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One of the Turk’s own commanders had recently warned him that his brutality was on the verge of igniting a powder keg. Cruelty had to be calibrated; if the Turk and the Butcher pushed the Cretans too far, the entire island could erupt in waves of suicide attacks. Already the Resistance was a handful—imagine it without a shred of survival instinct.
Natural Born Heroes
Christopher McDougall
But as preoccupied as he was, when it came to Diane and Sharon, he was a doting father who sheltered them from his own fame. He enjoyed telling how six-year-old Diane had asked him if he was Walt Disney. “You know I am,” he answered. “The Walt Disney?” she questioned. When he chortled that he was, she asked for his autograph. He would chase the girls around the house, cackling like the witch from Snow White, or he would twirl them endlessly by their heels, “for hours and hours,” Diane would say, or he would stand in the swimming pool and let them climb to his shoulders. “I thought that my father was the strongest man in the world and the most fun,” Diane recalled. At night he read to them. And on the weekends, after he picked them up from church, he would take them either to Griffith Park to ride the merry-go-round or to the studio, where they would follow him as he snooped about, or pedal their bikes around the empty grounds while he worked. “They used to love to go with me in those days,” Walt would reminisce. “And that [sic] was some of the happiest days of my life. They were in love with their dad.”
Part of what makes recording studios somewhat odd, a little museum-like in spirit, is that the gear of the past is not always rendered obsolete, even as the very latest technologies are welcomed in. A Telefunken U47 microphone from the 1940s is a favorite among artists across genres. Still. A Fairchild 670 compressor from the 1950s—they can cost some thirty thousand dollars on the vintage market—is regularly used in the digital environments of today’s best commercial studios. “There is a mystical air about a Fairchild 670,” Pete Townshend has said. “Sorry, but that’s a fact.” Old technologies, mythic technologies, and the very latest gear mix together in a way that is singular to recording culture. With the shift from analog to digital recording, the mixing of old and new would be ever more conspicuous and common. Imagine an office in which individual workstations have equipment from different eras: a typewriter in one, a Macintosh from 1985 in the next, and, in the following cubicle, a MacBook Pro from 2022. It wouldn’t happen. When the new stuff comes in, the old goes out. Computers, printers, copiers. In a recording studio, because different eras of technology do come together, a common language must be found.
Deliver Me From Nowhere
Warren Zanes
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