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transexualbutchfagdyke · 2 years

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Please talk about themes in Edgar Allen Poe’s writing

Alternatively, pick your favourites and I’ll read them and I can try my best to have a proper conversation about them once I do ^-^

a little basic but my favorite is The Raven. I read it so much I inadvertently memorized a good portion and can quote the first few paragraphs!

but as for analysis. I wanna talk about the masque of the red death. I'm high rn so bear with me lol

it's a story about the inevitability of death. it tell you that no matter how rich, how important, how noble you are, you can't escape death, it comes for us all. Prospero (the protagonist) was arrogant, assuming his wealth and security could keep his kingdom, and subsequently himself, safe, and was taught through his own death that nobody can escape the inevitable.

the rooms od the palace, lined up in a series, symbolize the stages of life, the passing of time. they're placed east to west, the sun rises in the east (symbolizing birth), and sets in the west (symbolizing death). the last room represents death, the black clock representing the unstoppable ticking of time. Every time the clock chimes, the party goers pause, suddenly made uncomfortable, showing their uncomfortable-ness (can't think of a better word lol) with the reminder of death. this is shown also in the fact that none of them stay in the last room. while the rest of the rooms are cheerful and filled with people, the last one is empty, being described as ominous. None of the masquerade guests are comfortable with the idea of death, and avoid mention of it.

But death is an absolute, shown in this story by thr mysterious guest. The mysterious guest shows at midnight (the end of the day and thus, the end of life). He is dressed in a way to mimic the wildly infectious disease that the kingdom has avoided (the Red Death, as its called), and even has a mask of a corpse on his face and blood on his clothe, and walks through each room. The other guests are put off by him, and avoid him, talk going quieter when he is nearby. When the clock chimes and everyone else pauses, the mysterious guest is the only one still moving. on his journey he gets in close proximity of each guest.

When Prospero sees him, he demands that someone seize him. it's said he rushes through each of the six rooms (goes through the stages of life), and when he reaches the seventh room, his dagger falls short and he falls and dies. When other guests reach the man, they're shocked to find out that he us not, in fact wearing a mask, and realize that The Red Death has gotten into the kingdom. soon, the rest of the guests fall dead, too.

in summary, it shows that death comes for us all ^.^

#ratt squeaks #squeakers #this is kind along huh!! if anyone needs this tagged for anything lmk!#thank u for reading my essay i hope i get an A+!

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star-consultant · 3 years

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Bright are the stars

You need a Beatle song that perfectly encapsulates your sign? Of course you do. (Spotify playlist)

Aries—“I Saw Her Standing There”

One two three FOUR! An eager and intense song for an eager and intense sign. Aries falls hard and fast, with a tendency to rash vows that everyone doubts they mean—but Aries doesn’t doubt. Paul (who later styled himself as a "ram” at a key point in his creative development) makes good on the Cardinal Fire vibe with his exuberant vocals, and John of the Aries rising contributed the street-smart innuendo that utterly makes the song: And you know what I mean. Fittingly, this song kicked off the group’s first album, which itself has plenty of Aries “HELLO I AM HERE TO MAKE A MARK ON YOUR WORLD! (like me plz ok? this is my heart and i am Doing My Best??)” energy.

Taurus—“All I’ve Got to Do"

A song that takes its sweet time but burrows deeper than the average ear-worm into your consciousness. It’s a patient song that is unassuming but knows exactly what the hell it’s doing. The intensity builds bit by bit, so that you’re unaware when the power of the bridge comes crashing down. Describes the Taurean romantic ideal: lazy, loyal, cozy, constant, tender, and ever-so-true. Also, “All I’ve Got to Do” is featured on the second album, With the Beatles, which has plenty of other Bullish touches, noticeable even with a casual glance at the tracklist: “Don’t Bother Me,” “Not a Second Time,” and “Money (That’s What I Want).”

Gemini—“She Loves You”

Paul is a Gemini Sun, and throughout his catalogue it shows. But perhaps he never topped the Twinniness of this energetic, optimistic, breathless, gossipy classic. It was composed “eye-to-eye” with John, a truly dual-authored song, and one the rare Beatles numbers where the two lead vocalists double up on every single line, in true (Nerk) Twin fashion. Also the first but definitely not the last of their many “third-person narratives,” Paul’s novelistic instead of confessional slant being distinctly a Gemini thing. The speaker in this one couldn’t be more enthusiastic about this relationship if it were already repaired, and he couldn’t be more enthusiastic about it if it were his. Love is great! People reconciling is great! You should be glad, dumbass! But the real corker? What makes this so Gemini that it hurts? Yoko has confirmed that in the early 70s, during her separation with John, she actually had Paul play agony aunt. Then, during that meetup in L.A. where they were last photographed together, Paul urged John to “apologize to her” and get back together... which he did. That’s right. "She Loves You” is not merely a Gemini’s song: it’s a Gemini’s life.

Cancer—“Octopus’s Garden”

Ringo the Crab’s musically-complex fantasy about an underwater sanctuary where children are “happy and safe,” he and his lover can be together, and there’s “no one there to tell us what to do.” George (a triple Water sign himself, probably not-so-incidentally) always insisted that his best mate’s song Had Depths, and he himself supplied a lot of them: check out his lead guitar lines. They function as emotional counterpoint. When Ringo’s vocal line is especially wistful, the guitar is bright; when Ringo ends on a confident note, the guitar is quirky, ironic, even stiff-upper-lip pessimistic. Result: a shifting kaleidoscope of FEELS. The Moon approves.

Leo—“Good Day Sunshine”

Paul perfectly expresses his own Leo moon with a sublime, vibrant ode to laughter, love, and pride on a cloudless summer day. The bit in the lyrics about she knows she’s looking fine and I’m so proud to know that she is mine? That’s not marring the high tone of the song: that is part of the tone. Hear us roar! And by “roar” I mean "laugh and canoodle, coz Leo is about living the good life, bitches.”

Virgo—“Please Please Me”

What’s fair is forkin’ fair, mate! A exemplary blend of Virgo’s Mutable passive-aggressive sensitivity with its Elemental directness... half-critical, half-begging... plus the very sign-typical humblebragging. About their sexual prowess. Damn, Virgo. People forget how Earthy you really are sometimes. But here we are. In very Virgo fashion, instead of ditching the girl he’s decided to harangue her. On a more meta note, the Beatles were still studio virgins when they first began crafting this song, and it took several passes and incorporation of George Martin’s feedback before it became the bursting pop hit as we know it now. There’s that Virgo work ethic paying off.

Libra—“Strawberry Fields Forever”

The imagery of the title suggests an eternal harvest. But the star sign resemblance goes deeper than that: Always, no, sometimes think it’s me, but, you know, I know when it’s a dream. I think, er, no, I mean, er, yes, but it’s all wrong... that is, I think I disagree. Did you just hear your Libra roommate rambling after a joint, or did you listen to verse three of “Strawberry Fields”? Same difference. The song is absolutely lovely, as anything associated with the child of Venus should be, and innovative, as befits a Cardinal sign. Most of all, even in all of Libra Sun John’s weighing and weed-wandering, he knows one thing: he’s got to take someone else along with him. A companion, stat!

Scorpio—“While My Guitar Gently Weeps”

George of the Scorpio moon and Scorpio ascendant had to really lean into this side of his nature to even get this damn track properly recorded. He resorted to the social power play of inviting Eric frickin’ Clapton into the tense post-India studio just to get Lennon, McCartney, and Martin to give his song proper Beatle recording magic. Which it deserved. The dark drama of the hard-won arrangement is the perfect Scorpio accompaniment to the moody, reflective lyrics about “all the love there that’s sleeping” in this weary world. There’s tender, horrified pity here for those who are stifled into inauthenticity: I don’t know how nobody told you how to unfold your love. I don’t know how someone controlled you; they bought and sold you... Bonus points for the Watery ‘just can’t even’-ness of not being able to so much as pick up a damn broom.

Sagittarius—“Something”

You’re asking me, will my love grow? I don’t know, I don’t know! A deeply instinctual lover knows that Cupid has done hit a bullseye. He remains emphatically ambivalent about the future, but he knows what he feels in this moment, and in that moment is romance and wonder that is as deep as the earth is from the heavens. Sags are intense, but of all the Fire signs they are most far-seeing and detached (due to their Mutable quality, which makes them see the world a bit more like an Air sign does). “Something” keeps trying to capture that je-ne-sais-quoi, and despite the speaker’s happiness he can’t help but circle back again and again to take another shot at that the mental target. A philosopher even when in love. Ultimately, however, he doesn’t want to leave her now... which for a restless Sag is already saying a ton.

Capricorn—“Revolution”

John let his unfashionable midheaven Capricorn off the leash with this blunt, pointed savaging of radical and violent revolutions. (Given the tanks on Tiananmen Square and the millions dead on the killing fields of Cambodia, I can’t say that his cautionary note about “destruction” and “minds that hate” was unnecessary.) Few things are more Capricorn than ‘Oh, you want my money? Yeah, first show me that you’ve done your fucking homework, mate.’ Bonus Earth points for the fact that he somehow worked sex—a lot of sex—into this political track.

Aquarius—“Come Together”

John of the Aquarius moon’s decidedly loony attempt to write a political campaign song in order to stop Reagan. (The result was too weird for Timothy Leary, whose reaction was pretty much ‘wtf? I don’t think even I have enough residual acid in my system for this one... ’) John invokes the ideal of collaboration, but his call to solidarity is built around fantastical lyrics that no one can comprehend: He wear no shoeshine, he got/Toejam football, he got/Monkey finger, he shoot/Coca-Cola, he say/I know you, you know me... Oh, right. The lyrics contain exactly one discernible message: One thing I can tell you is you got to be free. How Aqua. Also in true collaborative Water-Bearer fashion, the arrangement really makes the song (special mention to the tight, tight work of the rhythm section). Bizarre genius that attracts a true team effort—it doesn’t get much more Aquarius than that.

Pisces— “I Want to Tell You”

The wall of sound builds up thickly enough that soon the words seem to be traveling through the sea to reach you: I want to tell you my head is filled with things to say... But when you’re here, all those words, they seem to slip away. A gorgeously, emotionally tongue-tied song... about being tongue-tied. Written by George, a Pisces Sun, this absolute mystery of a lyric is all emotion and no logic. If he seems to act unkind, it’s only him, it’s not his mind. Okay, Fishboy. Good thing the track is compellingly lovely and utterly relatable. Which suits the Pisces life exactly: ‘I don’t know what I mean, but it’s exceedingly beautiful and I want you to share it with you very, very much.’

#zodiac #beatles

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bangtan-madi · 3 years

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Top Albums of 2020

I was tagged by the amazing @joonni to list my top nine twelve albums of 2020! This was honestly so hard, but so fun. I love any tags to do with music xD (Your music taste was amazing btw! Sorry I went a little crazy and did a few extra lol.) Thanks lovie 💓

I went with the albums that I loved as whole (aka I loved most, if not all, of the songs) and listened to the most this year. Some choices have deeper meanings, while others were just flat-out enjoyable. I also stuck with albums that came out this year only, but I wasn’t sure if that was inherently part of the challenge. I wasn’t too picky on the criteria, just went with the ones that made up the score for my 2020. All albums have Spotify links incase something catches your eye! (Apologies for my extra-ness; I added recommendations from each album and a brief...ish explanation as to why it made the list.)

Also, they’re in no particular order, because this was difficult enough...

Map of the Soul: 7 by BTS

Explanation — This album was my first comeback as part of the BTS Army. There are so many tracks that I adore, and I honestly can’t remember the last time I was so excited for music. It breathed life into my Spotify, it was the album I listened to the most this year, and Black Swan was my most listened song. The differing music genres that they played with, all the way from orchestral to trap to hip hop and synth pop, left me more and more excited as the songs progressed. If there was a #1 on this list, it would be MOTS:7.

Highlights — Interlude: Shadow, Black Swan, ON, We Are Bulletproof: The Eternal

Zero: Fever Part.1 by Ateez

Explanation — This was the soundtrack to my summer. I hadn’t heard much from Ateez, but what I had heard, I wasn’t a huge fan of? Maybe I hadn’t been grabbed yet, but oh boy. Zero: Fever definitely did that. Every track is such high energy and memorable, so it was so hard to pick favorites! I’ll always think back on this one for summer, and will be transported back to plenty of sunset commutes.

Highlights — Fever, Thanxx, One Day At A Time

The Dream Chapter: Eternity by Tomorrow x Together

Explanation — Until this mini album, I had only listened to TXT in passing. I liked their stuff, but I feel like this is where they really found their stride. TDC:E caught me totally off-guard, in the best way possible. To me at least, this one is a work of art. Each of the six tracks is so entrancing, and so different from each other while still working together as a cohesive story. And don’t even get me started on the MVs! This is an album that I listen to for feels and fun, which to me, TXT are just brilliant at.

Highlights — Fairy of Shampoo, Maze in the Mirror, Eternally

Dystopia: The Tree of Language by Dreamcatcher

Explanation — It took me forever to find a girl group that I could really stan, like hardcore. This comeback for Dreamcatcher was when I realized they were it for me. This album in particular is so diverse. Their voices are both haunting and beautiful, and the way they interweave rock/alternative elements into their music has always turned my ear. They are so different from so many other girl groups out there, from the sound to their stage presence to their aesthetic. I will never stop talking about them, and this album really shows the best of their work thus far.

Highlights — Red Sun, Sahara, Paradise

BE by BTS

Explanation — How could BE not be on this list? What a perfect end to a shitty year. There’s something so comforting yet uplifting about this one, and I will happily admit I cried when I first heard Blue & Grey. Who am I kidding, I still do. There’s only one other artist I have listed on here with two albums, so BTS is in good company. What more is there to say other than BE was the warm hug we all needed.

Highlights — Life Goes On, Blue & Grey, Dis-ease, Stay

Heng:garae by Seventeen

Explanation — This is another group that I hadn’t listened to much before this album. I was so surprised and excited. Every song that passed, I found myself smiling more. Their voices are astoundingly beautiful, and the songs are sickeningly catchy. Another album that I go to just to have fun. It’s one of my favorites to just put on when a day is good, but doesn’t Seventeen make it a little better regardless?

Highlights — Fearless, Kidult, I Wish, Together

The Untamed by various

Explanation — If you’ve seen the Chinese drama The Untamed, then you know exactly why this is on there. This album is a collection of songs that are themes for the characters in the show, most of which are sung by the actors themselves. Let me tell you; I don’t know a lick of Mandarin, but these are some of the most stunning songs I’ve ever heard. It’s one of the things that drew me to the drama to begin with; everything, including the music, is breathtaking. The classical Chinese sound plays so well with the character’s stories and singer’s vocals. They tell stories all on their own and give the drama so much depth. Even if you’re not a fan of the show or webtoon it’s based on, give this one a listen. You won’t be disappointed!

Highlights — [Wen Qing] woodland, [Wen Ning] Chi Ni, [Lan Xichen] Bu You, [Jiang Yanli & Jin Zixuan] Yong Ge, [Interlude] Yi Nan Ping, [Nie Minghao & Nie Huaisang] Qing He Ju

Humanity (Chapters I & II) by Thomas Bergersen

Explanation — If you know anything about me, you know how important orchestral music is to me. It’s been a huge part of my music journey ever since I was in middle school. Thomas Bergersen has been my favorite composer for years; the way he integrates the classical with the modern is just...there are no words. These two albums cannot be listed separately; they’re part of a seven-part project titled Humanity. Chapters I & II came out in 2020, and honestly, I have no words. The way he tells a story through almost entirely lyric-less work is just immaculate. I’ve never felt more powerful, emotional, or inspired than when listening to these two. I cried when I first heard Your Imagination and Materialize. No matter how I am feeling, whether I need inspiration or hope or just some peace of mind, I go here. I’ve never felt more healed than when listening to his work. If you take a chance to listen to anything on this list, PLEASE. Give these a try.

Highlights — We Are One, Wings, Humanity, Your Imagination, Materialize, Innocence, The Stars Are Coming Home

Brightest Blue by Ellie Goulding

Explanation — I don’t listen to a ton of western music that isn’t orchestral or lofi, but I used to adore Ellie Goulding. Halcyon was my entire teen-hood. When I saw she came out with a new album this year, I gave it a listen for sentimentality reasons. And boy, I still love her. Her voice is both angelic and haunting, and her sound is so unique. The messages given in these songs are powerful, potent, a tad bit bittersweet, and especially valid for young women navigating adult life. Also the instrumentals backing her vocals are often big and grand and symphonic, filled with piano and violin. That’s enough to get me to listen. And to top it all off, the collabs she has on this album are so fitting for each track, it’s absolutely beautiful.

Highlights — Start, Cyan, Ode To Myself, Woman, Flux, Overture, Slow Grenade, Hate Me

Beneath Your Waves by Sleepy Fish

Explanation — If there’s one kind of music that shuts off the little anxiety bug in my brain and gets me to work, one that isn’t as intense as orchestral music and that doesn’t put me into sensory overload like orchestral sometimes does, it’s lofi. And Sleepy Fish does it so freakin’ well. This album that came out this year is one of my most often repeated over and over. When I’m struggling with sensory issues at work, I put this one repeat and my mind just...goes...quiet. It’s like medicine. And the tunes are so catchy and sweet. I’m instantly transported to someplace magical, some seaside city straight out of a Ghibli film, and far away from the things that are troubling me. Then I can finally get some work done, get to sleep, or just quiet my mind. If you struggle with sensory issues or anxiety like I do, give this album a shot. Also, the album titled My Room Becomes The Sea from 2019 is excellent.

Highlights — Velocities, Sunbreak, Swimming, Nights Like These, Winter Winter

WOOPS! by Woodz

Explanation — Another mini album that is just a blast to listen to, but it also has such a soft side that hits me in the feels. I don’t see a lot of people talking about Woodz, but you all should give him a listen. He’s so talented, and his voice on this one is just *chef’s kiss* everything. The mixing is also impeccable and pairs so well with his vocals.

Highlights — Bump Bump, On my own, Sweater, Tide

D-2 by Agust D

Explanation — I mean, we all knew this one was gonna be dope. Yoongi did not disappoint. This mixtape is so different from most of the stuff I listen to, but I absolutely adored it. The truth and rhythm and pure talent in each and every verse stuns me still. I find myself especially drawn to this one when I’m frustrated (not exclusively, but often, ‘cause 2020.) Both his truth and sound give me a safe place to feel that frustration and anxiety and vent/work through it. I don’t know what it is about Yoongi, but to me, all of his work is like a comforting friend going, “Hey, you’re totally valid and okay for feeling this way...but it sucks, doesn’t it?”

Highlights — Daechwita, People, Dear my friend

Now, I’ll tag these lovely people! Only if you wanna :)

@kooala @cultleaderyoongi @yoontopia @hobicomeholla29 @helenazbmrskai @moon-write @dreamcatcherjiah @ditttiii

#tag #tagged #mutuals #get to know me

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rjeldridge · 5 years

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An Email I Wrote on the Day Toni Morrison Died

On the day Toni Morrison passed on, as the whirl raveled and unraveled around me, and morning opened its strange eyes, I went first, of course, to her books. I couldn’t bring myself to flip through them yet. But I took them off the shelves and held them as one would hold the holy and the sacred artifacts of a treasured ancestor. Though I’ve never met Morrison in person, some of her books are almost as close to me as I am to myself, and to lose her, suddenly, in the morning, felt personal.

I went to her talks on Youtube and heard, in that familiar voice, something that made it hard to believe that the one who possessed it could ever not be right here. I went to social media and witnessed the mourning and the celebration. Then I went to my drafts. I went to my iMessages and notes and my email.

I’m not sure what I was looking for, but what I found, when I went to Gmail and entered her name in the search, were various correspondences, dating back to 2007, from classes taken or taught, from classmates, students, mentors, professors, friends. I went to the earliest email in my Gmail, from 2007, a little after my college graduation. It was a correspondence between myself and a classmate of mine who was also a writer. In it we discussed Morrison’s work in the context of an African American Lit class we both took. We talked about our aspirations as writers. I was then on the verge of heading to New York to try out life in the city. It was an important snapshot of the moment.

So much has happened in the interim. Of course, life goes like that. But I felt compelled, as I read that correspondence, to respond to it all these years later. I meant it for their consideration, but I find, upon reading it again, that perhaps it has a life and function beyond that. Here’s what I wrote:

Toni's gone, and I'm in New York, and the words have nowhere to go, or they are everywhere around us, looming, moving, pulling us into ourselves even now these twelve or so years later. I don't know if what was stated in those early years, that there was never a timeline, is true, but I'm home tonight instead of at a local spot called Ode to Babel, where the Brooklyn literati and arts folks have gathered to read and share Toni's words, because I can't bring myself to bring myself out in the night. And I'm thinking of too much to put into a place, but I have to put something down. I have to put the words together, have to find a together place for the words to live because they are too much for the body, and the body is too much for the world and that's why we have to go.

This is the earliest email in my gmail memory in which Toni Morrison is mentioned. I know we must have been talking about her long before this point, but anyhow 2007 was still several eras ago, and so it is long enough ago that the prism of time can sit its heavy self between that moment and this, and we can look through its bending light to discern that time warps all perceptions, but that some things remain nonetheless unchanged. It brings to my mind the question of whether what was spoken in some earlier time, what was spoken and then came to pass, was foreseen, or if the speaking itself brought it to pass, or if we were blind and lucky. 'Were' could be 'is'--must be is--and so the question matters regardless of the fact that it cannot be resolved. It seemed a time more suited for looking forward, such that to look back upon it now is challenging without feeling a twinge for the relative innocence of that era, the pre-Obama moment, when we--so many of us--hoped.

I don't want the structures of my mind to impose themselves on this utterance. I want to talk about what I miss when I miss Toni, and of what we saw when we read her words and discussed them, what they made us remember, like water, perfectly, about what and whom was home. I want to talk only about the quality of the air of early hope, about the play of youth in warm and dark places, about the potential for light that always sources itself in the matter. I don't want to think about these words or about the fact that this is the world in which our beloved Toni took her last breath, this last-breathing world where the onus for formidable wisdom is thrust upon us, we who hoped back in those innocent days for something to be a part of, and are now a part of this apart-ness, coiled up in this dubious fabric of wars and rumors of war, violence and news of violence. There is, to be sure, so much to be joyful about today, but the joy comes different than it once did, as does the hope.

I don't know what to say about the passing of our beloved.

I want to say I hope, if you are troubled by her passing, as I am troubled, as water is troubled, as light troubles the void, that you are held, warm, well-kept, and light.

#Toni Morrison #RJ Eldridge #Reginald Eldridge Jr #black art #black writers

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lovejustforaday · 3 years

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Album Review - You Forgot It In People by Broken Social Scene

You Forgot It In People - Broken Social Scene

Main Genres: Indie Rock

A decent sampling of: Post-Rock, Chamber Pop, Noise Pop

WARNING: One of the tracks on this album features prominent usage of the F slur and themes of self-harm.

Something that only the nerdiest of music nerds care about, which naturally I think is pretty interesting, is the difference between “alternative rock” and “indie rock”. Both are scenes that basically came out of a counter-cultural reaction to the over-produced world of 80s radio rock and hard rock. There’s definitely a lot of overlap in terms of bands that fit well into both categories, so they’re best understood as two scenes inside of one larger movement. But still, I would absolutely make the case that “alternative rock” and “indie rock” represent two distinct things when it comes to sound and approach.

To me, indie rock is the world of mature, often bittersweet, slightly weirder/dorkier rock music that’s ideally made best to be enjoyed by introverts and college students, even though anyone can love indie rock. There’s also a distinct DIY ethos and aesthetic to most of the indie rock scene that really defines the name.

Meanwhile, alternative rock is smart and subversive but still largely accessible, radio-ready, and flashy. In my mind, alt rock embodies a lot of the rock-star image that hard rock, glam, and heavy metal conjure up, just with a little more introspection and down-to-earth-ness.

Anyhow, the only real reason I mention any of this at all is because when I was a teenager in high school, it was mostly all alternative rock for me. I was into Garbage, The White Stripes, and Smashing Pumpkins. Bands that were subversive and challenging, but also huge successes with a clear rock-star appeal. Sonic Youth was one of my early loves too, and they sorta bridged the gap between ‘indie’ and ‘alternative’.

But if I’m being honest, Broken Social Scene and their enthralling 2002 LP You Forgot It In People was my gateway drug to the world of indie rock.

Like many of my first indie records, this was an album that my older brother passed down to me, and likewise this album in particular represents how important his influence was in helping me to discover so many great bands. It also represents the last days of my senior year and the fleeting summer of transitioning to university that followed, which is a time in my life that I deeply cherish.

Truthfully, a lot of the albums that I loved from those years have worn off a tad bit as I delve deeper into their influences and more music in general. But this still totally holds up as one of the best things I’ve ever heard from start to finish. You Forgot It In People is one hell of an ambitious record, and I have a lot of favourite moments on this album. But first, let’s take a look at the “band”.

Broken Social Scene are a Canadian indie rock ensemble that formed at the turn of the millennium. Spearheaded by Kevin Drew and Brendan Canning, other members of the group are rotational and the band regularly has upwards of seven members at a time. Broken Social Scene has hosted some of the most successful creative minds in the Canadian indie scene at early points in their careers; You Forgot It In People alone features Feist before her big breakthrough, as well as Emily Haines the lead singer of Metric who would go on to drop their first LP a year after this record.

Essentially, You Forgot It In People is a legendary piece of 21st century Canadian indie rock lore. Everything here is so ridiculously tight, so brilliantly conceived and crafted with care, and yet you can also totally feel that it’s a bunch of indie kids throwing stuff at the walls and seeing what sticks. This might sound pretentious, but I think I can honestly just feel how important a moment this record was whenever I listen to it.

It all starts with “Capture The Flag”, a short two minute instrumental opener of building ambient suspense, like a far away twinkling object in the night sky getting closer and closer.

This leads into “KC Accidental”, a sublime burst of rock instrumentation and fresh morning air that, incidentally, makes for a great alarm clock on your phone. But in all seriousness, this track is one of those moments of pure musical euphoria that feels like it could encompass the entire world.

“Stars and Sons” is so slick and smooth, I feel like incredibly hot stuff every time I listen to it, and it’s one of my absolute favourite tracks on the album. Brendan Canning’s cool vocals and the guitar riffs here both remind me of a cold glass of water, so clear and refreshing. I also just really love the laid back but propulsive feeling of the song and those claps get me every time. Seriously sexy production, an incredibly satisfying auditory experience.

“Almost Crimes” is a triumphant noise pop jam session of guitars, saxophones, drums, and synthesizers that makes me wanna jump up and flail around until I get dizzy and throw up. Kevin Drew and Feist make a wonderful duet - Kevin’s laid back slacker vocals are swallowed by the chaos while Feist’s melodic shouting becomes part of the chorus of noise.

This LP features quite a few instrumental tracks but “Pacific Theme” is definitely my favourite of them. True to its name, the lead guitar riff sounds like it’s floating lazily along a gentle ocean breeze while the rest of the music bubbles beneath the surface of a lively blue ocean. I wanna lay in a hammock by the beach with this song playing in my headphones as I stare up at a cloudy blue sky. Seriously, this track genuinely sounds like the colour “blue”, maybe even “ultramarine”.

“Anthems For A Seventeen Year Old Girl” is the signature song of You Forgot It In People and it’s one of if not THE essential bittersweet teenage indie anthem. The song is a heart-wrenching chamber pop ode that vocalist Emily Haines dedicates to her teenage self, a sad reflection on how society forces you to suppress your free spirit and act a certain way when you grow up with the simple refrain “used to be one of the rotten ones and I liked you for that / now you’re all gone got your makeup on and you’re not coming back” being repeated again and again over pained strings and a sad-happy banjo riff until you’re probably left in tears. This might be my one true favourite song on the LP, but then again You Forgot It In People is such a varied experience that it’s hard to pinpoint just one song.

“Lover’s Spit” is the other emotional core of You Forgot It In People, a grand and swaying chamber rock ballad that paints an oddly dramatic and emotional scene of oral sex with its lyrics. It’s not that erotic at all really, kind of sad sounding actually as if it were about having sex right before the end of the world. The backing band on this track sounds like it’s absolutely drenched in some kind of rainstorm. I know this sounds like a really weird combination of moods and ideas, but it actually works really well and I think this track is one of the most quirky and charming “sad” indie songs I’ve ever heard.

Meanwhile, the follow up track “I’m Still Your Fag” is warm, soothing, and folky, but the lyrics are downright miserable. The song is a story of two former same-sex lovers from the perspective of a gay man who was left in the dust by his closeted ex who left him for a heteronormative family life with wife and kids. The lyrics reference the narrators feelings of betrayal and abandonment, as well as self-harm and the narrator’s hesitant participation in his ex-lover’s kinks.

To be honest I don’t know this for certain but I don’t think Kevin Drew is even gay or bi, but the emotional delivery is incredibly sincere and I’m personally not offended by his usage of the “fag” slur because contextually I think it captures a really poignant aspect of internalized self-loathing that many gay men including myself have experienced. This is still a very bitter track for me to listen to even now, but it’s oddly comforting and beautifully poetic.

The album closes with “Pitter Patter Goes My Heart”, a small stripped-down instrumental reprise of the strings on “Anthems For A Seventeen Year Old Girl”. I think it’s a really excellent choice to reuse the signature musical motif of one of the most feelsy songs on the LP, especially right after the complete downer of the lyrics on “I’m Still Your Fag”. It leaves you with these little traces of tender memories and I think “Pitter Patter Goes My Heart” solidifies the emotionally rewarding experience of the LP.

It’s pretty obvious that a lot of really talented and creative people came together to make this project when you listen to it. Broken Social Scene really captured something spectacular on You Forgot It In People. I’m really glad I was able to first hear this LP at what feels like exactly the right time in my life, but truthfully I’ve only come to appreciate it more with time.

There’s a few tracks I didn’t mention here, but I should really reiterate that nearly everything on this album comes together in such a grand, perfect way and its one of the best flowing albums I’ve ever listened to. Seriously, if you’re someone who is at all into indie rock and you haven’t already heard this one, do yourself a huge favour and go experience You Forgot It In People for the first time.

10/10

highlights: “Anthems For A Seventeen Year-Old Girl”, “Stars And Sons”, “Lover’s Spit”, “Almost Crimes”, “Pacific Theme”, “KC Accidental”, “I’m Still Your Fag”, “Cause = Time”, “Capture The Flag”, “Pitter Patter Goes My Heart”, “Looks Just Like The Sun”

#broken social scene #you forgot it in people #indie rock #canadian indie #chamber pop #best music #favourite music #album review #music review #2002 #kevin drew #brendan canning #feist #emily haines

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shytiff · 4 years

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Small September Wins

1 - its JK's birthday, and BTS also got #1 Billboard 🥺 and then dave uploaded a video of him shaving his eyebrows. Somehow theres a lot of stuff happening as Sept starters! I hope all goes well in this month. Aamiin. DL, 6P

2 - DL, e (exercise), finished to 4 padi (took a while, but i still try to be proud), watched in the soop ep 2 yay!!!

3 - DL, e, edited 3 articles, 5P. Drank janjiw’s hazelnut latte and im still not sleepy (its currently 11 pm). like usually bcs i dont move a lot and its a boring routine day to day, im not 100% “awake”. most of the time im running on probably 90-95%, like there’s still that feel of tiredness looming behind, a slight feel on the head. (except after exercise or freshly woken up and bathed) but after coffee, my head doesnt feel the usual tiiiny weight, my eyes somehow feel like they’re fully open lmao. i see the bed and im not even thinking abt laying down and sleeping. my head feels clearer, if that makes sense. is this how other ppl feel all the time? but i feel sbux’s coffee doesnt quite have the “effect” on me like janjiw do. maybe bcs it’s arabica vs robusta. and today my back feels somewhat strong and not tired!! my legs were sore from yesterday but i can sit and do stuff for a while and not feel like ugh on my back

4 - DL, edited 1 article, MPI briefing

5 - DL, planned to run and i even changed but the weather turns SUNNY all of the sudden, and when i change back into normal clothing the suns gone lmao, watched parasite (and afterwards seeing the posters and tidbits about it), ordered damm eat (quite good, but the butter rice was a bit lacking), attended ma 50th anniv on zoom and wadah gerabah (kdm's seminar on financial planning)

6 - DL, e, 2P, ordered koper bebek pak boss (kgn!!! Taste good and oily as always just the way i like it), finished listening to Tentang Anak: Montessori just bcs i was curious

7 - DL, 2K (kompre lisan kak shela), A, the lecture was all day long so its a great distraction while im fasting, the dinner was spicy chicken so i was chugging a lot of water and my stomach was half water half food

8 - DL, D (Dhuha), 15K

9 - DL, 5K, met up with atikah and lau @ mcd citra 7, talked about coding design and branding (a refreshment from medschool vibezz), did delirium ppt for thursday submission (amazed i didnt do it 2 hrs before deadline)

10 - DL, pelatihan apd, google meets with shiko to do delirium ppt, edited 2 articles

11 - DL, E, 8K, wow nemos first webinar is finally published

12 - DL, e, joons birthday!!!!, eidcp (shock and pain), in the soop 4, mpi briefing, played among us with shiko

13 - DL, 20K, 3IKK (Cicil soal DK IKK)

14 - nugas EA bersama manusia2 terstruktur dan rapih anti deadliner club im like wow so this is how other rotations work? lmaooo

15 - DL, did KMKP QA together with B9, cicil DK IKK but my progress was sooo slow, slept in early even though i dont deserve it since i can feel the looming fatigue

16 - DL, lazed around the first half of the day wtf tif ingat kompre :((((, read kak diptas note on acls but i forgot it already (its only been a couple hrs) fkdigital obesity, did DT EA

17 - ask something for the first time in mpi class by my own will lmao. Todays class was very spontaneous. Listed sponsors contacts. DL, 3k

18 - DL, sent soal pld to alya, qc soal pld, finished ppt 1 hr before discussion, slept in until 9 am, my mood feels better after playing among us and werewolf with candra jiwa. i was alive until the very last seconds until i finally died and the evil won. i for sure CANNOT be a detective. Played until 12 am. my sour soul was cheered up, so glad i joined

19 - DT resume submission while lying in bed, kompre briefing, in the soop 5 while exercising (Emi Wong, standing HIIT), rapat sponsor nemo, read PPK Primer, diskusi asinkronus, my will to do things deteriorated again

20 - DL, hamstring and glutes sore af, 4IKK, read some PPK Primer, played among us with dajen and anak merpati, group call w shiko

21 - DL, did geriatri assignment, cicil ikk (even though turned out i did the wrong questions ffffffff), cbl at night from 19:30-21:00. Tried indomaret point's baper coffee and it did make me focus more on my laptop and deadlines to catch. Bts tiny desk concert omg!!!

22 - DL, cicil IKK as always~ geriatri discussion, drank indomaret points caramel latte and studied a bit for kompre. Somehow my stomach is less bloated when i drink coffee the night before :/

23 - DL, 1A, kompre study, dk ikk 17:00, coffee (palm sugar, indomaret point). Im not drowning in assignment... Yet

24 - DL, EA task training and simulation, cbl from 13:00-17:00 powered by sbux vanilla latte, passed out until 20:00, ate sum food, did DT

25 - wtf its friday already?!, DL, task training, spontaneous J-2 announced meeting with dr Dyah, tried ara's cake, rapat nemo and sponsor nemo, caramel macchiato~, ICORPS RSUI, cicil ikk terosss

26 - DL, have no will to do stuff, read some bitly kompre, ordered burgushi chicken mentai, cicil IKK

27 - 1A, alhamdulillahh finished reflection after a lot of stumped moments, it literally took me a day to make wtf. Its only 2 pages. And thats about it lmaooo. Played among us with solid

28 - DL, 1A, woke up at 11 am lmao, horein sam, cicil dk ikk, group call shiko. Didnt do a lot od things today but my mood is definitely better

29 - DL, will sleep at about 11 pm ish (slept through prof men’s lecture huhu) --> after posting this played my phone and slept at 12, anamnesis practice with ness ren, finished tugas harian geri

30 - DL, anam geri, finished status, and then did nothing else except reading painter of the night :(((( i didnt even do ikk. I got no fighting spirit today

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gigsoupmusic · 4 years

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JACKIE LYNN: Haley Fohr (Circuit Des Yeux) shares 3rd single from alter ego alias

Hear "Dream St" - LP 'Jacqueline', out April 10 on Drag City. On April 10th Jackie Lynn will release a new album, 'Jacqueline', via Drag City. Today the band reveal a new single and video) from the LP entitled “Dream St.” Jackie Lynn is the fictional alter ego of singer/songwriter Haley Fohr, also known for her indie folk project Circuit des Yeux, with Cooper Crain, Rob Frye and Dan Quinlivan of Bitchin Bajas. Each track on 'Jacqueline' depicts a day in the life of a woman on a long haul truck driving journey, both alone and together with her own thoughts. Following previous singles and accompanying videos "Casino Queen" and "Shugar Water", we now get a third glimpse at the life of 'Jacqueline'. The video for "Dream St." was shot by Tim Breene and he says, “Jackie Lynn taxis through her past on the corridor of dreams. A vortex rippling on the windshield. A memory sparked in a cloud of smoke. Driven by unseen forces with an armload of flowers. This was shot on a screen and drawn on paper. Flat surfaces in deep space.” Of “Dream St.” the band’s Haley Fohr notes: “I first wrote "Dream St." as an ode to my favorite street in Chicago, Ogden Drive. It is one of the few streets in the city that runs on a diagonal. On a good day you can catch a nice steady flow and shave minutes off of your commute. It also used to be a part of Route 66. I can't help but wonder if my very distinct attraction to the flow of Ogden isn't correlated to the deep historic stream that has been going down on that specific stretch of land for decades. ‘In transit’ means to pass through, and often times it's a situation where my body has no choice but to remain stationary, so my mind picks up the slack. In this moment of in-between-ness is where I am able to find my deepest imagination, my most intimate secrets, and my longest narrative. Everything about the making of ‘Dream St.’ was easy. I wrote it in a breeze, and we tracked it all live in an evening. Julie Pomerleau and Bobby Conn did a fantastic job with the strings, and the session was such a dream in itself… Right now everything seems hard. In a time when we are all in our own cabins tucked away (yet in transit), I hope that this song can help alleviate any inner concerns one may have in isolation.” Jackie Lynn has been around for only a few years now, and most of them we haven’t even seen her. Didn’t take too long to get a name around town, then she disappeared. She first broke the waves with a self-titled record in 2016. The image was alluring. There were masks and a wild backstory. Something you could project up on a screen. The music was a gritty, quicksilver sound; nocturnal, high. There was press. Rumors of a cult following in Europe. She made appearances around town for about a year, then – nothing. Unless you spun the record, then it all came alive again. We do it all the time. So we live with music and memories, and suddenly it’s 2020. And Jackie’s back. Forced off the grid, Jackie's self-proclaimed hero-of-none's story was one of revenge and reconciliation – but with the help of the benevolent spirit of strangers, Jackie Lynn has earned herself a second go-around. With a map as her guide, and all the weight of the world as her cargo, Jacqueline, lady of the road, is born. Each track on 'Jacqueline' depicts a day in the life of a woman on a long haul, both alone and together with her own thoughts. In theory, Jackie Lynn’s 'Jacqueline' is the personification of internal strength, humbling endurance, and twilight introspection through the lens of a femme long-haul truck driver. In practice, Jackie Lynn’s 'Jacqueline' is a testament to the traditional American Band. These 9 tracks that tell the story of 'Jacqueline' were written and recorded as a group, first to tape at home, then mixed at Electrical Audio by Cooper Crain. ‘Jacqueline’ track list: 1. Casino Queen 2. Shugar Water 3. Dream St. 4. Short Black Dress 5. Lenexa 6. Odessa 7. Traveler’s Code of Conduct 8. Diamond Glue 9. Control https://youtu.be/jwvzGAUxiqg Read the full article

#DragCity #DreamSt.#HaleyFohr #JackieLynn #newalbum

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shemakesmusic-uk · 4 years

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Jackie Lynn shares third single ‘Dream St’

On April 10 Jackie Lynn will release a new album, Jacqueline, via Drag City. Yesterday the band revealed a new single from the LP entitled ‘Dream St.’ Jackie Lynn is the fictional alter ego of singer/songwriter Haley Fohr, also known for her indie folk project Circuit des Yeux, with Cooper Crain, Rob Frye and Dan Quinlivan of Bitchin Bajas. Each track on Jacqueline depicts a day in the life of a woman on a long haul truck driving journey, both alone and together with her own thoughts. Following previous singles and accompanying videos ‘Casino Queen’ and ‘Shugar Water’, we now get a third glimpse at the life of 'Jacqueline'. Of ‘Dream St.’ the band’s Haley Fohr notes: “I first wrote ‘Dream St.’ as an ode to my favorite street in Chicago, Ogden Drive. It is one of the few streets in the city that runs on a diagonal. On a good day you can catch a nice steady flow and shave minutes off of your commute. It also used to be a part of Route 66. I can't help but wonder if my very distinct attraction to the flow of Ogden isn't correlated to the deep historic stream that has been going down on that specific stretch of land for decades. “‘In transit’ means to pass through, and often times it's a situation where my body has no choice but to remain stationary, so my mind picks up the slack. In this moment of in-between-ness is where I am able to find my deepest imagination, my most intimate secrets, and my longest narrative. Everything about the making of ‘Dream St.’ was easy. I wrote it in a breeze, and we tracked it all live in an evening. Julie Pomerleau and Bobby Conn did a fantastic job with the strings, and the session was such a dream in itself… “Right now everything seems hard. In a time when we are all in our own cabins tucked away (yet in transit), I hope that this song can help alleviate any inner concerns one may have in isolation.”

Photo credit: Evan Jenkins

#music #jackie lynn #dream st

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picframesonline · 6 years

Link

Digital picture frames are are a great way to view your favorite pictures, family vacation pictures, baby pictures, well, you get the picture. You can display either one picture, or run a slideshow of many pictures. This article explains the features you should keep in mind when purchasing a digital picture frame as well as give some interesting uses of how this handy device can be used in your home or business.

Today's digital picture frames range in size from 2 inches to up to 40 inches! Yes, that's right, 40 inches! The most typical size purchased though is from 7 to 10 inches - big enough to display a 4x6 or 5x7 picture. The larger the size, the larger the price.

Decide where you want to place the digital frame first (and make sure it's near a power source), then you'll have a better idea of how big the screen should be for viewing.With digital frames, you have the option of buying a standard 4:3 aspect ratio size or widescreen 16:9 ratio. The 16:9 ratio will stretch your photos and/or cut off your pictures. Most cameras produce pictures in the standard 4:3 ratio, so choose a picture frame with this standard.

Digital picture frames come in all sizes and looks. You can buy ones with metal, wood, or even plastic looking frames. Many models now come with interchangeable plates (frames) so you can choose the look that best works with your decor. There are two types of picture finish, matte and glass. A matte finish works best as a glass finish can create glare.

Resolution refers to how many pixels are on the screen. The more pixels the better the clarity and richness of the picture. Lately, there have been a lot of good deals out there for digital picture frames. Prices have really come down these past few years. However, check the specs on the picture frame carefully. Many of these "great deals" have low resolutions which means poor display quality. Ensure the picture frame you buy is no lower than 640x480 in resolution. Typically, a 7 inch frame should have resolution of 720x480, an 8 inch should have 800x600 resolution, and frames over 10 inches should have at least 1024x768 resolution.(1)

The best way to ensure you'll like the digital frame is to test it out first. How does the picture quality look? Do the pictures look vibrant? Do the pictures load fast during the slideshow? If you back away 7 feet, can you see the picture fine? What if you move to the left and right, does the picture show well or is there glare? Most stores do not let you see the picture frame in action, so you might not be able to test this until you get the picture frame home.

All digital picture frames need to be plugged into a wall outlet. Some models have an internal battery or allow for rechargeable batteries so you can pass your picture frame around the room to others without cables. To save money, look for an auto on/off feature in a digital frame. Frames with this feature can be programmed to come on only at night but turn off at a certain hour. This is a great feature and will allow your frame to be enjoyed more. Otherwise, you either 1.) let the picture frame run day and night or 2.) you unplug it when you're not using it - which is most of the time, thus not enjoying your frame and then you'll forget about it.

Digital picture frames can do more than just display pictures. Many frames also play songs (mp3's) and videos. Consult the instructions on the box as to which type of formats the frame takes. Different brands accept different formats. By uploading mp3's into your frame, you can now show your picture slide shows along with your favorite music. The speakers in the frame offer decent sound and guests are often surprised by the novelty of seeing your pictures along with the music.

Video is another cool feature you can upload into your digital frame. You can upload any videos (ensure the format is supported by your frame). The possibilities are endless - home movies, music videos, movies, tv shows, you name it. Nonetheless, the smooth playing of a video depends on the quality of the picture frame you purchase.

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orderessay-us-blog · 6 years

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'Kant\'s \"Good Will\" essay'

' show publication:\n\nThe explanation of Kants strong go forth and its opposition to delight.\n\nEs justice Questions:\n\nHow does Im sliceuel Kant doctor the satisfactory constantlyy last(predicate)ow foring? In what way is Kants Good lead chief(prenominal)taind to satisf consummation? What is the true philosophical bosom of the earnest pull up stakes.\n\n thesis Statement:\n\nKant explains what a costly bequeath is and what contrast it makes in the pick outledge of the lessonistic doings that a one-on-one makes.\n\n \nKants Good leave precisely essay\n\n \n\n turn off of contents:\n\n1. grounding\n\n2. psychoanalysis of Kants wakeless provideing\n\n1. Good for scram vs. ecstasy\n\n2. The mettle of a obedient leave\n\n3. plausibility of Kants compute of the easily lead\n\n4. Conclusion\n\nIntroduction. universe one of the master(prenominal) representatives of the Western-European classical philosophy, Im existenceuel Kant dealt with t he dress hat traditions of the German judgmentlism. A human somebodyality, jibe to Kant is the high geargonst and sheer(a) place. It is the soulality, in Kants apprehension, that towers the soulfulness e realwhere its accept self and link up the human cosmos with the influence of intimacys. The put of involvements, according to Kant is the offspring of the common scent out. The whole perceived world somewhat us complies with the solelyege of affairs. The to the highest degree arouse part of Kants philosophy is that his aver image of the determine of things and common m some other wit is dual in case of analyzing it. In his written report fundament of the Metaphysic of morals Kants thoughts come to a vital psyche. This question lies in the engagement between the chthonic more or less and highest abilities of a passion, between the desire to gaiety and a respectable volition that is a manifestation of art. In this figure it is very(prenominal ) clean to trace Kants intension to oppose the clean training of moralisticity and its adulteration to whatsoever p individu completelyyy relativism, which causes this degradation of morality. He tried to piss the highest build of adhesion of the ethical principles that managed morality? For he believed that the degradation of morality starts from, the impracticableness to evaluate what is real wrong or right. Here, is the occlusive where Immanuel Kant enters the description of the nonion right(a) impart. Kant explains what a estimable give is and what difference it makes in the perception of the moral actions that a soul makes. Kants chief(prenominal) intention is to stress the moral value of motivation and its identification at least through the heading of a intelligent pass on in a person.\n\n2. Analysis of Kants thoroughly exit\n\nThe alone thing that is steady-going without qualification or restriction is a best go away[17]. Kant outlines tha t honor objectively remains to be skinnyness, in duration if zip is re every(prenominal)y in force(p)(a). From this brain he offers the definition of what a comfortably ordain is. The arbitrariness of Kants ethics is the autonomous intelligent give up. This trust comely exit is non supine; a flattop of this leave take to make actions and deeds.A moral action looks c atomic number 18 a go forth of an internal assertive command. So Kant makes an dialect on the magnificence of the behavior, which is managed by the deportment-threatening go forth. That is to say, a replete(p) bequeath alone in dear(p) in completely circumstances and in that sense is an autocratic or immeasurable keen[17]. Kant evaluates a easily give without basing on the conducts, which it beats.From the point of lot of the philosopher a sound leave behind keeps remaining correct make uptide if it does accomplish the determination it had. In other spoken communication, t hus far if an individual fails to do something commanded by his upright bequeath what he did remains a close thing un chink all toldy. At the very(prenominal) cadence Immanuel Kant placements a life-threatening result as a bizarre excellence that is able to take in the result it think to produce. A severe leave behind is hush worth(predicate) by itself, because it objectively every exists or non in the personality.\n\n2.a. Good allow vs. comfort\n\nAs it has been already mentioned Immanuel Kant in his work Groundwork of the Metaphysic of Morals widely uses the bourn trusty entrust. It is very just about-valuable to understand the source Kant valued this conceit so deeply. To wholly understand this it is demand to draw the pair between a right unstrained and objective happiness of every individual.Let us suppose, basing on Kants words, that we meet a person who at all points is happen uponmentful: he has power, wealth, a ripe(p) health, a pricey landed estate of soul, he is well-to-do with his feel, looks and considers himself to be a appe bed person. potful we say analyzing this man that he is capable? Generally yes. deal would ordinarily say that this man is talented and has everything to be euphoric and his give birth perception of macrocosm content in addition. Kants question to this upshot is different does this happiness have a moral bases? From Kants point of watch over some givens and qualities of a happy person are non combined with any moral bases. At this point is needful to come ass to the term honorable allowing.The absence of a expert depart makes unimaginable generally postulate personal qualities much(prenominal) as wittiness, susceptibility to judge, courage, decisiveness and galore(postnominal) others. Kant implies that these qualities whitethorn break d avow evil in case when they are non support by the practised forget. From the philosophers public opinion a honorab le volition forms, probably, the most essential condition non provided of being happy but heretofore of being worthy to be happy.\n\n2.b. The essence of a grievous will\n\nA trusty will is a will, not able to be cruel or evil [53]. The humor of wideness forms the reputation of the beneficial will. truth it the main necessity of the existance of the keen will according to Immanuel Kant. A reliable will is a will in which essential characteristics of an individual do not nix but define and help the desire to do good. Good will in its own sense is a unity of autonomy and law, mind and faithfulness. The worthiness of determination of the will by the mind is the real core of its goodness. Kant also refers to the controlling good will[60]. The sanctity of this good will in Kants understanding comes from its superiority over Kants intermediate good will. Kant loca tinkles the absolute good will as the moral finale of the human mind. It is the main goal of the highes t gift humanity has ever gotten the human mind. Kant interprets this form of will as a handsome will. Kant through his notion good will reveals the necessity of high moral set in the life of every person, without which the life thus far subjectively happy individual is whitethorn not be called despatch and successful, but even a calamity of mind to success and to purify. Kant makes an accent on the learnd versatility of the good will a good will needs to bend the law of will of any creature. A good will possesses a entire unity of subjective and objective beginnings of the will in the matt law of moralities.\n\n3. slickness of Kants view of the good will\n\nSome race claim that Kants root word seems to be a utopia of nonsuch. check to Kant the beau ideal of will is estimated by the complete(a)ness of absolute will in an individual. If in that locationfore the perfection of will is a moral law, all other laws of duty remain well imperfect, which also makes the go od will imperfect, too. Therefore, a human being is a unique creature, for which perfection in other palm is not as valid, as the good will is. The complete perfection is achieved sole(prenominal) the good will itself, for it is objectively and unconditionally good [78]. nookie this be considered to be a universal joint law? And is a good will the most valuable What Kant assures the proofreader is that the good will is good even if it does not produce the demand effects and does not achieve the results is aimed to achieve. If the reader analyzes this point of view from a working example he might face a certain(p) difficulty. For instance, a persons goal is to do a good thing, but dapple seek to do it he causes definite harm. sewer it be estimated to be still a good will, even if it caused prejudicial results, enemy to the ones aimed to achieve.The most in question(predicate) part of Kants opinion is the rating of the result of the action produced by the good will. As some(prenominal) positive and negative results do not postpone the goodness of the good will it is very dangerous to objectively judge the actions of a person. If the perfection terminate be found barely inside of the good will and cipher else can be perfect by itself, than how can a person fatigue that he posses a good will. This is very doubtful, due to the difference of the notion of happiness of other hoi polloi. respective(prenominal)s subjectiveness does not allow them to possess a good will because even if their intensions are good they cannot know for sure that what they compulsion to do is good in footing of the person they trust to help and anything else. At the uniform time the fact of unforced good may not be taken into count. If there are ii different mint with the same results obtained and if their wills are opposing each other, than the person that feature a good will in his intentions is the good one. It is about(predicate) the inconsistency of the will and the result of the action the will produces. Kant idea seems to be a utopia, but nevertheless, it may be called plausible due to the disaster to perfect while trying to achieve the absolute will. It is very plausible that even if a man is talented, gifted, if he posses the most suitable temperament for his ambience, even if he is clever, voluptuous, sincere it all may produce harm in case if it not directed by a good will. Immanuel Kant outlines that a good will is what makes a man passing moral and therefrom evaluates him in it own definition.\n\nConclusion. Immanuel Kant provided a philosophical point of view of the morality of the ball club. His good will excogitation gave the bases to the works of other famous philosophers. Immanuel Kants good will theory claims that lonesome(prenominal) if a thing does not train anything else to be good in commit to function thus it is good and if it does it is good with a certain limitation. Good will is estimated both by t he goodness of the willing and the result of this willing, not necessarily both at the same time. As all the personal qualities desire a good will to stock them in order to be good they are all good with limitations. At the same time a good will does not need all these qualities to be good. whole the qualities and opportunities in the society around are good with limitations and the plainly thing that will make them truly good is the good will, for it is the only thing that does not require anything else to be good. Kants unexcelled idea enraptures the thinker with its depth. The most cardinal ting to understand, according to Kant is that the goodness of a good will is not evaluated through the result it achieves and the result itself has nonentity to with the goodness of the good will and under no condition does limit its goodness. secret code would end this root better that Kants own words carrying the most important message he wanted people to hear: It is impossible to conceive anything at all in the world, or even out of it, which can be taken as good without qualification, except a good will.If you want to get a full essay, order it on our website: Looking for a place to buy a cheap paper online? Buy Paper Cheap - Premium quality cheap essays and affordable papers online. Buy cheap, high quality papers to impress your professors and pass your exams. Do it online right now! '

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diamonddeposits · 6 years

Photo

BEST TRACKS OF 2017-ARTISTS LIST #61

MISERABLE CHILLERS

NY based artist and guitarist Miguel Gallego shared some deeply personal dream rock with superb long player A Flower You Would Like To Eat earlier this year. Here is a list of the songs that amde his life in 2018!

01. Japanese Breakfast - Til Death

In an interview Michelle talks about how her producer compared this song to the Carpenters, and absolutely has that lush, almost schmaltzy beauty to it. There's no kitsch here—the Disney romance of the music is the perfect antidote to a painful year, where sometimes the only way to cope is to be swallowed by an embrace. I love this song.

02. Lily Konigsberg - Waterfall Snake Juice

Lily and Andrea's split tape 'Good Times Now' is one of my favorite releases of the year. I've loved Lily's work in Palberta, and am in awe of her ability to work within experimental and pop idioms in equally inventive and enjoyable ways. "Waterfall Snake Juice" is evocative, melodic, and sounds almost infuriatingly effortless. There's something special about a song that does so much with such a light(-seeming) touch.

03. Little Kid - Dim Light Coming Down

There's a certain quality that I've never been able to pin down that I hear in certain songs—"Kicked it in the Sun" by Built to Spill or OMD's "Souvenir" are two examples. The closest I can get it is to say that these are songs that seem simultaneously haunted and relieved by the passing of something awful. A certain calm in the aftermath of a storm. This beautiful song was a surprise discovery for me, and it has that same kind of heavy weightlessness to it.

04.Flash Trading - Acceleration

This song is claustrophobic and idiosyncratic—the result of some singular desire to marry Prefab Sprout to acid house. Sometimes a simple lyric can be devastating—and somehow become more striking and more powerful with each repetition. As the song reflects on growing older and bitter it culminates in the repeated refrain "and you're mean all the time..." Somehow that gets to me.

05. Bosco - Castles (feat St. Beauty)

This song is cool as fuck. I love the steve reich-y piano loop that repeats throughout the song. It works a memorable hook and a great musical metaphor for love dissolving like "castles on the sand." I love it when artists use motifs that aren't necessarily 'melodic' but have a memorizing quality in their texture and alien-ness. I think one of the coolest long term changes in how we think about music that's come with the advent of sampling is this expansion of our idea of what can constitute a 'musical idea' in the context of pop song.

06. Laurel Halo - Moontalk

what an awesome bit of arty electropop. between the eclectic percussion and the mix of these different melodic fragments (everything from a very afrobeat-y palm muted guitar line to a phone dial tone) give this sensation of watching the longest arm ever wind up for a punch. it's a song that moves the way muscle and sinew stretch. all tension that is never released—just subsumed in ominous strings.

07. Vince Staples - Homage

Big Fish Theory is the coolest sounding album I've heard in a long time. I love the squelchy synths—the use of texture as idea in and of itself. It's a frenetic song that works as a great declaration of intent for Vince—a defiant commitment to inscrutability; to not being pinned down or contained.

08. Coma Cinema - Burden

The summer after I graduated from college was one my lower points. I was living in an apartment with my dad in the wake of their divorce, but he spent most of that summer with his family in Mexico, nursing his own broken heart. I had just gotten out of a relationship and found myself with a lot of time to be alone in one of the stranger towns in New Jersey, Edgewater. I become obsessed with charting out a lineage of intergenerational trauma, and couldn't shake this idea that my sadness was my birthright—and that somehow or another I was doomed to reproduce the traumas that had been inflected on me. This idea of inherited pain haunts the stunning, final Coma Cinema album, Loss Memory. But 'Burden' works towards moving forward rather being defeated by the weight of history—by acknowledging it and affirming the need to collectively disarm it. The song follows a folk form which gives it this beautiful synergy; an inherited form used to past down history and memorialize, to remember.

09.Corneilius - If You’re Here

This is such a beautiful musical study in space. The lyrics reflect on presence—physical or emotional; and how disorienting a sudden absence can be. Not only is there so much blank space between the phrasing of the drums and rhodes that underpin the song—there is also such a thoughtful play between how the instruments suggest space. The drums are dry as a bone, the vocals intimate and in your ear, with hardly a hint of a reverb. Meanwhile the ecstatic and adventurous guitar—the only instrument that really diverges from a specific motif, is imbued with the feel of an empty room. Beautiful.

10. Renata Zeiguer- Bug

Renata Zeiguer' writes music that's somewhere between tin pan alley and romantic era art songs disguised as indie rock. She also has one of the best melodic sensibilities of anyone going on right now. Bug rides a swooning, unpredictable arc as it alludes to Kafka and bids you not to go 'undertow, to the basement...' or to 'decompose.' My therapist is a bit of German nut, and he told me the other day that he would, personally, translate the 'ungeheueres Ungeziefer that Gregor transforms into as the "unbeholden"—something out of sight, something that has become undervalued. Now more than ever the everpresecent forces of white supremacy and ruthless, inhumane capitalism are baring down hard. Without wanting to project any revolutionary intent to Zeiguer's song, it does feel like a good and appropriate call to arms. "Spring is waiting," after all.

11.CCFX - The One To Wait

This a song I would dream about—a St Etienne drumbeat over beautiful goth-y post punk guitars with a stunning vocal from Mary Jane Dunphe's that channels Sue Tompkins and Mary Margaret O'Hara all at once. It's a stunning ode to a painful and necessary leaving. When I first heard it I felt this delighted feeling of hearing something I never knew I always needed to exist.

12. U.S. Girls - Mad As Hell

How do you make a cathartic expression of anger even more powerful? Make it a monstrous bop. "Mad As Hell" is the furious disco excoriation of neo-liberalism as embodied by Obama and the Third Way Democratic platform that lost last year's election we desperately needed—casting them as an unhealthy relationship, where we're caught between our dependence on them as the only bulwark against the crypto-fascist reactionary vision of America offered by Trump, and their willingness to wage inhumane drone warfare. It's a reminder of why we need a real Left. And it's catchy as hell too.

#best of 2017 #miserable chillers #japanese breakfast #LILY KONIGSBERG #little kid #flash trading #vince staples #lauren halo #bosco #st. beauty #coma cinema #corneillus #renata zeiguer #u.s. girls #ccfx

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ladmob · 6 years

Text

Conor McGregor Is the Devil’s Son

For more , Please view ---> www.LADmob.com

Conor McGregor Is the Devil’s Son

Last week’s miserable series of press conferences closed the distance between the blowhard McGregor pretends to be when he needs to sell something and the shameful human Floyd Mayweather continues to be every day.

Big L is one of the greatest rappers – maybe the greatest of all – to pick up a microphone. Murdered before his 25th birthday, he only lived long enough to see a single full-length release; you can listen to his entire discography in the span of a few hours. But even in the grimiest, gun-happiest days of mid-1990s gangster rap, the Harlem emcee born Lamont Coleman distinguished his rhymes about violence, money, and drugs through cadence, word play, and cutting one-liners. He was in his finest form on “Devil’s Son,” an over-the-top ode to murder, rape, and pistol-whipping priests. The live version hits even harder: “I was a child runnin’ wild like a goose chase/Punish my dad I put poison in his toothpaste/Then I picked my infant sister up, gave her a quick spank/Then I dropped that little bitch in the fish tank.”

Absurd as those lyrics are, UFC lightweight champion Conor McGregor had them beat with the sustained animosity he showed toward Floyd Mayweather on last week’s four-date international tour for their August 26 pay-per-view cash grab. In Los Angeles, McGregor wore a David August suit with fuck-yous sewn into the pin stripes. In Toronto, he screamed at Showtime Sports executive Stephen Espinoza (“Look at you, you little fucking weasel!”), and he dug in further on Mayweather’s tax troubles. (Mayweather: “I do numbers, I make money.” McGregor: “You owe money.”) In Brooklyn, everything about McGregor except for pants that looked like 19th-century wallpaper was fucking awful: he gave entry-level shout-outs to Biggie and Jay-Z, said dumb shit about being “half-black… from the belly button down,” and the reality-show-season-57 blandness that seeps in when you hold three “press” conferences in a row without anyone asking a goddamn question became all too clear. In London, the thing came to a merciful end with McGregor regaining some semblance of form and, thanks to Mayweather’s flights of homophobia and misogyny, coming out looking like the hero of this farcical pugilistic fairytale.

Tiresome as it was, it was a fun time – in a deranged, masochistic sort of way – with many threats of bodily harm, flag hurling, awkwardly long stare downs, spectators crowning the “winner” of each press conference based on whose verbal abuse seemed less scripted, and the principals redirecting their own gnawing insecurities re: money, fame, likeability, fighting style, and prospects of victory into headline- and video-package-ready soundbites.

But the best part was how the mainstream-ness of the whole traveling carnival translated to cable sports TV bullshit. “This was a rap diss show,” said Fox Sports 1’s Jason Whitlock of the LA presser on the first night. “This is gangster rap moved to the sports lane, moved into boxing.” (“It’s like Papa Doc and Eminem in 8 Mile, right?” said co-host Kristine Leahy, as I put a razor blade to my wrist.)

The gist of Whitlock’s argument – which I guarantee he thought of on air between breaths – was weird as well as self-contradicting. One the one hand, he said the shit-talk during the Mayweather-McGregor pressers could leech into how NFL players hype up games, and that the eff-bombs at the first event were the nadir of fight hype. “This is unprecedented for boxing,” he said. (Uh, remember that press conference when Mike Tyson said, “I’ll fuck you ’til you love me, faggot”?) On the other, he said no one should get sanctimonious about the tenor of that shit-talk because it’s the inevitable outcome of boxing’s history of insults and race baiting. “We have emptied out the trailer park and the hood and put them in a ring together, and we’re about to witness a culture clash and a culmination of a path we’ve been on for years.”

Whitlock’s argument is amazing both because it sounds apocalyptic and it sets up a straw man just to knock it down. Like, is anyone actually concerned that this press conference might set a bad example for the NFL, when a bigger problem might be people like a quarterback who threw his testicles onto a female athletic trainer’s face back in college, then spent his entire career convincing us that he was the apple-pie-eating-est motherfucker to win a Superbowl ring?

But last week’s miserable series of press conferences closed the distance between the blowhard McGregor pretends to be when he needs to sell something and the shameful human Floyd Mayweather, Jr., continues to be every day. Most people who’ve spent time with McGregor say he dials down the volume in private and, outlandish sartorial tastes and threats of running over a reporter who wouldn’t let him see a story before publication notwithstanding, is a humble guy, proud father, and devoted to the mother of his son. True: telling Mayweather “dance for me boy” was gross and quasi-racist, dedicating a few coital thrusts to his “beautiful black female fans” was like Trump eating a taco bowl and tweeting “I love Hispanics,” and the clean up at the media scrum afterward didn’t erase the stain of ugly jokes that wouldn’t pass muster on the Blue Collar Comedy Tour.

But without pardoning McGregor, remember that the goon he plays on TV perpetrated that over-the-line buffoonery in a played-out format where he had to fill dead air. He never assaulted the mother of his children while they watched, faced 90 days in jail as a result, and later opened a strip club called Girl Collection. And he didn’t call his opponent a faggot in London like that’s an okay slur to wield in public.

Another downside is that the episodes of let’s-just-fight-right-now jawing at each other wore thin even before they showed up in LA. Mayweather and McGregor didn’t fight each other at the press conferences not because of the bodyguards onstage, or any vestigial nod to professionalism. It was because why the fuck would you give away the spectacle you’re trying to sell in August? Some estimates expect Mayweather-McGregor to clear 4.8 million pay-per-view buys and gross $500 million. This is life-changing money for McGregor and, with a big tax bill due, lifestyle-saving money for Mayweather. Decades after this fight is done, they will greet each other with open arms and warm words, thinking about all the cash they earned back when they pretended to hate each other.

Big L didn’t actually kill his parents and his baby sister. Those who knew him remember a quiet Lamont Coleman at odds with his trigger-happy alter ego. Similarly, if the most memorable combat sports athletes aren’t also method actors, they at least know how to build compelling characters through expression. Vulgar insults make for a reliable script, and so does the me-against-the-world story McGregor tells himself. “Showtime and all these, they’re trying to set me up,” he said in Toronto. “They’re trying to catch me off-guard, they’re trying to put me in these uncomfortable situations. But little do they know, I thrive in uncomfortable situations.”

By the third day, when they ran out of gas, watching Mayweather and McGregor yell at each other was hell. But when you’re the devil’s son, that’s not a bad place to be.

via

#Comedian #oldnews

0 notes

flauntpage · 7 years

Text

Conor McGregor Is the Devil’s Son

Big L is one of the greatest rappers—maybe the greatest of all—to pick up a microphone. Murdered before his 25th birthday, he only lived long enough to see a single full-length release; you can listen to his entire discography in the span of a few hours. But even in the grimiest, gun-happiest days of mid-1990s gangster rap, the Harlem emcee born Lamont Coleman distinguished his rhymes about violence, money, and drugs through cadence, word play, and cutting one-liners. He was in his finest form on "Devil's Son," an over-the-top ode to murder, rape, and pistol-whipping priests. The live version hits even harder: "I was a child runnin' wild like a goose chase/Punish my dad I put poison in his toothpaste/Then I picked my infant sister up, gave her a quick spank/Then I dropped that little bitch in the fish tank."

Absurd as those lyrics are, UFC lightweight champion Conor McGregor had them beat with the sustained animosity he showed toward Floyd Mayweather, on last week's four-date international tour for their August 26 pay-per-view cash grab. In Los Angeles, McGregor wore a David August suit with fuck-yous sewn into the pin stripes. In Toronto, he screamed at Showtime Sports executive Stephen Espinoza ("Look at you, you little fucking weasel!"), and he dug in further on Mayweather's tax troubles. (Mayweather: "I do numbers, I make money." McGregor: "You owe money.") In Brooklyn, everything about McGregor except for pants that looked like 19 th-century wallpaper was fucking awful: he gave entry-level shout-outs to Biggie and Jay-Z, said dumb shit about being "half-black…from the belly button down," and the reality-show-season-57 blandness that seeps in when you hold three "press" conferences in row without anyone asking a goddamn question became all too clear. In London, the thing came to a merciful end with McGregor regaining some semblance of form and, thanks to Mayweather's flights of homophobia and misogyny, coming out looking like the hero of this farcical pugilistic fairytale.

Photo by Noah K. Murray-USA TODAY Sports

Tiresome as it was, it was a fun time—in a deranged, masochistic sort of way—with many threats of bodily harm, flag hurling, awkwardly long stare downs, spectators crowning the "winner" of each press conference based on whose verbal abuse seemed less scripted, and the principals redirecting their own gnawing insecurities re: money, fame, likeability, fighting style, and prospects of victory into headline- and video-package-ready sound bites. But the best part was how the mainstream-ness of the whole traveling carnival translated to cable sports TV bullshit. "This was a rap diss show," said Fox Sports 1's Jason Whitlock of the LA presser on the first night. "This is gangster rap moved to the sports lane, moved into boxing." ("It's like Papa Doc and Eminem in 8 Mile, right?" said co-host Kristine Leahy, as I put a razor blade to my wrist.)

The gist of Whitlock's argument—which I guarantee he thought of on air between breaths—was weird as well as self-contradicting. One the one hand, he said the shit-talk during the Mayweather-McGregor pressers could leech into how NFL players hype up games, and that the eff-bombs at the first event were the nadir of fight hype. "This is unprecedented for boxing," he said. (Uh, remember that press conference when Mike Tyson said, "I'll fuck you 'til you love me faggot"?) On the other, he said no one should get sanctimonious about the tenor of that shit-talk because it's the inevitable outcome of boxing's history of insults and race baiting. "We have emptied out the trailer park and the hood and put them in a ring together, and we're about to witness a culture clash and a culmination of a path we've been on for years."

Whitlock's argument is amazing both because it sounds apocalyptic and it sets up a straw man just to knock it down. Like, is anyone actually concerned that this press conference might set a bad example for the NFL, when a bigger problem might be people like a quarterback who threw his testicles onto a female athletic trainer's face back in college, then spent his entire career convincing us that he was the apple-pie-eating-est motherfucker to win a Superbowl ring?

Photo by Tom Szczerbowski-USA TODAY Sports

But last week's miserable series of press conferences closed the distance between the blowhard McGregor pretends to be when he needs to sell something and the shameful human Floyd Mayweather, Jr., continues to be every day. Most people who've spent time with McGregor say he dials down the volume in private and, outlandish sartorial tastes and threats of running over a reporter who wouldn't let him see a story before publication notwithstanding, is a humble guy, proud father, and devoted to the mother of his son. True: telling Mayweather "dance for me boy" was gross and quasi-racist, dedicating a few coital thrusts to his "beautiful black female fans" was like Trump eating a taco bowl and tweeting "I love Hispanics," and the clean up at the media scrum afterward didn't erase the stain of ugly jokes that wouldn't pass muster on the Blue Collar Comedy Tour.

But without pardoning McGregor, remember that the goon he plays on TV perpetrated that over-the-line buffoonery in a played-out format where he had to fill dead air. He never assaulted the mother of his children while they watched, faced 90 days in jail as a result, and later opened a strip club called Girl Collection. And he didn't call his opponent a faggot in London like that's an okay slur to wield in public.

Another downside is that the episodes of let's-just-fight-right-now jawing at each other wore thin even before they showed up in LA. Mayweather and McGregor didn't fight each other at the press conferences not because of the bodyguards onstage, or any vestigial nod to professionalism. It was because why the fuck would you give away the spectacle you're trying to sell in August? Some estimates expect Mayweather-McGregor to clear 4.8 million pay-per-view buys and gross $500 million. This is life-changing money for McGregor and, with a big tax bill due, lifestyle-saving money for Mayweather. Decades after this fight is done, they will greet each other with open arms and warm words, thinking about all the cash they earned back when they pretended to hate each other.

Big L didn't actually kill his parents and his baby sister. Those who knew him remember a quiet Lamont Coleman at odds with his trigger-happy alter ego. Similarly, if the most memorable combat sports athletes aren't also method actors, they at least know how to build compelling characters through expression. Vulgar insults make for a reliable script, and so does the me-against-the-world story McGregor tells himself. "Showtime and all these, they're trying to set me up," he said in Toronto. "They're trying to catch me off-guard, they're trying to put me in these uncomfortable situations. But little do they know, I thrive in uncomfortable situations."

By the third day, when they ran out of gas, watching Mayweather and McGregor yell at each other was hell. But when you're the devil's son, that's not a bad place to be.

Conor McGregor Is the Devil’s Son published first on http://ift.tt/2pLTmlv

0 notes

un-nmd · 7 years

Text

Recent listening—

The Mothers of Invention, Weasles Ripped My Flesh (1970) Strikes a somewhat psychotic balance between the whimsy of a Ween and the all-out avant of a Beefheart. The musicianship’s all there lest you fear that Zappa’s noisy conundrums were meant to hide a lack thereof—his magic band equivalents are able to don ‘general public’ masks and jam away just like any contemporary fellow, as they do on “Directly From My Heart To You” and “My Guitar Wants To Kill Your Mama” (note the electric violin on the former). But to those with ears of gentle predisposition: beware, and don’t be fooled, for the joke’s on you. The visceral beasts behind those vaguely satirical eye-holes are let loose more often than they’re contained. Take the two characteristic collages, “Didja Get Any Onya?” and “Prelude To The Afternoon Of A Sexually Aroused Gas Mask”: chaos, yes, but ritualistic chaos; Zappa, wielder of the wild. The sheer number of ideas, themes, and allusions introduced and just as quickly passed over in the space of, for each, less than four minutes, is nauseatingly impressive. E.g. about halfway through the latter, whose title suggests Debussy’s own ...d’un faune, some Satanic call and response gives way to the distant strains of the second subject of the first movement of Tchaikovsky’s Pathétique, over which some madman projects an uncanny valley imitation of a big cat growling—then final tremors from kit and a deep down electric rumbling to close. And if you thought music was one-dimensional (audio, you could argue, perhaps is) wait till you hear Zappa break the fourth wall on “Toads Of The Short Forest” which itself ends on a parodic consonance that’s rich with the same commercial irony of the album’s parting words— “Goodnight, boys and girls”—which follow one and a half minutes of some of the harshest noise you’ll ever hear. If you thought Penderecki was aggressive listen to this and reconsider.

Various artists, Planetarium (2017) You would think that with the extra personnel Sufjan would be somewhat protected from the subsuming ambition that fed Illinois and Adz to over an hour each—or that he’d personally outgrown it, as these mature words here would suggest:

A lot of those flourishes and gestures and aesthetic wanderings on earlier records were smoke and mirrors, a lot of obfuscation that were probably the result of me feeling either inadequate or feeling coy. There’s a lot of role playing and constructing facades.

But the 76-minute run-time indicates otherwise. Perhaps it’s the subject matter. These four gentlemen’s ode to the cosmos is as much about space as it is about substance—by which I mean: aside from the planet portraits they also craft sonic voids to match that of the great vacuum, and call it ‘ambient music’ so its justifiable. Is Muhly to blame? If so, its at least theoretically intriguing for its marriage of post-minimalism and popular music. It makes for dull listening though. You accept it the first couple of times but there’s no way I’m sitting through “Sun” or “Tides” or the “Moon” coda for a third or further. However with “Black Energy” the suspended dissonances are at least something for the ear to work on, and “Halley’s Comet” and “Black Hole” are short enough to accept as outros/intros to tracks preceding/following, with the latter also being interesting for its similarity to certain parts of Badalamenti’s score to Fire Walk With Me. But of the actual songs?—“Jupiter” and “Mars” quickly go from overwhelming to simply overcrafted. Likewise “Earth” is overcome by temporal grandeur, but it is defensible in the same way that the Mahler symphonies are, i.e. gushing Romanticism kills itself yet in doing so also transcends itself. “Pluto” and its interstellar string line provide the appropriate sappiness required of a work named Planetarium. The real gems, however, are “Neptune”, “Uranus”, “Saturn”, and “Mercury”—is it any coincidence that these are also the most Sufjan-esque?

John Coltrane, The Olatunji Concert (1967) This was all the Gods could muster: a cheap, dingy mic, a 30-sec intro, time for two jams with the latter cut off before the final hit—there the master laid down his pen. Like J.S. centuries ago it was, fittingly, on his signature move. Did he know it would be his last live recording? The notion would at least have been entertained as by then he was probably well into the throes of the cirrhosis that would eventually take him. Trane’s apocalyptic final will and testament, the culmination—if only chronologically—of a lifetime’s innovation, comes at you through an otherworldly haze, through cigarette smoke and spirit vapours, through half a century (exactly) of sonic decomposition of tapes that were at a poor enough quality to begin with. All that’s pretty is shed away, left behind for the blind and the shallow to fuck with. This is the primal essence. Trane, on the precipice, delivers a performance of catastrophic immensity. This was no Mahler 9, no sweet surrender—with one foot in the grave he raged.

Deep Puddle Dynamics, The Taste of Rain... Why Kneel? (1999) And re-calibrate again for the emcees in this realm require of the listener a completely different approach. Here the gamut of receptors is tuned less to harmony, instrumental skill, or ‘compositional rigour’ (in the Western art sense), and more to verse, cadence, dialect, timbre, rhythm, and so forth—it’s only empty if you ain’t looking hard enough. And four voices means there’s plenty of variety to go round. The interplay between the distinct bodies to their voices makes them stronger as a unit, à la Tribe preceding. E.g. I don’t think I could handle an entire full-length full of Doseone’s nasal delivery but on this the other three contextualise the texture space he resides in so that his grating-ness means something. (See his entry on “The Scarecrow Speaks”.) Another point of difference between this and the records surrounding: I’ve had genius.com open for probably half my listens. The pace, density, and abstraction of the ideas expounded deserve more comprehension than a fleeting ear’s able to discern; the work is the word, mostly, so read the libretto. We open with Slug: “Descending on the centre / from the outskirts of obscurity”. An apt heads up for such is how you approach the meaning to these tracks, most of which exceed five minutes. Within them the majority of time is spent dealing in Impressionistic strokes of free-verse, free-associative syllables strung streaming out to the potent symbology of, say, a candle flame (as on “The Candle”) or the psychological landscape of a peeling ceiling (as on “Heavy Ceiling”—distant progenitor to Courtney Barnett’s “An Illustration of Loneliness”). However at times a rhyme catalyses the crystallisation of these supersaturated abstractions—here’s Sole towards the end of “Thought vs. Action”:

Man, I once had an idea but it didn’t get me anywhere Read The Art of War when I should have been out fighting Why is it the mass is unexposed to so-called great thinkers until they die? And why do they live in fear Of the fighters afraid to leave their insides?

But wait! Don’t forget ‘compositional rigour’ just yet as a certain hook on the track just discussed, the chant chucking nouns at each crotchet (“catalyst, cataclysm, fallacy, fortitude, medulla...”), appears also on “Deep Puddle Theme Song” and “June 26th, 1998”, albeit with different words, and as different answers to different questions. And formwise you’ve got the partition between the ‘98 tracks and those from June 26th, 1999. There’s a palpable maturation from the former to the latter. In the year of ‘98 they had more answers than questions—see the noun chant above, see the youthful arrogance on “The Scarecrow Speaks” and “I Am Hip Hop (Move the Crowd)”. And even the cynicism that closes #1 has with it a little bit of nihilistic tongue-in-cheek. One year on and they’re a lot more tired of the world. That sly grin’s nowhere to be found on lines like these...

How is it I’m motivated to endure Eight hours of pure unadulterated boredom? Then sit in front of another computer for Four more hours using the same old drum set Trying different loops, can’t find one to fit Maybe this is why I sit in front of a pad of paper, pen in hand with a blank mind And I ask myself Is the writer’s slump the best form of meditation? Rhetorical, don’t have an answer And I also don’t expect one.

...and all that’s left is a deathly wit...

It ain't all love, it's confusion and a waste of time It ain't all time, it's confusion and a waste of love It ain't all waste, it's confusion and some time to love It ain't all confusion, it's love and some time to waste It ain't all that It's all of the above So scared into this And you are And you wonder from the shores how deep the puddle is.

...borne of the same fin-de-siècle dread that fed Radiohead’s OK Computer.

Alvvays, s/t (2014) Music that’s dense and complex and meticulous will never be difficult to write about, or, for some, even to listen to, because there’s always the task of ascribing theory to composition to hide in. Such an approach, however, can neglect what you might say to be the primary purpose of music: evoking a meaningful emotional response in the listener. This, to trained ears, can be tempered by knowledge and understanding of the underlying theory, but for the most part it is governed by right-brain perception; that is, the Dionysian response as opposed to the Apollonian. For example: I could write about how on “Dives” you can developmentally derive the verse theme from the prelude’s sinister synth line, or about the 3/2 bars on the refrain to the same and how Molly’s melody overlays a 6/4 structure in a sort of inverse hemiola to the colossal opening of Brahms’s 3rd—or, instead, I could write about the sweet, sweet ache I am immediately plunged into upon the first words to the first song (”How / Do I get close to you? / Even if you don’t notice / As I admire you / On the subway”), or the simultaneous melancholy of lyric and uplift of melody on the chorus to “Archie, Marry Me”, or the crack in my heart that accompanies, every time, Molly’s crack up to that high note on “Ones Who Love You”, that velvet vowel vocalise that’s recalled, in spirit, on the final seconds of their latest single when she, unexpectedly, epiphanically, goes up the register to a transcendent 5th scale degree falling to the major 3rd on what itself is a 6-3 on the I, i.e. a first inversion founded on yet another radiant, overtone-heavy 3rd. Point being, who really cares about the details when all you can think about is that it’s making you soar, or in some cases, sore (in the chest).

#planetarium #frank zappa #the mothers of invention #john coltrane #deep puddle dynamics #alvvays

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