PDF Album dei Ricordi No. 1 - La stanza dei giocattoli - Guitar

Free download. Book file PDF easily for everyone and every device. You can download and read online Album dei Ricordi No. 1 - La stanza dei giocattoli - Guitar file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Album dei Ricordi No. 1 - La stanza dei giocattoli - Guitar book. Happy reading Album dei Ricordi No. 1 - La stanza dei giocattoli - Guitar Bookeveryone. Download file Free Book PDF Album dei Ricordi No. 1 - La stanza dei giocattoli - Guitar at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Album dei Ricordi No. 1 - La stanza dei giocattoli - Guitar Pocket Guide.

Di seguito, riporto tali piaceri illustrandoli singolarmente. Sensazione Emozioni e piaceri passano attraverso i canali dei sensi. Da non sottovalutare anche il canale tattile e quello olfattivo che intervengono quando giochiamo a un gioco di carte o da tavolo. I game creano sensazioni e un buon gioco deve fare in modo che queste percezioni siano piacevoli. Alcuni giochi, come gli storytelling games Es.

Per giocare, infatti, non occorrono necessariamente strumenti complicati, a volte basta la sola fantasia. La narrazione aiuta a fornire significato11 al gioco vedere anche 3. Non Player Character: personaggio non giocante, gestito dal sistema di gioco. Tutti i giochi hanno qualcosa da rivelarci se li affrontiamo per la prima volta, come ad esempio: ambientazione, regole, strategie, oggetti, nemici, collaboratori.

Schell, The Art of Gmae design, Il giocatore esprime se stesso, personalizzando il personaggio a proprio piacere. Nel paragrafo 1. Huizinga, Homo Ludens, Ha un terzo contrassegno nella sua indole conchiusa, nella sua limitazione. Si svolge entro certi limiti di tempo e di spazio. Esse, inoltre, descrivono le azioni permesse e non per affrontare determinate condizioni che possono verificarsi durante una partita. Lo spazio nel cerchio magico Nel cerchio magico, ogni cosa assume un significato e valore differente; con questa caratteristica una riga tracciata col gesso diventa, ad esempio, una prigione, un pallone assume la funzione di arma e un bambino si trasforma in un poliziotto o in un ladro.

Iacovoni, Game Zone, 14 4. Huizinga, Homo Ludens, [] 14 5. Immagine 3. Il board game Thebes, ad esempio, applica una interessante dinamica temporale che vorrei esporre. Il regolamento vuole infatti che il tempo sia gestito da un master, il quale ha il compito di alternare le due fasi quando si verificano le condizioni per poter proseguire. Spazio e tempo sono i pilastri che sostengono il cerchio magico e le regole definiscono i confini.

Per comprendere lo spazio e i tempi di un gioco bisogna andarli a cercare tra le regole. To play a game means entering into a magic circle, or perhaps creating one as a game begins. The magic circle of a game might have a physical component, like the board of a board game or the playing field of an athletic contest.

Il paragrafo a seguire 3. I giochi mentali, come ad esempio gli indovinelli, non hanno requisiti particolari sullo spazio di gioco, ma possono avvenire in qualunque luogo: al parco, tra le mura domestiche, in macchina; sono giochi verbali che si collocano nel canale di comuncazione tra chi propone la sfida e chi tenta di risolverla.

Riporto, a seguire, una riflessione personale che espone una mia interpretazione di questo tipo di playground. Le carte devono quindi essere conquistate, come se fossero dei terreni da occupare durante una battaglia; il cerchio magico non risiede nella mente del giocatore, ma nella sua mano e nelle carte scoperte. Salen, Zimmerman, The rules of play, Huizinga, Homo Ludens, 13 Salen, Zimmerman, The rules of play, 21 Huizinga, Homo ludens, 56 Applicata soprattutto per i Iacovini, Gamezone, 67 Questo tipo di intervento fornisce al giocatore un piacere che LeBlanc identifica con expression vedere Expression al paragrafo 2.

Di fronte a nuovi supporti su cui svilupparsi, il gioco ha trovato una sua forma virtuale, eppure, nonostante si sia evoluto in video game, le tipologie classiche come board game o card game non sono state rimpiazzate, rimanendo tuttora attuali. Non solo il libro si trasforma, ma anche il giocatore, di fronte allo schermo, si vede nei panni di uno studente di Hogwarts, capace di lanciare incantesimi e creare pozioni. Per affrontare questo argomento si fa soprattutto affidamento alla pubblicazione Pervasive Game Theory and Design realizzato a sei mani dagli studiosi di gioco Markus Montola, Jaakko Stenros e Annika Waern.

Per introdurre questa tipologia di giochi gli autori fanno riferimento a Killer The Game of Assassination. Il giocatore deve trovare il proprio target e ucciderlo, ma allo stesso tempo deve cercare di non rimanere vittima di attentati nei suoi confronti e sopravvivere per tutta la durata della sessione ludica. Immagine 4. Wherever the players move, they know that the game is on, and this sensation eventually colors their whole experience of the ordinary. Jackson, S. Montola, Stenros, Waern, Pervasive Game, 12 Generalmente viene richiesto il raggiungimento di un certo livello o il ritrovamento di oggetti particolari, ma nei pervasive game alcuni impedimenti possono essere raggirati.

I giocatori vengono divisi in due fazioni distinte da un nastro rosso chaser o blu runner e muniti di una mappa in cui sono indicati dei checkpoint. Essendo un gioco dove si tende a correre, la Anche dal punto di vista temporale i PG raramente offrono garanzie. Per chi guarda, queste armi risulteranno come atti casuali di gentilezza; per gli altri giocatori, invece, i gesti amichevoli sono manovre mortali che li metteranno in ginocchio.

Alcuni giocatori verranno uccisi da un complimento. Altri verranno messi a terra da un sorriso. Tu e il tuo partner potrete essere abbattuti da una gioiosa offerta di aiuto. Puoi cercare di uccidere chiunque altro partecipi al gioco. Walther, Atomic Actions, 2. Progetto di M. Zer-Aviv, D. Phiffer, K. London, L. El-Haddad, T. Si entra, in questi casi, in un terreno comune, dove imprenditori o rappresentanti possono incontrare personalmente i propri 7.

Tuttavia la regola vuole che questi forzieri vengano poi riposizionati con il rispettivo contenuto nello stesso luogo dove sono stati trovati, in modo da rimanere reperibili per gli altri partecipanti. Dal sito 8. Walther, Atomic Actions, 2 9. Ulmer, D. A seguire vorrei illustrare ogni termine presente sugli assi. Montola, Stenros e Waern, Pervasive Game, Pervasive Game Il Gioco Tavola 4. Tavola 4. Can you see me now?


  • The Plato Collection: 38 Classic Works;
  • The Devil That You Dare.
  • Y,WK! | Yes, We Kill!.
  • 10 Steps to Declutter Your Wardrobe: Organize Your Closet in a Snap!.
  • CLOTHES IN PORTUGUESE?
  • The Moses Code: The Most Powerful Manifestation Tool in the History of the World.

Nel paragrafo 4. Countdown dalla durata di cinque giorni. Per questo argomento voglio presentare,come esempio di espansione temporale, Majestic,15 gestito dal gruppo Anim-X, un team della casa produttrice EA Electronic Arts Inc. Anim-X, Electronic Arts Inc. Walther, Atomic Actions, 3. Sotto Immagine 4. Questo gioco non vuole allontanare i propri PerBlue, , Madison, WI I Location-based game sono dunque un valido strumento per inserirsi nella routine delle persone e per riappropriasi degli spazi urbani.

Evans, Johnson, La struttura di questo gioco sfrutta elementi casuali dai fini ludici, che rimangono nascosti per tutta la durata della partita. The Comfort of Strangers potrebbe rientrare facilmente nella routine quotidiana;27 basterebbe infatti. Questi individui possono essere: a. Flanagan, Looui, , New York, U. I partecipanti, giocando a Massively Multiplayer Urban, si avvicinano a una cultura diversa, possono interagire con persone nuove e assaggiare la cucina del loro paese. Per risolvere questo problema generazionale, il gruppo progettuale di McGonigal ha pensato a un gioco dai caratteri pervasivi.

Durante il collegamento, gli obiettivi del gioco vengono segnalati periodicamente da una voce automatica che richiede missioni capaci di stimolare la conversazione e che porta i due giocatori a trovare gusti ed esperienze in comune. Be extraordinary! Sii straordinario! Missioni di questo tipo consentono azioni che agiscono attivamente nel mondo in cui viviamo, contribuendo a dare un aiuto significativo ad organizzazioni sanitarie o di volontariato. Colker, Rigby, Quando uno strumento digitale accede a una connessione, alimenta la rete come nuovo punto a cui inviare e ricevere dati.

Di conseguenza, tutti i terminali con internet attivo sono tra loro collegati e sono parte di un sistema superiore. Se tutti questi calcolatori lavorassero per un progetto comune, si avrebbe una potenza di calcolo talmente elevata da ottenere in tempi brevi risultati altrimenti raggiungibili dopo anni o addirittura decenni. Immagini di Fold it! Consapevole di queste risorse, il team di sviluppo di Folding home ha presentato una versione alternativa di questo progetto, aggiungendovi un elemento di gioco. Folding it! Una volta. I giochi spingono a sforzi estremi.

Viene alla mente, osservando questi comportamenti, un riferimento a Bernard Suits che nella sua definizione di gioco affrontata al paragrafo 1. Bernard Suits, The Grasshopper, 36 Tali interventi sono osservabili nei parcogiochi,. Tali strutture sono chiamate dalle docenti e ricercatrici in ambito del Game Studies, Vanessa de Luca e Maresa Bertolo, giochi a pop-up.

Osservando nel paragrafo 6. In questa sezione vorrei riportare degli esempi a sostegno di queste osservazioni, citando titoli che, a mio parere, applicano una rottura nella percezione passiva del territorio. Alle 4. Radio Popolare, , Milano Portateli in piazza del cannone per la verifica entro le ore Le pagine di WhaiWhai sono di formato insolito, in quanto suddiviso in tre sezioni. Risolvere i misteri del libro significa iniziare a giocare inviando al numero presente in copertina un sms da cui ricevere il primo indizio.

Marcoli, Passaggi di vita, 5 4. Fanelli, Labirinti - storia, geografia e interpretazione di un simbolo millenario, Per analizzare il tema del perdersi occorre inizialmente affrontarlo nel suo significato andando verso una definizione. Nella Tavola 5. A volte basta entrare in una via abitudinaria accedendo da un accesso inusuale per sentirsi spaesati. Franco La Cecla identifica infatti due tipi di culture con approcci opposti nello smarrimento 1. Procurare il danno, la sconfitta, la rovina, o anche la morte di qualcuno. Lasciar cadere, o lasciarsi sfuggire, qualcosa che si ha tra le mani o si tiene comunque: stupefatto perde le reti il pescatore ed ode Foscolo ; p.

Scoraggiarsi, nelle locuz. Impiegare il proprio tempo in cose futili e poco importanti, trascurando le occupazioni principali: perdersi in chiacchiere, in discussioni o polemiche inutili; perdersi dietro alle ragazze; e con sign. Vi sono dunque due approcci opposti con il perdersi e noi rientriamo in quella cultura dove il territorio assume meno valore.

Questo super-io [ Hillman, Politica della bellezza, 17 Hillman, Politica della bellezza, 19 Come scrive Franco La Cecla:. Ha dunque a che fare con i sensi, con la percezione [ La mente locale fornisce delle regole, dei riferimenti, attraverso cui confrontare gli impulsi esterni in un processo che avviene quasi a livello inconscio, come scrive Franco la Cecla: Ovviamente anche nel proprio territorio possono accadere episodi spiacevoli, Attraverso questo elenco introduco di seguito i vantaggi del perdersi affrontati durante la mia ricerca, presentandoli singolarmente.

Attraverso A tale discorso mi voglio collegare a una celebre storia dello scrittore Jeorge Luis Borges che riporto di seguito in modo sintetico:. Dalla Tavola 5. Questi studi si possono ricollegare alle ricerche sul flow di Csikszentmihalyi, trattate in questa tesi al paragrafo 2. Visto che i due argomenti tra loro combaciano, ma si presentano in forma grafica diversa, vorrei riproporre lo schema del flow di Csikszentmihalyi applicandovi gli studi appena presentati sulla zona di comfort Tavola 5.

Lascia il volante. Vattene a zonzo per il mondo. Se inizialmente tale sito era identificato unicamente nei luoghi in cui avvenivano rituali religiosi, oggi si possono osservare strutture architettoniche prive di significato spirituale, ma che si prestano per la custodia di fonti di conoscenza, di cui soprattutto libri. Eliade, Il sacro e il profano, 5.

Simmel, La metropoli e la vita dello spirito, 22 Simmel, La metropoli e la vita dello spirito, 25 La visione di una metropoli caratterizzata dalla presenza dei non luoghi emerge infatti con il diffondersi dei passage, i quali sono le prime architetture realizzate per agevolare un comportamento di trasito finalizzato soprattutto a scopi commerciali. Immagine 6. I pattern di eventi che caratterizzano la vita di una persona sono quasi sempre legati a un luogo specifico. Christopher Alexander fa notare nel proprio esempio che nella sua routine si alza dal letto, va in ufficio dove lavora, si reca in un locale dove mangia.

Nel suo esempio sono citati i marciapiedi, che a New York vengono usati per camminare, mentre a Bombay sono utilizzati dalle persone per sedersi, dormire e persino giocare. Da una dichiarazione di Radio Blisset, in cui vi erani membri del gruppo Luther Blisset, un movimento con pensieri in comune con i valori situazionisti, si legge: Vazquez, Manuale di psicogeografia, Ella era perplessa.

Ma il labirinto li attirava col suo mistero, illuminato da quella fiamma profonda - E se ci perdiamo? Fanelli, Labirinti - storia, geografia e interpretazione di un simbolo millenario, 18 4. Mayer, Mykenische Beitrage, vol. Definite le due tipologie di labirinto, presento una breve analisi sulle varie declinazioni di labirinto, in modo da osservare nei vari contesti i significati e i valori acquisiti nel tempo.

Immagine 7. In seguito alle mie ricerche, pare che questa prima forma labirintica sia la raffigurazione di danze funebri risalenti al periodo ellenistico arco di tempo compreso dalle vicende si Alessandro Magno l a. Non insenga, non discute; avanza soltanto. Fanelli, Labirinti - storia, geografia e interpretazione di un simbolo millenario, 43 Omero, Eneide, nota 32 della prima parte. Fanelli, Labirinti - storia, geografia e interpretazione di un simbolo millenario, 45 Il periodo del basso Medioevo presenta infatti una nuova evoluzione culturale dove si vuole avere maggiore comprensione del mondo circostante, analizzandone anche il carattere sacro.

Manchia, Il Cristo nel labirinto, Dal testo della studiosa di labirinti Cristina Fanelli si legge della forma di labirinto la seguente semplificazione:. Confrontando lo svolgersi del gioco Pacman con la leggenda delle vicende di Teseo, si possono notare molti elementi in comune: innanzitutto lo spazio di gioco ricorda quella di un labirinto, infatti i mostri sono posizionati nel suo centro, luogo in cui risiedeva anche il Minotauro; inoltre il giocatore, nei panni di pacman, riveste anche il ruolo di Teseo che, entrando nel labirinto, si ritrova a dover affrontare uno spazio contorto con nemici predisposti a sopraffarlo.

Sambo, Labirinti da Cnosso ai videogames, Ideatore Jordan Mechner, pubblicato da Ubisoft, Immagine 7. Perdersi nel labirinto Il Perdersi Immagine 7. Nuvolati, Lo sguardo vagabondo, 10 2. Vazquez, Manuale di psicogeografia, 3. Nuvolati, Lo sguardo vagabondo, 12 Stiamo sviluppando una scienza delle relazioni e degli ambienti, che noi chiamiamo psicogeografia. Immagine 8. Vedere, quindi, e farsi vedere, coniugando la passeggiata a occasioni di acquisto per affermare il proprio status sociale.

Benjamin, Infanzia berlinese, 9 7. Nuvolati, Lo sguardo vagabondo, 10 8. Baudelaire, Il pittore della vita moderna, Nuvolati, Lo sguardo vagabondo, 15 La pittura e la scrittura tendono verso nuove dimensioni astratte fino ad abbandonare apparentemente ogni rapporto con il mondo terreno. Incontri sorprendenti, ostacoli notevoli, Dovete essere straniati e guardare ogni cosa come se fosse la prima volta. Dovete percepire lo spazio come un insieme unitario e lasciarvi attrarre dai particolari.

Portate con voi una mappa e nei momenti di sosta tracciatevi il percorso compiuto per studiarlo successivamente o descriverlo ad altri. Debord, Opere cinematografiche, La rimembranza della deriva, il ricordo di un. La psicogeografia fa uso sia del territorio sia della mente di chi si lascia coinvolgere in questo esercizio, pertanto le ambiance sono un risultato soggettivo e, per quanto possano talvolta essere simili, non saranno mai uguali in quanto viste da ogni individuo con occhi diversi.

Vazquez, Manuale di psicogeografia, 76 I movimenti qui affrontati hanno un proprio concetto di arte che in questa tesi viene definita arte suprema per differenziarla da quella classica, chiamata anche unilaterale Si veda il paragrafo 8. Fondando le proprie radici nel marxismo e nelle correnti di avanguardia si possono utilizzare testi di queste fonti per rifarsi al pensiero lettrista e situazionista. Questo giovane vede infatti nei luoghi la scenografia di numerose storie cariche di significato, che purtroppo vengono nascosti dal tempo.

Noi ci evolviamo in un paesaggio chiuso i cui punti di riferimento ci riportano continuamente al passato. Le immagini di cui parla Ivain si riferiscono agli archetipi della mitologia, egli fa infatti riferimento a immagini-chiave22 presenti nello spazio mentale degli individui.

Si pensi ad esempio ai giornali, sono una raccolta di fatti di cronaca, di storie, quindi, in cui ricercare degli archetipi e ripresentarli. Ma non dovendo necessariamente attenermi ai canoni lettristi o situazionisti, ritengo che la mitopoiesi possa risultare interessante per la creazione di un gioco; la presento dunque in questa tesi come approfondimento. Daniele Vazquez, Manuale di psicogeografia, 53 Immagini 8. Per rivedere la distinzione tra game e play si invita a visionare il paragrafo 1.

Let us imagine, then, that all of the instrumental activities of human beings have been eliminated. Iacovoni, Gamezone, Nel testo si trova infatti la seguente citazione:. Contro lo spettacolo, la cultura situazionista realizzata introduce la partecipazione sociale. Si presenta come fatto scandaloso.

Di situazione si parla infatti nel capitolo 8. Fa molto caldo e bisogna prestare attenzione ai moscerini, Vazquez, Manuale di psicogeografia, 57 Hegel, Estetica tomo primo, Spesso accadono Vazquez, Manuale di psicogeografia, 49 Ivain, Formulario per un nuovo urbanismo, Internazionale Situazionista n.

Vazquez, Manuale di psicogeografia, 37 Debord, Riassunto , Potlach n. Si tratta della Tavola 8. Si vuole concludere scrivendo che i situazionisti, a parte le prove di esplorazione dei I colori sono magici, davvero cosmici e brillano al buio. Al grande gioco manca solo un tassello, quello video, ma non crediate che i Duchi non ci avessero pensato. Lo scherzo paga e le Tutti gli ingredienti sonori sono stati scelti a questo scopo: il pianoforte suonato in quel certo modo, la sequenza di accordi discendenti, le parti cantate in falsetto, il testo non sense Una zuppa psichedelica alla McCartney, questo abbiam cercato di fare; anche se, alla fine, la gente ha finito per trovarci piuttosto qualcosa della Bonzo Band, o di Thunderclap Newman.

Colpi di chitarra Epiphone, accompagnamento di tabla, chitarre registrate al contrario, un assolo di chitarra dissonante ma melodico alla George Harrison Potrebbe esserci un pensionato di Chelsea appena fuori dalla porta, magari il nonno di Steve Mariott! E Jimi Hendrix che si fa vedere fra un set e l'altro al Marquee per una mezza pinta di birra Infine My Love Explodes.

Torneranno mai? E' sorprendente che nessun album dei tre sia mai uscito in tempo per Santa Claus e che il pur fervido ingegno di Andy P. Tra un disco stratosferico e l'altro, nel gli XTC riprendono il loro corso, andando a cacciarsi nel peggior pasticcio della loro carriera. Niente, ci venne chiesto di scrivere altro. Rundgren voleva solo 'canzoni su relazioni interpersonali', niente di diverso, men che meno pezzi con accenni 'politici'.

Electric Guitar Is Coming Througb.

Modern and Contemporary

E in quei due mesi, mai una volta che ci abbia degnati di un'attenzione, mai un cenno; ancora un po' e neanche potevamo guardare la TV! E luminoso. Gli XTC han sempre brillato come una, lampadina da 40 watt ma qui i watt sono mille. Luce, colori chiari e fluorescenti. Gli XTC sono banda domestica, l'abbiamo raccontato, e due figli con cui giocare in casa contano per l'ispirazione almeno quanto l'acquisto dell'ultimo Fairlight.

Il titolo del disco, non a caso, viene da una filastrocca per bambini della tradizione e, a ben ascoltare, un po' tutti i brani hanno una sottile vena da nursery rhyme, vo luta e garantita dagli autori. Con i versi oggi io parlo a loro, gli mando messaggi, li faccio divertire. La Geffen, che distribuisce i loro dischi Oltre Oceano, preme naturalmente per un tour di promozione ma incontra l'inevitabile non possumus dei tre e di Partridge in particolare, che a dieci anni di distanza sente ancora i brividi dell'ultimo concerto sulla schiena.

Alla fine si trova comunque un'idea capace di mettere d'accordo. Il gioco si spinge fino a una esibizione televisiva per la MTV, con musica in presa diretta davanti a un piccolo pubblico. Ci sono poi i prodotti extra-gruppo, tollerati da sempre nel libero matrimonio XTC, che distraggono i protagonisti dal loro lavoro insieme. Perfino il casto Moulding si fa tentare dalle avventure extra XTC e nel maggio dei appare in scena in un piccolo locale di Swindon con nientemeno che il fantasma di Barry Andrews: insieme accompagnano una giovane promessa locale, Dave Marx, leader dei Refugees.

Nel secondo atto si consuma il piccolo dramma, anch'esso ben noto, della scelta del produttore. La prima idea questa volta prevede un revival di Padgham e Lillywhite, come alle origini; ma i due sono diventati molto richiesti, nel frattempo, e hanno l'agenda piena. Nella scala Rundgren dei terremoti in studio siamo solo al primo grado ma le incomprensioni e le amarezze guastano il lavoro insieme e si finisce con una scena-madre: Dudgeon viene licenziato pochi giorni prima che finisca il missaggio, dopo che aveva preteso l'allontanamento di Partridge al momento degli ultimi ritocchi. Partridge ha ben presente questa nuova tendenza e non si nasconde i pericoli di "carie musicali" che tanti zuccheri possono procurare.

Ma vogliam mettere la differenza? Figurarsi se in studio non mette a frutto un simile talento, e gli altri dietro. Sono gli scippi che ci servono per assemblare nelle giuste proporzioni il nostro Frankestein musicale". Translator's note: The following two essays appear as introductory material in XTC: Testi con traduzione a fronte , a book which contains XTC lyrics translated into Italian. The are a large number of direct quotes in the essays mostly from AP which have been taken from English to Italian and back to English again, so if they appear a bit odd, that's why.

There's an aphorism in Italy, "tradurre, tradire," which means "to translate is to betray" and I'm sure that I've betrayed the original text in many instances; even so it should give Chalkhillians who don't read Italian an idea of what is in the essays. I've never been to Swindon, Wiltshire, pop. I've never been there, but if I were to go I would certainly know how to get around. The old map published as an insert in Go 2 would help me with the essential information, and even more help would be the newspaper clipping that I always carry in my wallet: it would guide me directly to my objective.

You arrive at a house in the city center, go through the door and then up the first flight of stairs. Arriving at the top, there's another set of metal stairs that leads to an attic. Andy Partridge works there, and Andy Partridge is one of the three people the only ones, I believe that could convince me to take such an abysmal voyage to the provinces of Her Majesty. The second person is Colin Moulding, the third Dave Gregory. Can "the best group" of whatever live in such an out-of-the-way corner of the planet, which one imagines as tedious and vaguely gloomy like something out of the mythical history of Britain?

In theory yes; why exclude it? Rock has never disdained the provinces; on the contrary, strong and famous fires were often lit there: the young Elvis's Tupelo or Zimmerman's Duluth, or Buddy Holly's Lubbock were certainly not metropolises. Only that, when we think about it, these memorable provincials had to uproot themselves to collect their stardust, leaving the shell and confronting the neuralgic capitals of music while here on the other hand we're speaking of marginals who always end up back in the sticks liked they're hooked to Swindon with an elastic tether: strangers to London, but also to Bristol, or for the sake of argument Nottingham, or wherever there is not that extraterritorial shelter of a recording studio, a sort of shelter that can even make Beverly Hills seem like home.

XTC were not only born in Swindon, they live there, and seeing as how for ten years or so they have decided not to play in public they spend the great majority of their time there, excepting those two or three months every two or three years time is vague in the provinces during which they zip around through England or even further abroad to confect the music that they'd planned in their little lair. The secret that can explain these things is that while Swindon is the apparent capital of XTC, in reality Partridge, Moulding and Gregory don't live there, but instead are situated in a fantastical world, completely of the mind, for which it would be useless to search with an atlas.

I'll call this utopia Swindonia, and note that it is bounded to the north by the Shangri-La of the Davies brothers, to the south by the immense Pepperland of the Beatles and on the sides by that "Land of Grey and Pink" that the Sinclair geographers spoke of: a confederation of little psychedelic-progressive states: each one small, and each one different from the next.

The pop of craftsmen, without a doubt, of that typically British species now almost lost, which from the smithy of the Beatles was carried to the Kinks, to Pete Townshend, to Elvis Costello; where the appearance of the musical object is worth less than its subtle point-of-view, its careful details, its fine finish. A craftsman is a person who loves the miniature, the brief, the limited.

In the entire XTC catalogue the songs that are longer than six minutes can be counted with the fingers of one hand; the typical duration is three or four minutes, the archetypical time for "the introduction, the chorus, the middle eight, a quick solo -- our favorite method. If its true that XTC voluntarily avoids the Big Songs and the spectacular scenery, in other songs they never fail to pursue not even in the briefest nursery rhyme that brilliant fire that Andy Partridge and not only him vaguely terms "magic.

That which touches us today when making music comes from nowhere else but the chewing and reassembling of the fragments of those old songs which we plunder for our music everyday. With this in mind, the provinces we turn now to real and not fantastical geography with their comforts and calm are the ideal shell in which to work.

Partridge can thus get up late, spend the morning listening to records, walk the dog "this is my most creative moment, and it's then that I get ideas" and play with his beloved lead soldiers while an idea for a chorus and a remix whirl about in his head. And Colin Moulding looks after the housework and reads a book quietly, and Dave Gregory cultivates his collection of electric guitars creased by the years a beautiful '53 Les Paul, an original Rickenbaker 12 string. Immersed in the still aquarium of what is historically one of the most boring cities in Britain no one can distract them or agitate that strange five-o-clock tea which is their music.

The miracles of the periphery: where one can still long to be "musicians of the 18th Century, without radio or TV, without the magnifying glass that scrutinizes them, known to the public only by the scores performed by some orchestra. Moreover Andy Partridge talking as usual , "the nice thing about XTC is that for the large majority of the public we don't have a face. The voice which we hear from outside the text, in quotation marks, is almost always that of Andy Partridge. He is the leader and talking cricket [talking head?

Partridge dispenses his judgements and paradoxes like one would scatter bits of lemon onto the morning tea; and as his language is a bit acidic and perfumed with Lennon-esque swerves atop a solid base of British humor , it forms a perfect marriage with XTC's music and is an ideal complement.

If we were to establish a hierarchy of the band based on words spent, Moulding would have Lilliputian relevance, but notwithstanding the fact that we don't have a single recorded interview of him alone, he is responsible for some of the most beautiful songs in the XTC catalog.

As for Gregory another man of few words, in part due to shyness, but also wisdom , he gets the task of mediating between the explosion of one guy and the implosion of the other, and to decorate Partridge's sweet metaphor the exquisite cake of the two pastry chefs. A little key to understanding Andy Partridge and thus XTC a small thing, but interesting , is what Sherlock Holmes said: "My method, as you know Watson, is based on the observation of trifles. To the question "What's your dream job? My brain won't turn off and it happens that I wake up howling like a werewolf.

I'm scary: howling and scratching myself. Whoever is the same room says that I'm no longer myself, but someone else; and we've even come up with a name for this nocturnal animal: Billy Bolls. Now take the following technique and use it to sound out XTC's records: try to find music of Partridge and music of Billy Bolls and the many other things that as we've already suggested clearly seem to come from the dreamy world of the closed eyes.

Partridge, Moulding, and Gregory have always known each other -- "same city, same art school, same newsdealer and same druggist.


  • LifeSize: Dont diet. It doesnt work.!
  • National Resilience during War: Refining the Decision-Making Model;
  • Master of Puppets.
  • Catalogo de Guitarra Pocci April 2013.
  • Vals Moderno scored for Guitar!
  • Album Dei Ricordi 1 from Boch Axel | buy now in Stretta sheet music shop!

Everything started naturally with Partridge, curious and restless at the end of the '60s, when he was a small boy. Then I moved on to a real instrument, an old acoustic guitar that my dad used to play back in the skiffle days when he was in the Navy, and kept it hidden under the sofa. During this same period, young Andy purchased his first records, Meet the Monkees , Sgt. To this list I would add the Pretty Things' "S. Sorrow," the first English 45s of the Bee Gees and the Kinks during their Village Green days, even though I've never lived in Swindon, nor shopped where Partridge bought his records.

But it's true that the "dreamlike montage of sounds" which I mentioned earlier left its mark on the XTC catalog. Grow older, Partridge opened himself to new things "Noise! This switch is unfortunate, but one can't look back: "The dealer had already sold my Rolling Stones, so I had to keep the Sun Ra, and I got interested in it. For Partridge these were years of intoxication, but also of anguish. His mother showed signs of instability, and was committed to a psychiatric hospital for some months when Partridge was 13, and he never completely got over it: "I remember breaking down and crying, while playing the guitar, in the dark at the bottom of the stairs.

Also, Partridge quit school at the age of fifteen and started to make a living at odd jobs. He started to hang around a music store, and there met DG, and through other circumstances, became friends with CM, a huge fan of music that was bit less exotic and more down to earth Deep Purple, Free, Cream, and some Jethro Tull and who had decided to learn the bass.

His lessons weren't yet finished when the two formed a band, Helium Kids, "sort of a proto-heavy-rock glam psycho metal band. The two united with the drummer Terry Chambers, a unsuccessful soccer player then a printer's apprentice, and for a brief period the guitarist Steve Phillips while the group's name switched from Star Park to Skyscraper to Snakes.

In the group's name officially became XTC "we found it in a public announcement and it looked good on posters" and another Swindonite, keyboardist Barry Andrews, joined the group. Partridge began casually writing songs, and the band could debut with an original repetoire at Affair, a little club in Swindon. These were the days of punk, and XTC demonstrated insolence and an abrupt manner. Not really vandals of the type that set fire to London in this period Clash, Pistols, Buzzcocks but hooligans who played on the razor's edge.

This first incarnation of the band was our version of Sun Ra's Arkestra: noise and messy notes.

Welcome Everyone.

Shortly thereafter a single was issued, "Science Friction" October , soon re-pressed as an EP; and three months later a whole album, White Noise [ sic ], which was preceded by another single, "Statue of Liberty. Our only goal at this time was to scream, make a mess, and scandalize the public. These first works linger in the mouth like bitter lemon, but also reveal uncommon talent. Partridge had already learned to break with tradition, and "This is Pop? The whole album vibrates with an interesting, even claustrophobic sound, driven by Chamber's out-of-breath drumming and Andrew's keyboards, and contains nice variations on the cliches of this period.

From punk XTC takes its taste for explosive concentration, the love of strict rhythms and brief songs; but, along with their peers during this time the young Costello, Howard Devoto of the Buzzcocks , Partridge and Moulding showed that they had inhaled deeply the flowers of earlier pop which had ended up in the trash-heap.

White Music passed 20, leagues beneath the ears of the public and even today is regarded as the most minor album in the XTC corpus. Even so, the album shows clear ingenuity as well as courage: I can't think of a better word than this one to describe the choice of "All Along the Watchtower" as the album's only cover, ten years after Dylan, and above all after Hendrix. This song swerves all over the place with Partridge hiccuping anxiously with a harmonica that buzzes like a beehive: risky, but brilliant.

These Americans were also partial, or, better, "not definitive" punkers, and had something to teach to our four provincials. One hears this when one listens closely to Go 2 , the second album, recorded again with John Leckie, and again at Abbey Road Studios during the late summer of , and released in a hurry that autumn. Songs like "Beatown," or like "Super-Tuff" have something of the neurotic smoothness of Byrne and also the amphetemine-loquacity of Costello , and demonstrate a greater ease than the songs of the previous year.

If Go 2 has a major fault, it's the absence of strong or clever songs, and of the peaks which capture the imagination. Once again, sales were mediocre. And "Are You Receiving Me? Go 2 was promoted by a lackluster tour, which will be remembered by history for the sole reason that it was the last with a keyboardist.

Upon their return to Swindon, in fact, Barry Andrews left the band, frustrated with the tiny bit of artistic space that Partridge and Moulding allowed him. Anyway, the three of us get along fine and will come together as a Jimmy Edwards Experience. Behold then, out of the mist of adolescence, the well-known face of Dave Gregory, easygoing guitar-wizard. His job would be to watch the back of the two inquiet explorers, and to systemize, in a technical way, the group's disordered musical intuition: "Dave is our glue, without him we would be at loose ends.

Gregory debuted at the Routes Club Exeter in the April of '79, during which occurred one of the group's frequent catastrophes when playing live: "We hadn't had a chance to test things out, and I was unfamiliar with the band's amp setup, and as a result I played the whole night at a deafening volume: it was like Ted Nugent embroiled in a battle to the last decibel with Motorhead. This album was to be their consecration and thrust to the summit of New Wave as it was by then called , and it was worth the wait. CM was in grand form and wrote two memorable songs. In fact it was "Nigel," with its dance-song rhythm and its lyrics which describe the eternal conflict between kids and parents based on a true story, according to Moulding that finally carried XTC to the big leagues, with a place in the British Top Twenty that caught people's attention at just the right time.

Up until Christmas we were playing almost every night, and during this period we went from playing little clubs to 2, seat theatres. We were all exhausted! In reality, "Nigel" is only a small part of an excellent work, situated strategically in the center, between the past and future XTC. Gregory's guitars streamlined the sound, making it at the same time elastic and light, without the nervous petulance of the organ.

The music of XTC thus re-bloomed in the splendor of its mischievousness, created by the voice of Andy P. But more than methods of production, it's the repertoire that matters: from songs of lunatic smoothness like "Millions," and pill-popping nursery rhymes like "Reel by Reel" or "Scissor Man," to a wild dance song like "Complicated Game" which is among the most careless and yet fascinating of songs. In it, Partridge displays his entire range of stutterings, swallowed words, sobs, microphone-chewing and a primal scream that's the song's best moment.

Having arrived on the street of success, XTC felt the need to confirm their status and undertook the task of making a strong follow-up to "Nigel. The method was that of 'reheating leftovers': Partridge the cook took already famous XTC songs and 'processed' them electronically and changed at whim rhythms, sounds, and atmosphere according to that philosophy of 'level-headed new music' to which subscribed Byrne, Eno, and Fripp. The result is enchanting and ambiguous: Partridge camouflages himself as 'homo electronicus' and lends a sort of hallucinatory contribution to the definition of 'techno-rock' then a genre in its infancy.

The follow-up to "Nigel" appeared one night to a wakeful Partridge, who, in his excitement, convinced himself that he had written the song of his life. I didn't know that I was going to get the biggest kick-in-the-balls of my entire career. To Partridge remains the meager satisfaction of considering this song, even today, as "the best I have ever written;" but perhaps this feeling is mere pride, because in truth this whistle-melody does not have the jam of the best XTC things, and above all it lacks the necessary energy to have been a follow-up to "Nigel. We sought refuge in Swindon after a world tour with the Police and UB40 that left us spent, and none of us wanted to go back into the studio.

At a certain point we thought about and then discarded the idea of doing an album produced by ourselves alone, in freedom. We had nothing to do and couldn't rely on Virgin. And so I turned to Steve Lilywhite. The title reflected this climate of uncomfortable claustrophobia; and the cover displays the idea of obscurity that we wanted to express.

It is in fact a decisive footstep towards pop-music even though XTC had not renounced their patrimony of volcanic rhythms, howling vocals, and acrobatic harmonies. Morale was shitty, but the hands of Partridge and Moulding were happy and hot and created some of the best songs of their entire repertoire: "Generals and Majors" became a moderate success on the charts, and "Sgt.

However, Partridge is right when he talks about a "schizophrenic album, made during the highest highs and the lowest lows. They wanted to tie up the loose ends but couldn't, busy as they were playing concerts all over the world and we will see later with what results. They played at Cardiff on 2 June it would be their last show on British soil , and in the autumn went again into the studio to record songs, this time with Hugh Padgham, who had been promoted to producer after having been a tech-guy under Lilywhite for the previous two LPs.

The pace of the work was stressful and rather un-Swindonlike, but "like a matter of craftsmanship, the harder we worked the better things went. On the contrary there was lots of excellent material for an LP which could never be anything less than a double-album: English Settlement. It's the most ambitious and mature work of the group, and plays around with various experimental styles. English Settlement shattered all previous XTC album sales records, and went down in history as "the double green" just like in the past when there had been a "double white" for those other Fab people.

An exaggeration? More like imprecise. Considering its creativity and care in packaging, the better comparison is made with Sgt. Pepper ; and its no accident that this paragon of refinement and success coincides with the end of an era. After this, the deluge. The staging was the most sophisticated of our career, but from the beginning nothing went right.

Andy felt terrible: he had been put on a vegetarian diet and looked sick. Being on exhibit to the public made him nervous. Everything culminated in Paris, the night of 18 March. We'd barely started the first number, "Respectable Street," and Andy couldn't even finish it. He beat feet off the stage. We found him the dressing room upset and trembling. It was clear that he couldn't continue. I kept myself shut up in hotels for days without seeing anyone, and it was a blow to suddenly have five or ten thousand people in front of me, and I won't even mention what I ate whenever I actually did eat.

That time in Paris I hadn't eaten in three days and couldn't stand being in front of people. I broke down during the first notes of the first song and we decided to cancel all the following concert dates. I returned to England and made the rounds of the medical establishment: psychiatrists, specialists in nervous disorders, even a hypnotist. I thought I'd been cured and I took off with the band for the United States.

The first date was in San Diego and it was terrible. We hadn't rehearsed for 15 days and that was already a problem, but also I felt like I'd never held a guitar in my hands before. The next night in LA I decided to stop altogether -- I was driving myself mad and I couldn't keep going in that state. One could go on at some length about the fact that Partridge had never been hard as a rock, and we might remember the mental problems of his earlier years and his long dependency on Valium; but looking at his record of five long years of life on the road you get the impression that the little hell that it must have been would've been enough to fray the nerves of anyone.

Not once, but twice. And all that for a weekly wage if you can call it that which was for the first few years all of 25 pounds. In the mythology of the group, there's the legendary evening in Wissenhoe, Germany during the '79 tour when the truck which was carrying the instruments got lost somewhere and XTC was left to play with "two guitars from the Postal Market [sc.

Wal-Mart] and a toy drum set. Could Italy lack a similar 'gig of horrors? But then Aldo Moro was assassinated and out of concern for civil order all shows were canceled. We all left, and, without a shilling, ended up in a hostel for the disabled on the Riviera where they fed us little snacks designed for old people with chewing problems. XTC would finally play in Italy on another occasion.

In fact, it was one of their last actual public concerts. I remember having seen them in Genova at the Teatro Massimo in March of '82 when they were performing the English Settlement show.

Album Dei Ricordi 1

They had great energy and were musically brilliant even if by the end Partridge was ready to give up the ghost due to a gastral problem somewhat more serious than some badly digested pesto. It's been ten years and XTC is showing no signs of going back on their decision not to perform in public. It's taken root and Partridge is at the point where he can explain the decision convincingly as being more than a personal situation. There are things that pop into your mind spontaneously at one concert, and they work really well, but then you end up repeating them night after night like a robot.

It's better to liberate yourself from that burden and really think about the music, about what to do in the studio, although few groups have made this choice. I believe that music plays little part in big live concerts. They are almost always sociological phenomena. The ones that go well are a lot like a good soccer game: a communal bond is created and everybody's on the same wavelength, like at a Rod Stewart concert where all the women are drooling and in a frenzy, or at a Grateful Dead performance.

As for myself, every time I've performed I would've given just about anything to be in the audience rather than on stage. Not all of them however. Terry Chambers had a pregnant fiancee in Australia and rejoined her, assuring people that sooner or later he would return.

The months passed and the tension lessened. Andy Partridge thrived in domesticity and wrote a series of new songs, as did Moulding. They needed to rehearse these new songs but Chambers had disappeared. Finally he showed up and they began playing, but it wasn't the same as before.

We dragged along for four or five weeks of rehearsal until one fine day Terry turned in his drum sticks and confessed: 'I'm just going through the motions here. I ought to be in Australia with my wife, and here I'm just wasting my time and struggling. And anyway, we'll never amount to anything: XTC's songs are too weird. It was the last part of and the group was facing the second turning-point of their career, after the passage from Andrews to Gregory. Their decision, unforeseen and courageous, was to not get a permanent replacement for Chambers, but to hire different drummers as needed.

And there wasn't anybody from Swindon: there's a slang and a way of understanding each other between us Swindonites that's a barrier to outsiders. It was he who accompanied the remaining members the Fab Three at this point to Manor Studios, where for the whole winter of ''83 and then again in the spring XTC attempted to make what was projected to be their triumphant follow-up to the bestselling English Settlement , and what instead was revealed to be, day by day, the first huge nightmare of their discography. Steve Nye, the producer chosen at the beginning, was jettisoned halfway along.

When we listened to the songs he'd produced we threw up our arms: there was no life in them, everything was cleaned up to the point of nonexistence. Virgin didn't miss out on the chance to add to the confusion and demanded a song with good single potential in response Partridge wrote "Great Fire" , and rejected the original cover art, demoting it to the inner sleeve. The title, which refers to the English habit of visiting people's homes at Christmas time wearing paper masks, stumped just about all the non-English and this added to the frustration of the group.

Despite all of these ordeals, Mummer was released at the end of August, and missed the charts completely. No big marvel. One can hear, between the lines as it were, the excessive first drafts and renovations, and it has from the beginning of the album a fragility and delicacy which are difficult to respect. At that time we were in the countryside, or at least away from the city, and we just spontaneously began to sing about that sort of world, whether one likes it or not.

The heart of Mummer is however in the more pastoral songs like "Love On A Farmboy's Wages," "Ladybird," and "Wonderland," where past and present tensions resolve themselves in a celebration of simplicity and Nature: acoustic guitars, non-synthetic bowed instruments, a trombone on "Gold," and a sweetness owing in part to the delicate style of the new drummer "'Ladybird' was originally a tougher song, then Pete put his drum sticks on it and changed it thus: a sort of acid Pentangle with a touch of Dave Brubeck.

Despite the biodegradable songs, the Swindonians never renounced their manipulation of sound in the studio. On the contrary, they amused themselves as never before with electronic noises: perverted household sounds rather than a CMI Fairlight and '60s-type recording tricks as on "Beating of Hearts," where the distorted sounds of two string guitars sound like the exotic notes of a zither.

Mummer did little or nothing on the British charts up to number 51 for the record and passed unnoticed in the US where their small band of fans wasn't growing. The recording this time was straightforward, in part because XTC finally was given their choice of producers, David Lord. The seventh album came to be called The Big Express in honor of Swindon, the historic city of British rail operations, "it came to be in time an elephant graveyard, and a fossil in and of itself" and if the cover and liner notes aren't enough to explain the title there's a nice song full of sweat, smoke and pistons, "Train Running Low on Soul Coal.

It was above all a reaction to Mummer , our most ornamented and flowery album. The Big Express was right on the mark, fined and refined during months in the studio "The studio cost us relatively little, and we were finally able to work the way we liked, playing, and tossing ideas around. But we like true, visceral sounds with all of their imperfections. Thus, at the beginning of "All You Pretty Girls" there's a sound that seems underwater, and it's various layers of slightly dissonant mellotron, playing a tone sent through a little speaker to a microphone placed in a metal bucket with a cardboard tube taped above it.

When The Big Express was released in October of , XTC had emerged from their black period and had become financially solvent once again. The experiment didn't last long, and afterwards Partridge and Leckie were canned because of some of their remarks about the woman's backup band "They seemed like the Shaggs! They couldn't even tune their instruments! In Andy Partridge was just ten years old [ sic ] and between classes and snacks at the Primary School in Swindon he could only follow from afar, like a fairy-tale for grownups, the psychedelic scene.

DG recounts that already by Partridge had proposed founding a band inspired by the London-in-technicolor of the early Pink Floyd, by the 'Magical Mystery Tour,' and by Jagger's Satanic Majesty, for which he had already found a name Electric Bone Temple.

Related titles

The many difficulties of XTC's early years had aborted the project, but a little LSD remained in Partridge's thoughts, and it's a fact that again in , during the time of the Go2 sessions [ sic ], the idea was kicked around to record a pair of sample-tracks: "Orange Dust" and "Shaving Brush Boogie," which were quickly archived under the label 'nowhere to go. The fateful break at the end of found Partridge with five non-XTC songs which were, however, excellent for other uses. The band liked the idea, and the record company made it only a question of cost: if the budget was strict, no more than 5, pounds, they could go ahead and make it.

For this sum Partridge rented a deconsecrated church close to Hereford which was converted into a studio. Here they had rapid sessions for no longer than two weeks: the Fab Three were joined by DG's brother Ian on drums, and John Leckie as producer, partly because he was perfectly tuned in to Radio Swindon and partly because of his experience with real psychedelia, Leckie having begun his career as a studio errand-boy at Abbey Road in -- he had a small hand in the mix of Pink Floyd's "Vegetable Man" among other projects.

The recording of the five songs went very well and Partridge wrote a sixth while in the studio, "Mole From the Ministry," which was on the same dream-frequency as the Beatles' Mystery Tour, particularly Lennon's "Walrus. The names of the protagonists were a combination of feudalism, the smoky underground, and the Orient of picture postcards: Partridge became Sir John Johns, Moulding The Red Curtain, Gregory Lord Cornelius Plum, and his little brother went down in history as E.

Their meticulous charade had a cover in perfect 'post Sgt. The Dukes say that the 25th hour has arrived. In his unflagging activity of faux-psychedelia, Partridge invented a ducal Guru Swami Anand Nagara and pushed himself to refine an im probable press release, written with a shaky pen and his head in the smoke of the '60s. Here's part of the original text: [I think the tone of this is supposed to be like some sort of hippy Spinal Tap; it doesn't work real well in Italian.

Like, after a couple weeks we began to play in total freedom, and we found some new and really wild chords, and then Lord Cornelius found an old harpsichord in some nook and one of the roadies showed up with a sitar shipped straight from India for Sir John Johns, one which could play certain 'spatial' sounds. We used it in "Mole from the Ministry," and after six tracks we couldn't take it anymore and collapsed.

Like, we took the tape to the record company in London and after being in the country that place really had attitude, and they liked it but said we'd trash our rep as a band with balls and so we decided to use a speudo. Then our mate Ken who's color-blind did the cover after doing four hits of acid and a bottle of rum, and it's really a trip.

Guide to Contemporary Gtr Rep | Orchestras | Double Bass

If we refuse they said they'd take away our Pakistani black hash. From his embroidering it with the excesses of Love-Ins and Technicolor Dreams we can easily see how much Partridge loved it: it was a magic game for him a little like painting lead toy soldiers and commanding them at Austerlitz or Waterloo the theft and collage of guitar solos, special effects, rhythms and words that could've been from Pink Floyd or Tomorrow or the Beatles or the Electric Prunes it only takes one listen to hear that the title track is a shameless imitation of "I Had Too Much To Dream".

It was a short film based on Uncle Alfred, a character from '25 O'Clock,' who makes a watch with 25 hours as a promotional item for the Dukes. But the Mole from the Ministry, who lives underground in a big palace shaped like an onion, steals it from him and thus the Dukes are obliged to help get it back. The joke paid off, and 30, copies of 25 O'Clock were sold, much to the amazement of the band.

In time though they were convinced to do it, and besides Partridge's left hand was still writing songs that the right hand considered too "biased" for the band's normal repertoire. Thus, "prisoners of the Frankenstein we'd created," XTC returned to the studio at the beginning of , again with Ian Gregory on drums and John Leckie at the console.

And the choice of studio was once again provincial: a little place in Cornwall, without big machines but with the desired tranquility. In fact though, the 'imaginary landscape' is generic '60s: next to 'acidity' and proto-progressive stuff there are pop intermissions from the last days of that decade e. This being the case, it won't seem pedantic to reproduce a good song by song analysis by Partridge and Gregory which appeared in issue 3 of Strange Things in March,