Jazz Transformers Quotes

When a dancer performs, melody transforms into a carriage, expressions turn into fuel and spirit experiences a journey to a world where passion attains fulfillment.

Fitzgerald could sense that America was poised on the edge of a vast transformation, and wrote a novel bridging his moment and ours. The Great Gatsby made manifest precisely what Fitzgerald’s contemporaries couldn’t bear to see, and thus it is not only the Jazz Age novel par excellence, but also the harbinger of its decline and fall.

We have gone sick by following a path of untrammelled rationalism, male dominance, attention to the visible surface of things, practicality, bottom-line-ism. We have gone very, very sick. And the body politic, like any body, when it feels itself to be sick, it begins to produce antibodies, or strategies for overcoming the condition of dis-ease. And the 20th century is an enormous effort at self-healing. Phenomena as diverse as surrealism, body piercing, psychedelic drug use, sexual permissiveness, jazz, experimental dance, rave culture, tattooing, the list is endless. What do all these things have in common? They represent various styles of rejection of linear values. The society is trying to cure itself by an archaic revival, by a reversion to archaic values. So when I see people manifesting sexual ambiguity, or scarifying themselves, or showing a lot of flesh, or dancing to syncopated music, or getting loaded, or violating ordinary canons of sexual behaviour, I applaud all of this; because it's an impulse to return to what is felt by the body -- what is authentic, what is archaic -- and when you tease apart these archaic impulses, at the very centre of all these impulses is the desire to return to a world of magical empowerment of feeling. And at the centre of that impulse is the shaman: stoned, intoxicated on plants, speaking with the spirit helpers, dancing in the moonlight, and vivifying and invoking a world of conscious, living mystery. That's what the world is. The world is not an unsolved problem for scientists or sociologists. The world is a living mystery: our birth, our death, our being in the moment -- these are mysteries. They are doorways opening on to unimaginable vistas of self-exploration, empowerment and hope for the human enterprise. And our culture has killed that, taken it away from us, made us consumers of shoddy products and shoddier ideals. We have to get away from that; and the way to get away from it is by a return to the authentic experience of the body -- and that means sexually empowering ourselves, and it means getting loaded, exploring the mind as a tool for personal and social transformation. The hour is late; the clock is ticking; we will be judged very harshly if we fumble the ball. We are the inheritors of millions and millions of years of successfully lived lives and successful adaptations to changing conditions in the natural world. Now the challenge passes to us, the living, that the yet-to-be-born may have a place to put their feet and a sky to walk under; and that's what the psychedelic experience is about, is caring for, empowering, and building a future that honours the past, honours the planet and honours the power of the human imagination. There is nothing as powerful, as capable of transforming itself and the planet, as the human imagination. Let's not sell it straight. Let's not whore ourselves to nitwit ideologies. Let's not give our control over to the least among us. Rather, you know, claim your place in the sun and go forward into the light. The tools are there; the path is known; you simply have to turn your back on a culture that has gone sterile and dead, and get with the programme of a living world and a re-empowerment of the imagination. Thank you very, very much.

Q: Assume everything about your musical tastes was reversed overnight. Everything you once loved, you now hate; everything you once hated, you now love. For example, if your favorite band has always been R.E.M., they will suddenly sound awful to you; they will become the band you dislike the most. By the same token, if you’ve never been remotely interested in the work of Yes and Jethro Tull, those two groups will instantly seem fascinating. If you generally dislike jazz today, you’ll generally like jazz tomorrow. If you currently consider the first album by Veruca Salt to be slightly above average, you will abruptly find it to be slightly below average. Everything will become its opposite, but everything will remain in balance (and the rest of your personality will remain unchanged). So—in all likelihood—you won’t love music any less (or any more) than you do right now. There will still be artists you love and who make you happy; they will merely be all the artists you currently find unlistenable. Now, I concede that this transformation would make you unhappy. But explain why.

The 'magic' is the known and unknown quiet, spiritual, invisible thread which links and reveals harmonic elements to a universe of high vibrational sensory. And our beloved Bro. Maurice David knew it's undeniable creative power, from within.

Leg hair was not a problem to American women before the 1920s because the legs of most women were never on public view. When a change in attitude toward recreation, fashion and female emancipation during the prosperous, post-war Jazz Age made it socially acceptable for women of all ages and classes to expose their limbs, modesty regarding the propriety of showing legs was transformed with astonishing rapidity into a dainty self-consciousness regarding “unsightly” hair.

In order to get a cyclic universe, the contracting past universe has to emerge into an expanding universe. Cosmologists call this phenomenon a cosmic bounce. Think of dropping a ball. For the ball to change direction, it has to hit the ground, decelerate, come to a stop, and change its downward velocity. This happens naturally due to momentum conservation and the elasticity of the ball. Similarly the "speed" of the decelerating universe will come to a halt and bounce into an expanding state after reaching a vanishing speed. In order for this to happen, we need a field that makes space-time like an "elastic" ball; called a ghost field, this field is an infinite reservoir of negative energy. Physicists do not like ghost fields because they can quantum mechanically transform to an infinite amount of light energy spontaneously. This happens because, according to an exchange Feynman diagram, the photon, the lightest particle in nature, can steal negative energy from the ghost field to create an explosive amount of photons. We don't see such explosive signatures of ghost fields today, so if cyclic universes are for realand do depend on ghost fields, then the ghost fields have figured out a clever way to not decay into photons. Nina Arkani-Hamed of the Institute for Advanced Studies and his colleagues proposed one way this could happen: the ghost field condenses, which bounds the negative energy to a finite value, preventing further decay into photons.

Csíkszentmihályi, a very brilliant psychologist, believed that what he called Flow was a state of complete absorption which produced the highest level of human happiness. It comes about when you are doing something which is difficult enough to require all your concentration and effort and skill, but not so hard that it defeats you. Because that activity takes everything you have got, you have no time to think about all the existential flies that swarm about your head. You can’t worry about money or love or death or taxes; you are simply thinking about this thing. You are your best, most authentic self. He said that, in this state of Flow, a person is ‘completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost.’ He then got a little technical. There are, apparently, nine crucial states of achieving Flow, which include: ‘challenge-skill balance, merging of action and awareness, clarity of goals, immediate and unambiguous feedback, concentration on the task at hand, paradox of control, transformation of time, loss of self-consciousness, and autotelic experience.

Sometimes I saw what Espen and I did through Yngve’s eyes, then we were transformed into two nerds sitting alone and reading aloud and playing chess and listening to jazz, as far from the social, sociable world of bands and girls and nights out as it was possible to be. Yngve saw that it wasn’t me, and I carried that view with me, I was the guy in the street who liked football and pop music, what was I doing with all this modernist elitist literature? However, it worked the other way too because what Yngve said didn’t always sound so convincing in my ears any more, but this was such a painful thought that I suppressed it the instant it appeared.

When I read Dawkins, it occurred to me that his theory suggested a useful way to think about the effects of psychoactive plants on culture—the critical role they’ve played at various junctures in the evolution of religion and music (think of jazz or rock improvisation), of poetry, philosophy, and the visual arts. What if these plant toxins function as a kind of cultural mutagen, not unlike the effect of radiation on the genome? They are, after all, chemicals with the power to alter mental constructs—to propose new metaphors, new ways of looking at things, and, occasionally, whole new mental constructs. Anyone who uses them knows they also generate plenty of mental errors; most such mistakes are useless or worse, but a few inevitably turn out to be the germs of new insights and metaphors. (And the better part of Western literature, if literary theorist Harold Bloom’s idea of “creative misreading” is to be believed.) The molecules themselves don’t add anything new to the stock of memes resident in a human brain, no more than radiation adds new genes. But surely the shifts in perception and breaks in mental habit they provoke are among the methods, and models, we have of imaginatively transforming mental and cultural givens—for mutating our inherited memes. •         •         • At the risk of discrediting my own idea, I want to acknowledge that it owes a debt—how large I can’t say—to a psychoactive plant. The notion that drugs might function as cultural mutagens occurred to me while reading The Selfish Gene while high on marijuana, which may or may not be an advisable thing to do.

The sound of their evolving jazz dialect formed a cultural fulcrum that no outraged protester or government-issued desegregation order could begin to achieve.

musical stage for more than half of that century, forging melodic models that hadn’t existed and elevating jazz into a pulsating force for spontaneity and freedom.

His album that year was Sign O’ the Times. I took the fact that the gang in the title track was named the Disciples as a personal tribute. The tour behind that record was the best Rock show I’ve ever seen. I went three times, and it blew my mind every time. The production was the highest evolution of the live, physical part of our Artform I have ever seen. It was Prince’s vision, but his production designer, LeRoy Bennett, deserves much of the credit for pulling it off. It was Rock, it was Theater, it was Soul, it was Cinema, it was Jazz, it was Broadway. The stage metamorphized into different scenes and configurations right before your eyes, transforming itself into whatever emotional setting was appropriate for each song. On top of that, the music never stopped, for three solid hours. Prince wrote various pieces, or covered Jazz, as interstitial transitions for those moments when the stage was shifting or the musicians were changing clothes. At one point, he even had a craps game break out, which made me laugh—it brought me back to Dr. Zoom and the Sonic Boom and our onstage Monopoly games. They captured it pretty well on film, but it can’t compare. When you’re watching a movie, your mind is used to scene changes, different sets and lighting. Live, it’s something else. That kind of legerdemain before your eyes is mind-boggling.

The American imperialists go so far as to take the folk music, jazz, and soul music of oppressed black people and transform this into American propaganda over the Voice of America beamed at Africa.

10 November You are a purposeful and ambitious person. From early on in life you know what you want to achieve and set your sights high. You have the ability to tackle difficult issues, and with your strong moral and physical courage, you usually succeed. If, however, you fail and get overlooked on your way to the top, your frustration can create health issues. You are adept at regeneration and can transform raw materials into ‘gold’, whether it’s a building, a company, or yourself. You are a pragmatic person but will not compromise your principles. This can lead to others seeing you as being inflexible. Relationships are serious for you, and you marry for love and financial security. Relaxation is vital for your emotional well-being. Your lack of flexibility would be remedied by a freestyle jazz dance form. STRENGTHS Aspiring and resolute WEEKNESSES Obstinate, materialistic MEDITATION A small mind is obstinate. A great mind can lead and be led.

Therefore the mandala is a stunning geometric creation by Coltrane that relates these important and general scales to each other, the same way space-time transformation relates length contraction to time dilation, electric fields to magnetic fields.

The Fourier transform is one of the most used tools in all of pbysics, engineering, and computer science. It can be found in electronic circuits and lies at the foundation for sending and receiving signals to satellites and back to Earth through electromagnetic waves. And the Fourier transform is essential to understanding how the structure of the universe arises.

Trippe heard about a new kind of engine. One more loonshot. A technology that quadrupled maximum takeoff weight. A plane with the new bypass jet engine, with its extra propeller in front, could carry nearly 500 passengers, two and a half times as many as the Boeing 707. The music of the Jazz Age, now the Jet Age, keeps playing. The wheel in the sky keeps on turning. The franchise feeds the P-type loonshots that feed the franchise. Bigger, faster, more. Trippe had to have it.

I felt I was New Age before it became hip (and now passé), and disliked the name given to this 'recent' wave of spiritual interest in the 1980s because the word 'new' was in it: this word automatically implies that the phase will soon pass into something either “established” or stale, or will be chronicled as an ephemeral fad or phase to be found on some old bookshelf one day. Again, passé. For instance, the New Thought movement faded with the smoke of the Great War, the war to end all wars – which later was reclassified as WWI. Indeed, just a few years into the new 21st century, New Age was becoming old. Smooth jazz seemed to replace the name in music, and holistic and integral were the latest catch words describing the eclectic philosophy of the past decades. Astrologers were laughing: they knew the planetary alignments that predicted this network of integrated thought; it was the same inspiration behind the world wide web. Uranus (technological innovations, groups) and Neptune (images, imagination) reunited in the mid 1990s in the practical sign of Capricorn; we all became more connected with the next jump in electronics, technology and vision, right on cue. The world wide wave (www) was here. That wave came in, peaked in the 1990s, everyone was refreshed and expanded (some got drenched), and the promoters were now looking for new packaging. By the end of the 1990s, the Dot.com bubble burst. It was time for the next phase.

The bite-size and broken-grid elements of nearly every printed page owe themselves to the Macintosh. The plasticity of pictures, of video, and the ease and economy with which the visual world can be manipulated. . . . is a Mac by-product. The transformation (or death, depending on your point of view) of the music business is Steve [Jobs] and the iPod, [which] will soon devour moving images. . . And this not to even mention the personal computer itself . . . Everywhere, Jobs has been helping media consumers take media away from the media business itself. . . It's the technology, stupid. It's the experience, stupid. It's the box that gets us off and makes us what we are. We're not watching media, we're inhabiting it. [Steve Jobs is] not just McLuhan in the media business, he's Edison—the autodidact garage inventor. And, too, he's Henry Ford. . . . Happy 30th anniversary, Apple.” Michael Wolff, “iPod, Therefore I Am,” April 2006 IT

Since 1992, as the technological miracles and wonders have propagated and the political economy has transformed, the world has become radically and profoundly new. Here is what's odd: during these same 20 years, the appearance of the world (computers, TVs, telephones, and music players aside) has changed hardly at all, less than it did during any 20-year period for at least a century. The past is a foreign country, but the recent past—the 00s, the 90s, even a lot of the 80s—looks almost identical to the present. This is the First Great Paradox of Contemporary Cultural History.” Kurt Andersen, “You Say You Want a Devolution?,” January 2012