Jimmy Page Umami: hot mics, deafening decibels, furry woofing, trebly squeals, unmusical variance, needling flux! Zeppelin was the 1494th most popular boys name and 4131st most popular girls name

The young guitarist contributed licks to some of the most important hits of modern rock 'n' roll

1. INCLUDING: 

hot mics, high-frequencies, sudden, deafening, decibel overshot yelps, roars, furry woofing, trebly whistles, dizzying squeals, unmusical electric variance, redlining tone flux, proximate over-amperage, hertz, joule, watt, candela, lumen, and lux.

1. Page's distilled session guitar hit licks ever-changing rock 'n roll, and refueling the behemoth dirigible whose unwieldy destruction was first to mind of Keith Moon, its materializing montgolfier Phoenix--freshly viable name for new group:  Led Zeppelin.
2. 
   Zeppelin was the 1494th most popular boys name and 4131st most popular girls name. In 2020 there were 112 baby boys and only 33 baby girls named Zeppelin. 1 out of every 16,352 baby boys and 1 out of every 53,062 baby girls born in 2020 are named Zeppelin.
3. Producers and musicians showing wisdom and normative aversion to overburdening cross-frequencies which needled optimally varying methodologies of separation--isolation booths to baffles. Les Paul's significant milestones in the progression and exponential advancement of audio recording and its fulminate reciprocity and ostensibly contradictory toleration of scientific interpretation, no sonic disturbance from wave-crashes, looping--alternative technical laws of nature accounted for the prohibition of experimentation.

4. The advent of electrified amplification in the beginning of the 21st century, most magnificently utilized and recognized through Tesla or Thomas Alva Edison, as Charlie Christian--without whom progress is slowed, a peerless, profligate curiosity regarding 'Flyin' Home,' is existential.

5. Before Jimmy Page was a bona fide guitar god, he was but a young upstart studio musician in London.
6. Over the course of the nineteen-sixties he striped solos with chilling textures for the crème de la crème of British Invasion groups--later for Psychedelic London.
7. Beautiful, botanically blooming, snake-charmed crescendos with equivalent distinction of the gastronomic Japanese discovery and recognized human taste within the last one-hundred years--UMAMI.
8. The unique, fermented, meaty addition of a new taste note--a craving human appreciation, hard-wired, unconscious taste consumed, or left insatiable for foods in the exciting category, finally enjoyed, understood, conceptualized, and practically used to satisfy a history whose renewal has changed the world of food and its appreciation by a wider public.
9. onset as often marked by change in genre preference--pop to jazz, hippocampus,Hippocampus is a complex brain structure embedded deep into temporal lobe.
10. It has a major role in learning and memory.
11. It is a plastic and vulnerable structure that gets damaged by a variety of stimuli.
12. Studies have shown that it also gets affected in a variety of neurological and psychiatric disorders.
13. inflated gray matter, left posterior (memory), compared to audiophile distinction in dorsal, lateral, anterior and anterior cingulate, Finally, emotion (5) is conveyed by music through the activation of striatal, limbic and frontal cortices (striatum, Amygdala, Hipp, cingulate and orbitofrontal cortices).
14. The processing of musical emotions involves the reward system, mostly when positive emotional arousal is triggered by the predicted resolution of musical uncertainty (Gold et al., 2019;Salimpoor et al., 2009;Zatorre and Salimpoor, 2013) and an extensive network which complexity may be due to the variability of internal (relative to felt emotions) and external (relative to music construction) emotions that are evoked by music.
15. It involves, anterior Hipp, amygdala, auditory cortex, ventral (with accumbens nucleus, NAcc) and dorsal striatum, medial and lateral OFC, medial PFC, ACC, anterior insula, pre-supplementary motor area, rostral cingulate zone, medio-dorsal thalamus, cerebellum, motor areas… (Janata, 2015;Koelsch, 2018;Vuilleumier and Trost, 2015;Wang and Agius, 2018;Zatorre and Salimpoor, 2013).
16. ...posterior parietal cortex, medial orbito and frontal pole neural signatures underlie direct salient signals, The salience network is a collection of regions of the brain that select which stimuli are deserving of our attention.
17. The network has key nodes in the insular cortex and is critical for detecting behaviorally relevant stimuli and for coordinating the brain's neural resources in response to these stimuli.Salience describes how prominent or emotionally striking something is.
18. If an element seems to jump out from its environment, it's salient.
19. If it blends into the background and takes a while to find, it's not.
20. Salience Bias states that the brain prefers to pay attention to salient elements of an experience.mental states related to musical memory and emotional response--abnormal searching for music toward the “…more abstract indulgent valuation that music represents”.
21. Odors have been shown to elicit highly emotional memories, as well as alter emotions and induce moods.
22. A critical challenge for the uniqueness of olfactory emotional potency is a stimulus with perceived inherent emotional quality.
23. Music and paintings are such stimuli.
24. Notably, olfactory experiences are distinguished from auditory and visual experience by limited verbal representation.
25. It was therefore speculated that weak linguistic representation might be responsible for the emotional potency of odors; and therefore if verbal fluency were controlled for, odor-evoked associations would lose their emotional distinctiveness.
26. To test this hypothesis and assess the emotionality and quality of experiences and associations evoked by odors, music and paintings, two experiments were conducted.
27. In Experiment 1 subjects assessed moderately familiar odors and music, and in Experiment 2 subjects assessed highly abstract (unfamiliar/unnamable) odors, music, and paintings.
28. Rating scale and questionnaire (subjective) and numbers of labels, memories, and heart-rate changes (objective) measures were obtained.
29. Results revealed that, in both experiments, heart rate was consistently higher in response to odors than to music and paintings.
30. It was also found that verbal fluency did not affect the emotionality of experiences to odors.
31. Additionally, subjective and objective measures of emotional arousal were not related for any stimulus type, and despite objectively measured evidence to the contrary, subjects believed that music was able to affect their emotions and moods more than were odors and paintings.
32. The present results show that 1) odors are more emotionally arousing than other aesthetic sensory stimuli, 2) language does not mediate this effect, and 3) objective and subjective aspects of aesthetic perception are not necessarily correlated.
33. cognitive reward seeks less high degrees of emotional price.
34. artistry relates to psychokinetic or pattern FTLD patients neural reality to fast onset music obsession and memory and emotion.
35. Music ranks among the best human pleasure.
36. It consistently engages the reward system, and convergence evidence implies it exploits predictions to do both prediction confirmation and errors essential for understanding one's surroundings, and music offers many interacting patterns across multiple timescales.
37. Learning models counsel these outcomes, i.e., intermediate quality, optimize reduction of uncertainty to gratify enjoyable impact.
38. nonetheless evidence of the same pattern in music is mixed, hampered by capricious measures of complexity.
39. In gift studies, we applied well-validated info-theoretic exteroception expectation to consistently measure 2 key aspects of musical complexity: predictability (operationalized information content, IC), and uncertainty (entropy).
40. In Study 1, we evaluated how these properties affect musical preferences in forty three male feminine participants; in Study two, we replicated Study one in an independent sample of twenty seven people and assessed the contribution of veridical--the degree to which something, such as a knowledge structure, is veridical; the degree to which an experience, perception, or interpretation accurately represents reality--certainty by presenting an equivalent stimuli seven times, discovered important quadratic effects of IC and entropy on feeling that outperformed linear effects, indicating reliable preferences for music of intermediate complexity, an interaction between IC and entropy further steered preferences for additional uncertain contexts, which would facilitate uncertainty reduction, repetition, stimuli remittent ratings failed to disrupt the preference for intermediate complexity.
41. Together, these findings support long-hypothesized optimal zones of predictability and uncertainty in musical pleasure with formal modeling, relating the pleasure of music attentive to intrinsic reward of learning.
42. Music is ubiquitous across human cultures — as a source of affective and pleasurable experience, moving each physically and emotionally — and learning to play music shapes both brain structure and processing in the brain — particularly, the perception of melody, harmony and rhythm — traditionally studied as an exteroception.
43. Sensitivity to stimuli that are outside the body, resulting from the response of specialized sensory cells called exteroceptors to objects and occurrences in the external environment.
44. Exteroception includes the five senses of sight, smell, hearing, touch, and taste, and exteroceptors thus take a variety of forms (e.g., photoreceptors—retinal rods and cones—for sight; cutaneous receptors—Pacinian corpuscles, Meissner’s corpuscles, Merkel’s tactile disks—for touch).
45. phenomenon exploitation passive listening paradigms.
46. However, when being attentive to music, we actively generate predictions concerning what is probably to happen next.
47. Scientists reveal new ‘most dangerous’ personality type A new “dangerous” character trait dubbed “dark empathy” has been identified by scientists — but do you possess it? Recent research has found that individuals who boast dark personality traits, such as narcissism, can still retain high levels of cognitive and affective empathy.
48. The study, recently published in Personality and Individual Differences, identifies these types of people as “dark empaths.” Empathy can be broken up into three categories: cognitive, which describes the intellectual understanding of someone else’s feelings without sensing them; affective, or feeling someone else’s emotions as your own; or compassionate, a combination of cognitive and emotional empathy.
49. Individuals are considered dark empaths when they possess cognitive and/or affective empathy as well as characteristics from the “dark triad” — a collective term for three dark personality traits: Machiavellianism, psychopathy and narcissism.
50. Traditionally, researchers have found that those with darker characteristics are often associated with a lack of empathy.
51. A new type of character trait has been uncovered called “dark empathy.” 
52. And while this new data, which the researchers gathered from a group of 1,000 individuals, certainly reinforces that assertion, it also indicates a strong presence for the dark empath group.
53. “As expected, we found a traditional dark triad group with low scores in empathy (about 13 percent of the sample).
54. We also found a group with lower to average levels across all traits (about 34 percent were ‘typicals’) and a group with low dark traits and high levels of empathy (about 33 percent were empaths),” the study’s authors said.
55. “However, a fourth group of people, the ‘dark empaths,’ was clearly evident.
56. They had higher scores on both dark traits and empathy (about 20 percent of our sample).
57. Interestingly, this latter group scored higher on both cognitive and affective empathy than the ‘dark triad’ and ‘typical’ groups,” they added.
58. The team said they were not entirely surprised that the dark empaths scored as high as they did in the cognitive and affective empathy sections.
59. “This makes sense in a way, as to manipulate others for your own gain — or indeed enjoy the pain of others — you must have at least some capacity to understand them,” they explained.
60. The researchers also found that the dark empaths were more indirectly aggressive than typicals and empaths.
61. While empathy did limit the group’s level of aggression, it did not eliminate it completely.
62. Furthermore, it appeared that the group had a conscience and may even dislike their dark side, with the negative emotions being a response to their self-loathing, the team said.
63. The new findings are shedding light on those with dark triad traits, as well as forcing clinical psychologists to look at empathy in a new way.
64. “A dark empath may actually be more dangerous than a more cold and unfeeling dark triad type because the so-called dark empath can draw you in closer — and do more harm as a result,” Ramani Durvasula, PhD, a clinical psychologist, told Psychoanalyst.
65. “The closer you are to someone, the more you can hurt them,” Durvasula added.
66. 
    
67. This enactive aspect has led to a a lot of comprehensive understanding of music process involving brain structures implicated in action, emotion and learning.
68. Here we review the cognitive neuroscience literature of music perception.
69. we show that music perception, action, emotion and learning all rest on the human brain’s basic capability for prediction — as formulated by the prognosticate cryptography of music model.
70. This Review elucidates how this formulation of music perception and experience in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music successively.
71. This in turn has necessary implications for human power as evinced by music improvisation.
72. These recent advances shed new purpose on what makes music meaningful from a neuroscientific perspective.
73. Folks may respond to paying attention to music by physically moving or feeling emotions.
74. In this Review, Peter Vuust and colleagues discuss how music perception and related actions, emotions and learning are associated with the prophetical capabilities of the human brain, with a spotlight on the secret writing of music.
75. Odors have been shown to elicit highly emotional recollections, as well as alter emotions and induce moods.
76. A vital challenge for the individuality of olfactive emotional potency is a stimulation with perceived inherent emotional quality.
77. Music and paintings are such stimuli.
78. Notably, olfactive experiences are distinguished from auditory and visual experience by limited verbal representation.
79. It was therefore speculated that weak linguistic representation might be chargeable for the emotional potency of odors; and thus if verbal fluency were controlled for, odor-evoked associations would lose their emotional distinctiveness.
80. To test this hypothesis and assess the trait and quality of experiences and associations elicited by odors, music and paintings, 2 experiments were conducted.
81. In Experiment one subjects assessed moderately acquainted odors and music, and in Experiment two subjects assessed highly abstract (unfamiliar/unnameable) odors, music, and paintings.
82. Rating scale and questionnaire (subjective) and numbers of labels, memories, and heart-rate changes (objective) measures were obtained.
83. Results unconcealed that, in each experiments, vital sign was consistently higher in response to odors than to music and paintings.
84. It was also found that verbal fluency did not affect the emotionality of experiences to odors.
85. In addition, subjective and objective measures of arousal were not related for any stimulation kind, and despite objectively measured proof to the contrary, subjects believed that music was ready to affect their emotions and moods more than were odors and paintings.