Mr Ross Burman
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mrrossburman.bsky.social
Mr Ross Burman
@mrrossburman.bsky.social
93 followers 310 following 190 posts
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Sound Designer|Audiobook Editor|Gadabout
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mrrossburman.bsky.social
Children love to pretend to be adults... learning through play. Have you thought about:
Fisher Price, my first soul-crushing meeting set.
October 27, 2025 at 1:26 PM
mrrossburman.bsky.social
@teatles.bsky.social Have you seen this?
A raher fine tea set being utilised by a popular beat combo believed to be The Beatles.
October 13, 2025 at 2:02 PM
mrrossburman.bsky.social
No cheating. Your last saved celebrity photo is your therapist. Who is it?
Eddie/Moose, the dog from Fraiser looks back wearily at the camera.
August 3, 2025 at 7:24 AM
mrrossburman.bsky.social
You can get your own little one!
Mini Strandbeast Kit from Theo Jansen
July 28, 2025 at 5:19 PM
mrrossburman.bsky.social
@eggpod.bsky.social just stumbled across another AI Beatles: James, Peter, Gordon, Rono and Wrongo.
March 19, 2025 at 7:46 AM
mrrossburman.bsky.social
Just finished this two kilo bad bay from Christmas.
March 16, 2025 at 7:55 AM
mrrossburman.bsky.social
@eggpod.bsky.social a friend of mine posted this on FB. Thought it might be of interest…
Continuing with the theme of informed criticism, this is the celebrated article by William Mann, the chief music critic of The Times, that first treated The Beatles' musical ability with serious respect. John Lennon admitted that though, at first, he thought Mann's observations were pretentious, he later came to acknowledge the way Mann had given the group, at a stroke, a new status as artists and not just pop singers. THE SONGS THE BEATLES SANG By William Mann The Times, Dec 27th, 1963 The outstanding English composers of 1963 must seem to have been John Lennon and Paul McCartney, the talented young musicians from Liverpool whose songs have been sweeping the country since last Christmas, whether performed by their own group, the Beatles, or by the numerous other teams of English troubadours that they also supply with songs. I am not concerned here with the social phenomenon of Beatlemania, which finds expression in handbags, balloons and other articles bearing the likenesses of the loved ones, or in the hysterical screaming of young girls whenever the quartet performs in public, but with the musical phenomenon. For several decades, in fact since the decline of the music-hall, England has taken her popular songs from the United States, either directly or by mimicry. But the songs of Lennon and McCartney are distinctly indigenous in character, the most imaginative and inventive examples of a style that has been developing on Merseyside during the past few years. And there is a nice, rather flattering irony in the news that the Beatles have now become prime favourites in America, too. The strength of character in pop songs seems, and quite understandably, to be determined usually by the number of composers involved; when three or four people are required to make the original tunesmith’s work publicly presentable, it is unlikely to retain much individuality or to wear very well. The virtue of the Beatles’ repertory is that, apparently, they do it themselves; thre… Continuing with the theme of informed criticism, this is the celebrated article by William Mann, the chief music critic of The Times, that first treated The Beatles' musical ability with serious respect. John Lennon admitted that though, at first, he thought Mann's observations were pretentious, he later came to acknowledge the way Mann had given the group, at a stroke, a new status as artists and not just pop singers. THE SONGS THE BEATLES SANG By William Mann The Times, Dec 27th, 1963 The outstanding English composers of 1963 must seem to have been John Lennon and Paul McCartney, the talented young musicians from Liverpool whose songs have been sweeping the country since last Christmas, whether performed by their own group, the Beatles, or by the numerous other teams of English troubadours that they also supply with songs. I am not concerned here with the social phenomenon of Beatlemania, which finds expression in handbags, balloons and other articles bearing the likenesses of the loved ones, or in the hysterical screaming of young girls whenever the quartet performs in public, but with the musical phenomenon. For several decades, in fact since the decline of the music-hall, England has taken her popular songs from the United States, either directly or by mimicry. But the songs of Lennon and McCartney are distinctly indigenous in character, the most imaginative and inventive examples of a style that has been developing on Merseyside during the past few years. And there is a nice, rather flattering irony in the news that the Beatles have now become prime favourites in America, too. The strength of character in pop songs seems, and quite understandably, to be determined usually by the number of composers involved; when three or four people are required to make the original tunesmith’s work publicly presentable, it is unlikely to retain much individuality or to wear very well. The virtue of the Beatles’ repertory is that, apparently, they do it themselves; thre… Continuing with the theme of informed criticism, this is the celebrated article by William Mann, the chief music critic of The Times, that first treated The Beatles' musical ability with serious respect. John Lennon admitted that though, at first, he thought Mann's observations were pretentious, he later came to acknowledge the way Mann had given the group, at a stroke, a new status as artists and not just pop singers. THE SONGS THE BEATLES SANG By William Mann The Times, Dec 27th, 1963 The outstanding English composers of 1963 must seem to have been John Lennon and Paul McCartney, the talented young musicians from Liverpool whose songs have been sweeping the country since last Christmas, whether performed by their own group, the Beatles, or by the numerous other teams of English troubadours that they also supply with songs. I am not concerned here with the social phenomenon of Beatlemania, which finds expression in handbags, balloons and other articles bearing the likenesses of the loved ones, or in the hysterical screaming of young girls whenever the quartet performs in public, but with the musical phenomenon. For several decades, in fact since the decline of the music-hall, England has taken her popular songs from the United States, either directly or by mimicry. But the songs of Lennon and McCartney are distinctly indigenous in character, the most imaginative and inventive examples of a style that has been developing on Merseyside during the past few years. And there is a nice, rather flattering irony in the news that the Beatles have now become prime favourites in America, too. The strength of character in pop songs seems, and quite understandably, to be determined usually by the number of composers involved; when three or four people are required to make the original tunesmith’s work publicly presentable, it is unlikely to retain much individuality or to wear very well. The virtue of the Beatles’ repertory is that, apparently, they do it themselves; thre…
December 30, 2024 at 3:56 PM
mrrossburman.bsky.social
Just popping this here…
The Fifth Beatle. Graphic Novel about Brian Epstein.
November 11, 2024 at 7:25 AM
mrrossburman.bsky.social
@gralefrit.bsky.social your excellent tome has arrived. Is there an audiobook version? It’ll be nice to have something to listen to when I run out of Comfort Blankets.
March 10, 2024 at 4:09 PM
mrrossburman.bsky.social
December 21, 2023 at 9:56 AM