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Alright, managed to get a post up. Sorry it's a bit weak, I'm very exhausted at the moment, and don't think I'll have the time to get one up tomorrow. :/
@Girlie1Bomba Sorry about that wait!
@Girlie1Bomba Sorry about that wait!
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A Silent Voice is great.
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5 yrs ago
Draw a Dragonfly Slug
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fabricant i don't know you that well but in between your waifu tastes and your calling out centrists i have come to respect you
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"By long tradition, the elder speaks first."
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Bio
[ "Four-Legged Frog" ]
[ "Eight-Legged Day" ]
[ "Twelve-Armed Wheel" ]
Here's a secret: Right now, this bio is acting as a planner for an RP I want to make.
Most Recent Posts
A thing had manifested from the air, its form becoming grossly apparent to any form blessed with eyes. The Witnessed Day did not bother to stand immediately. If he was to die here, death could wait. His unwieldy form took too long to stand, anyways, so he was forced to take his sweet time regardless of the situation at hand. He lazily turned his head toward the commotion (which was not so far away), and blinked with the weight of his daydream pushing his eyelids. Had he the anatomy for it, he would have sighed, having hoped for no more walk-thoughts.
The Witnessed Day briefly entertained the idea that perhaps this in itself was a daydream, and closed his eyes again. He tried to find the frequency of the feathered nebulae, but ultimately had noise forced into his brain by whatever abomination lurked outside of himself. He was discontent with this fact, and glared (as best as he could, at least) at the fact that he would now have to stand. And so, he stood, his yellow robes making him look like an all-too-quick (and all-too-mistimed) sun rise. He figured he would simply walk away from the situation, find somewhere else to lay down, and hopefully have some pleasant daydreams.
The Witnessed Day stood, his mind unable to think any thoughts aside from leg-thoughts, and began to walk away from the whole situation. Oh, but the whole thing was such a blatant assault on his senses. Eye static was the only thing that came to mind. From his position, he could see a few different shapes – lesser beings, all of them – but there was only one shape which could keep his attention, and at that, for all the wrong reasons. What if it decided to fly overhead as he were cloudgazing? Something had to be done.
Standing was such a hassle. The Witnessed Day felt like the ground was falling beneath him. His head thrummed as a headache knocked on his skull. Such an unpleasant sound made it unbearable to think, he thought. Still, he carried on, his hands building a tower of irritable signs as he did so. His legs carried him forth, but the direction was still mostly aimless. He was genuinely unsure of how to help, and he had so little time to think about it. The noise knocking on his skull reminded him of a vagrant he had once met in the Wilds. A winged thing, jumping from branch to branch, watching things he ought not have, necessitating quick thinking. So, he tried that.
Quick walk-thoughts gave him some breathing room – he could think three or four steps ahead, and that meant that ahead of those he could think of other things. He had not yet mastered this technique, so he was only capable of two thoughts before having to think walk-thoughts. One, two, three, four – big shape – one, two, three, four – falling rock. One, two, three, four – “PUT IT BACK” – one, two, three, four, - so tired. Each step led him a little closer to something, but he wasn’t sure what it was. The Witnessed Day listened, but he could not focus on what noises entered his brain, so he couldn’t turn away the thoughts of batteries or radios.
And that was when he saw it, running heroically toward the same destination-less place as he – a bobbling. He decided to trail after it, though he did not run in such a hurried manner, instead opting for a leisurely walking place. If a rock hit him, he would simply dream that it didn’t. (He had never tried that before, but he assumed it would work.) The thing fascinated him, but as his fascination grew, his interest in stopping the current chaos declined. Such was the folly of the sleep deprived. As he passed by stones which landed near him, he would thank them for not crushing him. He doubted they could hear him, but they deserved the thanks. As for the thing flying about, the eye static which caused more noise in his brain than the noise it produced, an idea struck: he’d remember the noise he had heard before it awoke, and think the remembrance to it. Still too focused on walking to think with any precision, anyone within thinking distance was assaulted with the calls of feathered nebulae.
Sorry everyone, things have been really hectic for me lately. I'll try to have a post up later tonight, or tomorrow night at the latest.
Friend showed me Death Grips a while back, and lately it's been the only thing I want to listen to.
@Otaku95Yeah, don't get me wrong though either, I'm not just trying to be a RUDE BOI and argue with you, but I would've made that same exact comment a little over a year ago, and that version of me was missing out on a ton of good tunes because of that. What's written below is a mini rant (that could, in all honesty, be much more interesting/valuable if I took my time with it) that's pretty much an overreaction to what was clearly a joke. Really, I wrote this whole thing for myself as a sort-of refining of some ideas I have, so feel free to ignore it, especially because I'm not actually a huge music buff. Anyways, because I'm @ing you, I'll start this out with something aimed at you in particular, then I'll turn my rant into something more broad as if I were writing a really half-hearted essay for a music class or something similar:
Everything I'm trying to say below is, perhaps, better explained in this video by Andrew Huang, so I'll open up with it:
Well, you can say that about anything really. A Bebop lick can really make a piece sparkle, but it can also take away from the music if it's done poorly, or if it doesn't fit with the tone. Blues licks are the same. Hell, you can say the same thing about instruments, or even lyrics. But that's looking at it through a rather negative lens. Instead, why not focus on how it can improve a song? Consider this: Rappers themselves are instruments, and an instrument is only as good as the context surrounding it. Compare the following:
and
There's also this song, which would otherwise feel very generic if not for the rappers on top of it:
While I've (thankfully) never had to have an argument about Free Jazz with someone, I've heard second-hand accounts from friends much more involved in the topic than myself about how there are some circles which refuse to acknowledge it as a legitimate genre. This infuriates me to no end, because Free Jazz is some of my favorite music. Of course, that's just my musical preference, which is wholly a subjective thing. But, that being said, there's a difference between musical preference and music. For example, I find Tchaikovsky's Nutcracker suite to be really boring, but that doesn't mean that it's not music.
I seriously cannot express how much I hate Dance of the Sugar Plum Fairy, but I (unfortunately) cannot refute that it's music just because of that. While I think it's evidence that Tchaikovsky was a huge sellout, there are plenty of people who see things I can't in it, and I can come to tolerate it when I have those reasons explained. This, I would equate to the statement of "Rap isn't music" in that what is intended is not a total swearing off of the whole musical concept, but rather, a glaring disinterest in mediocrity which makes itself known in every genre of every thing.
These two pieces, in stark contrast to Tchaikovsky's droll, challenge plenty of musical ideas established by older generations. And, even then, these are relatively tame to us who live in a world where music was built upon the combined legacy of those who chose to push the fold in these ways. Rap, and any genre of music for that matter, is simply another stepping stone forward along the path of cultural growth, and for that reason alone, cannot simply be discarded as not being music. Like these two examples, Rap began as a challenging of contemporary cultural values, and has now become a contemporary medium which will, inevitably, be challenged, which I think is solidifying its importance as music.
These are some of my favorite compositions, but I'm always hesitant to show them to others out of a fear that they'll say things like "this isn't music" (but, in truth, that's because I'm seeing a former aspect of myself reflected back at me which I loathe). But as culture advances forward, music changes as ideas become more complex. It's a lot like language (there's a huge sub-talk here about Music as language that I'd love to delve into, but I'll hold off on that). The point I'm making here is that the idea of "this isn't music" is a very outdated mindset that clings to the traditions of art. There's a great book by Leon Trotsky about the role of art in revolution (here's a link if you're interested), and even if you don't share similar political views with Trotsky, there's an important thing that can be taken away from it: So long as society clings to the traditional way of defining art, it will stagnate. (That's a horrible way of paraphrasing, but I can't come up with anything else super quickly.) Now, that's really strongly worded to my own personal biases, but the point I'm trying to make is that once you open up to other forms of art, particularly the "newer" things which might at first be offensive to the eardrums/eyeholes, you can begin to appreciate them for what they're trying to express, and that just opens up this whole new realm of possibilities. It's important to seek out these new, interesting attempts at expression instead of just letting them come to you, otherwise you'll only wind up with things which speak broad truths instead of personal ones, which can really turn one off from otherwise interesting mediums. It might also be worth while to appreciate the bad music, so that the good music is even better. I took a couple of Creative Writing classes with the same teacher last year, and as critique was a huge part of those classes, I had to read a piece she selected which discussed the love of critique. I can't remember the whole thing, or even its author, but I will paraphrase the main idea here: "Critique is an act of love. Instead of simply discarding something because you don't like it, one should instead focus on what the piece itself is attempting to do, and evaluate it based on whether or not it is doing that well." Now, I understand this doesn't apply so well to casual music listening, but it can really open up one's mind to things they might not have otherwise appreciated. Just a little over a year ago, I wasn't really fond of Hip-Hop as a whole, but I came to really appreciate it when I began to listen to it in different ways. To really drive in this point, I give you this quote:
As a closing note, I'd like to introduce you (if you are not already acquainted) with what is, perhaps, one of the things which led me to my own personal reformation of how I evaluate music, Captain Beefheart's Trout Mask Replica:
It's... well, it's something. It's certainly not an easy listen. And yet, this piece of music went on to have a huge influence on music. Seriously, there's just so much to list. Here, just take a link to the Wikipedia page which goes more in-depth than I'd like to right now. There are so many musical concepts happening here that are really impressive, but they don't sound it at first. It's a huge experiment, and it's worth a study in-and-of-itself. To be perfectly honest with you, it's grown on me. It's not an album I listen to every day (for obvious reasons), but it's something which I can rely on to help me get into a creative mood. I'd recommend it to anyone, full well knowing the consequences, based solely on the fact that it challenged a lot of the presuppositions I had about music. It takes the bounds, and operates within them, but stretches them into a shape that's hardly recognizable. It's downright fascinating.
Everything I'm trying to say below is, perhaps, better explained in this video by Andrew Huang, so I'll open up with it:
But a rap hook can ruin a perfectly good song too.
Well, you can say that about anything really. A Bebop lick can really make a piece sparkle, but it can also take away from the music if it's done poorly, or if it doesn't fit with the tone. Blues licks are the same. Hell, you can say the same thing about instruments, or even lyrics. But that's looking at it through a rather negative lens. Instead, why not focus on how it can improve a song? Consider this: Rappers themselves are instruments, and an instrument is only as good as the context surrounding it. Compare the following:
and
There's also this song, which would otherwise feel very generic if not for the rappers on top of it:
While I've (thankfully) never had to have an argument about Free Jazz with someone, I've heard second-hand accounts from friends much more involved in the topic than myself about how there are some circles which refuse to acknowledge it as a legitimate genre. This infuriates me to no end, because Free Jazz is some of my favorite music. Of course, that's just my musical preference, which is wholly a subjective thing. But, that being said, there's a difference between musical preference and music. For example, I find Tchaikovsky's Nutcracker suite to be really boring, but that doesn't mean that it's not music.
I seriously cannot express how much I hate Dance of the Sugar Plum Fairy, but I (unfortunately) cannot refute that it's music just because of that. While I think it's evidence that Tchaikovsky was a huge sellout, there are plenty of people who see things I can't in it, and I can come to tolerate it when I have those reasons explained. This, I would equate to the statement of "Rap isn't music" in that what is intended is not a total swearing off of the whole musical concept, but rather, a glaring disinterest in mediocrity which makes itself known in every genre of every thing.
These two pieces, in stark contrast to Tchaikovsky's droll, challenge plenty of musical ideas established by older generations. And, even then, these are relatively tame to us who live in a world where music was built upon the combined legacy of those who chose to push the fold in these ways. Rap, and any genre of music for that matter, is simply another stepping stone forward along the path of cultural growth, and for that reason alone, cannot simply be discarded as not being music. Like these two examples, Rap began as a challenging of contemporary cultural values, and has now become a contemporary medium which will, inevitably, be challenged, which I think is solidifying its importance as music.
These are some of my favorite compositions, but I'm always hesitant to show them to others out of a fear that they'll say things like "this isn't music" (but, in truth, that's because I'm seeing a former aspect of myself reflected back at me which I loathe). But as culture advances forward, music changes as ideas become more complex. It's a lot like language (there's a huge sub-talk here about Music as language that I'd love to delve into, but I'll hold off on that). The point I'm making here is that the idea of "this isn't music" is a very outdated mindset that clings to the traditions of art. There's a great book by Leon Trotsky about the role of art in revolution (here's a link if you're interested), and even if you don't share similar political views with Trotsky, there's an important thing that can be taken away from it: So long as society clings to the traditional way of defining art, it will stagnate. (That's a horrible way of paraphrasing, but I can't come up with anything else super quickly.) Now, that's really strongly worded to my own personal biases, but the point I'm trying to make is that once you open up to other forms of art, particularly the "newer" things which might at first be offensive to the eardrums/eyeholes, you can begin to appreciate them for what they're trying to express, and that just opens up this whole new realm of possibilities. It's important to seek out these new, interesting attempts at expression instead of just letting them come to you, otherwise you'll only wind up with things which speak broad truths instead of personal ones, which can really turn one off from otherwise interesting mediums. It might also be worth while to appreciate the bad music, so that the good music is even better. I took a couple of Creative Writing classes with the same teacher last year, and as critique was a huge part of those classes, I had to read a piece she selected which discussed the love of critique. I can't remember the whole thing, or even its author, but I will paraphrase the main idea here: "Critique is an act of love. Instead of simply discarding something because you don't like it, one should instead focus on what the piece itself is attempting to do, and evaluate it based on whether or not it is doing that well." Now, I understand this doesn't apply so well to casual music listening, but it can really open up one's mind to things they might not have otherwise appreciated. Just a little over a year ago, I wasn't really fond of Hip-Hop as a whole, but I came to really appreciate it when I began to listen to it in different ways. To really drive in this point, I give you this quote:
To ears conditioned to traditional jazz, or traditional music of any kind, this music is chaos. To ears that can listen in other ways, it is a fascinating and exciting collage, rich in detail, that changes with each hearing, depending on which instrument or instruments one listens to most closely.
As a closing note, I'd like to introduce you (if you are not already acquainted) with what is, perhaps, one of the things which led me to my own personal reformation of how I evaluate music, Captain Beefheart's Trout Mask Replica:
It's... well, it's something. It's certainly not an easy listen. And yet, this piece of music went on to have a huge influence on music. Seriously, there's just so much to list. Here, just take a link to the Wikipedia page which goes more in-depth than I'd like to right now. There are so many musical concepts happening here that are really impressive, but they don't sound it at first. It's a huge experiment, and it's worth a study in-and-of-itself. To be perfectly honest with you, it's grown on me. It's not an album I listen to every day (for obvious reasons), but it's something which I can rely on to help me get into a creative mood. I'd recommend it to anyone, full well knowing the consequences, based solely on the fact that it challenged a lot of the presuppositions I had about music. It takes the bounds, and operates within them, but stretches them into a shape that's hardly recognizable. It's downright fascinating.
@Otaku95 Tips Fedora I, too, am an intellectual that REFUSES rap as a medium. What plebian society would call such noise music?
I could not fathom such droll ever being as melodic as the classical tones of Mozart, Beethoven, Schubert! The lack of any real substance could only be equated to such pitiful composers in the likes of the modernists such as Ligeti or Crumb. These so-called "musicians" which produce rap simply lack a fundamental understanding of nuance in their approach to composition.
I could not fathom such droll ever being as melodic as the classical tones of Mozart, Beethoven, Schubert! The lack of any real substance could only be equated to such pitiful composers in the likes of the modernists such as Ligeti or Crumb. These so-called "musicians" which produce rap simply lack a fundamental understanding of nuance in their approach to composition.
@ihinkaAhhh, my bad. The districts were mentioned in the Discord, I think. They're 1-15, with 1 being the richest, and 15 being the poorest. I don't recall seeing a map or anything of the sort, but there is that much to go off of, at least.
@ihinkaThey're right above the corporations, beginning of the second post.
There's:
𝙴𝚞𝚛𝚘𝙲𝚘𝚛𝚙 (Europe)
𝙺𝚘𝚛𝚙𝚘𝚛𝚊𝚝𝟷𝟾 (Russia)
𝙽𝚘𝚟𝚊
𝚂𝚘𝚕𝚊𝚌𝚎
𝙹𝙿𝙽-22 (Japan)
𝙾𝚜𝚑𝚞𝚗
I don't remember exactly what the other three are, but I'm pretty sure there's info in the timeline regarding that.
There's:
𝙴𝚞𝚛𝚘𝙲𝚘𝚛𝚙 (Europe)
𝙺𝚘𝚛𝚙𝚘𝚛𝚊𝚝𝟷𝟾 (Russia)
𝙽𝚘𝚟𝚊
𝚂𝚘𝚕𝚊𝚌𝚎
𝙹𝙿𝙽-22 (Japan)
𝙾𝚜𝚑𝚞𝚗
I don't remember exactly what the other three are, but I'm pretty sure there's info in the timeline regarding that.
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