NeophobiA

Frank Marino Discusses His Upcoming Live DVD & His Career Perhaps one of the names missing in the who's who of the guitar is Frank Marino. Frank trailblazed through the '70s with his impeccable playing. Frank’s guitar is the prominent instrument showcasing incredible fluidity and aggression as well as an obvious nod in the style of Jimmy Hendrix but as a power trio the dexterous support of bassist Paul Harwood and drummer Jimmy Ayoub. Born and raised in Canada, Frank commenced his musical career as a drummer before moving to guitar and forming Mahogany Rush. Sadly for Frank, after seven albums recording for Columbia Records, at which he and the label reached a creative impasse, resulting in him leaving the company and vowing never to record for a major label again. Frank was gracious enough to speak with me and give an update on his career. What have you been up to? FM: I have a big project that’s been going on now, for years, that I’ve finally got ready for distribution. It’s a live Concert DVD/BluRay that was originally 12 hours long, but I cut it down to six. It’s six hours of music and not very much talking in between the songs. It’s three two-hour shows. Everything's done except for physically getting it out there for people to purchase it. Hopefully, that will be soon. And, even more hopefully, people will want to get it. I’ve had some offers from some well-known record companies, but I’m pretty much done with that way of doing things. I don’t want to go back through that machine. I’ll just put it out myself and see what happens. You’ve been compared to Jimi Hendrix throughout your career, does it ever get tiring to hear that? FM: Throughout my 50-year career, I’ve always been compared to him. Hendrix this and Hendrix that. I love Hendrix, don’t get me wrong. It’s just the way that I naturally play. That’s all I had to answer in the seventies, was about the comparisons to Hendrix. And it gets very tiring to hear that all the time. Do you have a publicist or a record deal? I don’t have a publicist and I don’t have a record company either. I walked away from Columbia Records in 1982 and didn’t look back. I owed them another record, too, but I chose not even to exercise my option. I’m just a very anti-industry, anti-corporate guy. I’ve been offered a few times to play at NAMM, and I'm told that if I did that, I could get free gear. I’m like, why would I want free gear when I’m not going to use it? Don’t get me wrong; I love gear. I’m a gear nerd, but I build my own. Guys go to NAMM to talk to companies to try and get a guitar or pedal endorsement, in hopes of getting on a magazine cover, or something like that. I’ve never really been like that. I’m just a guy from 1969, and I was still in 1969. Do you get any royalties from your back catalog from Columbia? I know that some record labels have occasionally licensed some things of mine, from the past, and put them out telling people they're remastered. If they did remaster them, they probably did them from the vinyl, because the few that I've heard sounded pretty bad to me. But I don't have any ongoing relationship with my old record label. They don't send me royalties or even really account to me, but I don't care. So, consequently, they take whatever they can, and I'm not the only guy they've done that too. Let me tell you something about a record contract. The only time you even look at a contract is when you sign it, and when you sue. So it doesn't matter what's in it because if they don't honor what they wrote, that means you're going to have to sue. But most people don't because they don't have the money or they don't have the time. So, in the end, the record companies pretty much do whatever they want, unless you're already some huge artist. And at the beginning of a career, you're most likely not a very big famous artist yet, so you have to be careful about how you go about things at that time. Let me give you an example. When I just finished this Concert DVD, I had to get permission to record my songs from previous record labels, because of deals I made when I was a teenager. Now, that's not necessarily a bad thing on the part of a company, because that's the deal I signed. But one does have to live with the consequences of their early decisions, whether or not we think it's fair now. One of the things that artists do is that they tend to devalue their work when they are young; they figure that they can give up certain things in trade for some promises of tours or gigs, or even fame. And they tell themselves that they can just write more songs anyway, so they don't realize what they're doing by giving that away. They're not thinking that in 20 or 30 years they'll wish they hadn't done that. But that's exactly what happens in the end. And it's a real drag, believe me. Did you ever get the opportunity to tour with Hendrix? I started playing guitar in late 1968 when I was in a hospital, pretty screwed up on LSD, and was recovering through the next year. I didn’t get to go to Woodstock naturally because I was freaked out and too screwed up to go anywhere. Otherwise, I would’ve gone. So, after that time it became 1970, and by then I was hanging out making music with a bunch of friends. And it was never intended to be a band, originally. Now, Hendrix died in September of 1970. But I had seen Hendrix in early 1968 before I even started playing guitar. I was a drummer then. I went to see what all the fuss was about. I went because I liked his drummer Mitch Mitchell. Ironically, I’m probably one of the last guys you'd expect to walk out on Hendrix after two or three songs, but I did exactly that because I thought it just sounded horrible. That was the first and last time I ever saw Jimi Hendrix. Later he died, but by that time I was playing that kind of music, and by then I had come to like what he did. When he died, though, it put a big spotlight on his music in the scene, and there I was playing that kind of music. So writers started making up weird stories because I sounded like Hendrix. But I just sincerely liked Jimi; I even dedicated my first album to him. But I didn't know just how much that would come to affect my career. In the early 70’s it just wasn’t the standard norm to play that style. Most people thought it was pretty unique, and some even thought it was impossible. So the press hated me for it. They’re like, who’s this kid, how dare he play this kind of music. And I didn't understand what they were so freaked out about, to me it seemed perfectly reasonable. Well, It took a few years, but by the late ’70s, everyone started playing somewhat like Hendrix, and it did come to be viewed as normal to play that style. Do you feel that you were “shredding” before it became popular in the ’80s? I saw the changeover coming. With me, I was already playing that kind of guitar for so long; I was playing fast stuff and ‘shredding’ if you want to call it that, along with my other styles, blues, jazz, etc. And the new guys from the ’80s would look at a guy like me and say, “Wow, that’s cool too.” But there were no real "shredders" in the late ’60s, which were my root-years. The closest thing you’d get to a player playing fast was someone like Alvin Lee, of Ten Years After, and maybe a bit of Johnny Winter, in some of his stuff. And I liked him as much as I did Hendrix or the other guys who influenced me. When did you start playing the guitar? I was still in the hospital recovering, and there was an acoustic guitar in the sunroom. I started picking up that guitar, and I started gravitating towards playing it. It kept my mind off things. When I came out of the hospital, my friends and family were like, wow you’re playing guitar; when did this happen? What was your first guitar? It was a really cheap acoustic guitar from a company called Stella, I believe, and it was owned by the hospital. But I couldn't take it with me so, when I got out of the hospital, I asked my Mom if she could buy me my own guitar, as it made me feel better and took my mind off my issue. She bought me this used 61 ½ Gibson Les Paul SG, from a kid down the street. They’re rare now, but they weren’t back then, so it cost nearly nothing. When the neck broke on that one, I asked my Mom to get me another one. All I knew was that it was a red guitar. This time it was a 62 SG Special. But that 62 got stolen, so I went back to the pawn shop and asked if they had another one, as long as it was red with the pointy horns on it. They had another 61 ½ SG Les Paul, like my first one, and that’s my main guitar people saw me within the ’70s and ’80s. The only reason I kept playing an SG was that it was the first electric guitar I had, and I just got used to it. There was no awareness of the year or brand and all that like there is today. All we knew back then is that you plugged any guitar into an amp and turned it on 10. That’s all you knew. How have you evolved as a musician over the last 50 years? I think the most significant demonstration of my musical evolution is experience. It's more like knowing what you're doing. My first album, Maxoom, was done on four-track and eight-track, and it was put out on a record label back in 71, 72. I started it when I was still 16 years old. But in 1993, which is 22 years later, I did an album called Eye of the Storm, and I made sure that I didn't use anything that wasn't available back in 71, because I wanted to make a record that would show me what I could have made in '71 if I'd simply known then what I knew by '93. So the difference between Eye of the Storm and Maxoom is pure experience or, as you called it, evolution. And you realize, when you compare the two albums back-to-back, that the difference between these two records is huge. So you wonder, what if Eye of the Storm had come out, exactly as it sounded in '93, but 1971? I think It probably would have been one of the biggest pure guitar-records of that time. So, to answer the question as to how I've evolved, you could look at it and say, well, everybody sorts of evolves slowly, but they simply don't notice just how much they do. I guess it's kind of like looking at yourself in a mirror thinking, well, here's me, and then you see a picture of you as a teenager and you say, oh my God, I looked like that? Right. You think you're seeing that guy you were 20 years ago when you look in that mirror but then when you see the real picture; you see that you've changed and become older, and very different, yet you're still you. And you wonder how it even happened without you having noticed. And that kind of thing happens with music too.

Palaye Royale - You’ll Be Fine The official live concert video for one of our favourite tracks from the Toronto-formed, Vegas-based kids’ new album Boom Boom Room (Side B), which is on sale now. Looking like the love-children of the Rolling Stones and My Chemical Romance, they delight the pogoing crowd here with a mix of youthful fizziness and cool Rn’B swagger.

Ubisoft E3 2014 Media Briefing Coast to coast trailer -- From Miami to L.A in The Crew [ANZ] https://thecrew-game.ubi.com Assassin's Creed Unity E3 2014 World Premiere Cinematic Trailer http://assassinscreed.ubi.com/ Pagan Min Nemesis Reveal E3 2014 - Far Cry 4 http://far-cry.ubi.com/ Rainbow Six Siege E3 2014 Gameplay World Premiere http://rainbow6.ubi.com/siege/en-GB/ Tom Clancy's The Division -- Take Back New York Trailer http://tomclancy-thedivision.ubi.com/game/en-GB/home/

MSGHero Pro I just think it would be fun to play with.... https://www.msghero.com/ affiliated with social-Panda.com yes it's a marketing tool but I see so much more... TeeHee..

Australia Passes Anti-Encryption Bill—Here's Everything You Need To Know Australia's House of Representatives has finally passed the "Telecommunications Assistance and Access Bill 2018," also known as the Anti-Encryption Bill, on Thursday that would now allow law enforcement to force Google, Facebook, WhatsApp, Signal, and other tech giants to help them access encrypted communications. The Australian government argues the new legislation is important for national security and an essential tool to help law enforcement and security agencies fight serious offenses such as crime, terrorist attacks, drug trafficking, smuggling, and sexual exploitation of children. Since the bill had support from both major parties (the Coalition and Labor), the upper house could vote in support of the Assistance and Access Bill to make it law, which is expected to come into effect immediately during the next session of parliament in early 2019. Although the new legislation does not properly clarify specifics around the potential power that the Assistance and Access Bill could give Australian government and law enforcement agencies over citizen's digital privacy, it contains new provisions for companies to provide three levels of "assistance" in accessing encrypted data, as explained below: Technical Assistance Request (TAR): A notice to request tech companies for providing "voluntary assistance" to law enforcement, which includes "removing electronic protection, providing technical information, installing software, putting information in a particular format and facilitating access to devices or services." Technical Assistance Notice (TAN): This notice requires, rather than request, tech companies to give assistance they are already capable of providing that is reasonable, proportionate, practical and technically feasible, giving Australian agencies the flexibility to seek decryption of encrypted communications in circumstances where companies have existing means to do it (like at points where messages are not end-to-end encrypted). Technical Capability Notice (TCN): This notice is issued by the Attorney-General requiring companies to "build a new capability" to decrypt communications for Australian law enforcement. These notices would compel tech companies to modify their software and service infrastructure to backdoor encrypted communications and data that could otherwise not be obtained. It is worth noting that companies could face massive financial penalties for not complying with the new law. Bill Says—Don't Crack OR Backdoor the Encryption, Just Let Govt Sneak Into Devices The Bill clearly says that the tech companies can't be compelled to introduce a "systemic weakness" or "systemic backdoor" into their legit software or hardware, or "remove electronic protection," like encryption to satisfy government demands. Instead, the new legislation contains measures aimed at facilitating lawful access to information through two avenues—"decryption of encrypted technologies and access to communications and data at points where they are not encrypted." "We encourage the government to stand by their stated intention not to weaken encryption or compel providers to build systemic weaknesses into their products," the Bill stipulates. So without forcing companies to break encryption in their software, Australian law enforcement is looking for ways to snoop on your messages before they are encrypted, or read them once they're decrypted on the users' end. Of course, this would require assistance from providers of the software and services, including Apple, Samsung, Google, WhatsApp, Signal, iMessage, and Telegram, though it remains to be seen whether and how tech companies cooperate with the new Australian laws. You need to read the below statement included in the Assistance and Access Bill [PDF] word-by-word: "The Bill could allow the government to order the makers of smart home speakers to install persistent eavesdropping capabilities into a person’s home, require a provider to monitor health data of its customers for indications of drug use, or require the development of tool that can unlock a particular user’s device regardless of whether such [a] tool could be used to unlock every other user’s device as well…" "While we share the goal of protecting the public and communities, we believe more work needs to be done on the Bill to iron out the ambiguities on encryption and security to ensure that Australian are protected to the greatest extent possible in the digital world." It should be noted that the Australian law enforcement authorities still require a judicial warrant to sneak into your devices and intercept your encrypted messages. Five Eyes Nations: Responses to "Going Dark" Since Australia is a member of the Five Eyes alliance along with the United States, United Kingdom, Canada, and New Zealand, which last month declared that "privacy is not an absolute" and the use of end-to-end encryption "should be rare," the new bill could be a stepping stone towards new encryption laws in other nations as well. The Bill also claims that without the new legislation, law enforcement agencies face the problem of "going dark"—a term used by the FBI and U.S. Department of Justice (DoJ) to describe the situation when they failed to intercept encrypted data and communications. Australian Prime Minister Malcolm Turnbull has previously made his position on encryption clear last year, saying "The laws of mathematics are very commendable, but the only law that applies in Australia is the law of Australia." Apple—Encryption is Simply Math Apple responded to the new bill by making a submission to the Australian government month ago, saying "Encryption is simply math. Any process that weakens the mathematical models that protect user data for anyone will by extension weaken the protections for everyone." "It would be wrong to weaken security for millions of law-abiding customers in order to investigate the very few who pose a threat," the tech giant added. Even though the new Assistance and Access Bill does not propose weakening encryption or removing electronic protection, tech companies and privacy advocates argue that any efforts to thwart encryption even for one device could potentially affect privacy and security of everyone. Moreover, the new way to intercept into devices could possibly open a backdoor for hackers, making it easier for them to spy on encrypted communications or steal sensitive encrypted information.

Yeah, this angers Me to no end...

It does not matter how slowly you go as long as you do not stop. - Confucius

Who has a Minds.com account.?. It is Anomymous's answer to FB When you do, Add Me: https://www.minds.com/NeophobiA

Congrats aabee and welcome to the team, keep up the great work...

https://youtu.be/eT7nD02Im5E Cookieness Evereat is back to play in the Hungry Games. Can Cookieness and her friends, Finnicky, Tick Tock Lady, and Pita escape from the poking monkeys and tickling winds? Find out in The Hungry Games: Catching Fur. May the cookies be ever in your flavor. For more fun games and videos for your preschooler in a safe, child-friendly environment, visit us at http://www.sesamestreet.org Sesame Street is a production of Sesame Workshop, a nonprofit educational organization. The Workshop produces Sesame Street programs, seen in over 150 countries, and other acclaimed shows, including The Electric Company. Beyond television, the Workshop produces content for multiple media platforms on a wide range of issues including literacy and numeracy, emotional wellbeing, health and wellness, and respect and understanding.

http://youtu.be/iOfN1TaMX6g After winning the overall World Cup title four years in a row, alpine skier Marcel Hirscher took a day off and had some fun at his local resort with his race skis and some crazy colors, resulting in one of the most vibrant ski runs to date. Respect for the environment was a priority from the beginning of this project. The team has assured that the plants and wildlife have been damaged nor disturbed at any time during the project. All materials for colour effects are 100% natural and the team got all agreements by the local authorities.

Half Life Source Full Walkthrough http://youtu.be/JoV9o6b91Sc

yeah, stumbled across this one quite by accident...

Today’s Free E.Books are coming to us from Charles Heckethorn. His works, “The Secret Societies Of All Ages and Countries” Volumes 1 & 2, are praised as authoritative historical references by many students of the New World Order. They are a must have for anyone interested in conducting serious, in-depth research. Tap the link below to download. https://rev12eleven.wordpress.com/rev12eleven-home/free-ebooks/

I have been impressed with the urgency of doing. Knowing is not enough; we must apply. Being willing is not enough; we must do. - Leonardo da Vinci

If you want to lift yourself up, lift up someone else. - Booker T. Washington

Every Stan Lee Cameo (1989 – 2018) According to the comments on YouTube, this compilation may have missed a few cameos and a couple of the dates of the films are incorrect, but this is still the most comprehensive compilation I could find online (up to and including Thor: Ragnarok). Sadly, the legendary comic book creator passed away on November 12, 2018. In collaboration with several artists – particularly Jack Kirby and Steve Ditko – he co-created Spider-Man, the Hulk, Doctor Strange, the Fantastic Four, Daredevil, Black Panther, the X-Men, and – also with co-writer Larry Lieber – Ant-Man, Iron Man, and Thor. https://en.wikipedia.org/wiki/Stan_Lee

The #1 song on Tuesday, September 16th 1975 was: Rhinestone Cowboy by Glen Campbell

Good one UK, I'm a PT in the training, I currently run a class twice a week for mobility, pre and post op patients and just those that want to get healthy minds and bodies....

When I let go of what I am, I become what I might be. - Lao Tzu

4x12, just post the link and press enter and wait a sec for the forum to do it's magic and it should recognise it is a video and convert it then add your text... Good vid btw...

My motivation The Movember Foundation is the leading charity changing the face of men's health, and this Movember I'm joining them. Together we can make a difference for men's health – in prostate cancer, testicular cancer, mental health and suicide prevention. Help me stop men dying too young. Make a Donation, Sponsor Me or Join up at My link below... https://mobro.co/NeophobiA?mc=1

Yeah Rædwulf, I recently cut off all My hair and now shaved for Movember. 1st time I think I've posted a self pic here....