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BOB on Zappa
United States
Приєднався 29 гру 2016
Insights on the genius of Frank Zappa you won’t find anywhere else.
There are many podcasts out there that you can engage to make you smarter.
And just like you listen to Zappa to expand your auditory imagination beyond the mainstream, you listen to BOB to take your intelligence beyond the popular body of knowledge.
Bob’s work is like one 50,000-hour-long podcast-the most colossal oral work of all times. No more than two degrees of separation away from any influential figure or event of the past 100 years, and able to recall dates and facts with surgical accuracy, Bob is the Homer of the electric age.
This channel combines BOB and Zappa to take your Zappa knowledge to another level!
There are many podcasts out there that you can engage to make you smarter.
And just like you listen to Zappa to expand your auditory imagination beyond the mainstream, you listen to BOB to take your intelligence beyond the popular body of knowledge.
Bob’s work is like one 50,000-hour-long podcast-the most colossal oral work of all times. No more than two degrees of separation away from any influential figure or event of the past 100 years, and able to recall dates and facts with surgical accuracy, Bob is the Homer of the electric age.
This channel combines BOB and Zappa to take your Zappa knowledge to another level!
Rock, media & the rise of the Android Meme
Bob and Scott explore the impact of rock music, media evolution, and the concept of the Android Meme, featuring insights on music's shift from cultural force to digital experience.
Bob Dobbs is a Zappa researcher and McLuhan scholar.
Scott Woods is a critic based in Toronto who manages the websites RockCritics.com and GreilMarcus.net.
Recorded December 21, 2009.
00:00:06 - Introduction
00:02:10 - Simon Frith
Critique of Simon Frith's sociological approach to rock criticism, noting that critics like Frith and Greil Marcus fail to capture the rebellious essence of rock.
00:06:00 - Frith vs. McLuhan
A passage from Frith’s book that challenges Bob’s claim that rock is anti-intellectual. They discuss McLuhan’s idea that "the user is the content."
00:09:01 - Kroker's Theories on Music and Power
Arthur Kroker’s concept of "crash music" and how it re-commodifies culture. Kroker’s view of music as a powerful societal force.
00:16:00 - Rock Music as Tactile Experience
Kroker’s view that modern music functions on a tactile level in a postmodern, quantum-fluctuating reality.
00:18:46 - Limitations of Traditional Rock Criticism
Bob critiques traditional rock criticism for being outdated and unable to grasp the complexity of contemporary music.
00:22:47 - Critics and Crash Music
Bob explains why he pursued criticism over rock stardom, using Kroker’s "crash music" concept to show how music reflects postmodern society.
00:26:04 - The Body Without Organs
Kroker's idea of the "body without organs," where music influences not just physical bodies but also non-organic ones like the TV or chip body.
00:29:00 - The Physical Impact of Music
The conversation shifts to boom cars, with Bob discussing how powerful sound systems create a visceral experience.
00:32:01 - Media Convergence and Youth Culture
Younger generations, immersed in gaming and digital gadgets, are part of a media landscape where music is just one component of a multimedia experience.
00:36:09 - Fragmentation of Music Markets
The fragmentation of music markets in the digital age.
00:40:00 - Burnout and the Post-Information Society
Burnout in rock criticism and personal expression.
00:44:42 - Breakdown of Communication
Breakdown of communication in modern society, tying it to McLuhan’s idea of perpetual change.
00:47:00 - Sacrificial Power and Abuse Value
Kroker’s theory of sacrificial power, how stars like Madonna and Dylan thrive on collapse and resurgence.
00:50:00 - Cynical Nature of Modern Music
Bob describes how music, especially rock, has become commodified and cynical since the 1980s.
00:53:00 - Disconnection from Authentic Experience
Bob introduces the "Android Meme," where people act as processors in a larger media system.
01:00:03 - Rock as Anti-Thinking
Rock as "anti-thinking," and ock’s effect on multiple body systems with more limited literary critiques.
01:03:36 - Rock Music, Criticism, and the Gutenberg Effect
Rock criticism reduces tactile, sensory experiences into written form.
01:05:51 - Rock Criticism and Writing
Bob critiques critics for framing music within academic contexts, missing the larger role music plays in today’s media landscape.
01:09:06 - Western Need for a Big Picture
Western culture's reliance on big-picture thinking, arguing that in today’s media environment, this visual-centric approach is outdated.
01:12:25 - Crash Music and the Cultural Cyclotron
Kroker’s "crash music" as a cultural force driving societal change.
01:16:00 - Decline of Chemical Body Values in Music
How modern music has shifted away from human-centered "chemical body" values to digital systems within the "Android Meme."
01:17:50 - Generational Shifts and the Rise of the TV Body
How younger generations adopted the "TV body," focusing more on media consumption than political engagement.
01:20:00 - Kroker’s Focus on Major Media Figures
How Kroker analyzed global figures like Michael Jackson and Madonna to understand media's broader societal impact.
01:23:00 - Music in the Postmodern Age
How younger generations, with access to vast music archives, experience music detached from specific generational identities.
01:26:00 - Android Meme and Cultural Phases
Kroker's phases of the "Android Meme," from punk to rap, explaining how today’s youth are immersed in a sensory-driven digital era.
01:30:00 - Personality Types in Music Preferences
Bob links different personality types to distinct musical preferences.
01:34:00 - Postmodern Complexity
How Kroker builds on McLuhan’s ideas but often adds complexity that can obscure key messages.
Bob Dobbs is a Zappa researcher and McLuhan scholar.
Scott Woods is a critic based in Toronto who manages the websites RockCritics.com and GreilMarcus.net.
Recorded December 21, 2009.
00:00:06 - Introduction
00:02:10 - Simon Frith
Critique of Simon Frith's sociological approach to rock criticism, noting that critics like Frith and Greil Marcus fail to capture the rebellious essence of rock.
00:06:00 - Frith vs. McLuhan
A passage from Frith’s book that challenges Bob’s claim that rock is anti-intellectual. They discuss McLuhan’s idea that "the user is the content."
00:09:01 - Kroker's Theories on Music and Power
Arthur Kroker’s concept of "crash music" and how it re-commodifies culture. Kroker’s view of music as a powerful societal force.
00:16:00 - Rock Music as Tactile Experience
Kroker’s view that modern music functions on a tactile level in a postmodern, quantum-fluctuating reality.
00:18:46 - Limitations of Traditional Rock Criticism
Bob critiques traditional rock criticism for being outdated and unable to grasp the complexity of contemporary music.
00:22:47 - Critics and Crash Music
Bob explains why he pursued criticism over rock stardom, using Kroker’s "crash music" concept to show how music reflects postmodern society.
00:26:04 - The Body Without Organs
Kroker's idea of the "body without organs," where music influences not just physical bodies but also non-organic ones like the TV or chip body.
00:29:00 - The Physical Impact of Music
The conversation shifts to boom cars, with Bob discussing how powerful sound systems create a visceral experience.
00:32:01 - Media Convergence and Youth Culture
Younger generations, immersed in gaming and digital gadgets, are part of a media landscape where music is just one component of a multimedia experience.
00:36:09 - Fragmentation of Music Markets
The fragmentation of music markets in the digital age.
00:40:00 - Burnout and the Post-Information Society
Burnout in rock criticism and personal expression.
00:44:42 - Breakdown of Communication
Breakdown of communication in modern society, tying it to McLuhan’s idea of perpetual change.
00:47:00 - Sacrificial Power and Abuse Value
Kroker’s theory of sacrificial power, how stars like Madonna and Dylan thrive on collapse and resurgence.
00:50:00 - Cynical Nature of Modern Music
Bob describes how music, especially rock, has become commodified and cynical since the 1980s.
00:53:00 - Disconnection from Authentic Experience
Bob introduces the "Android Meme," where people act as processors in a larger media system.
01:00:03 - Rock as Anti-Thinking
Rock as "anti-thinking," and ock’s effect on multiple body systems with more limited literary critiques.
01:03:36 - Rock Music, Criticism, and the Gutenberg Effect
Rock criticism reduces tactile, sensory experiences into written form.
01:05:51 - Rock Criticism and Writing
Bob critiques critics for framing music within academic contexts, missing the larger role music plays in today’s media landscape.
01:09:06 - Western Need for a Big Picture
Western culture's reliance on big-picture thinking, arguing that in today’s media environment, this visual-centric approach is outdated.
01:12:25 - Crash Music and the Cultural Cyclotron
Kroker’s "crash music" as a cultural force driving societal change.
01:16:00 - Decline of Chemical Body Values in Music
How modern music has shifted away from human-centered "chemical body" values to digital systems within the "Android Meme."
01:17:50 - Generational Shifts and the Rise of the TV Body
How younger generations adopted the "TV body," focusing more on media consumption than political engagement.
01:20:00 - Kroker’s Focus on Major Media Figures
How Kroker analyzed global figures like Michael Jackson and Madonna to understand media's broader societal impact.
01:23:00 - Music in the Postmodern Age
How younger generations, with access to vast music archives, experience music detached from specific generational identities.
01:26:00 - Android Meme and Cultural Phases
Kroker's phases of the "Android Meme," from punk to rap, explaining how today’s youth are immersed in a sensory-driven digital era.
01:30:00 - Personality Types in Music Preferences
Bob links different personality types to distinct musical preferences.
01:34:00 - Postmodern Complexity
How Kroker builds on McLuhan’s ideas but often adds complexity that can obscure key messages.
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Did anybody?
Yes, iON did: ionandbob.blogspot.com/2020/10/ion-and-bob-explain-finnegans-wake.html
Love tommy
Is he saying love is a mirror thing or a mere thing?
Frank's saying "love is a mere thing". And when one is super-powerful in a creative sense, as Frank obviously was, "love" is something one takes for granted. That's what Frank means when he says "MUSIC is the best". "I've got the power." But one has to be careful who one associates with if one is living it. They may not understand. So one doesn't stay at the same motel as the rest of the team.
@@bobdobbs3178 Cant make head nor tail of that description.
@@Edward1312 My statement above is a collage of some of Frank's signposts of his ongoing explanation/composition (the BIG NOTE) of what Moon Zappa doesn't understand as spelled out in her memoir and recent interviews.
According to Napoleon Murphy Brock, Zappa declared every nite, as the band headed to the stage: "Take no prisoners!"
frank is and will continue to be the funkiest man that ever lived
He makes the short list, at least.
Love listening to Frank. Shame he’s gone, I wish I could’ve been alive to hear him speak when he was still here.
Would speaking to "Frank" through a "medium/channeler" satisfy you?
@@bobdobbs3178 um I guess? I don’t really believe in that stuff, but sure i guess.
Также с Вацлавом Гавелом великий Пророк Санбой имело дело поговорить
COCAINE Ladies and Gentleman.
Frank was a great composer but I'd rank Philip Glass above him.
bobonzappa.com has been dedicated, from the beginning - 10 months ago - to erasing that meme - Zappa loses to Glass... sir. Welcome aboard - may the best asshole win!
@@bobdobbs3178 Yes, opinions like A-holes, everybody's got one. It's all good. No doubt Zappa is a better composer than Neil Young!
@@johnbarnas879 Zappa's on a whole other LEVEL that nobody has learned to talk about, yet. Here's an attempt to approach that LEVEL: ionandbob.blogspot.com/2024/07/the-skeleton-key-to-zappas-projectobject.html
🎃
Must have slack.
Great content!
Thanks!
How old is this interview. The Glasses are screaming late 1980’s early to mid-1990’s.
'alt fan frank zappa', The Old Geezer and the rest of gang - I miss them days 🙂 Thanks Bob
The crux of the biscuit is the apostrophe.
The other use/meaning of the word "apostrophe": [[ As a literary device, "apostrophe" refers to a speech or address to a person who is not present or to a personified object, such as Yorick's skull in Hamlet... or Fido on APOSTROPHE. ]] So who or what is Moon addressing in her memoir?
Thanks Frank ❤
This part is a repetition of part 6 or 7.
Zappa casually dissecting Mandela effect at 31.00...a genius who, these days, would have been banned by social media on a weekly basis
Frank won't be banned if I'm in charge of translating Frank's work. I managed to sneak iON past the censors during the past 14 years, so Frank should be no problem... in spite of the effects of Moon's memoir.
Your prediction on the 2020 = Quarantine event was pretty amazing to listen to, Bob.
Yup, it's all coming true... to the chagrin of many.
I met TM,SV,AB and another band member out back of a show at the paramount in Portland Oregon. We were chatting and a guy walks by saying wanna buy some acid , TM says no thanks we all took some.
The Leslie is a rotating speaker that creates a tremolo or vibrating effect on the instrument. You can modulate the speed and acceleration of the speaker, which can create interesting sound modulations.
Thanks, Zarate.
Love this channel
Thanks - I appreciate your appreciation.
ua-cam.com/video/KbB1d1aEVrc/v-deo.htmlsi=INksmUe8EtuaB8sw
❤❤❤
Genial
Holy smokes! Thanks for this perdurable breakdown.
You're welcome!
52:54 Bert, Roxana, Bob on tonality, the synclavier and Bach vs Zappa 1:08:48 Artificial creation of sound 4:43:28 Bob's account of how he first reacted to the ending of Captain Beefheart vs The Grunt People
28:20 Zappa on particles, waves and time travel
❤❤❤❤
Where’s the whole interview?
ua-cam.com/video/Hl8Qay0V1yo/v-deo.htmlsi=n9rlljDa82mt0R2m
Yeah, what would he think of today's shit. R.I.P.
Just another freak thinking too hard
Is Dobbs still around?
Of course... I'm right here.
Mars is fantastic, he IS from mars ☺️ One of the greatest Franks collabs
I agree!!
Hi Bob! ☺
Word!
❤❤❤❤❤
Why not, the studio is the satellite, just do the impossible
It's not a flippant question. The concept of the "satellite conductor" is one of the major keys to Frank's "conceptual continuity" - especially the "novelistic" or "story line" of the "Big Note", the "movie for your ears". To understand this point, one should study a statement Frank made to TIME MAgazine after he broke up the Mothers of Invention in August, 1969. Here it is: [[ ... Moon Unit. A self-thought composer whose idols are Stravinsky and Varèse, Zappa thinks that he would have been taken a lot more seriously if he had chosen a classical life. His current success, however, is the best proof possible of the cross-pollinating of movies, television and recordings now occurring in Hollywood. These days even the freakiest musicians can go independent, be their own managers, producers and A & R men - and make money. Working in the basement of his Laurel Canyon home, which he shares with his wife Gail, their daughter Moon Unit, and a baby son whom they call Dweezil. Zappa is editing his first film Burnt Weenie Sandwich, a documentary about the Mothers. His second, Captain Beefheart vs. The Grunt People, is ready for the camera. Neither one of them could possibly compare to the $4,800,000 flick he hopes to do next. Zappa is ready, willing, able and graphic in talking about that one if someone listens. "It opens in a concentration camp in the bottom of the Grand Canyon, where the Establishment has founded up all the hippies, the Mothers included, to re-educate them in the American verities, with lectures on things like the American hamburger. Whenever anyone falls asleep in class, he is killed by a huge torture machine which carves the name of his crime in his back. In the end, the Mothers and the other hippies are saved by Mothra, the giant moth of movie fame, and Godzilla, and Gorgo, and King Kong, and all the old monsters, and in the Armageddon it is discovered that the camp had been run by Colonel Sanders, who turned out to be nothing more than an electric doll in the glove compartment of a Volkswagen bus which was being used as a Chicken Delight truck.” ]] All of the components in the last scenes of "Captain Beefheart vs. The Grunt People" (1969 version), "Hunchentoot", and "Them Or Us" are imbedded in the plot above. All of his albums are paragraphs of this "story" he told TIME. The more one becomes familiar with the details of Frank's "creation", the more the statement above is understood as the outline of the "science-fiction" opera he was laying out for us for over 25 years, beginning with the first version of "Captain Beefheart vs. The Grunt People" in 1964. More to be said soon.