That is very creative and fun! Good job! I got a chuckle out of the babblers.

I might suggest adding nuances to the snare drum - like volume, velocity, flams and ghost notes here and there. It sounds a bit machine-gunny; but maybe that is the intention given the material. Plus you mentioned you plan on doing more instrumental work so this may already be on your agenda.

I added more instruments and foley sounds . . .

THOUGHTS

Roll back the clock 20 or so years, and I was opposed adamantly to dongles and subscriptions, although subscriptions are a more recent appearance . . .

Now there are iLOK USB dongles, and there are subscriptions for most of the VSTi virtual instruments and VST effect plug-ins I use . . .

I have a few Apple computers, and the iLOK USB dongles let me take the licenses to the computer I need to use, which is very helpful and saves money . . .

Subscriptions are similar, and I like them . . .

In particular, UVI has foley sounds and various outer space style sounds, and I noticed today there is a new version of their classic set of foley sounds, as well as an "otherworldly" VSTi virtual instrument called "Glass Orchestra", so I downloaded and installed them via the UVI Portal . . .

XTreme FX II (UVI.net)

Glass Orchestra (UVI.net)

I found a Kazoo sampled-sound library for Kontakt (Native Instruments) at Soundiron for $9 USD and purchased and installed it, which was very easy to do and worked nicely with no problems . . .

Kazoo (Soundiron.com)

[NOTE: This is mixed for listening with studio-quality headphones like SONY MDR-7506 headphones and Apple AirPods . . . ]



[NOTE: Until I do submixes to buses so I can control the volume levels of the instruments via "ducking", it's not so easy to hear the voices all the time; hence this is the matching script . . . ]

Chapter 14: A Murder of Clowns and Babblers

WARFEL THE POTATO: And now the Fabulously Fabulous, Marvelously Marvelous, Wonderfully Wonderful Science Fiction Theater of the Imagination proudly presents "Extreme Gravity" the new radio play written by J. D. Evans Jr., starring Elvis D. Trip and his Traveling Troupe of Strange Voices, and featuring the musical stylings of Milford Whittle and his Finger Puppet Marching Band, with sua sponte silly announcements by Warfel the Potato.

We continue with Chapter 14: A Murder of Clowns and Babblers . . .

ELVIS D. TRIP: Bokra and Suzanne were watching on their Remote Viewing Screen as Prof. Darkstone began exploring the Slammer Clown Ship.

They designed and built the Remote Viewing Screen (RVS) with help from the ship's artificial intelligence bot ("SAI") after discovering the various capabilities of the Drosts when they explored the Stone Castle and Abandoned City before they took a ride in the 1960 Ford Thunderbird Space Tunnel Ship and met Ogly Nogly.

The RVS worked the same way as the 4th Dimension Drive-In Movie Screen, and there was a similar set of controls to select the desired scene or location to view.

One of the Brain-Os who was a SABRE collaborator told Bokra and Suzanne about Prof. Darkstone's plan to surveil the Slammer Clown Ship; and this piqued Bokra's and Suzanne's curiosity.

Few people had seen the inside of a Slammer Clown Ship; and there was considerable mystery and speculation regarding what it might contain or how it was used as a psychological weapon by the Grand Eye of Toll-Eh and his Slammers and Clowns as they strove to enlist more planets in the fight to extend the generally-accepted Standard Galactic Week by precisely one day, thereby making it 9 days, which everyone knows is evenly divisible by 3.

Prof. Darkstone was traveling in an invisible and quite stealthy drone ship and was surprised by the first room or area in the Slammer Clown Ship being a large cavern devoid of everything--no Slammers, no Clowns, no furniture, no machines, and nothing else, just a empty cavern.

The cavern had a smooth floor, and since the cavern was empty, Prof. Darkstone tested the environment and determined it was suitable for humans; so he parked his invisible stealth drone ship and decided to go for a walk to explore the empty cavern.

As Prof. Darkstone walked around the empty cavern, he began noticing shadowy gray dots following him; and since they had a friendly and comforting behavior, he surmised they might be Protectors like the ones at the Stone Castle.

When he had this thought, a few of the Protectors flashed a short pattern of lights to confirm Prof. Darkstone's intuition.

Prof. Darkstone continued exploring the empty cavern; and after a while the Protectors flashed a series of warning lights and then completely surrounded Prof. Darkstone to cloak him.

A few seconds later, a smaller Slammer Clown Ship teleported into the empty cavern; and a contingent of Clowns disembarked and formed a line that in a surreal way resembled a Brazilian Conga Line, after which the Clowns started dancing.

Around this time, a large door appeared at the far wall of the empty cavern; and after it slowly opened, the Grand Eye of Toll-Eh and his entourage entered the empty cavern to the accompaniment of blaring trumpets and a small kazoo band.

The Clowns stopped dancing and immediately started honking their clown horns frantically.

Something was afoot, but what it was appeared to be a mystery.

Prof. Darkstone, as well as Bokra and Suzanne, were baffled and more than a tiny bit intrigued, even though at present they did not know each other were witnessing this in real-time.

As apparently was customary, a flautist strode to the front of the Grand Eye of Toll-eh's entourage and began playing a solo of melodic proportions to begin announcing the Grand Eye of Toll-Eh to the frantically honking Clowns.

Typically, the Grand Eye of Toll-Eh moved near the Giant Ball of String and made a simple statement, "Blah, Blah, Blah, Blah, Blah, Blah"; abruptly turned around; and walked back through the large sliding door followed, of course, by his entourage of trumpeters, kazooists, and the single flautist.

The Clowns stopped honking their horns and grew suddenly very quiet.

Soon afterward, the clowns marched back into their small Slammer Clown Ship and left the building as quickly as they had arrived.

This made no sense whatsoever, but in an odd way it seemed to be something which was inevitable and was destined to occur.

Now that the cavern once again was empty, the Protectors uncloaked Prof. Darkstone, who noticed something on the floor of the empty cavern near the location where the single flautist had performed the solo of melodic proportions.

Prof. Darkstone strode to the location of the object on the floor of the now empty cavern and, after pondering what to do for a moment, reached down and retrieved it.

Examining the object led Prof. Darkstone to surmise the object was a coin; and on one side it had an iconic representation of a set of bowling pins, while on the other side there was writing in a strange symbolic language that appeared to be "Blah, Blah, Blah, Blah, Blah, Blah".

As this unusual sequence of events was happening, on a far distant planet a Babbler was providing moment-by-moment reporting in the style of a mumbling golf announcer--covering the activities of Bokra and Suzanne, Prof. Darkstone and the Protectors as if they were playing a round of most unusual golf.

[NOTE: Babbler golf announcer mumbling incoherently . . . ]

Ramunculus the Overlord of the 13th Dimension was an aficionado of golf announcing and found it to be very interesting, even though on many levels it made no actual sense.

Ramunculus resided inside an extended Calibi-Yau brane and entertained itself by creating cyborg mermaids, playing water polo, and watching golf tournaments.

The current activities were entertaining and whether it made sense in one way or another did not matter so much to Ramunculus.

Ramunculus was very focused on determining what the Grand Eye of Toll-Eh, Slammers, and Clowns were planning to do, since certain of their potential activities could have disastrous affects on the stability of the 13th Dimension and the existence of Ramunculus and his kind.

The primary matter involved gravity, and this was the reason Ramunculus also monitored the Gravity Generator being built by Bokra and Suzanne on the Asteroid.

Insofar as Ramunculus was concerned, the less everyone in the lower dimensions knew about the true nature of gravity, the better.

RAMUNCULUS: Let them continue to believe gravity is the weakest force of all. Let them continue to believe gravity is the weakest force of all. Let them continue to believe gravity is the weakest force of all.

ELVIS D. TRIP: was the Ramunculus mantra.

©2023-2024 RAE Multimedia. All Rights Reserved.

Lots of FUN!

acequantum wroteThat is very creative and fun! Good job! I got a chuckle out of the babblers.

I might suggest adding nuances to the snare drum - like volume, velocity, flams and ghost notes here and there. It sounds a bit machine-gunny; but maybe that is the intention given the material. Plus you mentioned you plan on doing more instrumental work so this may already be on your agenda.

The "Babbler" was spontaneous, and I like it, too . . .

It's in the classical styles of "Surfin' Bird" (The Trashmen), "Papa-Oom-Mow-Mow" (The Rivingtons), "Scatman (ski-ba-bop-ba-dop-bop)" (Scatman John), and "Rowley Birkin Q.C." (The Fast Show, Paul Whitehouse) . . .

[NOTE: This is a Dutch comedian, singer, and musician, André van Duin, who had a bit of FUN dancing silly to the first two songs in 1964 . . . ]











The first time I listened to the babbling after recording it, I instantly thought it was a fabulous idea for a song, so that's on the agenda . . .

It's babbling--no actual lyrics--so the key is to compose a happy, upbeat instrumental track . . .

My thinking is that borrowing a few ideas from Rammstein will be super . . .

[NOTE: I like the drum kit rhythm, electric guitars, synthesizers, electric bass, and baritone singing . . . ]



Lots of FUN!

P. S. From the perspective of music history or musicology, when you listen to music frequently and have an eidetic type of audio memory, it's nearly impossible to have truly original ideas; and this is something I embrace vigorously with the goal here in the sound isolation studio being never to have an actual original thought . . .

Careful listeners will observe the Intro for the "Extreme Gravity" chapters is a caricature of the rhythm guitar chords for "Walk Don't Run" (The Ventures), "I Want To Hold Your Hand" (Beatles), and the back-and-forth electric guitar chords from "Heat Wave" (Martha & The Vandellas)--or is it?

[NOTE: This is one of my favorite songs, and I had this album and listened to it over-and-over. My other favorite song in the sense is "She Loves You" (Beatles) for which I have the original Swan 45 RPM record. In some respects these are simple songs, but good luck playing them note-by-note in every respect . . . ]





[NOTE: I love the rhythm guitar chords for the verses on this song. They are what I call an "Reverse Louie Louie", since from the perspective of bass, it's upside-down (4-5-1 rather than 1-4-5) . . . ]







YouTube checks for copyright violations, and my songs and music are checked and approved by YouTube supercomputer algorithms, which is fabulous . . .

Fabulous!

acequantum wroteThat is very creative and fun! Good job! I got a chuckle out of the babblers.

I might suggest adding nuances to the snare drum - like volume, velocity, flams and ghost notes here and there. It sounds a bit machine-gunny; but maybe that is the intention given the material. Plus you mentioned you plan on doing more instrumental work so this may already be on your agenda.

I usually modify and enhance the drums, although not so much everywhere . . .

THOUGHTS

My overall strategy is write the story or key parts of the story first, using an idea that occurs in a dream . . .

When I have the script, I start doing voice-overs; and during this phase I use a relatively simple drumkit rhythm to act as a musical metronome, since it helps me with the meter of the words . . .

[NOTE: Something I discovered after I got my first drumkit 20 years ago is that drums are melodic, and I devoted about a year to making the drumkit more melodic. More recently, I realized that voice-overs also are melodic, an epiphany which was helped by working with the melodies and phonetic scripts for Realivox Blue, which according to the license must be melodic rather than spoken word . . . ]

Sometimes I have chords but not so often . . .

The Intro is the one I composed 20 years ago and at first I did not have a drumkit or a practical way to emulate drums and cymbals, since this was before I discovered virtual instruments . . .

Virtual instruments came later when I wanted to do a Bulería song and realized I could not do the drumkit rhythms on my real drumkit . . .

This was when I started using NOTION in 2010, and a while later I discovered VSTI virtual instruments and VST effects plug-ins . . .



Now I do nearly everything with virtual instruments and Realivox Blue (RealiTone), my favorite female soprano . . .

Prior to discovering Realivox Blue, I read the female parts; so as long as Realivox Blue is melodic, I am licensed to have FUN with her; and among other strategies to make sense of the phonetic scripts, I focused on making her say very naughty melodic things, which I would record and send to one of my high school buddies . . .

[NOTE: Once I had enough FUN sending my high school buddy clips of Realivox Blue saying naughty melodic phrases, I wrote a parody of "Smells Like Teen Spirit" (Nirvana) where in the future cyborgs are so realistic the only way to tell whether they are human is to taste them, since they taste like AXE® Anarchy body lotions, deodorants, and so forth. For reference, there is a detailed project in this forum on the song and what I had to do to make Realivox Blue sound as human as possible, which at one point required using the Melodyne Editor to create additional consonants, sibilants, and all that stuff. The words "taste" and "tastes" required a lot of work in Melodyne. This is mixed for listening with studio-quality headphones or Apple AirPods . . . ]



Project: Realivox Blue (PreSonus NOTION Forum)

So long as Realivox Blue is melodic, it's all good; and I use John Lennon's monotone singing on "Lucy In The Sky With Diamonds" (Beatles) as the rule, where even though Lennon is singing nearly monotone or one-pitch, it's melodic and is in a song rather than a spoken word recording . . .



Related to this, I did song inspired by "Lucy In The Sky With Diamonds" to show folks in a guitar forum that you can compose a song based on another song . . .

[NOTE: Instead of perhaps being about LSD, it's about absinthe, and it borrows a few bits from "Not Myself Tonight" (Christina Aguilera) . . . ]





Lots of FUN!

I consolidated most of the instruments and foley sounds to a set of buses, which makes it easier to do mixes . . .

THOUGHTS

Putting subsets of Instrument Tracks and Audio Tracks on buses is easy to do in Studio One Professional, and as shown in the screen capture I put an Ik Multimedia "Brickwall Limiter" on each bus, which makes it practical to control volume levels with a pair of simple controls while keeping the volume sliders on the Mixing Board pegged to 0dB . . .

This is more precise, and it allows doing something similar with the individual Instrument Tracks and Audio Tracks, including dynamics, echoes, panning, and volume level Automation . . .

For example, if I want an instrument to be a tiny bit louder or softer, I can control this very precisely with one of the two knobs on the Brickwall Liimiter or White 2A Leveling Amplifier (IK Multimedia)--{Input, Output Ceiling} and {Gain, Peak Reduction}, respectively--something I do instead of messing with music notation dynamics, which overall probably is just as complex as using music notation dynamic marks but (a) is less cluttering, (b) does the same thing overall, and (c) makes sense to me since my background is more focused on audio engineering than using music notation symbols and marks . . .

It's also consistent with my perspective that if you cannot hear it, then it's noise and generally does not need to be included, other than for possible dithering or whatever . . .

Some folks like wide ranges of dynamics--and good for them--but my focus is on controlling the audio the way it is done by radio stations to comply with the various FCC rules and regulations, where one of the goals is to avoid exploding radios or shocking listeners . . .

In fact, most of the VST effects plug-ins are precise emulations of this type of physical hardware processors developed in the 1950s and later for broadcasting use but soon were discovered by producers and audio engineers to have "magical" properties when used in recording studios . . .

These devices originally were developed to make life simpler for broadcast engineers and radio stations by automagically ensuring broadcast signals complied with the various Federal Communication Commission (FCC) rules, regulations, and federal bureaucrats who administered them . . .

In other words, a Brickwall Limiter sets the range boundaries and ensures a steady, legal range of broadcast audio, while the classic leveling amplifier does something similar using an optical strategy with no actual electronic circuitry . . .

If you listen carefully with studio quality headphones like SONY MDR-7506 headphones (a personal favorite), you can hear the way various real external signal devices work in concert with a trained singer using a condenser microphone, where I use Elvis Presley and Dion as stellar examples . . .

[NOTE: The producer and audio engineer set the levels of the physical reverb unit, leveling amplifier, and compresser-limiter but Elvis controls everything by his distances from the microphone and his singing levels. Whether this was by design or serendipity is another matter but I think it's a combination of both (a) being a naturally intuitive singer and (b) having trained producers, vocal coaches, and audio engineers, as well as superb recording equipment and microphones . . . ]



[NOTE: You can hear Elvis doing melodic breathing and subtle hiccups in the studio version of "Fame and Fortune", which is a clue that he was not singing very loudly and in fact was singing at a nearly whisper level most of the time (pianissimo or softer), an hypothesis I base on being able to hear the melodic breathing and hiccups. It was all very controlled, and since everything was done live in those days, a key aspect was being able to do it repeatedly with high accuracy . . . ]



[NOTE: Dion is another naturally intuitive singer who developed a way--or was taught--to add various types of vocal emphasis at the end of words, which is a variation of melodic breathing, where the most obvious instances are ending words with "ah", "uh", "oh", or something similar, which works nicely when the song is broadcast over the radio or played by a juke box. It also maintains a steady focus on the singing, which affects the way the various studio equipment is working consistently with no jumps and surprises . . . ]



[NOTE: I keep some of the most important instruments and all the voices on separate tracks so I can adjust them individually. This includes the VSTi EB-0 "Devil Bass" (IK Multimedia) and the Melodic Flute (EW Composer Cloud "Hollywood Orchestral Woodwinds Gold") . . . ]


Mixing Buses

[NOTE: I create individual presets for each of the instances of VST effects plug-ins, so it's obvious which ones apply to specific Instrument Tracks, Audio Tracks, and Buses . . . ]


Brickwall Limiter (IK Multimedia)


White 2A Leveling Amplifier (IK Multimedia)



The next activity is to write the second half of the chapter, and I already have a few ideas, where the high-level aspect involves wandering through a maze of elaborate tunnels and walkways similar to what might be found in a submarine . . .

Thinking aloud, Prof. Darkstone can make his invisible drone ship and thereby himself small in a miniature way so he can travel through the tunnels and walkways of the Slammer Clown Ship undetected and can observe some of the surprising rooms and areas where more futuristic and perhaps disturbing things are being done by the Slammers and Clowns, some of which involve a large Art Deco cake, licorice jelly beans, Babblers, a Cyborg Mermaid, and Ramunculus the Overlord of the 13th Dimension . . .

Lots of FUN!

I ordered replacement headphone ear pads and they arrived yesterday . . .

THOUGHTS

The old headphone pads were falling apart, and I knew they needed to be replaced but did not realize how important this is . . .

When I was teaching myself how to use the whammy bar on a Fender American Deluxe Stratocaster that I modded, I recall reading about David Gilmour (Pink Floyd) doing extensive mods to his Stratocaster so he could whammy without needing to worry about breaking guitar strings . . .


The Fifty Million Dollar Trinaural Stratocaster

It was not just a set of simple things . . .

Instead, it was very elaborate, and one aspect was to ensure there were no sharp places anywhere in the structure and mechanisms . . .

I also know it's important to use a new set of guitar strings before a recording session or performance . . .

Yet, even though I always include a note in my posts about songs being mixed for studio-quality headphones and Apple AirPods, I was surprised by the importance of the ear pads . . .

The old ear pads had gaps and basically did not do an accurate job of conveying deep bass, and this led me to boosting the deep bass--mostly the kick drums and Gibson EB-0 "Devil Bass" electric bass guitar (IK Multimedia, MODO BASS) . . .

Once I got the new ear pads installed, everything started sounding better; and part of the producing and audio engineering activity for the new version of "Chapter 14: A Murder of Clowns and Babblers" was focused on adjusting the deep bass and other instruments and foley sounds, as well as the voices . . .

While this was happening, I wrote the second half of the story and then started composing the music . . .

The new version, which now is the complete story and script for the chapter, has Realivox Blue (RealiTone), my favorite VSTi virtual female soprano singing some characters but I need to develop the phonetic scripts and then to refine them in the Melodyne Editor, which will take a few days . . .

[NOTE: Realivox Blue is a third-party instrument and sampled-sound library for Kontakt (Native Instruments) . . . ]



Realivox Blue (RealiTone)

It's coming along nicely, and I have a title for the next chapter and a few ideas for the story but mostly just the title . . .

[NOTE: This is mixed for listening with studio-quality headphones like SONY MDR-7506 headphones and Apple AirPods. There are motion effects, panning, and echoes designed for each ear having its own separate and independent audio stream . . . ]



This is the complete script, but I might make a few changes . . .

"Chapter 14: A Murder of Clowns and Babblers"

WARFEL THE POTATO: And now the Fabulously Fabulous, Marvelously Marvelous, Wonderfully Wonderful Science Fiction Theater of the Imagination proudly presents "Extreme Gravity" the new radio play written by J. D. Evans Jr., starring Elvis D. Trip and his Traveling Troupe of Strange Voices, and featuring the musical stylings of Milford Whittle and his Finger Puppet Marching Band, with sua sponte silly announcements by Warfel the Potato.

We continue with Chapter 14: A Murder of Clowns and Babblers . . .

ELVIS D. TRIP: Bokra and Suzanne were watching on their Remote Viewing Screen as Prof. Darkstone began exploring the Slammer Clown Ship.

They designed and built the Remote Viewing Screen (RVS) with help from the ship's artificial intelligence bot ("SAI") after discovering the various capabilities of the Drosts when they explored the Stone Castle and Abandoned City before they took a ride in the 1960 Ford Thunderbird Space Tunnel Ship and met Ogly Nogly.

The RVS worked the same way as the 4th Dimension Drive-In Movie Screen, and there was a similar set of controls to select the desired scene or location to view.

One of the Brain-Os who was a SABRE collaborator told Bokra and Suzanne about Prof. Darkstone's plan to surveil the Slammer Clown Ship; and this piqued Bokra's and Suzanne's curiosity.

Few people had seen the inside of a Slammer Clown Ship; and there was considerable mystery and speculation regarding what it might contain or how it was used as a psychological weapon by the Grand Eye of Toll-Eh and his Slammers and Clowns as they strove to enlist more planets in the fight to extend the generally-accepted Standard Galactic Week by precisely one day, thereby making it 9 days, which everyone knows is evenly divisible by 3.

Prof. Darkstone was traveling in an invisible and quite stealthy drone ship and was surprised by the first room or area in the Slammer Clown Ship being a large cavern devoid of everything--no Slammers, no Clowns, no furniture, no machines, and nothing else, just a empty cavern.

The cavern had a smooth floor, and since the cavern was empty, Prof. Darkstone tested the environment and determined it was suitable for humans; so he parked his invisible stealth drone ship and decided to go for a walk to explore the empty cavern.

As Prof. Darkstone walked around the empty cavern, he began noticing shadowy gray dots following him; and since they had a friendly and comforting behavior, he surmised they might be Protectors like the ones at the Stone Castle.

When he had this thought, a few of the Protectors flashed a short pattern of lights to confirm Prof. Darkstone's intuition.

Prof. Darkstone continued exploring the empty cavern; and after a while the Protectors flashed a series of warning lights and then completely surrounded Prof. Darkstone to cloak him.

A few seconds later, a smaller Slammer Clown Ship teleported into the empty cavern; and a contingent of Clowns disembarked and formed a line that in a surreal way resembled a Brazilian Conga Line, after which the Clowns started dancing.

Around this time, a large door appeared at the far wall of the empty cavern; and after it slowly opened, the Grand Eye of Toll-Eh and his entourage entered the empty cavern to the accompaniment of blaring trumpets and a small kazoo band.

The Clowns stopped dancing and immediately started honking their clown horns frantically.

Something was afoot, but what it was appeared to be a mystery.

Prof. Darkstone, as well as Bokra and Suzanne, were baffled and more than a tiny bit intrigued, even though at present they did not know each other were witnessing this in real-time.

As apparently was customary, a flautist strode to the front of the Grand Eye of Toll-eh's entourage and began playing a solo of melodic proportions to begin announcing the Grand Eye of Toll-Eh to the frantically honking Clowns.

The Grand Eye of Toll-Eh moved near the Giant Ball of String and made a simple statement.

GRAND EYE OF TOLL-EH: Grab your balls and hit the lanes, 'cause it's Two-Fer Tuesday and every third game is free.

ELVIS D. TRIP: The Grand Eye of Toll-Eh abruptly turned around; and walked back through the large sliding door followed, of course, by his entourage of trumpeters, kazooists, and the single flautist.

The Clowns stopped honking their horns and grew suddenly very quiet.

Soon afterward, the clowns marched back into their small Slammer Clown Ship and left the building as quickly as they had arrived.

This made no sense whatsoever, but in an odd way it seemed to be something which was inevitable and was destined to occur.

Now that the cavern once again was empty, the Protectors uncloaked Prof. Darkstone, who noticed something on the floor of the empty cavern near the location where the single flautist had performed the solo of melodic proportions.

Prof. Darkstone strode to the location of the object on the floor of the now empty cavern and, after pondering what to do, reached down and retrieved it.

Examining the object led Prof. Darkstone to surmise the object was a coin; and on one side it had an iconic representation of a set of bowling pins, while on the other side there was writing in a strange symbolic language that appeared to be "Blah, Blah, Blah, Blah, Blah, Blah".

As this unusual sequence of events was happening, on a far distant planet a Babbler was providing moment-by-moment reporting in the style of a mumbling golf announcer--covering the activities of Bokra and Suzanne, Prof. Darkstone, and the Protectors as if they were playing a round of most unusual golf.

[Babbler golf announcer mumbling incoherently . . . ]

Ramunculus the Overlord of the 13th Dimension was an aficionado of golf announcing and found it to be very interesting, even though on many levels it made no actual sense.

Ramunculus resided in an extended Calibi-Yau brane and entertained itself by creating cyborg mermaids, playing water polo, and watching golf tournaments.

The current activities were entertaining and whether it made sense in one way or another did not matter so much to Ramunculus.

Ramunculus was very focused on determining what the Grand Eye of Tool-Eh, Slammers, and Clowns were planning to do, since certain of their potential activities could have disastrous affects on the stability of the 13th Dimension and the existence of Ramunculus and his kind.

The primary matter involved gravity, and this was the reason Ramunculus also monitored the Gravity Generator being built by Bokra and Suzanne on the Asteroid.

Insofar as Ramunculus was concerned, the less everyone in the lower dimensions knew about the true nature of gravity, the better.

RAMUNCULUS: Let them continue to believe gravity is the weakest force of all. Let them continue to believe gravity is the weakest force of all. Let them continue to believe gravity is the weakest force of all.

ELVIS D. TRIP: This was the Ramunculus Mantra.

Prof. Darkstone returned to the invisible drone ship and clicked a few controls that miniaturized the invisible drone ship and himself.

Then he guided the invisible drone ship out of the now empty cavern and began exploring what appeared to be a maze of tunnels and walkways similar to what one might find in a submarine.

There were Slammers and Clowns moving about—often frantically as if something important was going to happen—and after wandering through the maze of tunnels and walkways for a while, Prof. Darkstone spotted a room that looked to be interesting in what might be an important way.

Inside the room, Prof. Darkstone saw a murder of Babblers having a rather intense conversation about something incoherent with an equal murder of Clowns and a group of Slammers and noticed one of the Clowns was wearing an official-looking hat.

[Gaggle of Babblers babbling, Clowns honking horns, and Slammers slamming. . .]

Every so often when the babbling subsided momentarily, the Clown wearing the official-looking hat was heard saying something that sounded like, “Blah, blah, blah, blah, blah, blah” while honking its clown horn and pointing to a small model of a city, replete with skyscapers, trains, cars, and assorted greenery and shrubberies.

When the Clown did this, the Babblers became excited and once again started babbling incoherently, while the group of Slammers appeared to be confused.

The interaction between the official-looking Clown and the gaggle of Babblers continued until an even more official-looking Clown entered the room and began dancing and honking its clown horn.

As soon as this happened, everyone including the group of Slammers began clapping and yet another Clown entered the room pushing a cart on which there was an elaborately decorated, large, multilayer cake in an Art Deco style on which the phrase “Blah, blah, blah, blah, blah, blah” was written in licorice jelly beans.

This made little if any sense to Prof. Darkstone and Bokra and Suzanne, but it must have made sense to the Clowns, Slammers, and Babblers, although it was unclear precisely why.

Then in a surprising and unanticipated event, the top of the Art Deco cake blew off and a Cyborg Mermaid stood up and announced Ramunculus was going to make a small speech to the group.

CYBORG MERMAID: Ramunculus will now address the group.

ELVIS D. TRIP: A hologram of Ramunculus appeared.

RAMUNCULUS: Gravity is not the weakest force. Many of your comrades will stop wearing underpants; and there will be much mirth abounding in the middle dimensions.

ELVIS D. TRIP: Ramunculous instantly disappeared, and the Cyborg Mermaid made her own announcement to the group.

CYBORG MERMAID: Coffee and donut holes are being served in the lobby.

ELVS D. TRIP: On a far distant planet, Lolla Waigi, who for the time-being was not in her plant phase, leaned near the Imperial Director and whispered in his ear.

LOLLA WAIGI: I want an Art Deco cake with licorice jelly beans.

WARFEL THE POTATO: And thus ends the 14th chapter of Extreme Gravity: "A Murder of Clowns and Babblers".

Stay tuned for the next chapter: "The 13th Dimension".

This has been brought to you by the Fabulously Fabulous Marvelously Marvelous Wonderfully Wonderful Science Fiction Theater of the Imagination.

I'm Warfel the Potato. Good night!

©2023-2024 RAE Multimedia. All Rights Reserved.

Lots of FUN!

I started working on "Chapter 15: The 13th Dimension", but the power went out for a day or two . . .

THOUGHTS

There is one high-voltage power line for our little city that comes from Louisiana, and a tree fell on it, hence no electric power and no web for a day or two . . .

This was in the afternoon just after I cloned Chapter 14 and started working on the Intro and Outro announcing; so I went shopping as there was nothing else to do . . .

At night, it was totally dark inside and all over town, so while I could cook (gas stove) it would need to be in the dark with a lighted hat or a flashlight, so I just enjoyed BAI Zambia Bing Cherry drink (sweet but no sugar and only 10 calories per bottle) mixed with seltzer (carbonated water) to add pizzaz . . .

Then I decided to sleep, and after a while I awoke and had ideas for the Chapter 15 story but no way to write it on the computer; so I used the Voice Recorder app in iOS "Utilities" on my iPhone and kept doing this throughout the night as more ideas appeared and I awoke each time for a few minutes . . .

In total, the audio recording of my half-awake dream thoughts is about two minutes, and I might reveal it in a YouTube vide to show how the Aliens From Outer Space beam ideas for the science fiction radio play directly into my brain via the quantum communication device they implanted in the late-1940s.

Among other things, I was told that quantum dark matter actually is the fabric of the strongest but most elusive force--gravity--and that since the 13th dimension exists between the spaces and gaps that separate the other dimensions, this is the reason particle physicists and cosmologists only have detected dark matter but know nothing about it or how to explore it . . .

It also provides the answer to the truth revealed in "Chapter 14: A Murder of Clowns and Babblers", which is that gravity actually is the strongest force, not the weakest force.

FACT: Gravity is pervasive and is sufficiently powerful to create black holes of galactic proportions; yet most, if not all, particle physicists and cosmologists relegate gravity to being the weakest force.

FACT: Nothing we see, hear, feel, taste, or smell would exist without gravity. More importantly, we would not exist without gravity.

As published somewhere over the past few months, my new hypothesis is that it's all a matter of symmetry, which leads me to map {quarks and gluons} to {guarks and gravalons} but with somewhat different visibility properties, which I now realize is due to the fascinating but abstruse properties of the 13th dimension, which vindicates physicists of past centuries who hypothesized about a physical fabric they called the "ether" . . .

[NOTE: Look at any university-level physics with calculus textbook, and you will find there are four major sections: gravity, electricity, magnetism, iight. You will discover that the middle two for a pair colloquially called "electromagnetism") where one generates the other and vice-versa, but what is the other pair? Obviously, at least to me, it's gravity and light; and we know from Albert Einstein that the gravity of the sun bends light, which is called the "red shift" and does not refer to an odd type of Russian line dancing in their version of Country Western dancing. This is the way I use the term "symmetry" in this context; and from a reflector mirror left on the Moon during the Apollo missions and Earth-based high-intensity LASER beams, we know that the force called "gravity" travels from Earth to the Moon at the speed of light. This is what my physics professor told me when I proposed they hypothesis that gravity travels at the speed of light, and it has been measured accurately in other ways since then, with one of the more recent ways involving Jupiter and a quasar . . . ]



Explained another way, the current bunch of particle physicists who (a) devised the totally goofy hypothesis of "super symmetry" which has not been seen at the Large Hadron Collider (LHC) and (b) have not so far been able to produce a grand theory of everything, laugh and ridicule hypotheses that refer to the "ether", as if they are smarter than everyone else when actually they are mostly just pompous, minimally elucidated thinkers . . .

Lots of FUN!

P. S. Mostly this maps to having a bit of FUN with "Who Are You" (The Who), which for synthesizers is fabulous . . .



Fabulous!

This is the prototype for first half of "Chapter 15: The 13th Dimension" . . .

THOUGHTS

This chapter introduces two new characters, (a) "Monsieur Mongo the Marquis of Moonlight Mirth", who like the Babblers, likes to babble and mumble and (b) the Concerned Listener, who mostly makes it possible for Elvis D. Trip to have conversations essentially with himself . . .



[NOTE: For those folks who are not so fascinated with particle physics, this chapter provides insights into the use of certain words that sound like other words, with the primary example being "brane", which in mathematics is an object with any number of dimensions, where our universe is a "3-brane", although whether it's "3" depends on how many dimensions one allows. It's a fascinating concept, and it borrows a few ideas from music . . . ]

". . . a string, named after vibrating musical strings, is a 1-brane; a membrane, named after vibrating membranes such as drumheads, is a 2-brane."

[SOURCE: Brane (Wikipedia) ]

This is the script for the first part of the chapter, and this makes it easier to follow the story while I am working on producing and audio-engineering the voice-overs and instruments.

"Chapter 15: The 13th Dimension"

WARFEL THE POTATO: And now the Fabulously Fabulous, Marvelously Marvelous, Wonderfully Wonderful Science Fiction Theater of the Imagination proudly presents "Extreme Gravity" the new radio play written by J. D. Evans Jr., starring Elvis D. Trip and his Traveling Troupe of Strange Voices, and featuring the musical stylings of Milford Whittle and his Finger Puppet Marching Band, with sua sponte silly announcements by Warfel the Potato.

We continue with Chapter 15: The 13th Dimension . . .

ELVIS D. TRIP: The 13th Dimension exists in the gaps and spaces between the lower dimensions.

Most hotels and high-rise skyscrapers have 13th floors, but they are hidden from the general public.

You can get to the 13th floor on many elevators by pressing the 6th and 7th buttons simultaneously.

The 13th floor usually is reserved for visitors from Another World—the Aliens From Outer Space.

WARFEL THE POTATO: We interrupt this broadcast for a special announcement. Funding for Chapter 15 is provided by the law firm of Billete, Billete, and Billete, LLC. Additional funding is provided by the The Foundation for the Furtherance of Frivolity and Folly. We now return to the regular broadcast in progress.

ELVIS D. TRIP: While physicists and cosmologists have known of the existence of Dark Matter for some time, it’s only recently they have learned Dark Matter actually is the foundation or fabric of the strongest force which we now call Gravity; and this force pervades the universe and exists in the 13th dimension, which primarily is the reason it has not been observed and is not so easily recorded and studied.

In the early 21st Century, Prof. Alphonse Twittle of the Institute for Advanced Physics and Modern Dance made the exciting discovery that Dark Matter actually is Gravity and that it pervades the universe, and is everywhere, yet is nowhere, all at the same time, at least in a paradoxical way, which makes no sense unless you are a professional—or at least a skilled amateur—dancer.

When asked how he made this realization Prof. Alphonse Twittle simply said:

PROF. ALPHONSE TWITTLE: It appeared to me as if in a dream. It was very interesting to say the least.

I was sitting on a bench under a clothes line while my underpants were drying when suddenly for no reason at all that made any sense to anybody, my underpants fell and landed upon my head at which time I had the epiphany that, well, maybe Gravity is what keeps our underpants from falling all way through the Earth to the Underworld or someplace “down there”.

This is the way I explained it at the convention to the group of Academy delegates; and afterward when donut holes and coffee were being served, I entertained the group by doing impressions of Babblers.

[Babblers babbling]

It’s like the Big Lever: When you push it forward, time moves ahead; when you pull it back, time reverses; and there you are—where you were and where you will be.

It’s quite thoroughly special.

ELVIS D. TRIP: Monsieur Mongo the Marquis of Moonlight Mirth could be heard in the Big Room making mumbling sounds and much mirth.

[Monsieur Mongo the Marquis of Moonlight Mirth babbles and mumbles]

ELVIS D. TRIP: Gravity is the playground of planets, stars, and your underpants.

Without Gravity and the 13th Dimension, there would no planets, no stars, and no underpants.

1, 2, 3, the Cartesian Dimensions; 4, the Time Dimension; 5, the Mathematical 4th Dimension; 6, 7, 8, 9, 10, 11, the Calibi Yau Brane; 12, the Einstein Dimension; and 13, the Dark Matter Dimension.

CONCERNED LISTENER: Are you telling me we have been deceived?

ELVIS D. TRIP: Oh my goodness, do you mean me when I was in my special mood?

CONCERNED LISTENER: No, I’m just trying to make sense of all this.

ELVIS D. TRIP: Well, you don’t need to be snippy.

Bokra and Suzanne, Melvin Piffle [not his real name], and Prof. Darkstone were listening to this on their Universatone Galactic Radios with the Universatone Super Deluxe Broadcaster Master Microphones, and had the same idea at the same time, which was not only a coincidence but also a fact.

On a far distant planet, Lolla Waigi and the Imperial Director were listening and were having much excitement and many ideas, most of which made sense only to themselves.

Somewhere else in a magical ballroom floating among the clouds, Darla Trivit the Brain-O was taunting Junior Director Jack Cavants with her Sexy Dance; and on Another World, the Protectors were watching in the background as there was increasing activity among the Shadows and their Shadow Wheels that might indicate gearing up to retrieve Phrog the Munificent and his five Novices, who after being exposed to isolated time threads in the Deep Room were ready to become Time Thread Pilots.

©2024 RAE Multimedia. All Rights Reserved.

Lots of FUN!

I finished the script for "Chapter 15: The 13th Dimension" and composed the music . . . :)

THOUGHTS

This chapter introduces a few new characters: (a) the Wiggles who are the species for whom Ramunculus the Overlord of the 13th Dimension is the ruler, (b) the Concerned Listener, and (c) Monsieur Mongo the Marquis of Moonlight Mirth . . .

I plan to add a few more instruments and foley sounds . . .

[NOTE: This is mixed for listening with studio-quality headphones like SONY MDR-7506. There are stereo effects, motion effects, and echoes . . . ]



This chapter recalls some of the characters and concepts from earlier chapters, but there are more characters, of course . . .

Chapter 15: The 13th Dimension

WARFEL THE POTATO: And now the Fabulously Fabulous, Marvelously Marvelous, Wonderfully Wonderful Science Fiction Theater of the Imagination proudly presents "Extreme Gravity", the new radio play written by J. D. Evans Jr., starring Elvis D. Trip and his Traveling Troupe of Strange Voices, and featuring the musical stylings of Milford Whittle and his Finger Puppet Marching Band, with sua sponte silly announcements by Warfel the Potato.

We continue with Chapter 15: The 13th Dimension . . .

ELVIS D. TRIP: Like the 13th Floor, the 13th Dimension exists in the gaps and spaces between the lower dimensions.

Most hotels and high-rise skyscrapers have 13th floors, but they are hidden from the general public.

You can get to the 13th floor on many elevators by pressing the 6th and 7th buttons simultaneously.

The 13th floor usually is reserved for visitors from Another World—the Aliens From Outer Space.

Similarly, the 13th Dimension is reserved for Ramunculus the Overlord of the 13th Dimension and his species, the Wiggles, who like their name are best known for creating spaces between things, which colloquially is called "Wiggle Room".

WARFEL THE POTATO: We interrupt this broadcast for a special announcement. Funding for Chapter 15 is provided by the law firm of Billete, Billete, and Billete, LLC. Additional funding is provided by the The Foundation for the Furtherance of Frivolity and Folly. We now return to the regular broadcast in progress.

ELVIS D. TRIP: While physicists and cosmologists have known of the existence of Dark Matter for some time, it’s only recently they have learned Dark Matter actually is the foundation or fabric of the strongest force which we now call Gravity; and this force pervades the universe and exists in the 13th dimension which primarily is the reason it has not been observed and is not so easily recorded and studied.

In the early 21st Century, Prof. Alphonse Twittle of the Institute for Advanced Physics and Modern Dance made the exciting discovery that Dark Matter actually is Gravity and that it pervades the universe, and is everywhere, yet is nowhere, all at the same time, at least in a paradoxical way, which makes no sense unless you are a professional—or at least a skilled amateur—dancer.

When asked how he made this realization Prof. Alphonse Twittle simply said:

PROF. ALPHONSE TWITTLE: It appeared to me as if in a dream. It was very interesting to say the least.

I was sitting on a bench under a clothes line while my underpants were drying when suddenly for no reason at all that made any sense to anybody, my underpants fell and landed upon my head at which time I had the epiphany that, well, maybe Gravity is what keeps our underpants from falling all way through the Earth to the Underworld or someplace “down there”.

This is the way I explained it at the convention to the group of Academy delegates; and afterward when donut holes and coffee were being served, I entertained the group by doing impressions of Babblers.

[Babblers babbling]

It’s like the Big Lever: When you push it forward, time moves ahead; when you pull it back, time reverses; and there you are—where you were and where you will be.

It’s quite thoroughly special.

ELVIS D. TRIP: Monsieur Mongo the Marquis of Moonlight Mirth could be heard in the Big Room making mumbling sounds and much mirth.

[Monsieur Mongo the Marquis of Moonlight Mirth mumbles]

ELVIS D. TRIP: Gravity is the playground of planets, stars, and your underpants.

Without Gravity and the 13th Dimension, there would no planets, no stars, and no underpants.

1, 2, 3, the Cartesian Dimensions; 4, the Time Dimension; 5, the Mathematical 4th Dimension; 6, 7, 8, 9, 10, 11, the Calibi Yau Brane; 12, the Einstein Dimension; and 13, the Dark Matter Dimension.

CONCERNED LISTENER: Are you telling me we have been deceived?

ELVIS D. TRIP: Oh my goodness, do you mean me when I was in my special mood?

CONCERNED LISTENER: No, I’m just trying to make sense of all this.

ELVIS D. TRIP: Well, you don’t need to be snippy.

Bokra and Suzanne, Melvin Piffle [not his real name], and Prof. Darkstone were listening to this on their Universatone Galactic Radios with the Universatone Super Deluxe Broadcaster Master Microphones, and had the same idea at the same time, which was not only a coincidence but also a fact.

On a far distant planet, Lolla Waigi and the Imperial Director were listening and were having much excitement and many ideas, most of which made sense only to themselves.

Somewhere else in a magical ballroom floating among clouds, Darla Trivit the Brain-O was taunting Junior Director Jack Cavants with her Sexy Dance; and on Another World, the Protectors were watching in the background as there was increasing activity among the Shadows and their Shadow Wheels that might indicate gearing up to retrieve Phrog the Munificent and his five Novices, who after being exposed to isolated time threads in the Deep Room were ready to become Time Thread Pilots.

Like Ramunculus and the Wiggles, Phrog the Munificent is able to navigate and travel in the 13th Dimension and to use the various time threads found there as Gravity Tunnels, the Wornholes that connect different parts of the Universe for rapid movement from one location to another, similar to the Space Time Tunnel maintained by Ogly Nogly.

In the early-20th Century, Albert Einstein predicted the existence of Gravity Tunnels, although at the time their existence only was theorized but not proved.

It was over a century later before Monsieur Mongo the Marquis of Moonlight Mirth was given plans by the Aliens From Outer Space for a Gravity Tunnel Ship like the Beautiful High Heel Slippers with Open Toes and Cute Ankle Straps used Ogly Nogly and his evil twin Ylgon Ylgo to travel in and around the Space Time Tunnel.

Monsieur Mongo transcribed the engineering drawings and sold copies of the drawings to well-funded planets and galactic conglomerates, which over time led to vastly increased commerce and the spread of Moonlight Mirth, a condition experts and scholars have described best as "feeling happy in a silly way", although contrary to its name, it does not require a moon, light, or moonlight.

Using some of his vast wealth, Monsieur Mongo created a beverage called "Moonlight Mirth" and began selling it in phallic-shaped glass bottles, mostly because Mongo has a distinctly Freudian sense of humor.

"Once you try a bubbly bottle of Moonlight Mirth, you will never go back to classic soda pop".

You thought the real thing was the king of pops, but you just didn't know.

WARFEL THE POTATO: And thus ends the 15th chapter of Extreme Gravity: "The 13th Dimension".

Stay tuned for the next chapter: "Lolla Waigi and the Imperial Director".

This has been brought to you by the Fabulously Fabulous Marvelously Marvelous Wonderfully Wonderful Science Fiction Theater of the Imagination.

I'm Warfel the Potato. Good night!

©2024 RAE Multimedia. All Rights Reserved.

Lots of FUN!

P. S. This is so easy to do entirely n Studio One Professional 6.6 that I have done two complete chapters in about two weeks, more or less . . .

Once I discovered I can import tracks from previous chapters, it's easier to revisit sounds and music in new chapters . . .

Due to the Epilogue or Outro of each current chapter referring to the next chapter, I usually have a few ideas for future chapters, even when it's only a title . . .

Whether I will be able to do a chapter per week is another matter, but if they are 10 minutes in duration or thereabout, I suppose it's possible, which is fabulous . . .

Fabulous!

I finished the prototype for "Chapter 16: Lolla Waigi and the Imperial Director" . . .

THOUGHTS

This is a prototype--mostly for the voice of Lolla Waigi, which I am doing by starting with a slow baritone in Audacity; doubling the speed; export as a WAV audio file; importing to Studio One Professional 6.6; editing with Melodyne (Celemony) to double the pitch; and then doing some producing and audio engineering . . .

The first few audio clips are not so clear, but after doing the procedure a few more times, I think the last audio clip of Lolla Waigi is better . . .

I could do it with Realivox Blue (RealiTone), but it takes longer, although it sounds more obviously female . . .

I added Realivox Blue singing "la, la, la" in the background for Lolla Waigi, so that helps a bit . . .

My current thinking is that "ducking" might be the key to hearing Lolla Waigi clearly; and I need to refine the doubling and pitch modification in Melodyne . . .

[NOTE: This is mixed for listening with studio-quality headphones or Apple AirPods Pro . . . ]



[NOTE: Until I develop a new voice for the Imperial Director, he apparently is a hillbilly, which I think is funny, hence I might let him be a hillbilly. The voice is similar to the voice for Prof. Dave Darkstone from a previous chapter. Only Nogly has a new voice, as well . . . ]

"Chapter 16: Lolla Waigi and the Imperial Director"

WARFEL THE POTATO: And now the Fabulously Fabulous, Marvelously Marvelous, Wonderfully Wonderful, Science Fiction Theater of the Imagination proudly presents "Extreme Gravity" the new radio play written by J. D. Evans Jr., starring Elvis D. Trip and his Traveling Troupe of Strange Voices, and featuring the musical stylings of Milford Whittle and his Finger Puppet Marching Band, with sua sponte silly announcements by Warfel the Potato.

We continue with “Chapter 16: Lolla Waigi and the Imperial Director” . . .

ELVIS D. TRIP: Lolla Waigi began life as a water lily in a small pond in the Land of Down Under or Australia as it is commonly known.

She enjoyed being a water lily but like Pinocchio the Wooden Boy, Lolla longed to be a Little Girl and to have arms, legs, and a proper nose so she could explore the entire world, even the parts where there was no water.

Lolla thought about this dream nearly constantly and in fact thought about it with such intensity that Ogly Nogly the Keeper of the Space Time Tunnel heard her little dreams and decided to make them come true. 

Ogly Nogly had authorities and powers as Keeper of the Space Time Tunnel and Proprietor of the Owner's Manual in the Glove Compartment of the Beautiful Black High-Heel Slipper with an Open Toe and a Cute Ankle Strap; and among these authorities and powers was the ability to make certain dreams come true.

When he decided to be a Dream Maker, Ogly Nogly only had to think about the dream and play a few notes with his Magical Clacking Sticks and Dream Diggerido, which he did.

No sooner than you could blink an eye, Lolla Waigi the Water Lily transformed into a Little Girl and was very happy, with this happiness lasting for several days and weeks until, as was the case, Lolla Waigi once again became a Water Lily, much to her initial dismay.

As he always did, Ogly Nogly was keeping an eye on his latest Dream and immediately appeared before Lolla Waigi and told her the Water Lily phase would last a while but not so long, really, and that it was a necessary aspect of her new life as a Water Lily Girl.

Ogly Nogly explained the rule by saying:


OGLY NOGLY: For many days and weeks at a time, you will be a Little Girl and then after a while a Young Woman, but the way Dreams work in the Space Time Tunnel always makes it necessary to revert to your true self so there are no confusions; and this is when you will revert to being a Water Lily for another while.

As part of this, you now have special powers and talents which include being able to Mindspeak and to communicate with smells and olfactory sensations. You also are allowed certain types of motions which will enable you to move even when you are in your Water Lily phase.

ELVIS D. TRIP: Lolla Waigi was pleased and very happy overall and soon began exploring her new abilities when she was in her Water Lily phase.

One of the first things she did was to create magical perfumes which for lack of a better name she called “Magical Perfumes”, and these Magical Perfumes soon filled the area around the small pond where she enjoyed visiting when she was in her plant phase.

Over the years, Lolla Waigi grew into a Woman and improved her fragrance and perfume making skills when she was in her Water Lily phase until one day she was having a grand time making recently concocted fragrances and perfumes that soon pervaded the area around the small pond.

Around this time, as it was a nice sunny day, the Imperial Director was taking a stroll by the small pond and began smelling what he thought were wonderful flower perfumes.

Intrigued immensely by his, the Imperial Director thought to himself:

IMPERIAL DIRECTOR: If this were the perfume of a woman, I would want her to be around me constantly.

ELVIS D. TRIP: As if she were hearing the words with ears--which unlike their Corn cousins, Water Lilies did not have--Lolla Waigi replied:

LOLLA WAIGI: You are smelling my perfume, and it’s telling you "nice sunny day".

ELVIS D. TRIP: The Imperial Director was surprised and responded:

IMPERIAL DIRECTOR: How wonderful! If I might inquire, where are you, and more importantly what are you?

ELVIS D. TRIP: Lolla Waigi heard this and replied:

LOLLA WAIGI: I am a Water Lily, and right now I am over here in the small pond.

IMPERIAL DIRECTOR: Oh yes, I see you now. What a wonderful perfume you have.

LOLLA WAIGI: All the better to entice you.

IMPERIAL DIRECTOR: Consider me enticed completely and totally.

LOLLA WAIGI: If you are looking for a consort, when I am in my female human phase I can be a lot of FUN, but you need to provide a container of water and some soil for me when I am in my plant phase. It can be a small container, but it needs water and soil.

IMPERIAL DIRECTOR: I can do that, and as I do not have a consort currently, you can be my new consort, if you agree, of course.

LOLLA WAIGI: I agree, so get a small container with water and soil for me, and we can go somewhere you want to go, as I know you do.


ELVIS D. TRIP: The Imperial Director said a few words into his Miniature Universatone Galactic Radio with the Miniature Universatone Galactic Broadcaster Master Microphone and quicker than a Neapolitan Solar Flash, a suitably small container with water and soil appeared.

The Imperial director waded into the small pond and scooped Lolla Waigi into the small and quite suitable container with water and soil; and then the two of them left the small pond and the Imperial Director held Lolla Waigi’s small and quite suitable container with water, soil, and Lolla Waigi herself and then started a conversation.

IMPERIAL DIRECTOR: I have a very nice palace, and that’s where we are going.

I think you will like it, and I have a room which will be very suitable, since it’s private and well-protected.

ELVIS D. TRIP: Lolla Waigi responded with the release of a particularly exciting fragrance, and the Imperial Director increased his walking and then started running.

Soon, the Imperial Director and Lolla Waigi were in the Imperial Director’s palace and the room where he and Lolla Waigi were going to be spending a lot of time.

IMPERIAL DIRECTOR: This is our room, and I hope you find it suitable.

ELVIS D. TRIP: To the extent she could survey room using her Water Lily senses, Lolla Waigi decided the room was very good and would do nicely for whatever the Imperial Director had in mind, which Lolla Waigi was beginning to suspect.

The Imperial Director remarked the room had a high ceiling and windows that let the sunlight shine when the curtains where open, and Lolla Waigi observed that in her plant phase she needed plenty of sunlight.

It was around this time that Lolla Waigi suddenly became a Woman and was able to stroll around the room and notice even more things.

LOLLA WAIGI: I like this room and all the cushions and sofas. It’s a very comfortable place, and I see there are happy beverages and food.

IMPERIAL DIRECTOR: I have the finest beverages and food, and I like to spend time in this room lounging and having happy thoughts like the one I am having now.

LOLLA WAIGI: What happy thought are you having now, Imperial Director?

ELVIS D. TRIP: The Imperial Director told Lolla Waigi about the happy thought he was having, and Lolla Waigi was as enthused about it as she was excited, because from the perspective a Water Lily, too much could not be said or imagined about the activities involved in creating new Water Lillies.

This was a new activity for both the Imperial Director and Lolla Waigi—at least with a human and a Water Lily in its human phase—but they proceeded and soon got the hang of it, so to speak.

The more excited Lolla Waigi became, the more fragrances and perfumes she exuded, and this greatly enticed the Imperial Director.

As the saying goes, this was a match made in Heaven—specifically by Ogly Nogly, the Beautiful Black High-Heel Slipper with Open Toe and Cute Ankle Strap, and it’s Glove Compartment Owner’s Manual with the extra page marked “This page intentionally left blank”--the page that Ylgon Ylgo desired so strongly to read but never was able to read.

Ogly Nogly was pleased with its work, and the Imperial Director and Lolla Waigi were busy making Water Lily babies.

WARFEL THE POTATO: And thus ends the 16th chapter of Extreme Gravity: “Lolla Waigi and the Imperial Director".

Stay tuned for the next chapter: “Much Ado About Something".

This has been brought to you by the Fabulously Fabulous, Marvelously Marvelous, Wonderfully Wonderful, Science Fiction Theater of the Imagination.

I'm Warfel the Potato. Good night!

©2024 RAE Multimedia. All Rights Reserved.

Lots of FUN!

I did the prototype for the first part of "Chapter 17: Much Ado About Something" . . .

THOUGHTS

This is the first part of the story, and the instruments are simple, other than in the Intro, so mostly are kick drums, snare drums, Gibson EB-0 electric bass, and a Hammond B-3 Organ . . .

I plan to add more instruments and some foley sounds . . .

[NOTE: This is mixed for listening with studio-quality headphones or Apple AirPods Pro . . . ]

"Chapter 17: Much Ado About Something"

WARFEL THE POTATO: And now the Fabulously Fabulous, Marvelously Marvelous, Wonderfully Wonderful, Science Fiction Theater of the Imagination proudly presents "Extreme Gravity" the new radio play written by J. D. Evans Jr., starring Elvis D. Trip and his Traveling Troupe of Strange Voices, and featuring the musical stylings of Milford Whittle and his Finger Puppet Marching Band, with sua sponte silly announcements by Warfel the Potato.

We continue with “Chapter 17: Much Ado About Something” . . .

ELVIS D. TRIP: On the Asteroid, Lancelot L. E. Dee who went by the moniker "Flashlight" was suiting up and getting ready to step into the Containment Area of the Fusion Reactor that provides vast quantities of electric power to the Gravity Generator--the propulsion drive that was being built to enable moving the Asteroid to a location where the Tworcs could mine the Organic Baubles that were so highly prized by the enthusiastic customers of the Company.

The Tworcs like to sing songs and to twerk when mining the Organic Baubles, which were like pomegranate seeds at various locations inside the Asteroid and tasted like licorice jelly beans.

The Organic Baubles had the valuable affect of extending lifespans and were one of the ways the Company funded its various activities.

This made the Asteroid and its Organic Baubles very important to the Company and its well-funded customers, and the Company did everything possible to ensure the safety and security of the Asteroid by providing military support by its military travel service, Dream Nine, which was led by Brain-O leader Floda Reltih and mostly used Brain-Os for piloting the Dream Nine warships and other activities.

Brain-Os were the brains of older Company executives who when their bodies were exhausted became brains living in Mirrored Stlassic Spheres, a type of super strong steel which usually was clear and transparent like glass but could be masked and even made invisible, as necessary.

The Brain-O sphere which looked like a big and quite surreal soap bubble provided life support, perceptual interfaces, propulsion, and weapons systems for the brain it housed and was treated with the utmost fear and respect by non-Brain-O plebeians and other folks and entities who were not so fortunate to be Brain-Os, if becoming a Brain-O was considered to be good fortune.

The Fusion Reactor was the latest version in a centuries long line of fusion reactors and was a true marvel of engineering and physics but recently became to be very interesting, if not compellingly interesting, to a group of ethereal entities colloquially called "Angels" from the 13th Dimension who enjoyed congregating inside the Containment Area of the Fusion Reactor where they essentially fed on large quantities of energy, which in turn lowered the overall electrical output of the Fusion Reactor.

Lancelot L. E. Dee, or "Flashlight" as he was known, specialized in encouraging the Angels to leave the Containment Area of the Fusion Reactor and consequently was a handsomely paid technician and recognized expert in his field.

Flashlight donned his protective suit and was getting ready to enter the Containment Area with his various equipment before the Fusion Reactor was activated, where the strategy first was to hold a sign reading, "Attention Angels: Nothing here, so go away!" and then using various musical devices to make sounds that the Angels would find to be a bit too dominating and surreal, most of which were a cacophony of Disco sounds. Instrumental Surf music, and Latin percussion from 1980s Earth.

Unlike Phrog the Munificient, the Shadows, Ramunculus and the Wiggles, Ogly Nogly, Bokra and Suzanne, the Tworcs, and certain of the Brain-Os, the Angles did not share this love for Disco, Instrumental Surf music, and Latin percussion, hence if the sign declaring "Attention Angels: Nothing here, so go away!" did not encourage the Angels to get out of the Containment Area, then the music and sounds certainly would be sufficient encouragement for this purpose.

As Flashlight was fond of saying at times, apparently to justify his activities:

FLASHLIGHT: It's a job and somebody needs to do it.

ELVIS D. TRIP: One of the benefits of controlling the Angels for Flashlight is that the Tworcs gave Flashlight some of the Organic Baubles they mined as their way of showing gratitude for Flashlight's important work in making it possible for Asteroids filled with Organic Baubles to be moved into the region of spacetime where the Tworcs existed and were able to do the required mining.

It was a mutually beneficial relationship, and Flashlight was glad to have the business and the Organic Baubles.

Bokra and Suzanne were on the Asteroid supervising the activities; and Ramunculus the Overlord of the 13th Dimension, Melvin Piffle [not his real name] Director of the Pretend FBI, and Prof. Dave Darkstone were monitoring the event, with the latter two doing this with their Univerastone Galactic Radios and Universatone Super Deluxe Broadcaster Master Microphones.

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Lots of FUN!

I added some sequencers from UVI and did some drumkit enhancements, arranging, producing, and audio engineering . . .

THOUGHTS

UVI has some nice synthesizers that combine several instruments to create what might be described as 1980s Disco . . .

They are played in Studio One with single whole-notes once the desired preset is selected . . .

It's a bit lazy, since everything already is programmed in the presets, but so what . . .

[NOTE: This is mixed for listening with studio-quality headphones and Apple AirPods Pro ear buds . . . ]



I need to write the script for the second half and to compose a silly "work song" for the Tworcs to sing, as well as adding more instruments and foley sounds . . .

Lots of FUN!