•toned arms (especially if you play fiddle music like damn)
•you’re automatically smart if you play the violin. don’t ask why. it’s apparently a stereotype. just go with it.
•kids love you regardless. play something they recognize and they will love you.
•you develop good hand-eye coordination and enhanced muscle memory
•covers sound 10000000x better when they’re played on violin. 100% confirmed by scientists.
•you get gigs VERY often when you’re for hire (seriously when did people get so demanding for violinists/fiddlers?)
•dexterity in fingers = 👌🏼👌🏼👌🏼
•music stores are your best friend
•electric violins are BAD ASS.
•violins are so diverse. they can be in jazz, bluegrass, classical, blues, swing, folk, gypsy, burlesque, ragtime, and basically every style of music.
•good vibrato sounds like heaven
•just basically a fun instrument to play. seriously.
•calluses. calluses. calluses.
•HICKEYS. Hickeys. Yes they are a thing, don’t look at me like that.
•*shoulder rest decides to fly out from instrument while playing*
•backache. arm ache. backache. fingers are sore. neck is sore. everything hurts.
•"Can you play Beethoven?“
•don’t even bother going anywhere with customs. they’ll hold you back because your instrument case looks "suspicious”.
•*bridge decides to snap out from under strings while practicing*
•"Can you play Devil Went Down to Georgia?“
•no matter how hard you try to make that fourth octave C sound pretty, it’s still going to sound like you stuck a fork up a baby bird’s ass.
•"can you teach me how to play it?”
•doesn’t matter if you rosin your bow; slurring to the open E string will make a godawful squeaking noise.
•"I promise I won’t break it"
•watching movies/TV with a violinist makes you cringe because it’s obvious they’re not a real violinist. (seriously, when they’re playing whole note open G they’re playing eighth notes on the E string. what the fuck.)
•"I thought violin and fiddle were two different instruments!“
•that song may sound cool, but don’t bother learning it when it’s in the key of C#.
•up bow. down bow. down bow. up bow. down bow. up bow. down bow. Wait, fuck. *erase*
•"no, I did not slaughter a horse to make my own violin bow.”
•that soreness in your wrist is from your countless attempts to perfect that vibrato. oops.
Later he saw Jesus move from tree to tree in the back of his mind, a wild ragged figure motioning him to turn around and come off into the dark where he might be walking on the water and not know it and then suddenly know it and drown.
- Flannery O’Connor, Wise Blood
Blood on my Name | The Brothers Bright Saint Elizabeth | Kaia Kater Don’t Go into the Barn | Tom Waits
Oh Death | Rising Appalachia God’s Gonna Cut You Down | Johnny Cash Old Time Religion | Parker Millsap Pretty Polly | Béla Fleck and Abigail Washburn Devil Got My Woman | Skip James Way Down Hadestown | Anaïs Mitchell Nothing but the Water (I) | Grace Potter & the Nocturnals Freedom Hangs like Heaven | Iron & Wine Red Right Hand | Nick Cave & The Bad Seeds Black Ghost Blues | Lightnin’ Hopkins Human | Rag n’ Bone Man
It’s hard to believe, but before the 1950s, guitars were rarely heard in British music. Billy Bragg says the first guitars to hit the British pop scene came as a part of skiffle, a musical movement inspired by African-American roots musicians.
Bragg, who’s written a book on skiffle called Roots, Radicals And Rockers, describes the genre as “a bunch of British school boys in the mid-‘50s playing Lead Belly’s repertoire… on acoustic guitars.”
One of the most pivotal performances was Lonnie Donegan’s 1954 cover of Lead Belly’s “Rock Island Line,” which Jimmy Page of Led Zeppelin later described as a song that changed his life. But Bragg notes that the entire genre was transformative in that it opened the door for The Beatles, Van Morrison and other Brit rock bands that followed.
If the sun rises in the morning, Don’t wake me up, don’t wake me up ‘Cause I’ve been working through the darkest hours, Tending all those orphaned fires, So if the sun comes up tomorrow Don’t wake me up
I’ve been tearing down walls I’ve been building a harbor I’ve been waiting for the night to answer me There’s been no rest at all No moment of shelter Just the moon and I in the darkness, singing
If the sun rises in the morning Don’t wake me up, don’t wake me up ‘Cause I’ve been working through the darkest hours, Tending all those orphaned fires, So if the sun comes up tomorrow, Don’t wake me up.
And I’ve been burying bones, I’ve been swallowing sorrow, And I’ve been trying not to close my eyes. Keep on breaking those stones, Don’t save the work for tomorrow Because God only knows what waits on the other side
If the sun rises in the morning Don’t wake me up, don’t wake me up ‘Cause I’ve been working through the darkest hours, Tending all those orphaned fires, So if the sun still comes up tomorrow, Don’t wake me up.
Darling, if the sun comes up tomorrow, Don’t wake me up.
I’ve always maintained that Zeppelin was the spaces between us. Bonzo was into soul music and Motown ballads; I was into jazz and classical music; Jimmy was into rockabilly, blues, and folk; and Robert was into blues and Elvis Presley. None of us had the same record collection. Nobody on the outside of the band could understand this.
John Paul Jones, quoted in Brad Tolinski, Light and Shade: Conversations with Jimmy Page