real cool excuse to me to get even more blasted
than usual at an end of session editing party. Back in those days, the only
way to edit something was to physically cut the master tape into pieces, and
then paste it back together with splicing tape. So, we were in the studio,
and we had it all draped over the back of chairs and spread out on the
console and on the couch. I said, 'Well, there's a body there. That's the
head over there.' We were trying to figure out how to put the thing back
together, and Chuck Roth (drummer) mumbled the immortal words, 'Wow, man,
it's like Frankenstein!'
"As soon as I heard that, I said, 'Wow, that's the perfect imagery.'
The song itself has that lumbering monster vibe to it. I couldn't have
written a song that sounded more like a monster if I tried. So, the monster
was born."
Like brother Johnny, Edgar is an Albino, too, and endured his share
of ridicule as a youngster growing up in Beaumont, Texas. The idea that he
as an Albino might be thought of as a monster, especially with a song called
"Frankenstein," definitely was something he considered before releasing it
with that title. "I thought it was very likely to come up, and I thought,
'Well, if people do think that, I'll straighten them out.' But, yeah, I
wasn't oblivious to the idea that it could be construed that way, but that
double entendre is part of art and music. That's part of what made it cool
to me, but I wasn't unaware of the irony of it."
I can remember seeing Johnny Winter at the Fillmore East in 1969 and
thinking what a delicious irony it was that four years after Paul
Butterfield made it kosher for white boys to sing the blues, that along
comes this charismatic character who not only had adapted the hitherto
uncopied slide techniques of African American masters like Elmore James and
Earl Hooker, but was whiter than white and had a brother who was, too.
Perhaps it was Edgar's struggle with prejudice toward his Albino
condition that opened his mind to the beauty of creatures others might have
found ugly in classic horror films like "Frankenstein." But the fact was, he
not only sees beauty in such Universal Film classics as "Frankenstein,"
"Bride of Frankenstein" and "Dracula" but has always harbored a desire to do
a synthesizer soundtrack to the silent German film classic "Metropolis." And
if there is any discomfort over being identified as the monster rather than
the mad scientist on his instrumental "Frankenstein," it's overshadowed by
the benefit of that song's redefining of the synthesizer's potential as a
lead instrument.
"I like the imagery and the idea of the synthesizer being a symbol
of technology out of control, running amuck and man's attempt to harness and
reshape, using new tools and information," says Edgar. "It all made sense to
me. So, I thought of myself as the mad scientist, the creator of the song
and the synthesizer as the symbol of technology and the song is the
monster's creation."
Edgar is a very versatile musician who plays many instruments and in
fact considers sax his first love. But "Frankenstein" has labeled him a
rocker in this country, and he has to go to Japan and Europe to be accepted
as a jazz musician. That said, the song, on the other hand, has allowed him
to present the synthesizer in a very different light than most musicians. He
is credited, for instance, with inventing the strap he wears that allows him
to move about the stage while playing and thus turning a basically
stationary instrument into one that gives its player the versatility of a
guitar.
"When I saw the Arp 2600 in a music store, I said, 'Wow! Let's put a
strap on it and walk around without any problem,' which is exactly what I
proceeded to do," says Edgar. "And I think it really helped change the
image of keyboards. It was sort of an instant sensation from the first time
I did it. I know I saw Billy Preston, played a show with him and two weeks
later saw him doing it on TV. That must have been a good idea.
"I variously have been accused and acclaimed for ushering in that
whole era of the synthesizer. Acclaimed in that at the time it was new
cutting edge technology, but it also put a lot of musicians out of work, and
people use the synthesizer to emulate the sound of already existing
instruments like a piano or a string section or a horn, and that wasn't at
all my approach. I loved the old sci-fi movies like "Forbidden Planet" that
used Theremin and synthesizer. My whole idea was here was an entirely new
instrument capable of creating unique, never before heard sound. That's what
I attempted to do with it."
Edgar Winter still finds playing "Frankenstein" for an audience to
be as much fun as when he first came up with the idea for the song in 1969.
And while it may have labeled him as strictly a rocker with American
audiences, it was that same audience that chose the song as a rallying cry
for creativity and rebelliousness. "The one song that captures the
imagination of the fans was a song that we were never serious about," he
concludes. "It was just something we did purely for fun, and if I had any
advice to offer people out there, it would be simply to follow your heart
and do what you really enjoy and do what you believe in rather than be so
concerned about finding an audience. Be yourself and let the audience find
you."
One small aside: if you've seen brother Johnny Winter lately and
been disappointed in his ability to play because of his deteriorating
health, catch Edgar. At 58, Edgar Winter plays with the energy and charisma
of a man one third his age.
Edgar Winter is the special guest of Grand Funk Railroad at a free concert
Wednesday, August 17th from 7 to 10 p.m. at Empire State Plaza in Albany.
Don Wilcock
Editor-in-chief
Elmore Magazine
DW: Well, for those of you who are skeptics you might be able to deny this,
but for those who have eyes to see- it's pretty evidential.
Peace be with you -
- David