Radical Fac ZusammenfaBung
Ben Cooper war ein US-amerikanischer Schauspieler. Radical Face ist der Name des Independent-Soloprojekts von Ben Cooper (* Februar ), der auch bei Electric President Mitglied ist. Hi there. I just wanted to share a new song released today. It came out in the Hidden Hollow Monthly Mailer Issue #1, which is the name of my new mailing list. Radical Fishing Europe, Tostedt. Gefällt Mal · Personen sprechen darüber. Radical Carp Fishing Europe Home: amsterdamluxuryapartments.nl Radical Face ist der Grund, warum die halbe Welt beim Fotografieren vor sich hin summt: "Welcome home. Ho-ho-ho-ho-home." Man schreibt das Jahr
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Radical Fac - ReferencesSpecial Collections Digital. Dies sind Zubereitungen auf der Grundlage organischer Stoffe, die sich unter den Reaktionsbedingungen langsam zersetzen und dabei Bruchstücke bilden, die ungepaarte Elektronen aufweisen. Lyon: Presses Universitaires de Septentrion, Siewert Authors H. I , 69, 99 In Griechenland gibt es bei der Durchführung von operationellen Programmen und Projekten im Bereich der Investitionen in Infrastrukturen und der produktiven Investitionen ernste Probleme, da sich die Bedingungen für eine Beteiligung des Privatsektors und besonders des Finanzsektors aufgrund der Wirtschafts- und Finanzkrise grundlegend ve rä nder t haben. And I will gladly take a step back and be thankful for the circumstances that allow it to exist at all. I really want to use this strange time as a time to push myself, and to grow as an artist beyond what I already know. And you know? Zsirozas Online been home Devisen Signale Kostenlos tour for a little over a Radical Fac now. If you are here and reading this, then Lotto Gewinn Ausrechnen can assume that you are probably aware of what I do. I like walking away with something to think about. I also find myself more and more interested in collaborating as I get older, and this all seemed like a good avenue to get my feet wet. The album was never formally released but has since been available as a free download online. There are a number of reasons for this, but Casino Blu is a big one: When the music world moved away from personal websites into social media, I Stadt Aufbauen Spiel to change the way I communicated.
And you know? I honestly have no idea what any of this will do, but I've decided I'm perfectly fine with that. Just compiling this first issue of the mailer has been a blast, and I already have content for the following three.
So even if this largely only interests me, I'm getting a lot of joy out of sharing all these things, and writing out all my feelings about them.
I started pretty young, and it has been a constant ever since. I've been thinking a lot about how fortunate I am to do so, and the infrastructure and resources around me that allow it.
I spend parts of every single day absorbing what others have created, and with the internet, almost entirely ignoring the former limitations of space or time.
I then get to take all of that input, combine it with my experiences and whatever fixations currently occupy my mind, tinker with it until I am satisfied, and then send it off into the ether like some tiny sail boat whose destinations I will never know.
It is my favorite thing in the world — with food, sex, games and good conversation waiting somewhere in the wings. The joy of creating is unmatched for me.
But it is a luxury. That I can have groceries delivered to me while in a pandemic, or even further — completely prepared food; that my environment is temperature controlled with a few button presses; that my clothing can be thrown into a machine that does the work for me in under an hour; that I can turn a lever for clean running water, at whatever temperature I choose, and wash up in minutes — all of this gives me time and space that I can fill with the unnecessary.
I get to constantly listen to what I feel and think because so many of my necessities are taken care of. It allows me the freedom of inventing anything I desire, and translating it into sound or graphite or words or ones and zeroes, further decorating life.
Something notable I find from reading history is how modern society has given us so much space, comparatively.
Hell, even in modern times, reading stories about different parts of our world and all the various walks of life only highlights the abundance in my own.
Many people have little in the way of time, even more so with brain space. Art takes a surprising amount of mental real estate. That real estate is a luxury.
If you are thinking that I am merely waxing poetic about gratitude, well, yeah. But it's something that has really struck me since going into quarantine.
The pandemic has removed so many of my former spinning wheels that felt so necessary only a couple months ago. All the time that used to go to travel, to shopping, to commuting, to working on projects that didn't matter to me but may, one day, lead to ones that do — poof.
And while I miss some things, most of it I do not. And I find myself returning to a much earlier way of life, artistically speaking.
I am interacting with art in a manner that I assumed was firmly caged in nostalgia. My relationship with art is my oldest and perhaps most intense one.
It is what allowed me to travel, both figuratively and literally. As a child, art was a window into the larger world. I grew up on a dirt road in Florida, in a low-income neighborhood near the ocean a real estate anomaly that has since disappeared.
Through film, books, paintings, comics, video games and whatever else I could absorb, the world felt like a never-ending treasure hunt.
Despite some of the inherent wrongness of my early environment, I saw other options, other ways of being.
It didn't matter to me that most weren't even real. They felt real, and that was enough. And when I connected that I could become a participant, that I could make those things, too?
A door opened in my mind that has never closed again. I walk in and out of that door, between reality and potential, constantly. But art is also what allowed me to see the world.
Traveling wasn't something I knew as a child. Things like family vacations or road trips were financially and logistically impossible.
My first memory of leaving the city I was born in was around 11 years old, when I went on an end-of-the-year trip for 5th graders. We traveled to Virginia and Washington D.
After that, I traveled a bit more, mostly with friend's families who let me tag along, but rarely very far. Until touring began in my early twenties and my world was flung much wider.
Seeing lots of other places and cultures really altered my world-view — more than I realized at the time, in hindsight.
But coming from where I did, geographically and economically speaking, I doubt that would have ever happened were it not for art. Creating things has always been a bridge to possibility for me, both in my mind and in my life.
It is so entrenched at this point that I would not know how to perceive the world otherwise. I would be a very different being without it.
Not to sound melodramatic, but I am pretty sure that, if I had not connected with art the way I had, I would no longer be here at all.
But what caught my mind while in the shower a few days ago, and why I am writing this, is because I am interacting with art in a way I, somewhere deep down, didn't think was possible anymore.
A side effect of so rarely leaving the house is that my time for creative work has effectively doubled. I am drawing and painting in a way I haven't since high school, and in a way I honestly believed was gone.
I first started drawing pretty intensely around 7 years old, and I drew almost daily until I graduated high school. For reasons I won't go into here that's a story for another time, as they say , I stopped.
Sure, I would make visual art if there was a direct purpose, like an album cover or doodling on merch while on tour. And while I was thankful that all those years of studying and practicing gave me the tools to work in other visual mediums, like music videos, I otherwise didn't think of it anymore.
And now I find myself drawing every day again. I am watching tutorials, learning digital art, and currently have 6 sketches waiting to be colored. And I love it.
It caught me off-guard how much I missed it, and how different from music it is. It's so much more instant , and I really appreciate that contrast right now.
It's refreshing, after typically spending many hours in front of microphones, which so much of I never keep or share.
Even with music, this abundance of time has changed things. I can set up mics with no other goal than exploring.
There is a really big learning curve to becoming successful at something that was once a hobby, to dealing with external pressures like production deadlines and tours and meetings.
I've spent years just learning to build my own label and all the legal and practical components that go into that. All of those factors take away time from the core act of creating music, and if you are not careful, they will destroy it.
And while I have always been a DIY artist and have pursued so much of this in the name of artistic freedom, one change that I didn't quite perceive, because it was such a gradual one, was how the limited time creates a need for efficiency, and in turn how that need for efficiency alters the process.
I traded a lot of whim for focus, to make sure I could finish the projects on time. And while some of acquiring that discipline was a good thing, there's a balance to all things.
I feel like I am resetting that scale. These days, going into the garage to just see what happens when I start recording, as opposed to going in to specifically finish a particular song, is a total joy.
Some days bear no fruit, and others make for a strange meal I probably wouldn't order again, but the freedom of just seeing where it all goes is something I genuinely missed.
I am glad I can call upon that focus I've learned when I need it, but right now I'm even happier that I can ignore it. So I feel grateful.
I am spending so much of everyday just making things. Hell, that I have had this current afternoon to sit with a mug of tea and just type these thoughts up is such a luxury.
While the existential dread of a roaming virus is definitely there, and living in such a political and economic state of uncertainty demands its toll, my newly vibrant relationship with art shines a lot brighter at the moment.
It may only be for a moment, but hey, I'll take it. And I will gladly take a step back and be thankful for the circumstances that allow it to exist at all.
So I have been spent the last couple weeks studying how to better produce videos at home. Like most things, once you get into the details, it quickly becomes a rabbit hole.
But I like rabbit holes. This has been no different. I've been having fun. After my last post, I put together a list of songs to make acoustic videos for, based on what people have requested through social media, then I jumped on one immediately — Small Hands.
For the recording, I just used a stereo pair of small diaphragm condensers in XY about 3 feet away for those who like to know the technical , and filmed it with the video mode on my point-and-shoot camera.
But when I sat down to edit the footage, the deficiency of the camera really jumped out. It can only shoot in 30p, has trouble holding focus in low-light, and I couldn't tell how blurry the footage was from the LCD on the back.
I think I would have done better using my phone, in hindsight. So I intentionally downgraded it further I often subscribe to that practice — if it doesn't look great, might as well make it look even worse and run with it , shot some b-roll as best I could, and cobbled together an edit.
Here's the result:. I was fine with the performance, but I wasn't very happy with the image quality. I don't mind things being lo-fi — my tastes lean that way more than they don't — but I like it to be a choice.
So I decided to take some of my tour income and invest in a better camera. Something that could shoot 4k, handle low-light, and would also work for photos, since I will also be doing my own head shots and press photos for the foreseeable future.
And honestly? This is something I have been itching to do for a long time. I make all my music at home, but video is something I have always had to hire out for.
Both for the equipment, but also for the knowledge. I usually edit all of my music videos, so I'm comfortable with the software, but the camera itself is something I don't know much about.
And my attempts at getting into photography never lasted more than a month, mostly because of time. But these days, I am swimming in time, and I like to be busy.
So I am digging in. I've been reading all about lenses, lighting, best practices, color-grading, and all that fun stuff.
And since I learn best with applied practice, I am giving myself certain goals with each video. I really want to use this strange time as a time to push myself, and to grow as an artist beyond what I already know.
I've been calling it pandemic home school. I haven't played that song in a really long time. I honestly avoid it. All the long notes at my break in the loud section are a gamble for touring.
If I am having an off day vocally, or even just a little phlegm that particular evening, I will butcher it. But I like playing it when I can, and it's a song that I have always been happy with.
I remember wanting to write something about when you first realize you aren't a child anymore, but not finding a satisfying delivery at first.
Then I finally just jotted down all the things I no longer believed in, and I finished the song 20 minutes later.
But as another challenge to go with this video, I decided to illustrate a lot of the lines. Visual art is what first got me into art at all.
I drew all the time as a kid, well into high school, and I wanted to be an illustrator. While I still doodle here and there, especially on tour, this is the first undertaking in a while that had me really drawing.
As in, sketching things out first, then redrawing them once I found something I liked. I spent a week drawing for this, about 8 hours a day.
And it was really nice. There is something lovely about putting on a record and drawing all day.
I can't remember the last time I did it with any freequency. I have ordered a bunch of micron pens again, and I am going to do a few more videos with artwork, I think.
Here are photos of all the drawings, if you'd like to see them in better detail:. And if you like this alternate version of the song, I am going to film a tutorial on how to play it this way while it is still fresh.
And luckily, that is a lot less work. I can have it up shortly. Beyond these acoustic videos and tutorials still very open to suggestions, by the way , I have some other projects in the pipeline.
But I would like to start writing blog posts more more frequently, so I will keep these more at one subject at a time.
We are past our 14 days at home now. All is well. Everything is strange. The funny thing about stories is that the ones most worth telling are usually shit to live through.
Good stories thrive on uncertainty. Finding myself in a spot where I genuinely have no idea what's going on or what will happen has become my biggest tell that I am living one.
But what's even more wild is that everyone is living this one, at the exact same time. It's a far darker story for those that are sick, or those that are helping them.
I am just at home, a little lost and vaguely anxious. I consider myself lucky. I've been avoiding most communication since I got home.
I've noticed that when things get serious, I am not a person that reaches out very much. I do a quick check to see if anyone directly needs me, then I like to keep to myself and quietly watch.
So I have been strictly limiting the news I take in and the amount I interact with anything outside my home. And as always, once I get a better picture of things, I start to thaw and my mindset opens outward again.
I'm not sure why I do this. Probably a better question for my therapist. As I felt settled late last week, I spent a lot of the weekend wondering what to do with myself.
A common question for damn near everyone, I know. Work worldwide is changing drastically or drying up completely.
Leadership is hard to find in a lot of places. Even basic direction is a tall order, much less solutions.
But I am not nearly as affected as most. I have worked for myself for over ten years. Everything I make, I make myself, in my own house. Sure, I don't know what I will do with these things I make, but that's not a new question either.
I never really know, even when the world is operating normally. But I found myself poring over a different question this weekend ….
Since I have more stability in all of this than lots of people, what can I do to help? At first, that question really just drew blanks and a feeling of impotence.
But as I talked it over more with my partner and manager, ideas started showing up. While I am still not sure how to help people on the front lines of all this I am getting some ideas for that, too, though , I do have the ability to make things.
And the bulk of us are stuck at home and trying to find ways to cope with anxiety. But instead of solely returning to making an album, I want to get back to some things that can give people something to do.
Not always so passive as just listening. So first on that list is filming tutorials. I have done these before, but I want to take the concept a step further.
In the past I would just teach the chords and patterns and leave it at that. But now I'd like to assist in the application by making a new mix of the song, muting the part that I'm teaching in the video, so you can play along with the actual recording.
So if I show you the guitar part which will be the most common , I will upload a version of the song that has the guitar muted.
Then you can fill it in yourself after you learn how to play it. I could also upload version that remove the vocals, so you could record your own vocal takes, or even improvise new melodies, if that's of any interest.
The second idea is to get back to filming little live, bedroom versions of songs. Kind of like this one:. So if there are any songs you would like to hear a small acoustic version of, or a song you would like a tutorial on how to play, please leave a comment down below.
You could also email me, but I am really behind on emails. I honestly stopped looking at them when I got home. I am only just digging into my inbox as of yesterday.
Comments will be easier at the moment. Lastly, if you have any questions about record or mixing, feel free to ask me.
I would like to continue that series on how to record at home and go into more detail. The first I made was here:. This will be an ongoing thing.
I'll keep trying to think of ways to help, but I am also open to suggestions. I can only work on an album so many hours a day, and I already had a solid week of Animal Crossing and Celeste to get some couch time out of my system.
I am all ears here. I hope everyone is home, healthy and sane. And for those of you working essential jobs during all of this, thank you.
So we are already in the middle of February somehow. I remember hearing adults talk about how disconcerting the passing of time could be.
As a kid that always struck me as odd, but now I find myself noting it with a sense of alarm. And so the wheel turns.
I've been home from tour for a little over a week now. The time off from the road has been nice. I've had so many ideas for this next record that I've spent every day back in the studio.
But I have to say, this last tour was really different. I spent a lot of time rethinking what tour is and how to approach it, and it paid off.
I was still physically tired, but that's just the reality of sleeping in a different bed every night and spending the majority of each day in the back of a van.
But I didn't feel emotionally beat down this time. The fact that I jumped straight into the studio is proof of that.
In the past, I wanted nothing to do with music at all for at least a week or two, and I didn't much want to see anyone.
I would just insulate myself and do the bare minimum of work until my give-a-shit returned. But this time I was back to working on the new album on day one.
A major change happened on this most recent round of touring or in the middle of the Euro tour late last year, to be more precise — I finally found a way to look at performing that makes sense to me.
And that was to stop thinking of it as performing. That is something I know how to do. Whereas the idea of performing always felt alien to me — something I am not built for.
The word performing implies a lot. It makes me think of spotlights and displays of absolute mastery. But I find spotlights uncomfortable, and I am not a master of anything I do on a stage.
I can play guitar and sing well enough, but I regularly interface with people who are far more proficient at both. I think of myself as a songwriter, first and foremost, and I got into music because I wanted to make records.
Especially with Radical Face. I never intended to perform the material from this project at all. The songs all have so many layers, the material can be uncomfortably personal and confessional, and I mostly work alone.
I have always thought of it as music for headphones, or sitting in a room by yourself. Or if you are like me, putting on a record, laying on the floor and staring at the ceiling.
I have records that I love to listen to alone, but would feel odd putting on around a group of people. And then there is music that I really enjoy in a group, or in a car, but I rarely put on by myself, or have a desire to hear in headphones.
And when I think of what I do under the Radical Face tag, most of it feels solitary to me. Nothing about that mood lends itself to the idea of performing, and I have often felt a disconnect with playing the songs live because of that.
But when I stopped thinking of it as performance, and instead pictured a show as sharing stories and conversation with a group of people, it suddenly made sense to me again.
And perhaps more importantly, I felt I could just show up as myself, as a narrator and steward instead of a performer, and there was no need to be anything in particular.
I'm not clever enough to assume a persona and be something I am not, so this is all a lot of relief.
I realize this is all internal and most people would likely never notice the difference. But expending energy with a sense of purpose changes it completely, and something in me really relaxed into it.
It also never ceases to amaze me how we organize ourselves with language. Just changing the words I use, in my own head, made such a noticeable difference.
Brains are strange. So we head out for another three weeks of shows in about 10 days, so if you are on the east coast of the US or Canada, and you'd like hang out and hear some songs, I'd be happy to have you.
And in the interim, I will just be tracking away. I'm really thrilled to be making a new record again. I prefer records to EPs and short form work in every way.
I was fine doing EPs as a way to keep busy while moving around and trying to figure out what to do with my life, but now that I am settled and can evaluate from a place of stability, there is no comparison.
And I am making something new for me, which is always a great feeling. I'm itchy to get into all the details, but I want to wait until my next post for that.
But hey, having to force some patience is the clearest sign that you're excited, right? I also forgot to post about this here, but there is a song that fell out of my recent recording sessions.
I knew pretty quickly into the recording that it was not going to fit the album, but rather than shelve it and move on like I normally do, I just went ahead and finished it.
I've decided to do that this time around, since I am my own label and can release things anytime I want to. I also have a new Human Mother track ready to put up once I finish the video for it, and we have been producing a lot for the label as well.
So I will be dropping a lot of work this year! But I think this enough for one sitting. I will write again soon. Something about repeating numerology always summons a science-fiction narrator in my head.
For today, I will talk about the forward stuff. First off, I have started a new project. I actually started it a while ago, but I am beginning to release it.
And this continues my tradition of naming projects after things I bump into the wild that make me laugh. Trying to come up with a meaningful and cool name is a drag.
Or it is for me. I never enjoy it. But as for what this project is? Well, I miss making music that focuses on production, uses electronics and samples and whimsy, and is not quite so personal all the time.
And I really miss that. But even that is really the point of this project. Something that is more based on whims, weird processes, a sense of humor, and bothering people along the way.
So I decided to film this weird dream. Aaron is both a maniac and genuinely sweet guy he did this for free! So yeah, Human Mother will be my home for my more electronic and experimental music for the foreseeable future.
Nothing about this will be overly scheduled. I have enough of that in my life already. Cheers for chaos. Beyond that, this year will have a lot for Radical Face in it.
For how I work, that means I am about 30 percent into the album. And this will come out this year. I get to pick for myself this time.
Just a random single, really. But I can do those things this time. I also have the US tour coming up really soon. This might be the last traditional tour I do for a while, so if you have any interest in seeing a show, this is your window.
And from the European run, Jon Bryant was kind enough to send me some photos from the shows, because I never think to shoot pictures when I travel.
Thanks, Jon! And thanks again for everyone who came out to the European shows, and for being such an attentive audience. It makes all the difference.
So we are fast approaching the end of I spent the first week getting over the flu, catching up on sleep and getting used to normal life again. Once I felt human, I went right back to recording.
All pretty standard for me. So first off, I would like to thank everyone who came out to these European shows. Some part of me is always expecting it all to dry up, and that people will stop coming.
So booking a tour, not around a record release or something that you can advertise with, and having people still show up was a bit surprising.
In a really nice way. So thank you. Life is strange. But one thing that always happens on tour is I have a lot of time to think. One of the odd things about driving around and playing shows is that there is so little middle ground.
It was also unfortunate that my two days that had neither travel nor a show were both raining pretty hard.
But there is so much time spent in vans, not talking, or sitting alone in foreign rooms, and I can only read and play my switch so much.
So inevitably, my mind wanders. One thing I thought a lot about is how much the world of music has changed since I was first getting involved and seeing some success, and how much the value system has shifted.
And that is …. Not an epiphany, I know, but I started digging into that more, and what it means to me. Because even if you want to buy music, ways to do so are shrinking.
And due to our inevitable conversations about use of resources and the effects on our environment, that trend will continue I am having more and more trouble justifying printing physical releases these days, both from a cost and wastefulness perspective.
So when an album comes out, the only thing we now spend on it is time. Attention is the currency.
And the stream is endless. Well, click on something else. It goes on forever. Watching those who work in the music world, this has been a source of significant dread for a lot of people.
Which I can understand. It takes a lot of effort, time and money to produce things, especially with high expectations and standards, and when the final result is to release it for free, just hoping it gets attention, and that the attention it garners will lead to some sort of income or security, either from ad revenue built into platforms like youtube, or a sponsorship, or the attention of a larger industry with real budgets … well, it all gets a bit abstract.
And that abstract feeling often drags anxiety along with it. And anxiety often makes people more conservative and less willing to take risks.
But the more I thought about this, the more I had the opposite reaction. I find it freeing. If no one is expected to pay for the work, then it dramatically reduces the sense of responsibility on my end.
It changes music from a product to more of an idea. And since ideas are free, it only makes sense to me to be more free with them — to take more chances and explore even more aggressively, without worry for how they will be received.
For me, that difference is night and day. A record is now something that someone can choose to invest time in, but with no financial risk on their part.
This difference felt particularly sharp to me while touring. Live shows have a real weight of responsibility to them. People are paying money and then physically coming to a space to watch you play music.
They have to plan in advance, maybe even get a babysitter, or leave their home when they are much happier being an introvert wrapped in a blanket, and they have to stand there for the duration.
I am very concerned that I uphold my side of this bargain to the best of my ability — which may still not be enough, sure, but I will try with all the resources I have on that particular day.
But records are not like that, not anymore. They are absolutely optional. To which I internally just laugh. But I also wonder about how else this lack of investment on our parts as listeners changes the way we listen.
And songs I started out hating became my favorites, and vice-versa. The first one was "Reveries", released in January From Wikipedia, the free encyclopedia.
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