For the Bermuda Triangle Story
Of course, it’s worth the effort! Let’s at least show a planet plainly weary of our presence that every now and then we were capable of recognizing the value of a fellow species far more beautiful, majestic and intelligent than our greedy, cruel, hypocritical, short-sighted selves. The survival of whales, and of all other life, may very well depend on our own extinction, but maybe we can still go out kindly.
Peter Beagle, Oakland
My film is going to take considerable time of my summer life, so there will be only one summer comic this year. It will be an exciting issue though! Nami is taking Giermo home to Mama who is vacationing at the Jasian “Honeycomb Hideout” in the Bermuda triangle. So there will be lots of myths and monsters!
I love drawing stories like this, so it will be well worth the wait! I just hope the last Pirates of the Caribbean movie does not have a similar storyline. There are enough parallels in the two stories as it is!
See you in August!
I remember taking a music theory class at the SFAI some odd years ago. The music theory teacher explianed that African music is rhythm base and European music is “something else”. Below is some clue to the missing term in my note from her lecture?
In music a divisive rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units, this can be contrasted with additive rhythms, which are larger periods of time constructed from sequences of smaller rhythmic units added to the end of the previous unit. European metres are divisive. For example: 4/4 consist of one measure (whole note: 1) divided into a stronger first beat and slightly less strong second beat (half notes:12), which are in turn divided, by two weaker beats (quarter notes:1234), and again divided into still weaker beats (eight notes:1&2&amp;3&4&).
In music, additive rhythms are larger periods of time constructed from sequences of smaller rhythmic units added to the end of the previous unit. This is contrasted with divisive rhythms, in which a larger period of time is divided into smaller rhythmic units.
The relationship between additive and divisive rhythms is complex, and the terms are often used in imprecise ways. The seventh edition of the New Grove Dictionary of Music and Musicians, in its article on rhythm, states that “In discussions of rhythmic notation, practice or style, few terms are as confusing or as confusingly used as ‘additive’ and ‘divisive’.” Winold recommends that, “metric structure is best described through detailed analysis of pulse groupings on various levels rather than through attempts to represent the organization with a single term.” (DeLone et. al. (Eds.), 1975, chap. 3)
Most western music is primarily divisive, while Indian and other musics may be considered as primarily additive. However, most pieces of music cannot be clearly labeled divisive or additive. For instance, Ewe music uses additive rhythms against a time-background that is divisive.
The term additive rhythm is also often used to refer to what are also incorrectly called asymmetric rhythms and even irregular rhythms – that is, metres which have a regular pattern of beats of uneven length. For example, the time signature 4/4 indicates each bar is eight quavers long, and has four beats, each a crotchet (that is, two quavers) long. The asymmetric time signature 3+3+2/8, on the other hand, while also having eight quavers in a bar, divides them into three beats, the first three quavers long, the second three quavers long, and the last just two quavers long. These kinds of rhythms are used, for example, by Béla Bartók, who was influenced by similar rhythms in Bulgarian folk music, and in some music of Philip Glass, and other minimalists, most noticeably the “one-two-one-two-three” chorus parts in Einstein on the Beach. They may also occur in passing in pieces which are on the whole in conventional metres. Obviously the “asymmetric” rhythm 3+3+2 may be written 3+2+3, in which case it is symmetric, and if repeated regularly, no longer is it “irregular”.
Salad Days: A time of youth, innocence, and inexperience: “my salad days,/When I was green in judgment, cold in blood” (Shakespeare).
Spend some of my popularity: when a beloved leader has to make a controversial decision.
Advice to Nami: I didn’t want children because I was having too much fun,” Carlson said. “I didn’t want to be tied down.”
“Modeling life is very short, particularly when you’re nude,” Carlson said. “You get kind of cold.”
It’s here–thank Goddess its’ here!
Superficial#4 is up. It took 6 mos to produce this thing and there are STILL mistakes! When does it all end? When the series is over that’s when.
Anyhoo, enjoy more of Nami’s irresponsible behavoir and blatant neglect for humanity and watch poor Sakura clean it up—all from the comfort of the family’s private Concorde.
Enjoy and be careful with YOUR friends! They’re breakable!