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Technology & Information / OpenBSD 6.7
« on: May 24, 2020, 05:57:36 AM »
OpenBSD 6.7 was released this week. See the full release announcement for the (many, many) improvements made. Aside from the usual incremental progress, the main ones I'm interested in are the adoption of FFS2 as the default filesystem on most platforms, and extra hardware support, particularly for newer Intel Wi-Fi chips and the Pinebook Pro.

I decided to throw a fresh install of 6.7 on my Pine A64+ board. Here's the dmesg:

Code: [Select]
OpenBSD 6.7 (GENERIC.MP) #1: Sat May 16 15:59:24 MDT 2020
real mem  = 2015719424 (1922MB)
avail mem = 1923706880 (1834MB)
mainbus0 at root: Pine64+
cpu0 at mainbus0 mpidr 0: ARM Cortex-A53 r0p4
cpu0: 32KB 64b/line 2-way L1 VIPT I-cache, 32KB 64b/line 4-way L1 D-cache
cpu0: 512KB 64b/line 16-way L2 cache
efi0 at mainbus0: UEFI 2.8
efi0: Das U-Boot rev 0x20200100
apm0 at mainbus0
psci0 at mainbus0: PSCI 1.1, SMCCC 1.1
"display-engine" at mainbus0 not configured
"osc24M_clk" at mainbus0 not configured
"osc32k_clk" at mainbus0 not configured
"internal-osc-clk" at mainbus0 not configured
"sound_spdif" at mainbus0 not configured
"spdif-out" at mainbus0 not configured
agtimer0 at mainbus0: tick rate 24000 KHz
simplebus0 at mainbus0: "soc"
sxisyscon0 at simplebus0
sxisid0 at simplebus0
sxiccmu0 at simplebus0
sxipio0 at simplebus0: 103 pins
ampintc0 at simplebus0 nirq 224, ncpu 4 ipi: 0, 1: "interrupt-controller"
sxirtc0 at simplebus0
sxiccmu1 at simplebus0
sxipio1 at simplebus0: 13 pins
sxirsb0 at simplebus0
axppmic0 at sxirsb0 addr 0x3a3: AXP803
"de2" at simplebus0 not configured
"dma-controller" at simplebus0 not configured
"lcd-controller" at simplebus0 not configured
"lcd-controller" at simplebus0 not configured
sximmc0 at simplebus0
sdmmc0 at sximmc0: 4-bit, sd high-speed, mmc high-speed, dma
"usb" at simplebus0 not configured
"phy" at simplebus0 not configured
ehci0 at simplebus0
usb0 at ehci0: USB revision 2.0
uhub0 at usb0 configuration 1 interface 0 "Generic EHCI root hub" rev 2.00/1.00 addr 1
ohci0 at simplebus0: version 1.0
ehci1 at simplebus0
usb1 at ehci1: USB revision 2.0
uhub1 at usb1 configuration 1 interface 0 "Generic EHCI root hub" rev 2.00/1.00 addr 1
ohci1 at simplebus0: version 1.0
com0 at simplebus0sxiccmu_ccu_reset: 0x0000002e
: ns16550, no working fifo
com0: console
sxitwi0 at simplebus0
iic0 at sxitwi0
dwxe0 at simplebus0: address 69:69:69:69:69:69
rgephy0 at dwxe0 phy 1: RTL8169S/8110S/8211 PHY, rev. 5
"hdmi" at simplebus0 not configured
"hdmi-phy" at simplebus0 not configured
"interrupt-controller" at simplebus0 not configured
sxidog0 at simplebus0
gpio0 at sxipio0: 32 pins
gpio1 at sxipio0: 32 pins
gpio2 at sxipio0: 32 pins
gpio3 at sxipio0: 32 pins
gpio4 at sxipio0: 32 pins
gpio5 at sxipio0: 32 pins
gpio6 at sxipio0: 32 pins
gpio7 at sxipio0: 32 pins
gpio8 at sxipio1: 32 pins
usb2 at ohci0: USB revision 1.0
uhub2 at usb2 configuration 1 interface 0 "Generic OHCI root hub" rev 1.00/1.00 addr 1
usb3 at ohci1: USB revision 1.0
uhub3 at usb3 configuration 1 interface 0 "Generic OHCI root hub" rev 1.00/1.00 addr 1
"hdmi-connector" at mainbus0 not configured
"binman" at mainbus0 not configured
cpu1 at mainbus0 mpidr 1: ARM Cortex-A53 r0p4
cpu1: 32KB 64b/line 2-way L1 VIPT I-cache, 32KB 64b/line 4-way L1 D-cache
cpu1: 512KB 64b/line 16-way L2 cache
cpu2 at mainbus0 mpidr 2: ARM Cortex-A53 r0p4
cpu2: 32KB 64b/line 2-way L1 VIPT I-cache, 32KB 64b/line 4-way L1 D-cache
cpu2: 512KB 64b/line 16-way L2 cache
cpu3 at mainbus0 mpidr 3: ARM Cortex-A53 r0p4
cpu3: 32KB 64b/line 2-way L1 VIPT I-cache, 32KB 64b/line 4-way L1 D-cache
cpu3: 512KB 64b/line 16-way L2 cache
scsibus0 at sdmmc0: 2 targets, initiator 0
sd0 at scsibus0 targ 1 lun 0: <SD/MMC, SL16G, 0080> removable
sd0: 15193MB, 512 bytes/sector, 31116288 sectors
vscsi0 at root
scsibus1 at vscsi0: 256 targets
softraid0 at root
scsibus2 at softraid0: 256 targets
bootfile: sd0a:/bsd
boot device: sd0
root on sd0a (d366cdda941f826a.a) swap on sd0b dump on sd0b
WARNING: bad clock chip time

Arts & Entertainment / Re: Star Citizen
« on: May 23, 2020, 04:39:17 PM »
<Rushy> okay so rubberts decided to delete most of my ships
<Rushy> I can fly an Avenger or a Hammerhead
<Rushy> the rest of my ships are gone...

Philosophy, Religion & Society / Re: Political compass
« on: May 22, 2020, 09:23:36 PM »
Well, I appear to have bounced back somewhat.

And a little more. I didn't really notice I was drifting left again.

Tuesday, 27 February, 1979
The Ahoy, Rotterdam


Frank Zappa (guitar, vocals)
Ike Willis (guitar, vocals)
Denny Walley (guitar, vocals)
Warren Cuccurullo (guitar)
Tommy Mars (keyboards)
Peter Wolf (keyboards)
Ed Mann (percussion)
Arthur Barrow (bass)
Vinnie Colaiuta (drums)

Set lists

All tracks authored by Frank Zappa, except where noted.

Treacherous Cretins
Dead Girls Of London (Zappa, L. Shankar)
I Ain't Got No Heart
Brown Shoes Don't Make It
Cosmik Debris
Tryin' To Grow A Chin
City Of Tiny Lights
Dancin' Fool
Easy Meat
Jumbo Go Away
Inca Roads
Florentine Pogen
Honey, Don't You Want A Man Like Me?
Keep It Greasey
The Meek Shall Inherit Nothing
For The Young Sophisticate
Wet T-Shirt Nite
Why Does It Hurt When I Pee?
Peaches En Regalia
Don't Eat The Yellow Snow
Nanook Rubs It
St Alfonzo's Pancake Breakfast
Father O'Blivion

Watermelon In Easter Hay


What a tour this was. Featuring a brand new rhythm section with Vinnie and Arthur, packing the punch of last year's keyboardists and percussionist, and introducing Ike and Denny on vocals, this is one hell of a band. Denny performed with Zappa previously in 1975, and he's back with his signature slide guitar solos and even inspiration for a new song (Jumbo Go Away). Furthermore, the set list is a great mix of oldies we haven't seen in a while (Easy Meat, Yellow Snow), new songs (Dead Girls, Meek) and the staples left over from the other '70s tours. This is the last of the Hans Devente tapes, and also the best sounding one, save for some level fluctuations. Thank you once more, Hans.

The show opens with the band noodling about over excerpts from Läther played over the PA system, which builds the appropriate tension to be resolved by the opening notes of Treacherous Cretins—performed in 11/4 here, unlike the 4/4 version on Shut Up 'n' Play Yer Guitar. As usual for this tour, and for the rest of Zappa's career, the opening number is an instrumental guitar solo vehicle preceding any spoken or sung words. Tonight's Cretins solo carries the majesty expected of a late '70s Zappa solo, being on par with the Shut Up version (from London a week prior).

The band intros are done, as always for this tour, over the "Diseases Of The Band" vamp from Stage, vol. 1. Frank welcomes everyone to "our little Dutch festival", but otherwise the intros are routine, and as usual, introduces "Warren Cuccurullo on guitar" as a way of prompting Warren to pick up the intro to Dead Girls Of London. This version of Dead Girls is played much slower than the one on Stage, vol. 5, and Denny's slide guitar gives it a much bluesier feel than Steve Vai's performance on the aforementioned album release. I like this one a lot.

Next we get a string of oldies, which shows off this band's penchant for doing justice to the classics. No Heart is much tighter than we've heard it in a very long time, but that's just a taste of things to come. This is the band that gave us the Tinsel Town Rebellion version of Brown Shoes Don't Make It, and the incredibly tight segues between the various weird themes in this piece were a nightly occurrence.

The local mutations are always welcome variety, and are moderately entertaining for tonight. After "TV tonight", Frank comments "that's right, watch the VPRO", referring to a public broadcaster in the Netherlands. We also learn that Frank's daughter gets smothered in chocolate syrup "in the great Dutch tradition". This performance is flawless as always, and this piece alone justifies this band's existence.

Brown Shoes segues into Cosmik Debris, which is this year's first disappointment. For one thing, the solo section that was a blank page for the band to sculpt on in 1974 has turned into a Warren Cuccurullo solo, and I'm sorry to say it, but he simply isn't a very good soloist. For another, the "I wrapped a newspaper 'round my head" part has been transformed into hard rock, which always irritated me about later versions of this song. You can't win 'em all, I suppose.

The band then turns to some Sheik Yerbouti songs. Denny has taken over vocal duties on Tryin' To Grow A Chin, but remembers the lyrics tonight, thus depriving us of the Wooly Bully mutations that are the only thing that made this tour's Chins worthwhile (cf. Stage, vol. 1). Tiny Lights has both vocals and a slide guitar solo from Denny, which helps to make this terribly monotonous vamp less dull. Finally, we get to sleep through a bog-standard rendition of Dancin' Fool, bolstered only by Vinnie's incredibly precise drumming through the fast bits.

And then it's Easy Meat time. That's right, you heard right, this song that hasn't shown its face since 1970 is back! It hasn't changed much, except that the guitar solo is much better this time around. This is the tour that gave us Ask Dr Stupid on Trance-Fusion, which is from Eppelheim the following month, and while this solo isn't as good as that one, it does come with all the usual perks of a '79 Zappa solo.

Jumbo Go Away is the second (or third, depending on whether you count Cretins) new song for the evening. This is a song about Denny being chased after by a fat groupie in Kalamazoo, Michigan, and it's played much slower on this tour than the version that wound up on You Are What You Is. This song is actually quite mind-numbing to listen to at this tempo and without the overdubs on the album, so the main highlights are the fast instrumental section in the middle, and the segue into Andy.

This heralds the beginning of three-part medley of One Size Fits All classics. As soon as the main riff from Andy kicks in, you know you're in for a good time. Ike does a remarkably good job of the lead vocal in this number, hinting at great things in years to come. Vinnie, of course, holds the complexity of this piece together as the glue of this band. Unfortunately, Frank neglects to solo, instead having Warren just perform the solo from the album, an oversight that would be more than compensated for in 1988.

The rickety segue into Inca Roads and Ike struggling with the vocal melody are more than overshadowed by the guitar extravaganza to come. This tour produced some of the best Inca solos of all time, of which eight have been officially released on six different albums. Tonight's solo is one of the greats, of the same calibre as the four Inca solos to be found on Shut Up 'n' Play Yer Guitar, and best of all it isn't officially released, meaning this tape is the only way to hear it. Frank plays with so many different ideas, and the band follows him through so many different grooves, that I can't really summarise what this 7-minute solo is like. You'll just have to listen and find out.

As always for this tour, the keyboard solo has been excised from Inca, instead segueing into Florentine Pogen where the solo should be. The second half of Pogen on Stage, vol. 4 is from this tour, and it never really deviated much from that performance, but is still a treat to hear, and this band more than does this classic justice.

The segue into Honey, Don't You Want A Man Like Me? is very smooth, and brings us crashing back down to 1979. What follows is a set of new songs, mostly to be released on Joe's Garage. There are relatively few surprises from these tunes. The Meek is played much slower (of course) and with more slide guitar from Denny (of course). Sophisticate is much more enjoyable here than on Tinsel Town Rebellion, mostly because Warren's guitar is much less prominent in the mix. Wet T-Shirt Nite is always a treat to hear live, this tour being the only time it ever saw the light of day.

Peaches is the "Peaches III" arrangement from Tinsel Town Rebellion, and every bit as delightful as on that album. And then, out of the chaos that ends Peaches, we have the Yellow Snow vamp. This tour is responsible for the Yellow Snow performance on Stage, vol. 1, and that is representative of this version, except that this one lacks the poetry recital.

We do get the usual audience participation, but when Frank tells the audience to stand up, the sound on the tape suddenly becomes very muffled for a while. Frank compliments someone in the audience on her tits, before explaining how to help injure the fur trapper. Thankfully, everyone sits down before too long and I can hear the conclusion of the main set properly.

The encore opens with a flawless rendition of Montana, except that Frank has taken the drastic step of cutting the guitar solo right out, in a set list with precious few solos as it is. Frank then introduces Watermelon In Easter Hay, saying "people aren't usually supposed to play new songs for encores, but what the hey, you can take it". For this I am eternally grateful, as Watermelon was never bad, and tonight's solo is as gorgeous as ever. Most beautiful closer of the thread yet.

This tape is worth getting for the outstanding Inca Roads guitar solo alone. Other than that brief moment of joyous insanity and the beautiful Watermelon closer, this is a fairly routine concert, let down by the '79 tour's rigid set lists with few opportunities for improvisation. Also, this would be Vinnie Colaiuta's only ever performance with Zappa in the Netherlands, for what that's worth. Frank spent the second half of 1979 building his home recording studio, and it would be near the middle of 1980 before he got back on the road. See you soon for the first of the '80s shows.

Monday, 13 February, 1978
The Ahoy, Rotterdam


Frank Zappa (guitar, vocals)
Adrian Belew (guitar, vocals)
Tommy Mars (keyboards, vocals)
Peter Wolf (keyboards)
Ed Mann (percussion, vocals)
Patrick O'Hearn (bass, vocals)
Terry Bozzio (drums, vocals)

Set lists

Revenge Of The Knick Knack People (over PA)
The Purple Lagoon
Dancin' Fool
Peaches En Regalia
The Torture Never Stops
Tryin' To Grow A Chin
City Of Tiny Lights
Baby Snakes
Pound For A Brown
I Have Been In You
Broken Hearts Are For Assholes
King Kong

Watermelon In Easter Hay
Wild Love
Yo' Mama
Titties 'n' Beer
The Black Page
Jones Crusher
Little House I Used To Live In (incl. The Sheik Yerbouti Tango)
Dong Work For Yuda
Bobby Brown
Drum solo
Disco Boy
Building A Girl

Dinah-Moe Humm
Camarillo Brillo
Muffin Man


Now this is pod racing. This show is from the tour that gave us most of the material on Sheik Yerbouti, being just two nights before "Rat Tomago" and "The Sheik Yerbouti Tango" (from The Torture Never Stops and Little House I Used To Live In, respectively) were recorded in Berlin. As such, you'll excuse me if I refer you to Sheik Yerbouti where these performances don't differ from that album. The band has some new faces, of which Tommy and Ed would continue to perform with Zappa for many years to come, and Adrian and Peter aren't too shabby themselves. And, once again, we owe thanks to Hans Devente for recording this concert, although it's of somewhat lesser quality than the previous two—The Ahoy was well known for its echo (but more on that in 1982).

The show begins with excerpts from Knick Knack People, played over the PA system, followed by the same Purple Lagoon intro as last year. Frank wastes no time with the intros tonight, going through them quickly to get straight into the first new Sheik Yerbouti number of the evening, Dancin' Fool. Nothing out of the ordinary happens in this song, as usual.

Peaches is livened up by the presence of Tommy, Peter and Ed (how could it not be?), and just as last night, it leads into Torture. This is the arrangement of Torture from Stage, vol. 1 (which is from a couple of weeks later in Neunkirchen am Brand), complete with Chattanooga Choo Choo quote just before the third verse. Now, I love Chattanooga Choo Choo, and its appearance in this song would only herald ever greater things as time went on, but that's a topic for a future review.

Frank's Torture solo starts out as sinister and foreboding as always for this tour. It's more bluesy than Rat Tomago and more melodic than the one on Stage, vol. 1, but just as awe-inspiring as either, and Terry's drumming is right there under Frank the whole way. For me, no tour before or since produced such masterful Torture solos, and while this isn't the best I've heard, it's still iets waar je "u" tegen zegt, to borrow a local expression.

What follows is, unsurprisingly, the Sheik Yerbouti arrangements of Tryin' To Grow A Chin, City Of Tiny Lights and Baby Snakes. Terry's vocal variations in Chin, Frank's solo in City and SMPTE standing for "Suck My Pee-pee Towards the End" are all that distinguish this run from the album. Speaking of Frank's solo, this one is a lot better than the album version, as was sadly often the case in the days before he bought his recording truck—most guitar solos on albums were taken from performances in cities where he could rent professional recording equipment.

Pound For A Brown gives us a brief diversion from the familiar material, along with the first ever Peter Wolf solo in the Netherlands. It's impossible to describe the unique keyboard style of Peter, so I won't even try. Instead, I will say that this is every bit as awesome as the track "Pound For A Brown (Solos 1978)" on Stage, vol. 4, but completely different. Tommy Mars gives us the second solo here, just as on that album, but tonight his solo doesn't quite live up to Peter's.

"You guys speak good English or what? Not? Okay, just the song then." Most beautiful words I've ever heard. Frank spares us the "Is That Guy Kidding Or What?" monologue and dives straight into I Have Been In You, which is enough to make this my favourite show of the tour. This is, naturally, the start of another run of Sheik songs, continuing through Flakes and Broken Hearts. Personally, these are some of my favourite songs on that album, so I don't mind this bit all that much. Oh, and Flakes has a nice little keyboard solo that didn't make it onto the album. I can't tell which keyboardist it is, though.

Broken Hearts has grown its "I knew you'd be surprised" ending for this tour, which provides a segue into King Kong. It's nice to hear this song again, having last appeared in Dutch set lists in 1970. Here, it simply serves as a vehicle for a percussion solo from Ed, which is as pleasant as a percussion solo can be. The accompaniment gradually drops off and the solo abruptly ends with some vocal weirdness, before Frank announces that "there will be an intermission so that they can make you drink things". Okay then.

Post-intermission, the tape cuts in with the first notes of the very first Dutch performance of Watermelon In Easter Hay. I've never met a Watermelon I didn't like, and these early '70s Watermelons produced such gorgeous solos that I couldn't possibly begin to describe this one. The Joe's Garage version gives a good indication, but this one is just as beautiful in its own unique way.

We get another couple of Sheik songs next, but with a twist. Wild Love is cut depressingly short on the album, having typically included solos when performed live. After the drum fill that leads into Yo' Mama on the album, we get another round of the guitar riff that follows the Sinister Footwear section, followed by a new vamp with a guitar solo from Adrian (I think—it doesn't sound to me like Frank). It's a really weird solo, though, and it sounds like it's intentionally in a slightly different key from the backing vamp. In fact, these noises are so strange that I can't be certain it isn't a synth set up to sound like a guitar.

This solo leads into the opening beat to Yo' Mama as we know and love it. I love the Yo' Mama solo on Sheik Yerbouti, so believe me when I say that this one gives it a run for its money. It sounds a lot like Heidelberg from One Shot Deal, which is also a Yo' Mama extract, in the sense that Frank picks up a regular beat a couple of minutes in and the audience claps along, producing one of the bluesiest guitar workouts I've heard from this period of Frank's career. The segue back from the blues jam into the Yo' Mama theme is a little awkward, but when the band kicks back into that theme at full power, it's more majestic than words can describe.

Titties 'n' Beer is the harmless entertainer it always is, and for my money, this year's is better than last year's. And, as usual for this tour, Frank introduces his audience participation over the Titties vamp at the end. We also get a lecture about how The Ahoy is run by "a bunch of mercenary assholes", who wanted to charge Zappa $3500 if he wouldn't put an intermission in for the audience to buy beer. "As bad as New York", according to Frank.

We don't get a dance contest in The Black Page, unlike in some shows, but he encourages the audience to clap along, and the piece itself is as enjoyable as ever. This is the "Black Page #2" variant with a disco beat. And, of course, we get the classic segue into Jones Crusher, and this is the full-blown Jones Crusher as on Sheik Yerbouti, not the mess from last year.

Frank's guitar outro from Jones Crusher segues masterfully, of course, into the Little House theme. This brings more solos, starting with the customary piano solo with scat from Tommy. If you've heard one of these '78 Little Houses, you have an idea of what this sounds like, and if you haven't, I could not describe it to you. Tommy quickly moves on from the piano to his signature polytonic synths, giving us what sounds like a full brass section from one man's finger.

Tommy rounds off his solo with some fooling around on the organ based around the main Little House theme, which serves as little more than a segue into the "Sheik Yerbouti Tango" section. Now, this is not the Sheik Yerbouti Tango from the album, but it is the same vamp, with many of the same ideas in the solo, and every bit as delicious. Finally, we have another round of organ/synth madness leading back into the main piano theme, which segues into...

Dong Work For Yuda. This tune has grown some instrumentation since last year's a cappella rendition, but it's not the same instrumentation as we know from Joe's Garage, instead sounding like a blend of '50s R&B and '40s big band. Unfortunately, Frank takes over the Bald-Headed John impersonation from Terry, and doesn't do as good a job of it. Oh well.

Bobby Brown brings the usual moment of disappointment, as it fails to be any different from any other version. But we do get an early version of Envelopes, with lyrics sung by Tommy, unsurprisingly about sex. The real treat here is that Envelopes, rather than ending as it usually does, blends straight into a Terry drum solo. He's lost all restraint since last year, assaulting that drum kit like it's threatening his life. There's also some weird synth noise over Terry's drumming, and I'm not sure if Terry is playing a synth himself or not, but it adds an extra dimension to the whole thing. This is one incredible solo, possibly my favourite Terry solo I've heard yet.

Terry's solo leads into the imbecilic beat of Disco Boy, which sounds no different than ever. This serves as a coda to the main set, with Frank doing the band outros over the Disco Boy vamp, before conducting the band through a performance of Building A Girl to finish. I can think of better closers, but I'm willing to forgive Frank this indiscretion for the rest of this near-flawless concert.

"Alright, let's rock. The name of this song is Dinah-Moe Humm." Oh, no. Not this. Please, anything but this. Aaaaaarghhhhhhhhhhh.

"Oh never mind, we'll do another song, the name of this song is Camarillo Brillo." Thank you, Frank. This is the Baby Snakes arrangement of this song, played faster than usual, except for the final reprise of the second verse, played at half speed. I cannot get enough of this song, and the segue into Muffin Man is the icing on the cake. Tonight's Muffin Man solo is a decent effort, but fails to really go anywhere, leaving the listener yearning for the incredible Yo' Mama an hour earlier. Oh well, encores are supposed to be crowd-pleasers, I suppose.

This is, without a doubt, Zappa's best concert since the "vloerbedekking" show of 1971—and I'm still undecided as to whether this bests even that beast. I'd say this is slightly less worth hearing than last year's show, but only because so much of the material here is much like that on Sheik Yerbouti. The unique highlights, particularly Yo' Mama, Little House and Terry's drum solo, make it very much worthwhile in its own right. And let's face it, this is the Bozzio era at its peak. Next year will be a whole new rhythm section with a whole new set list. See you then, FES.

Saturday, 5 February, 1977
Jaap Edenhal, Amsterdam


Frank Zappa (guitar, vocals)
Ray White (cowbell, guitar, vocals)
Eddie Jobson (keyboards, violin)
Patrick O'Hearn (bass, new purple boots)
Terry Bozzio (drums, vocals)

Set lists

The Purple Lagoon
Peaches En Regalia
The Torture Never Stops
Big Leg Emma
City Of Tiny Lights
Pound For A Brown
Jones Crusher
My Guitar Wants To Kill Your Mama
Tryin' To Grow A Chin
Broken Hearts Are For Assholes (q: Little Deuce Coupe)
Dong Work For Yuda
Manx Needs Women
Titties 'n' Beer
Black Napkins

Dinah-Moe Humm

Cruising For Burgers
Willie The Pimp


This year brings another small group, with new bassist Patrick O'Hearn and new vocalist Ray White—both some of Zappa's most highly regarded musicians—being very welcome additions. Eddie Jobson has taken André's spot on keys, but also would not last for very long. This band is also noteworthy for Frank not being the only guitarist, the beginning of a gradual trend for him to stop playing rhythm guitar and instead act solely as bandleader when not soloing. This is another Hans Devente recording, and it's nice to have consistently good (if not terrific) tapes at this point.

The show opens with a lovely minute or so of quiet noises from various instruments noodling about. The first piece proper is The Purple Lagoon, but this is essentially just the band repeating the main theme as a backing for Frank to come on stage and introduce each performer. He's in a good mood tonight, introducing Patrick as being on "bass and new purple boots".

Peaches En Regalia rears its head in the Netherlands for the first time since the Flo & Eddie era, and this version is necessarily very different, being performed by such a tiny band. It's not at all bad, but this song always suited larger groups better, and Eddie doesn't seem entirely comfortable with the fast keyboard parts.

Peaches segues nicely into Torture, and this year's Torture couldn't be more markedly different from last year's. This sounds a lot more like the studio version, with the exception of a more prominent guitar solo in the middle. The solo is something in between the Zoot Allures and Stage, vol. 1 renditions—Zappa's solos always tended to be more interesting live than in the studio, but this tune has not yet reached the frenetic peaks it would in 1978.

Big Leg Emma rears its head for the first time in a decade, and is the harmless ditty it always is. I love this dumb little song. Anyway, that leads into the Dutch première of City Of Tiny Lights, sung (as it was always sung best) by the world famous Ray White. This piece is still new, and a little rough around the edges, but I dig it.

Tiny Lights does not yet have the solo vamp we know and love from Sheik Yerbouti. Instead, Ray White takes first solo—complete with his signature scat—over the same vamp as the verses. It's a really good solo, too, with Ray already showing off the chops he would put to good use in years to come. Next we have a bass solo from Patrick, and if you have heard Patrick play, this should need no description. For those of you who have not heard Patrick play, he is one of the most talented bass soloists I have ever heard. Even this, which is not one of his best efforts, is still a formidable performance.

Surprisingly, Patrick's solo leads straight back into the post-solo guitar theme, and we don't get a Frank solo in this song tonight. This feels like something is missing to me, but maybe I'm just used to this tune's later status as one of Frank's staple solo vehicles. In any case, Ray's vocal performance on the final verse more than makes up for this, and blows the Sheik Yerbouti version right out of the water (sorry, Adrian).

Tiny Lights leads, as it would continue to do until 1988, into Pound For A Brown, which, as always, is merely an excuse for more solos wrapped in a basic melody. Frank takes first slot, and unusually, he solos over the 7/8 vamp from the main theme rather than switching to 4/4. He starts out very quiet and reflective, but this solo goes on for a solid 5 minutes, and he gradually builds up into an orgasmic frenzy. Not an outstanding effort, but not a bad one either.

The second Pound solo for tonight is a drum solo, which starts out following the 7/8 vamp for a few bars, but quickly switches to... whatever it is Terry feels like doing. This is a very dramatic one, with Terry leaving lots of quiet moments in between his frenzied attacks on his drum kit. A satisfying affair that drops us into Jones Crusher.

A very, very strange version of Jones Crusher. The bridge sounds like the version on Sheik Yerbouti, but the verse and chorus are much more rudimentary, with minimal accompaniment as someone croaks an attempt at a vocal performance. I'm sorry to say that I think it's Ray, and I wish it weren't, because this is clearly a song looking for a band that can perform it adequately.

Three minutes of confusion later, Frank picks up the guitar and begins playing a neat little solo with no accompaniment. This turns out to be an improvised (and very satisfying) intro to a brand new arrangement of My Guitar Wants To Kill Your Mama. After two whole minutes of getting dirty from the alley with his guitar, Frank starts vamping and the band joins in with the lyrics. The vamp this tour is really funky, with lots of fun little guitar licks from Frank to add a bit of colour. I have never heard this arrangement of this song before, and it may already be my favourite. Why the hell isn't this officially released? Riddle me this, Frank.

Terry gets his Dutch lead vocal début in Tryin' To Grow A Chin, which is played as always—but slow as on Läther, not fast as on Sheik Yerbouti. Broken Hearts follows, again with a tempo to match that on Läther. Tonight's lyrical variations inform us, among other things, that the little sailor has herpes. The song ends with a refrain of "Little Poop Chute", sung to the tune of "Little Deuce Coupe", which is a highlight that sadly never made it onto any official release of this tune.

We now have a tune played faster than normal for a change—an a cappella version of Dong Work For Yuda. For a band with only three vocalists, the harmonies here are fantastic, and Terry's Bald-Headed John impression cracks me up as always. "How you like my promoter, he's very extinct."

Manx Needs Women, though brief, is the rhythm section workout it always is. It couldn't contrast better with the dumb lyrics of the several tunes that preceded it. And, continuing Frank's expert contrast and relief for this show, it segues into the opening vamp of the Dutch première of Titties 'n' Beer, an eternal classic.

The first four minutes or so of Titties 'n' Beer never changed, but then it becomes a blank page for Frank and Terry to exchange wits to their hearts' content. Tonight's version is mostly just Frank talking to himself, but it manages to be entertaining in a dumb sort of way that only Zappa could pull off.

"And the name of this song is Black Napkins", and by golly, he's right. From the very first chord, you just know this is going to be a beast, and at nearly 15 minutes long, this is the longest song of the night. Eddie takes the first solo on violin, beginning in the slow and heartfelt manner that every good Black Napkins does, and leading up into something more... transcendent. This is one of hell of a solo that I can't really describe, but believe me that it sets a new bar for what is already a fantastic concert.

Eddie's solo alone takes up 5 minutes, and then Frank starts plucking at his strings. It's the kind of subtle string-plucking that tells you right from the get-go that he's going to work up to something great, but he'll be taking his time on the way. But he doesn't even attempt to reach the same heights as Eddie, instead taking the road less travelled by, and delivering the goods on something very contemplative but nevertheless satisfying, before leading us seamlessly back into the melody.

Frank continues teasing us with bits of improv throughout the Black Napkins outro, before saying farewell and conducting to the band into a very sudden and dissonant, yet somehow still very final, conclusion to the song. The main set ends all too soon for my liking, given the incredible performance tonight.

"Well because you've been such a wonderful audience tonight, we're going to play one of the most beautiful melodies ever written." This is Frank's eccentric way of heralding the Dutch première of Dinah-Moe Humm, by far his most overplayed song, whose popularity far exceeds its comedic value. You'll excuse me if I take a moment here to contemplate why I ever decided to begin this thread.

Right, that existential crisis has passed. Sorry about that. Anyway, the second encore begins with "a song from the Uncle Meat album", Cruising For Burgers. This is the instrumental arrangement as found on Zappa In New York, complete with a fantastic solo from Frank. Tonight's solo takes a turn for the eccentric, with Frank playing on some scales that interact very strangely with this vamp. This effort gets a thumbs up from me.

Frank's guitar noodling over the ending of Cruising For Burgers turns into the Willie The Pimp vamp, and boy, what a show closer. This arrangement is a lot like the '84 one on Stage, vol. 4, with the "she's so sweet" chorus, but without the increased tempo of that later rendition. Ray's Beefheart impression in particular makes this a formidable arrangement, perhaps another new favourite of mine. Frank's last solo of the evening is also his most kickass, but far too short, heading back into a repeat of the lyrics after only about a minute. Thankfully, Ray manages to make this repetition anything but boring.

What a whopper. This incredible concert is let down only by its inclusion of Dinah-Moe Humm. I have difficulty picking out highlights because nearly every song has something unique or interesting going on, even the ones that don't quite work. The arrangements of My Guitar and Willie are unlike anything I've heard before (on the official catalogue or otherwise) and are already favourites of mine. The solos—particularly in City and Napkins—are excellent. I wasn't expecting this show to be a highlight of the thread, but I'm going to have to call this one out as a must-hear.

Technology & Information / Re: Post your XCompose file
« on: May 17, 2020, 03:59:44 PM »
Made some changes:

Code: [Select]
--- XCompose.20200517 Sun May 17 17:39:23 2020
+++ XCompose Sun May 17 17:55:19 2020
@@ -5,7 +5,6 @@
 <Multi_key> <1> <0> <0> : "💯" # 100
 <Multi_key> <o> <k> : "👌" # ok hand
-<Multi_key> <p> <o> <o> : "💩" # pile of poo
 ## IPA
@@ -21,13 +20,16 @@
 <Multi_key> <e> <a> : "ɐ" # near-open central unrounded vowel
 <Multi_key> <e> <i> : "ɘ" # close-mid central unrounded vowel
 <Multi_key> <e> <o> : "ɤ" # close-mid back unrounded vowel
+<Multi_key> <e> <y> : "ɵ" # close-mid central rounded vowel
 <Multi_key> <G> <G> : "ɢ" # voiced uvular stop
 <Multi_key> <g> <h> : "ɣ" # voiced velar fricative
-<Multi_key> <g> <i> : "ɟ" # voiced palatal stop
+<Multi_key> <g> <j> : "ɟ" # voiced palatal stop
 <Multi_key> <g> <n> : "ɲ" # palatal nasal
 <Multi_key> <h> <g> : "ɦ" # breathy-voiced glottal fricative
+<Multi_key> <j> <w> : "ɥ" # labialised palatal approximant
 <Multi_key> <I> <I> : "ɪ" # near-close near-front unrounded vowel
-<Multi_key> <l> <l> : "ɫ" # velarised alveolar lateral approximant
+<Multi_key> <l> <j> : "ʎ" # palatal lateral approximant
+<Multi_key> <l> <w> : "ɫ" # velarised alveolar lateral approximant
 <Multi_key> <m> <g> : "ɱ" # labiodental nasal
 <Multi_key> <N> <N> : "ɴ" # uvular nasal
 <Multi_key> <o> <c> : "ɔ" # open-mid back rounded vowel
@@ -55,10 +57,15 @@
 ### Combining diacritics
+<Multi_key> <semicolon> <semicolon> : "̆" # extra short
 <Multi_key> <bracketleft> <bracketleft> : "̩" # syllabic
 <Multi_key> <braceleft> <braceleft> : "̍" # syllabic above
 <Multi_key> <bracketright> <bracketright> : "̯" # non-syllabic
 <Multi_key> <braceright> <braceright> : "̑" # non-syllabic above
+<Multi_key> <slash> <w> : "̝" # raised
+<Multi_key> <slash> <s> : "̞" # lowered
+<Multi_key> <slash> <a> : "̂" # falling
+<Multi_key> <slash> <d> : "̌" # rising
 <Multi_key> <d> <n> : "̪" # dental
 <Multi_key> <h> <period> : "̥" # voiceless
@@ -67,3 +74,8 @@
 <Multi_key> <colon> <colon> : "ː" # long
 <Multi_key> <apostrophe> <apostrophe> : "ˈ" # primary stress
 <Multi_key> <comma> <comma> : "ˌ" # secondary stress
+### Delimiters
+<Multi_key> <less> <less> : "⟨" # opening angle bracket
+<Multi_key> <greater> <greater> : "⟩" # closing angle bracket

Thanks to garygreen for pointing out that the poo emoji is available by default. The other changes are useful additions for notating
  • Dutch ([ɵ] is a common allophone of /ʏ/),
  • French (/ɥ/ is the pronunciation of ⟨u⟩ when it is a consonant),
  • South Slavic languages ([ʎ] is a common allophone of /l/ before /j/),
  • Irish ([ə̯̆] and [ĭ̯] are glides inserted between a front vowel and a broad consonant, and a back vowel and a slender consonant, respectively),
  • Finnish ([e̞] and [o̞] are the specific realisations of /e/ and /o/, respectively),
  • Lithuanian (/îː/ and /ǐː/ correspond to the accents ⟨ý⟩ and ⟨ỹ⟩, respectively), and
  • this list (using ⟨ and ⟩).
There are also a couple of key combination changes for consistency.

Saturday, 6 March, 1976
Jaap Edenhal, Amsterdam


Frank Zappa (guitar, vocals)
André Lewis (keyboards, vocals)
Napoleon Murphy Brock (sax, vocals)
Roy Estrada (bass, vocals)
Terry Bozzio (drums, vocals)

Set lists

Naval Aviation In Art? (over PA)
Incan Intro
Stinkfoot (incl. The Poodle Lecture)
Dirty Love
Filthy Habits
How Could I Be Such A Fool?
I Ain't Got No Heart
I'm Not Satisfied
Black Napkins
Advance Romance
Honey, Don't You Want A Man Like Me?
The Illinois Enema Bandit
The Torture Never Stops
Chunga's Revenge
Zoot Allures (incl. Ship Ahoy)
Incan Outro

Camarillo Brillo
Muffin Man
Incan Outro


This is an odd little band. First of all, it's very small. Second of all, the entire band has vocal parts. Third of all, this is right about the time Frank decided to rebrand himself as a solo musician and leave the "Mothers of Invention" moniker behind. As such, this band—the last to tour as the Mothers—consists of a weird mix of an original Mother (Roy), a '70s Mother (Napoleon), a new drummer best known for his later work on Zappa's solo albums (Terry) and the token never-seen-on-any-other-tour band member for the year (André). This eclectic assortment of musicians was captured on tape by one Hans Devente, a Dutch local responsible for every recording from 1976 until 1979 that I will be reviewing, and to whom we must be eternally grateful for his dedication in taping these historic concerts.

The show opens, as always for this tour, with the studio version of Naval Aviation In Art being played over the PA system. Over the end of Naval Aviation, Napoleon speaks some gibberish, which leads into a slow, one-chord rendition of the Inca Roads post-solo guitar theme. This segues into a very bare-bones (as is everything with this band) rendition of Stinkfoot, played at a faster tempo than usual, making it feel like quite a different piece from the one we know and love.

There are several things to be said about this breed of Stinkfoot. First, we get a nice squeaky sax solo from Napoleon in the "arf arf arf" section. Second, Frank's guitar solo never failed to be awesome in any Stinkfoot ever. Third, this Stinkfoot brings us the Dutch première of the Poodle Lecture, which gets a few chuckles out of the audience, as it did out of me the first time I heard it. This Poodle Lecture is made a little different by Napoleon's sax fills, but it isn't any funnier.

Dirty Love is as harmless as ever, but then we have the Dutch première of Filthy Habits, and an 11-minute version of it to boot. Napoleon's sax again manages to make this piece sound less sinister than more familiar versions, but no less powerful. The reason for the length of this version is, as usual with early versions of Zappa tunes, that we get more solos. André gives us a synth solo first, which starts out fairly bland—at first, I was convinced I wouldn't like it—but he ramps up into some lovely weird noises I can't begin to describe, which eventually leads us into Frank's solo.

Speaking of Frank's solo, the first part is a lot like the one on Sleep Dirt, albeit a bit less demonesque. This is unsurprising, as the studio recording of this piece came just a couple of months after this concert. But there's a second part that we don't get on the album—the band shifts from the well known 5/4 vamp into a completely new groove in 3/8, and Frank turns on a flanger effect and delivers a much more delicate and reflective performance. It's nice to hear, but ultimately leads nowhere, which is probably why he dropped it before too long.

Ever the master of contrast, Frank has the band segue from the dramatic ending of Filthy Habits into a medley of harmless Freak Out! ditties, renewed with the vocal talents of Napoleon. This version of How Could I Be Such A Fool? is particularly good, managing to capture the almost-sincere parody of the original perfectly while also being a solid rocker. I Ain't Got No Heart has been gifted a tasty guitar outro from Frank, which leads us into I'm Not Satisfied, itself little but a bridge into Black Napkins.

Black Napkins is one of the most requested songs at Zappa's shows—but more on that in 12 years. This is the tour from which the official release on Zoot Allures is cut (from the Osaka show during Zappa's only ever tour of Japan the previous month), but that official release does not do this monster justice. This is a 13-minute extravaganza with lengthy solos from both Napoleon and Frank. And holy shit, this is the most empassioned performance I have ever heard from Napoleon, with none of his usual weird squeaks—just several minutes of the most delicate doots of the decade. Honestly, I was not expecting something this good, and I thought I knew this band. Wow.

Frank's effort couldn't be more of a contrast. He outdoes Napoleon in perhaps the only way possible—by undercutting him in every regard and delivering a laid back, yet beautiful melody, reminiscent of Pink Napkins on Shut Up 'n' Play Yer Guitar (which is from February the following year). Slowly, very slowly, he builds up into something more like the solo we know and love from Zoot Allures. And this is why the official release does not do this piece justice—what you hear on that record is just a tiny fragment of what was really performed by this band, night after night.

Advance Romance is another 13 minutes of mostly solos. Frank leads us into the meat of this number with "look what she did to André tonight, honestly now", and what follows is either a clavinet or very distorted electric piano solo, building up into a frenzy with what sounds to me like a Moog. Whatever is producing these noises, it's a very different beast from the Bongo Fury version, with André's weird, occasionally dissonant, synths sounding almost out of place over Terry's distinctive heavy drumming style.

Naturally, Frank takes second place, once again beginning very quiet and introspective, feeling almost formulaic by this point in the show. But then, suddenly out of nowhere, he turns his overdrive up to 11 and remembers how to play the blues. What follows may be the most hard-hitting guitar solo of this entire thread so far, and certainly of this evening.

The segue into Honey, Don't You Want A Man Like Me? is really weird, with Napoleon wailing uncontrollably over the intro. The song itself also feels really skeletal, with Napoleon and Frank carrying most of the vocal duties, with support from the rest of the band (I'm pretty sure it's Roy doing the "my name is Betty" line in his inimitable falsetto). It is also played quite a bit faster than other versions, even beating the '84 band for once.

Next comes another Dutch première, the tragic true story of Michael Kenyon, with an extended 4-minute intro from Frank, explaining the story in excruciating detail, including the delightful little phrase "ram it up her poop chute and wiggle it around". There follow some on-stage theatrics that are obviously not preserved on this tape, but which get the audience very excited. Frank makes some more tasteless attempts at humour, but you really aren't missing much here.

The song itself sounds very peculiar. For one thing, Napoleon's voice does not suit this number. For another, it's still evidently very new, and the band seems a little uncomfortable with it at times. Of course, none of this matters when Frank picks up his guitar and delivers the goods as only a good Illinois Enema Bandit solo can. It's not a show highlight, but it does redeem this rickety early performance of this tune somewhat.

The rickety Enema Bandit segues seamlessly into a rickety early rendition of The Torture Never Stops. This version sounds, unsurprisingly, like a cross between the original version with Captain Beefheart (as heard on You Can't Do That On Stage Anymore, vol. 4) and the later guitar monsters (as heard on Stage, vol. 1). Frank takes the lead vocal, as he would for every performance from here on out, but the feel is still a lot more like it was played with Beefheart.

The Torture guitar solo is a mixture of generic Frank guitar playing and flanger oddness. It's not bad, but with the hindsight of the monster this would become in a couple of years, it simply fails to impress. With Terry's drumming, this actually sounds more like a Punky's Whips solo than a Torture solo to my ear.

After "that's what's the deal we're dealing in", the band launches into the classic opening riff of Chunga's Revenge, but get this—it's played faster than usual. So fast, indeed, that we're already into the solos before a minute has passed, with Napoleon taking the first slot. This band somehow avoids becoming repetitive even with the small number of soloists, with Napoleon's effort here being completely different from his solo in Black Napkins. For one thing, the much faster vamp forces a different feel upon him, but he also takes it upon himself to add more of his signature squeaks and squeals. A satisfying contrast.

Solo number two is Roy doing some vocal ad libs over a basic drum beat. In other words, a somewhat more structured version of Gas Mask. The words are about Ms Pinky, which was being composed about this time, but I think I prefer Roy's improvised lyrics here to Frank's. An unexpected highlight. Towards the end, Frank begins strumming his guitar over Roy's performance, resulting in a neat live cross-fade into the next solo.

The next solo is André again, and I'm beginning to understand why Frank didn't keep him around very long. It's certainly a good solo, it just sounds an awful lot like his other solos this evening. Kind of reminds me of the famous '84 volcano solos, just the same thing night after night.

Then we get the tour de force of this band. The band quickly runs through the Chunga's riff once more, by way of a segue into Terry's solo. A drum solo appeared in this spot every night, and the version from Osaka last month is available on Stage, vol. 3 as "Hands With A Hammer". I think I prefer the Osaka effort to this one, but this ain't bad, and as always it segues into a perfect rendition of Zoot Allures.

This is the pinnacle of Zoot Allures. It's not overly produced as on the album version, and it's not overly instrumented as in the '80s. It's just Frank playing his heart out over minimal accompaniment from what may be his smallest ever touring ensemble. The feedback over these chords emanating from the guitar master's six strings of steel tells a story deeper than any orchestra ever could.

Zoot Allures rounds off with a guitar solo, and for my money, this is the highlight of the evening. Not as sinister as on Filthy Habits, not as beautiful as on Black Napkins, not as in-your-face as on Advance Romance, but none of that matters here. This is just Frank doing what he does best, with only minimal predefined structure, as the band follows his lead.

And then, the finale. The icing on the cake. I am, of course, referring to Ship Ahoy, which was played as a coda to Zoot Allures for every show of this tour. This version is short, but no less sweet than the one on Shut Up 'n' Play Yer Guitar. Simply perfection, to be appreciated as a glass of fine whisky.

The encore is short and simple, consisting of the Camarillo Brillo/Muffin Man pairing that would continue to be an item through to 1984. Roy's falsetto makes Camarillo Brillo even nicer than usual, and Frank kicks ass for one last time tonight in his disappointingly short Muffin Man solo, before the Mothers walk off stage for the last time. The next Zappa band to show up in Amsterdam would be rebranded as a Zappa solo tour.

I'll be honest with you. This show has a lot in common with FZ:OZ (recorded just two months prior), so if you aren't a fan of that album, you may want to steer clear. But in this reviewer's opinion, this tape is well worth seeking out if you want more of that kind of thing, or just more great solos, especially from Napoleon and Frank. Particular highlights are Black Napkins and the closing Chunga's Revenge/Zoot Allures medley. But other than that, it's a (relative) low point between the incredible 1974 Mothers and the much more focused tours of the next couple of years. In short: good, but there's better stuff out there.

Don't forget that cosmic rays travel in all directions, there will be some of them travelling towards the accelerating Earth as well as those in the opposite direction. how would we measure the relative velocities?


I didn’t avoid.  I answered that under certain circumstances it would be reasonable to assume your hypothetical car was maintained a constant speed.

The circumstances were given in the hypothetical. You chose to ignore the hypothetical and provide an answer to a different question. You did not answer the question I asked.

If you predict how long it would take you to overtake the cars without taking acceleration into account and that prediction turned out to be right…then yes, it would be a reasonable assumption.

If muons accelerate, the time dilation calculations that assume they don’t accelerate, wouldn’t be able to accurately predict how many survive to reach Earth’s surface.  But the calculations do accurately predict, indicating muons do not accelerate.

I notice you completely avoided answering the question. Well done.

Ok, so you are saying that the Earth is accelerating and overtaking cosmic rays that are travelling in the same direction?

I'm saying that it depends on your frame of reference. Two objects moving at 10 m s-1 relative to each other are moving in the same direction at 5 m s-1 and 15 m s-1 from one possible frame of reference, in opposite directions at 5 m s-1 from another frame of reference, and at 5 m s-1 and 15 m s-1 in the same direction (but the opposite direction to the first case) from yet another.

There is no such thing as absolute velocity, only relative velocity. This is a fundamental concept in both Newtonian and Einsteinian mechanics.

Those cars are all moving in the same direction, the Earth and the muons are travelling towards each other.

In which frame of reference?

But it doesn't really matter...the RV between the earth and one single muon at time X and one single muon at time Y, the same principle applies.

No it does not.

Suppose you are driving your car on a road. In front of you is a blue car travelling at 70 km/h, and in front of that one is a red car travelling at 90 km/h. You overtake the blue car at 80 km/h, and relative to you, it is moving backwards at 10 km/h. You then accelerate to 100 km/h and pass the red car, which is now moving backwards at 10 km/h relative to you.

Is it reasonable to assume that you were actually moving at the same speed the whole time just because you passed two other cars at the same relative speed?

I am talking about the relative velocity between two objects at two separate times. I honestly have no idea what you are talking about.

I'm not talking about anything. I am just asking you to identify for me what those two objects are. Your first attempt at responding to this involved identifying the Earth and "muons", plural. More than one muon plus the Earth is at least three objects.

Why don't we try this instead. Please identify, specifically, the two objects that you claim change relative velocity over the course of, say, a week, as it applies to the muon experiment.

The relative velocity between the earth and muons cascading at time "X" and the relative velocity between the earth and the muons cascading at time "Y".

Nope, you've identified more than two objects there. That's not what I asked for.

Please either identify two specific objects whose relative velocities change, or concede that we are talking about more than two objects.

No it contradicts UA.  If the earth was accelerating it wouldn’t be consistent.

I am just going to start typing "why?" every time you say this. It's going to save me some RSI.

You may understand how it works but you don’t understand the significance of the results

It is very difficult to understand when you don't explain yourself.

Yet again you are making this claim with zero justification. How many times do I need to ask why?

And yet again I have to explain because that is how relative velocities work.  Logic doesn’t need to be justified. If the proper velocities of moving objects change, then so do their relative velocities.  That’s either a valid conclusion or it’s not.  Perhaps you can explain why you think it is not a valid conclusion.

No, that's a diversion because that is not our point of contention. The point of contention is whether this scenario is applicable to the muon experiment.

Why don't we try this instead. Please identify, specifically, the two objects that you claim change relative velocity over the course of, say, a week, as it applies to the muon experiment.

No assumptions necessary because the velocity of muons has been directly measured and it is consistently measured at .98c.

I agree. Indeed, this is my entire position.

If the earth were accelerating that wouldn’t be the case.

Why do you think otherwise?

Because we observe otherwise. My conclusion is based directly on scientific observations, while yours is based on something that you are refusing to state for some reason.

Good to know, the stars accelerating along with the Earth is not in the Wiki anywhere I could find. Those are the kinds of details I meant when I was asking what about UA diverges from the standard model. It's hard to understand UA not knowing the context it's supposed to exist in, the Wiki is very brief on the subject.

It is stated on the wiki (emphasis mine):

Objects on the earth's surface have weight because all sufficiently massive celestial bodies are accelerating upward at the rate of 9.8 m/s^2 relative to a local observer immediately above said body.

Question, is there anything outside the Earth and a few thousand km above it? Is the rest of the universe an empty void?

This is an unsettled question in FET.

The question the recent discussion has been asking should have been "What are cosmic rays and where do they come from under UA" because until that is answered, we can't very well know what their behavior should be. If UA doesn't address that, then it's not a surprise the discussion has been going in circles for weeks. How can we explain how somethign should behave, if that something is undefined?

By starting with what we know from observations and developing a model based on that. This is why I have been asking why people have been making predictions based on assumptions which contradict observations, rather than starting with the observations and making predictions about unknowns.

So in UA, the Earth is accelerating forward at 9.8m/s.  It will fairly quickly approach and exceed the speed of the incoming cosmic rays as it moves through the galaxy.

The assumption that we are even located within a galaxy is unjustified in FET. That conclusion is based upon astronomical evidence coupled with the assumption that the Earth is round and orbits the Sun. Interpreting those same observations in the context of FET, the stars are instead located just a few thousand kilometres above the Earth.

This has nothing to do with UA specifically, this is just Flat Earth Theory, under which UA is one possibility. Of course, in the UA model, the stars accelerate along with the Earth.

3. Objects over time should be hitting faster and harder as the Earth's speed increases.

This is, once again, an assumption. "Over time", we are talking about more than one different object. You are making an assumption about their velocity relative to each other by asserting this.

This is what I would expect with a body accelerating through space. UA clearly diverges from some of the rules of physics, but can't find what those are, so I am asking for clarification.

UA does not "diverge" from any established laws of physics. You are simply refusing to state your assumptions.

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