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Luke James
Luke James

Metamorphosis: The Original Soundtrack of the Netflix Series - MP3 Download


Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Hyperspace Dreams (Stardust Remix) -Free Track, Celestial Traveller, and Rhythm Of The Universe. , and , . Excludes supporter-only releases.


You\u2019re damned if you do and you\u2019re damned if you don\u2019t. So to go through that whole situation, and be like I\u2019m not 90 pounds happier. My life did not necessarily miraculously change like all the infomercials told me it would. But what I enjoyed the most was the running aspect of it. The talking to random strangers while I\u2019m running this race, participating in this parade and getting my medal, that provided me the joy that I really enjoyed, versus all the other shit that came along with weigh in Wednesdays and all the other bullshit that came along with that. So that was more or less my metamorphosis.




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Yes, go get the book! It\u2019s available wherever books are sold. If you want to know more about the slow AF Run Club, you can visit the website. We also have an app on iOS and Android so after you get done with this podcast, open up your app store and download our app. Come on in, we have 10,000+ individuals who are here to love on you and get you running in the body that you have right now.


I had a lot of different titles. The subtitle was mine always: \u201CHow The Making and Remaking of Star Trek Changed the World.\u201D That was the subtitle. That was completely mine, and my agent was like, \u201CThat's a winner. That's the subtitle.\u201D We always knew, because I really liked the idea of saying that it wasn't just the making of Star Trek, but the remaking, that the book was about metamorphosis. We wanted, then, a catchphrase. I had pushed for \u201CSpock Lives,\u201D or \u201CSpock Rocks\u201D for a long time. And then we ended up having Spock on the cover, so I got that. But I was on the fence about Phasers on Stun! But then I interviewed Walter Koenig, who played Chekov of course, for a long time, not long after the January 6th thing. And Walter was so nice and thoughtful about everything, and conflicts in society and how to think and unpack all of them from all sides of the political spectrum and wasn't reductive and just a smart guy. And I mentioned to him the working title at that time. He goes, \u201CI love that, because it means we don't have to kill each other.\u201D And so after that, I was like, \u201CWell, if it's good enough for Chekov, it's good enough for me.\u201D


Many living things go through life stages. People change from helpless babies to mature adults in about twenty years. Some amphibians such as a frog can go from an egg to an adult in about ten weeks. Bullfrogs can take up to three years, but most frogs make that metamorphosis in one summer's time. Imagine learning how to walk, to read, to drive a car, and go to college all in one short summer.In the early summer, the mother boreal chorus frog lays her eggs in the shallow water in front of you. When the tadpoles hatch out of their egg they will have a tail to help them swim and gills to help them breath in the water. As the tadpoles grows, the back legs start to appear. Soon front legs start to grow and the gills disappear leaving the frog to breathe with lungs. Finally the tail disappears and the frog is ready to go onto the land.Frogs can be used to measure the health of a pond. In Minnesota they have found some frogs with extra legs, no back legs, or one totally straight leg and it is thought that the problem may be caused by pollution.Our pond seems to be healthy even though its purpose and surrounding habitat have changed. The water in the pond is filtered by the cattails and we have had no cases of malformed frogs.


The voice belongs to the sound artist Alvin Lucier, who, in his well-known sonic piece I am Sitting in a Room from 19691, experiments with the identity of the voice, the creation of space and how to make the inaudible depth of the room audible through the use of technology. The piece is created though a performance of recording and playing back audio in a repetitive pattern, so it creates a continuous circular movement.


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Lucier shows how the recording technology, through a simple metamorphosis, turns the identification of the voice into the characteristic of the room. By doing so, Lucier dissolves the voice as a fixed identity and lets the sounds and resonances of the room take over the sonic expression. However, the voice is still the foundation for the sound piece - even when the voice fades and becomes only an impulse for the different resonant frequencies. In I am Sitting in a Room the voice as sonic medium meets the technology. The technology, the recording equipment and the sound production, slowly transforms the voice into the sound of transmission, reflection, resonance, feedback and reverberation. While the voice is changed by technology, new aspects of the voice are revealed by the use of technology. By playing back and recording his voice in the same room over and over, the spatial elements appear. We acknowledge how the piece is created from multiple layers of sound. The depth of the room gets more prominent in the soundscape. Every time a new recording of Lucier's voice gets played and recorded there are more resonances of the room to be heard. This expands the character of the sound work.


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