JARG

I was wondering what that meant; now it makes sense. I have no worthwhile guess. But now I am thinking about Mia Sara. You're welcome. :)

Forget I mentioned the "faux" part. In the movie, it's supposed to be an extremely rare Ferrari, but in reality it's a mock-up of an extremely rare Ferarri.

Right, you're wrong! :lol:

Nyet

I Mother Earth? Winner! Go! OK, but let's drop the "reasonably able to deduce rule", cuz you broke it with your first question (until you gave the clue). What are the letters on the license plate on Mr. Frye's faux Ferrari in Ferris Bueller’s Day Off?

I Mother Earth?

It was ejected by a volcano? ;)

He does have excellent pitch. If i'm not mistaken, the last chord played on the classical is an F, which he seems to have heard as a C, but I think his ear may have been tricked by the C9 chord that comes in on the electric.

I'm still of the mind that it came down to marketing and societal expectations. Namely people didn't expect women to be fans of loud rock music, so they didn't market it to them. OK, but if Rush was marketed in such a way as to appeal to males more than females, that suggests that there is something about Rush that could be marketed in such a way, which then suggests that gender does play a role. Sure, so with Rush that thing is that they were a loud heavy progressive rock band in the 70s, and people tended to expect that men would enjoy those qualities in music more than women. Probably correctly so, generally speaking. That assumption was (and may still be) likely generally true, particularly if you're talking about young men who are awash in testosterone. The "in your face" quality of early Rush and the themes of rebellion against authority certainly hit me in the right spot when I was awash with testosterone. My girlfriend in HS certainly tolerated my love of Rush, but I know she didn't share it. The music was too aggressive for her and she couldn't really relate to the lyrical themes -- she didn't find "herself" in those sorts of Rush songs, whereas I did. Was she an anomalous female? I don't think she was. I think she was very representative of her gender at that age. So you're saying you think it's linked to biology. That testosterone drives men to like more aggressive music and estrogen drives women to like less aggressive music. I'm not going to discount this possibility, but I do think it's still possible (even likely) that societal expectations cause people to decide they don't or do like certain things at a young age not because they naturally feel any way about them, but because they're told they're supposed to feel certain ways about them. Let's assume it's 1976 and you're an advertising exec for Mercury. How would you market Rush to appeal to females? To males?

I'm still of the mind that it came down to marketing and societal expectations. Namely people didn't expect women to be fans of loud rock music, so they didn't market it to them. OK, but if Rush was marketed in such a way as to appeal to males more than females, that suggests that there is something about Rush that could be marketed in such a way, which then suggests that gender does play a role. Sure, so with Rush that thing is that they were a loud heavy progressive rock band in the 70s, and people tended to expect that men would enjoy those qualities in music more than women. Probably correctly so, generally speaking. That assumption was (and may still be) likely generally true, particularly if you're talking about young men who are awash in testosterone. The "in your face" quality of early Rush and the themes of rebellion against authority certainly hit me in the right spot when I was awash with testosterone. My girlfriend in HS certainly tolerated my love of Rush, but I know she didn't share it. The music was too aggressive for her and she couldn't really relate to the lyrical themes -- she didn't find "herself" in those sorts of Rush songs, whereas I did. Was she an anomalous female? I don't think she was. I think she was very representative of her gender at that age.

I'm still of the mind that it came down to marketing and societal expectations. Namely people didn't expect women to be fans of loud rock music, so they didn't market it to them. OK, but if Rush was marketed in such a way as to appeal to males more than females, that suggests that there is something about Rush that could be marketed in such a way, which then suggests that gender does play a role.

Going by personal observations at concerts, I think the premise is likely correct. Why couldn't musical taste be gender biased? Is it not possible certain styles of music appeal to one gender more than another in sufficient enough numbers that generalities could be reasonably inferred?

Because Rush is such a long-lived band, the demographic of its audience has changed over the years, so my comments are going to focus mostly on the first decade of Rush as a recording unit -- this is when they developed their core fan base, a fan base that rewarded them for the risk they took in recording 2112, the success of which allowed Rush a shitload of artistic freedom. My first Rush concert was 42 years ago today (Hemispheres tour) and I can confidently say the ratio of males to females in the audience that night was probably 20:1. That ratio was slow to change for many years, with the biggest single-tour shift happening during the MP tour. The scarcity of female fans at those early Rush shows prompts two possibilities in my mind: 1. There were just as many female fans as Rush fans but the female fans didn't care to go Rush concerts 2. There just weren't as many female Rush fans as male mans. I think it's the latter. I had many conversations with my male classmates in high school about music in general and Rush in particular, and far fewer likewise conversations with my female classmates -- they just didn't seem that interested. The reason for that is that my male classmates loved to talk about music, almost obsessively, and those of us who were Rush fans really connected. I don't know if it's true today, but back in the late 70s and early 80s, males tended to bond over musical interests. I don't know women did that much, but if rock music wasn't the lingua franca with females the way it was with males, then that probably explains why Rush didn't really catch on with females in the numbers that they did with males. If there are any aged 50+ females in our ranks here at TRF, can you speak to this? Was rock music in general, and Rush in particular, something you girls would spend hours talking about in HS?

juicy!

???

I was thinking the intro to Shine On You Crazy Diamond could have influenced the one in Xanadu. Alex is a huge Gilmour fan, so yes. You can hear in the spacey bridge of YYZ, especially that cascading riff that he stole from Dogs. Can you post the Dogs video and point out the approximate time-stamp where the stolen riff occurs? Here: 13:55 to 14:00 -- a down-cascading hammer-on-and-off riff leading into a spacey PF bridge -- bears an uncanny resemblance to Alex's down-cascading hammer-on-and-off riff in YYZ leading into a spacey Rush bridge. I can easily imagine Alex being influenced by that lick, but it's not nearly close enough to the descending lick in YYZ to say Alex stole it. Fair. It's not the same notes, per se, so I probably shouldn't have written "stole". But it's easy to see that Alex was almost certainly influenced by it, especially given the spacey keyboard half-time stuff that follows both parts. Context matters. It's possible he was influenced by it. I'm sure they all listened to a lot of PF during that point in their careers. Like I said, the licks are substantially different. Composition and execution matter.

I was thinking the intro to Shine On You Crazy Diamond could have influenced the one in Xanadu. Alex is a huge Gilmour fan, so yes. You can hear in the spacey bridge of YYZ, especially that cascading riff that he stole from Dogs. Can you post the Dogs video and point out the approximate time-stamp where the stolen riff occurs? Here: 13:55 to 14:00 -- a down-cascading hammer-on-and-off riff leading into a spacey PF bridge -- bears an uncanny resemblance to Alex's down-cascading hammer-on-and-off riff in YYZ leading into a spacey Rush bridge. It's not a coincidence. The Gilmour part was recorded in 1977, the Lifeson part in 1980. The only differences are the key and the fact that the Gilmour part was double-tracked. Mmm, I don't think that's close enough to call lifting. Alex is clearly playing a more complex rhythm in that YYZ lick than Gilmore plays in Dogs, Alex is using a combination of 16ths and 8ths whereas Gilmore is just playing triplets. Not to mention Alex goes up and down his triads whereas Gilmore only goes down. It's true that each 3 notes batch in the Gilmour run descends in sequence, but the pitch at the beginning of a sequence is higher than the pitch of the last note in the previous sequence, so it has sort of a stair step feel rather than a linear descent feel. And yeah, Alex's riff is very different. Each pattern is a group of 4, with the lowest note the same in each group (open B string), which gives the whole riff has a "pedal point" feel, and each pattern of four notes has an "up/up/down/down" pitch arrangement, rather than the "down/down/down" pitch arrangement in the groupings of the Gilmour run. And finally, Alex's lick is mostly hammer ons and pull offs, which gives it a very fluid feel ("legato"), whereas Gilmour's lick is more saw-toothed. This is great, we're talking about my #1 and #2 favorite guitarists!

I was thinking the intro to Shine On You Crazy Diamond could have influenced the one in Xanadu. Alex is a huge Gilmour fan, so yes. You can hear in the spacey bridge of YYZ, especially that cascading riff that he stole from Dogs. Can you post the Dogs video and point out the approximate time-stamp where the stolen riff occurs? Here: 13:55 to 14:00 -- a down-cascading hammer-on-and-off riff leading into a spacey PF bridge -- bears an uncanny resemblance to Alex's down-cascading hammer-on-and-off riff in YYZ leading into a spacey Rush bridge. I can easily imagine Alex being influenced by that lick, but it's not nearly close enough to the descending lick in YYZ to say Alex stole it.

I was thinking the intro to Shine On You Crazy Diamond could have influenced the one in Xanadu. Alex is a huge Gilmour fan, so yes. You can hear in the spacey bridge of YYZ, especially that cascading riff that he stole from Dogs. Can you post the Dogs video and point out the approximate time-stamp where the stolen riff occurs?

I was thinking the intro to Shine On You Crazy Diamond could have influenced the one in Xanadu. For sure, and probably did to some degree. PF was so great at that sort of thing.

I can't imagine Geddy, Alex, and Neil listening to Dark Side Of The Moon and saying "moody, atmospheric stuff has no place in rock music".

We were watching Knives Out last night and during one of Plummer's scenes I said, "I wonder how much longer he'll be with us?"

1. Hemispheres 2. Permanent Waves 3. Moving Pictures 4. 2112 5. A Farewell To Kings On occasion #2 and #3 swap positions.

I guess they should've posted a transcribed edited version of the interview. I suppose if their goal was to please me then maybe they should have. But I kinda' doubt they give a rat's ass about my opinion. Not giving a rat's ass about my opinion is generally a good practice (as my wife can attest). They're not the only ones who would benefit from doing so.

Sorry to hear that—I’ve known him for just over 35 years. He’s good people, and he was probably almost as nervous to do that interview as any of us would be. It definitely showed.