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Netsky - Second Nature LP Out Now! Full Lenght Review & Album Spotlight Release megathread

2020.10.29 23:40 TELMxWILSON Netsky - Second Nature LP Out Now! Full Lenght Review & Album Spotlight Release megathread

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Netsky - Second Nature Album Review (by u/lefuniname)

Welcome to my second album write-up! As always, I apologize in advance for the Big Wall Of Text that is about to follow.

Background

Does someone like Netsky even need an introduction? Usually I'd say I Refuse to do one, but he's been absent from the scene for a few years and just a few weeks ago we had a "I just discovered Netsky" thread over here, so maybe he actually does need one. Let's go down Memory Lane.
Netsky, named after the computer worm with the same name, is somewhat of a legend of the scene. Pronounced Net-Sky and not Net-Ski, by the way. He started producing around 2009, Give And Take a few months, and was quickly discovered by DJ Hype and Pascal during their search for new talent for their liquid-focused sublabel Liq-weed Ganja Recordings. Releases on Grid Recordings and all sorts of other labels followed quickly, garnering more and more attention in a very short amount of time. Enough attention to get a recording contract with Hospital Records and win the "Best Newcomer Producer" award at the D&B Arena awards in 2010.
That's exactly when things really kicked into full gear for the Belgian producer. Multiple iconic Netsky tunes like Memory Lane, I Refuse, Eyes Closed and Tonight, a collab with Danny Byrd, date back to exactly that year. It was also the year he released his first album, Netsky. Two years later he followed this up with his second album, creatively titled 2. He even started the Netsky Live Band that year. All was well. Sadly you cannot find said sophomore album on Spotify anymore, but I bet you can still find it on Pirate Bay. I mean, you shouldn't do that, just buy it if you want it. I just wanted to make a reference to his track Pirate Bay. You get me.
By the time his third album 3 was released, i.e. around 2016, some people in the scene were becoming increasingly frustrated by the change of direction in Netsky's style. People were clamoring for more "glory days" dnb from him, but he wanted to explore other genres and directions. Some see it as selling out, some as him just doing whatever he wants. After 3, he took it one step further and turned his back on dnb for a while to pursue EDM. Shudder. Just like Pendulum with their Knife Party sideproject, that change of genres didn't come out of nowhere though. His albums have always featured all kinds of different subgenres in the electronic music spectrum, it has always been part of his repertoire. And while I'm not necessarily a fan of the David Guetta, Aloe Blacc and Lil Wayne era of Netsky, I am still happy for him. Must have been pretty wild to go completely out of the comfort zone that was dnb for him (at the time at least) and work with names that big. Also, at least the Prototypes and Toronto Is Broken DnB remixes of his tunes from that time are bangers.
Late March, early April this year, at the (first) height of the lockdown, he posted on his socials that he would release a new DnB album this year. On Hospital Records. Out of f'ing nowhere. 10 Years after his first album, it was time for him to come home. During his series of lockdown streams and various interviews, it became clearer and clearer that it wasn't all a big ruse, he was actually really excited to return to his roots. So excited in fact that he gathered 18 brand new tracks for this new album, making it his biggest album to date.
But can this new album, this Return Of The Lost Son, live up to its hype? As they say in my favorite fictional TV show, let's find out!

Track Breakdown

The album begins with Mixed Emotions. No no, that was not supposed to be a review of the track, that's just the title of it. My emotions for this collaboration with Kiwi producer Montell2099 aren't mixed at all, they are in fact very positive. The stripped-down, laid-back production of it shows that Netsky actually meant it when he said he'd go back to his roots. Maybe not quite back to the 2009 days, but it certainly has that certified Netsky Feeling™ to it. It just feels warm. The beautifulness of this track is enhanced even further by the accompanying music video, which is Netsky's love letter to Aotearoa, more colloquially known as New Zealand. Created together with Montell2099 and some people at the Kiwi radio station George FM, it showcases the stunning landscapes, cultural landmarks and people that inspired this intro to the journey that is Second Nature. (Update from the future: Mixed Emotions is in fact not actually the intro to the album. I'll mention the actual intro further down)
As Netsky himself said in a recent interview with Red Bull Electronica, this album is not about a story or a theme. It's just a collection of all the different musical styles that make Netsky Netsky. And one of those styles is Dancefloor. The first track that really goes into that direction is Destiny, a collaboration with the master of dancefloor himself, Sub Focus. Safe to say, his influences can be felt a lot. It is a bit as if Netsky took the Desire project files and injected his style into it. They even both share the same Des prefix! Okay okay, it probably wasn't anything like that and that prefix part is a bit far-fetched, but it is definitely reminiscent of it. Just like Desire, Destiny also has the same sing-along and festival anthem potential.
Next up, we got the first solo track, I Choose You, a remix of the soul classic Willie Hutch - I Choose You. As mentioned in various interviews over the years, Netsky's parents are big fans of soul, funk and jazz. This is the first of many tracks on this album that make it crystal clear just how much influence his parents' soul record collection had on him and his productions. If you listen to the original and the Netsky version side-by-side, the remix might seem simple at first, but it is just effective as hell. The vocals and the trumpets and just the whole arrangement in general just work really well in a dnb tempo. The happy vibes on this remix are dangerously contagious.
So contagious indeed that Netsky decided to put a stop to them. As mentioned earlier, Netsky has planned to show all sides of his sound on this album. Broken Bottles is the track on which the EDM side of him shines through the most. If you are familiar with the tracks he produced in the last few years (I wouldn't judge you if you aren't), this one is like a DnB version of I Don't Even Know You Anymore with Lil Wayne. Straight up going into Sad Auto-Tune Song territory. That statement alone is probably enough for some fans to throw some bottles. Maybe the song isn't even about alcoholism, but about DnB purists' reaction to the Auto-Tune. However, even if you aren't a fan of the vocal style, you might still get a lot out of this one. While I also really like how the stripped-back piano sections during the buildup set the mood, the drops are where the track shines in my opinion. They emphasize the hurt and anger the protagonist goes through. They also just bang, especially the second one. Probably not for everyone, it's a grower though.
Time for some more collaborations now! First we have Blend with Rudimental, a melting pot of different ideas and styles. We've got the funkiest of the funky basslines, we have trumpets and all sorts of brass, we've got catchy vocals by Afronaut Zu, there's a organ taking us to church, point is, we got it all. Really fun track!
Next up we're diving straight into liquid territory. On Let Me Hold You Netsky and Hybrid Minds combined their strengths into one beautiful vocal-driven anthem. They really pulled all the strings to craft something great here. A forward-moving yet emotional piano, a stunning vocal performance that could probably lead to world peace, and the aforementioned strings that will make you cry effortlessly. My favorite moment comes right before the second drop when the production is stripped-back completely, leaving just the strings and the vocals. It works so goddamn well man. This whole track is a wave of emotions crashing right into you.
You might already know this next one. Look At Me Go, featuring english, I wanna say Hardcore?, producer Darren Styles, feels like Netsky is talking directly to us through the vocal sample. "Look at me jumping between wildly different styles from track to track!" This one is even more wildly different though. Take one part 174 bpm 4x4 beat, 2 parts Psytrance influences and a tablespoon Blood Sugar (it's honestly uncanny) and you get Look At Me Go! Really fun track. That WAKAME WAKAME WAKAME GO vocal will never leave my head. And no, you can't convince me that this isn't what the vocal says.
Over the following three tracks Netsky pivots away from barely-dnb to not-at-all-dnb and shows us what his style would sound like in other genres. Don't Care What People Say is a funk-drenched 80s-themed vocoder love anthem. Pretty much Netsky's take on Daft Punk. Even though this usually isn't my genre, this one really hooked me. Probably because the production on it is clean as a whistle. But, like, not a used one, one that was just recently cleaned really thoroughly. You get me.
You know what's in vogue right now? Chilled out tracks at a tempo slightly slower than DnB with some breakbeats. From The Prototypes to Sub Focus & Wilkinson, everyone that is releasing an album seems to be doing it. Even Gydra and Turno tried their hand at the tempo, but their experiments weren't quite as chilled out. Complicated is Netsky's entry in the series. It starts out seriously mellow, but the drop soon enough introduces a loud but warm bass melody into the mix that spices things up nicely. Not a very complicated tune, but it fits the vibe he's going for very well.
Okay enough of that expedition to the unknown non-DnB lands, let's get back home. Free is the second track of the album that is a reimagination of a vintage soul tune, this time it's Deniece Williams with her smash hit Free. The elements of the original track are all there, but produced and mastered very differently. The trumpets are way more prominent, the vocal has been cut down to the main I just got to be freee part and arranged completely differently. He of course also added things to it, from the small male vocal to the breaks in the buildup and throughout the drop. I can't believe how well that technique of taking a classic soul song and rearranging it into a dnb track has worked on me. Twice now too. Compared to I Choose You, Free is way more mellow, but just as enjoyable.
This next one is special to me. Way back in late March, when lockdown had just started, Netsky completely blindsided us all by releasing I Saw The Future In Your Eyes pretty much out of nowhere. It was the single that kicked this whole album project off and was the confirmation we all needed that, yes, Netsky is actually going back to DnB. And judging by this first single, it would actually be kinda amazing. It gave us something to look forward to in a time where most news were kinda bleak. The track by itself already gives you a sense of beautiful melancholic hopefulness that was emphasized tenfold by the times it was released in. If you are a fan of the Old Netsky™ sound, this track is for you. Amazing vibes all the way through.
One thing I love about Netsky is the cheery cheesiness, or cheesy cheeriness, of some of the lyrics in his songs. I've definitely lost most of you here I think, but I'm not going to back down on this. Something about hearing positive lyrics just makes me smile. For me, one of the most cheesy, positive happy vibes, sing-along tracks on this album is Waiting All Day To Get To You. The vocals are so simple, 90% of the lyrics are already in the title, but damn if it isn't catchy as hell. Those vocals are complimented extremely well by the guitars throughout the song and the heavy but melodic bass in the drop. I'm sorry, but I have no choice but to bop up and down and sing along.
Ew, emotions. Good thing the next track is a true banger, gotta blast those feelings away. Power, featuring the Brazilian funkmaster Urbandawn, will blast your socks off. Maybe the foot too. It'll powerwash your whole body. POW, just like that. But even more than that. Probably why it's called POW-er. In true Urbandawn fashion the funk in this track is palpable, from the signature funky guitars in the buildup and breakdown to the powerful basses in the drop. There's even some fun half-time business in the second drop! The different styles present on this album are honestly insane. Huge track.
Speaking of half-time. The next track on the list, Float starts off as exactly that. In contrast to Power, this one is more float-y though. Okay that was a way too easy joke, I apologize. This one is an interesting one. If I had to keep myself short I'd describe it as a chill spring-time vibe. Also, there's a flute. Speaking of, while listening to the drop I do wonder if someone just misspelled "Flute" while writing the title of this track. Or maybe that similarity was intentional and I'm just stupid. Or maybe it wasn't and I'm still stupid. Who knows! Very very unique track. Won't be the first one I'll recommend, but it's certainly interesting enough. But maybe you, the reader, will love it, who knows? Hey, whatever flutes your boat.
The non-dnb block of the album continues with Dreaming Of U with Elias, arguably one of the poppiest tracks on the album. While not my favorite track of the bunch, I still appreciate things about it. For instance, I love the way the vocal is layered, that high/low layering will always work on me. While it's not groundbreaking, that little drum "dudum" during the buildup and outro is also very lovely.
We're nearing the end here folks. I think we could all do with another soul-track-turned-dnb track, to lift the spirits a bit. Just in time for the literal darkest times of the year we got our summer anthem of the year: Everybody Loves The Sunshine. Just like with the other two soul classics before this one, Netsky took most of the elements of the original by Roy Ayers and transformed them into something new. Something faster mostly. Even though it still sounds simple, I have to admit that this strategy has actually worked a third time on me. I didn't expect myself to like it as much as I do, but here we are. I'm just a sucker for happy vibes I guess.
Finally, we've arrived at the end of the - wait. There's a track missing. Hold On, featuring the prolific UK singer and DnB vocalist legend Becky Hill, should be in here somewhere, right? That's what the website says at least. It's also included in the album mini-mix he just uploaded. But it's not there in the review copy we got? Uhm, well, the 20 seconds I can hear in the mini mix are pretty nice I guess. Best review ever.
Okay but now we are here. The last track. The last frontier. Basic Instinct. Fitting name, because after I finished listening to it my basic instincts kicked in and made me restart the track immediately. Pure vibes. At it's core it's like a more melancholic version of I See The Future In Your Eyes, but it's also much more than that. All the elements come together perfectly to actually make you feel like you've just returned home after a long journey. All the tiny vocal bits, the melody continuing throughout the breakdown after the first drop and smoothly going into the second drop, all the melodies working together during the drop... there's a lot to love here. And I love all of it. Stunning.

Summary

There's one thing that defines this album in my opinion and that is diversity. Nearly every single track has a unique idea or sound to it, while still clearly being a Netsky track. It really speaks to his production capabilities that he is able to craft so many great tracks in so many different styles without losing his identity.
Even with all the diversity there's still some reoccurring themes in this album though. His parents' soul influence on him is undeniable on this album, with three tracks being basically DnB remasters of old soul classics. With big names like Hybrid Minds, Sub Focus or even Urbandawn being involved, this is also the album on which he most embraced the dnb scene itself.
My highlights are Let Me Hold You, a track that only got more beautiful the more I listened to it, Waiting All Day To Get To You, whose catchy vocal will probably never leave my head at this point, Power, which just blows me away every single time, and Basic Instinct/I See The Future In Your Eyes, which both just have an amazing vibe to them.
All in all, way better than expected!
 

Tracklist

Title Length
Hold On (feat. Becky Hill) 3:43
Mixed Emotions (feat. Montell2099) 4:28
Destiny (feat. Sub Focus & Jozzy) 4:03
I Choose You 2:59
Broken Bottles 3:37
Blend (feat. Rudimental & Afronaut Zu) 3:26
Let Me Hold You feat. Hybrid Minds 3:23
Look At Me Go (feat. Darren Styles) 3:46
Don't Care What People Say 3:26
Complicated 3:47
Free 3:21
I See The Future In Your Eyes 4:15
Waiting All Day To Get To You 2:55
Power (feat. Urbandawn) 3:46
Float 3:20
Dreaming Of You (feat. Elias) 3:07
Everybody Loves The Sunshine (feat. Daddy Waku & Chantal Kashala) 3:21
Basic Instinct 3:57
 

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Interview with Red Bull

Album Minimix

 

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2020.10.29 18:09 FunPeach0 Extremely in depth look at “Whoever Did This”(S4E09) full of incredible analysis, episode references and tidbits. Credit:@sopranos.autopsy

“Whoever Did This” is one of the gems of the series. It has a little bit of everything that we’ve come to love (and some have come to hate) about The Sopranos. Humor, action, subtlety, violence, connectivity, silence—it’s all here. It is also this episode that really draws the battle lines in the war between certainty and ambiguity that so many Sopranos fans get pulled into; some viewers insist that Ralph is guilty of killing Pie-O-My, while others think the evidence is ambiguous at best. (Any consistent reader of this website should already be able to guess which way I lean.)
I think the episode title is the first clue that Chase’s universe is ruled by ambiguity—there are several instances in this hour in which characters (or we viewers) wonder exactly who it was that caused or carried out some particular event. The episode title is invoked, directly or indirectly, in each of the major stories of the hour:
Ralph wonders who squealed to Johnny Sac about his Ginny-joke Ralph wonders if his son’s accident was just a random event, or an act of vengeance by God The guys wonder who made the prank call to Nucci We wonder if Ralph set fire to the horse stables We wonder if Corrado’s confusion is simply an act, or if the news media loosened some dormant dementia when they inadvertently knocked him down the courthouse steps I’ll take a look at all of these questions in turn.
Ralph and his crew wonder who revealed his fat-joke to John Sacrimoni. He guesses—correctly—that Lil Paulie told Paulie, who must have then forwarded it to John. (We know Ralph has guessed correctly because Chase showed us these events onscreen earlier in the season.) To get revenge, Ralph makes a horrendous (but hilarious) prank call to Nucci. Ralph has always been a despicable character, and has even been compared to the Devil himself throughout the series:
Devilish Ralph Sopranos Autopsy
(In episode 3.06, Ralph is purposefully placed, according to Professor Franco Ricci, in front of “a painting that is a splatter of color, a swirl of emotions and turbulence that reflects his demoniacal character”; in 4.02, Janice is reading The Origin of Satan when she’s hit by Ralph’s toe-clippings; and Ralph sits before a New Jersey Devils bumper sticker in 4.06. Additionally, he himself says “I’m Satan to this kid” in reference to Jackie Jr’s dislike of him in 3.03.)
Episode writers Green & Burgess recorded a commentary track for this hour. They say that it was very important to the show that they “rehabilitated” Ralph before they killed him. When Ralph’s son Justin suffers a gruesome, disabling accident, Ralph decides he must turn over a new leaf and become a better person. This is another example of how The Sopranos traffics in ambiguity: as demonic as Ralph can be, Chase wants to make it difficult for the viewer to see him as completely bad or evil. SopranoWorld is gray, not black-and-white. There have also been other instances on the series in which we were exposed to the brighter dimensions of some very dark characters just before they met their demise, perhaps most memorably Det. Vin Makazian in Season One. In episode 1.11, we saw Makazian taking a shower—almost as though it were a spiritual ablution—before later commiting suicide. Similarly, Ralph is also bathing when Chase begins the process of rehabilitating his character:
Ablutions Sopranos Autopsy
Housekeeper Inez shouts and bangs at the bathroom door, but Ralph is not alarmed at first—he has seen her get histrionic over petty things before. But Ralph grows anxious when he hears Inez shout his son’s name. Justin has been wounded by an arrow flung down from the heavens. (It was his friend that shot the arrow into the air, but God’s role—if He had a role—in directing the arrow towards Justin’s artery is a significant question of the episode.) The boy is rushed to the hospital where he lays in critical condition.
This is the episode that earned Joe Pantoliano an Emmy for Best Supporting Actor. Just in the hospital scene alone, we can see that he fully deserved to win it. He truly brings out the complexities of “Ralph Cifaretto.” Ralph is desolate and pained and hopeful and seething with anger all at once. He explodes at his ex-wife’s husband. Tony has to practically throttle Ralph against the wall—a gesture that will get echoed later in the hour—to make him calm down:
foreshadow choke
Ralph has been a demonic character throughout the series, and Green & Burgess have a bit of fun evoking our sympathy for this devilish man—they incorporate lyrics from the Rolling Stones’ “Sympathy for the Devil” into the episode’s dialogue:
Ralph says “Please allow me to introduce myself” to Justin’s surgeon Ralph says “Pleased to meet you” to Father Phil Father Phil asks Ralph, “Were you there when Jesus Christ had his moment of doubt and pain?” Ralph feels like a hypocrite turning to Father Phil now, but the priest assures him, “God understands. That’s why at times like these, He’s the only one we can turn to.” Outraged at the injustice of such a horrific accident occurring to his innocent son, Ralph snarls back, “God?!” Ralph believes that Justin’s accident is some sort of cosmic vengeance for his own misdeeds. In fact, it does seem that God may doling out vengeance—and doling it out with a heavy heaping of irony when we consider Ralph’s misdeed early in the episode: his prank phone call. During the call, Ralph told Nucci her son had to be rushed to the emergency room, only to have to rush his own son to the E.R. later. He also asked Nucci for her insurance information—and later tells Tony that his own insurance may not cover all the treatment that Justin will need. (Perhaps God is angry at Ralph for pinning a wacky sexual practice—gerbiling—on Paulie during the prank call, when it is actually Ralph himself that has some rather odd sexual proclivities.)
Father Phil cannot explain why Justin is suffering, he can only tell Ralph that “it’s a great mystery why things happen as they do.” But he is certain that the Lord is not punishing Justin as payback for Ralph’s misdeeds: “God has a plan for all of us…God is merciful. He doesn’t punish people.” With these contradictory statements, Father Phil demonstrates that he—like all of us—unconsciously switches from mystical ambiguity (“It’s a great mystery”) to certainty (“He doesn’t punish people”) depending on which viewpoint will best serve his prejudices and beliefs at a given moment.
Ralph’s curiosity about why such tragedy occurs is as old as the human race. The theological problem of evil and suffering has been directly addressed on The Sopranos before. As he sat beside cancer-stricken Jackie in episode 1.04, Tony wondered, “What type of God…?” And he will ask the same question again in Melfi’s office next week. Regardless of how many times this question is asked, in SopranoWorld or in the real world, we never get a satisfying answer. In his essay “‘Funny about God and Fate and shit like that’: The Imminent Unexpected in The Sopranos,” Robert Piluso writes…
As in life, when watching The Sopranos, we often do not know why things happen, or when they will, or if God’s plan is at work, or if chaos reigns in a godless void. Rather than expect Chase to eventually serve his Mafiosi their just desserts, we wait for death. For misfortune. For disaster. Nothing is sacred. No one is safe. Chase presides over his universe as an anti-god…
Although Father Phil is trite and defensive at times during their conversation, he does provide Ralph with words of hope and comfort. Ralph seems to make a legitimate effort to become a reformed man—but it doesn’t happen immediately. He still smacks people around during his collections, and provides Tony with a fat stack of ill-gotten cash. Our feelings for Ralph are conflicted through the episode. Paulie, on the other hand, has no conflicting feelings—he loathes Ralph and describes him as a “piece of shit.” Paulie is convinced—without any real evidence—that it was Ralph that made the prank call to his mother. Paulie’s guess is correct, but it is only that—an educated guess. Paulie was not privy, like the viewer was, to the scene in which Ralph made the prank call. Christopher and Tony remind him that he doesn’t know for sure that Ralph is guilty, but Paulie nevertheless wants to whack him. Tony lays down the law: Paulie is not to lay a finger on Ralph.
Tony is in bed with Ralph’s ex-girlfriend Valentina when he gets the call from horse-trainer Lois about Pie-O-My’s death. (Some viewers see this as a clue by David Chase that Ralph killed Pie as payback against Tony for dating his ex-girlfriend.) At the burned-out horse stables, Lois cites a blown-out light bulb as evidence for the fire being accidental. But Tony seems to regard the light socket with suspicion. He seems to already be suspecting arson. (Tony knows something about arson—we might remember that he orchestrated one in the Pilot episode.) Lois mentions the high insurance value of the dead animals. Tony realizes that he and Ralph recently took out a valuable insurance policy on the horse, and surely remembers Ralph’s earlier complaint about Justin’s steep hospital bill. It is certainly within Wreck-It Ralph’s temperament to commit such an atrocity. The pieces are all starting to fit in Tony’s mind.
The scene at the stables closes with a shot of Pie-O-My’s companion, the goat. Historically, since at least the Middle Ages, the goat has been associated with Satan. If that is what Chase is signifying with this shot, then it becomes one more association between the Devil and Ralph—and points to his guilt in killing Pie.
goat baphomet Sopranos Autopsy
It is difficult to tell whether Tony is already convinced of Ralph’s guilt before reaching the Cifaretto house, or only becomes convinced of it after arriving there. As Tony questions Ralph in his kitchen, Chase inserts a couple of beguiling shots, almost from Tony’s POV, of Ralph’s hands. Are these the hands that destroyed Tony’s beloved horse, or are they simply hands that are cooking up some breakfast? I’ll admit that when this episode originally aired, I was sure that Ralph was to blame for the fire. It was so obvious to me, in fact, that I didn’t recognize his guilt was even up for question. It was only the next day, as fans and the media buzzed—“Did he or didn’t he?”—that I realized the issue might not be so cut-and-dry. A quick second viewing that evening confirmed that there is simply not enough evidence to find Ralph guilty beyond a reasonable doubt. (And now, after watching the series in its entirety a number of times, and coming to believe that ambiguity is the central thesis of The Sopranos, I feel confident that “uncertainty” is the whole point of the scene in Ralph’s kitchen.)
In a 2007 Vanity Fair article, “An American Family,” Peter Biskind recounts that “Chase wouldn’t tell Pantoliano if Ralphie had set the fire or not. Pantoliano decided to play the scene as if he hadn’t, as if he were innocent.” On the commentary track, Green & Burgess confirm that this is how Joey Pants decided to play the scene. As for the writers themselves: Green believes that Ralphie is guilty of the crime, while Burgess says he always felt Ralph is not guilty (although he is coming around to his partner’s way of thinking). The fact that there are such differing interpretations of Ralph’s behavior even among those involved in the production of the episode points to an important fact: in film and television, and particularly in The Sopranos, it is in the editing room where the final product is ultimately fashioned. Regardless of how the actor acted it, or the writers wrote it, or the director directed it, Chase and his editors ultimately stitched the episode together in such a way that we cannot say that Ralph is guilty with any reasonable certainty.
Of course, we shouldn’t expect Tony to be reasonable when it comes to his cherished horse. When Ralph insists that it was a stroke of luck, and nothing more, that killed Pie-O-My, Tony skeptically responds, “It’s funny about God and fate and shit like that.” Tony thinks it can’t be a coincidence that the horse would die just after he and Ralph took out an insurance policy on it. He convinces himself that Ralph committed arson. And this leads to the second way that we can read the ambiguous shot of the goat which closed the scene at the stables; the goat may represent not Ralph the Devil, but Ralph the Scapegoat. The third book of the Hebrew Bible, Leviticus, recounts the story of the goat that was heaped with the sins of the people and then sent into the wilderness, never to be seen again.
goat scapegoat
Regardless of whether Ralph is in fact guilty of arson or just the scapegoat for an unfortunate accident, Tony wreaks his vengeance. There hasn’t been much violence so far in Season 4. Dectective Haydu was killed in the season opener. After that, Death made only glancing appearances: Tony learns of Gloria Trillo’s suicide; Karen Baccalieri dies in a car accident; Furio’s father dies of cancer. The “hits-and-tits” crowd have been sitting on their hands all season long, waiting for some action. It finally comes now—big time. The fight between Tony and Ralph is a brutal scene, full of sound and fury. A violent man meets a violent end at the hands of another violent man. Tony had drawn a line in the sand, telling Paulie he must not cross it when it comes to Ralph—but then he gives in to rage and kills Ralph himself. As he bashes the life out of Ralph, Tony growls a line that could refer to either Pie-O-My or Tracee the stripper: “She was a beautiful innocent creature, what did she ever do to you?” The tensions between the two men had not abated since Ralph brutally killed the young girl in “University.” Alan Sepinwall of The Star-Ledger calls this episode “the unspoken sequel” of that previous hour. And as many have noted, Ralph’s “Joisey” pronunciation of “whore” and “horse” sound so similar as to conflate Tracee and Pie-O-My even further.
I don’t know if Chase and the writers had planned to link Tracee and the horse when “University” aired last season. If they hadn’t, then it really is quite a coincidence that there were so many horse references in “University”:
Silvio referred to Tracee as a “thoroughbred” (and—this may be a stretch—her “chompers” are comparable to horse teeth):
chompers
Additionally, Caitlyn—Meadow’s maladjusted, distressed roommate who was compared to Tracee at various points in the episode—said that she is going to a horse farm to regain some balance in her troubled life.
Perhaps no Sopranos episode moves through as many tone- and tempo-shifts as does “Whoever Did This.” The hour begins with quite a bit of humor, particularly at the expense of poor Corrado (who takes a tumble down the courthouse steps), then shifts to the dark pathos of Justin’s accident and Pie-O-My’s death. After the brutally violent fight between Tony and Ralph, the episode creeps down to a petty pace in its second half. It almost becomes a procedural, as Tony and Chris give a D.I.Y. lesson in how to dispose of a body. They separate Ralphie’s head and hands from his torso. (Ralph was in the bathtub when he first heard the news that put him—potentially—on a road to reformation; it is in this same bathtub [which we now see in a reverse angle] that his corpse spends its last moments on Earth in one piece.)
2 bathtubs
Stephen Peacock, in his essay “Silence and The Sopranos,” analyzes the overpowering silence that characterizes the second half-hour as Tony and Chris dispose of Ralph. (Tony and Chris almost go completely mute, but our interest is nevertheless held powerfully to the screen.) Peacock finds something Dickensian in the way the sounds of chains and a bowling ball rolling down the stairs punctuate the quiet. (The spooky sound of chains chimed in some of Dickens’ more haunting scenes, such as the appearance of Marley’s chainbound ghost in A Christmas Carol.) Other viewers have found the chilling back-half of the episode to be Poe-like. (Something about Tony lumbering up the stairs with chains evokes for me the “The Cask of Amontillado,” with its dungeon and chains.) Strangely enough, it was in an episode whose title alluded to Poe—“The Telltale Moozadell”—that we earlier saw a bowling ball roll down a staircase:
Tony and Chris fling Ralph’s body off a cliff and bury his extremities at Mikey Palmice’s father’s farm. The duo come back to the Bada Bing to relax and get cleaned up. When Tony wakes up, Chris has already left the strip joint. Tony peers at himself in the mirror. As you all know by now, I love mirror shots:
Tracee Sopranos Autopsy
This mirror shot underscores Tony’s double-sided personality as we have seen it this hour. On the one hand, Tony is a sympathetic colleague, a lover of animals, a good manager of men (adroitly calming hot-headed Paulie down), and a loving father (tenderly roughhousing with his beloved son). On the other hand, he is a rule-breaking, self-indulgent murderer that often cares more about animals than he does human beings. His attention is diverted by a picture of Tracee (fully-clothed, unlike the girls in all the other photographs), the beautiful, vulnerable creature that Ralph Cifaretto undeniably, unquestionably destroyed.
SIGNIFYING NOTHING Tony turns away from the photo of Tracee and walks out of the dressing room. He pauses before the Bing stage, completely empty—except for a spotlight that shines down upon it. As he stops and stares, he may be thinking of Tracee, who once strut her hour upon this stage but was later wiped off the face of the earth. I think it may be enormously significant that that previous hour, “University,” opened with a shot of an overhead spotlight and then panned down to the same empty stage that Tony now looks at. Here is a clip that combines footage of the empty stage from both episodes:
The overhead spotlight, in both “University” and “Whoever Did This,” literally highlights nothing—or more accurately, nothingness. The empty stage embodies the philosophy of nothingness that threatens to overwhelm characters throughout the series. For me, the imagery of the empty stage recalls Macbeth’s famous soliloquy, which also contains some stage imagery:
Tomorrow and tomorrow and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.
Livia’s “It’s all a big nothing” speech to her grandson in “D-Girl” was a contemporary version of this Shakespearean soliloquy. By demonstrating that our certainties are often actually uncertainties, and challenging Father Phil’s idea that all events are made meaningful through God’s loving grace, “Whoever Did This” bleakly suggests that Livia’s philosophy of nothingness is the ultimate truth. The empty stage is a powerful symbol of this dark philosophy. It may seem like I’m making much ado about nothing, ascribing way too much metaphorical importance to a shabby stage in a north Jersey strip joint. But this same stage will significantly be the location of Paulie’s otherworldly vision in Season 6. And this stage will be recalled again in the memorable Series Finale. (And Johnny Sac will directly quote from the above Macbeth passage four episodes from now.)
Even the question of Corrado’s dementia is left unresolved. Does he go to the neighbor’s house to ask for ice cream because he recognizes the Feds are watching him, or is it because he is genuinely disoriented? When his nurse escorts him back into his living room, Chase does not keep the camera on him long enough for the viewer to be able to say with certainty that “Corrado is confused” or, alternately, “Corrado is faking it.” Of course, we do recognize over the course of the series that Corrado is indeed slipping into dementia. But it’s left uncertain for now.
William Siska, who attended film school with David Chase in the early ’70s, traces the similarities between Chase’s television series and European cinema in his essay, “‘If all this is for nothing’: The Sopranos as Art Cinema.” Siska notes a parallel between Ingmar Bergman’s The Passion of Anna and “Whoever Did This”—they both feature dead horses.
The Passion of Anna - Sopranos Autopsy
Siska’s interpretation of the burned horse in Bergman’s film could, in some sense, apply to Pie-O-My’s death in this episode:
The burning of horses, which occurs after the suspect in earlier incidents of violence to animals has committed suicide, proves that evil haunts the landscape, and turns the act into a metaphor for a universal corrosion in existence itself.
Siska argues that the burned horses in Bergman’s film have a metaphorical dimension, and I think that Pie-O-My’s death here has a similar metaphorical significance—her death exemplifies the progressive darkening of the SopranoWorld landscape over time. With each passing season of the series, we watch the “universal corrosion” of its characters get worse and worse.
(Just for the record, though, let me add that Siska seems pretty convinced that Ralph did indeed set the fire. There may be a universal corrosion in SopranoWorld, but there is not necessarily a universal consensus about the events that unfold there.)
ADDITIONAL NOTES:
Tony gives Chris a running commentary on his drug use, setting up the intervention of the next episode. It’s interesting that Corrado’s dementia may have been triggered by a fall down some steps, given the long history of shitty thing happening on steps and staircases in SopranoWorld. (See my 4.03 write-up for a documentation of incidents. Also see 6.02 for another connection between “tumbling down steps” and “dementia.”) Like many film geeks, I believe that editing is the most fundamental and important element of filmmaking. William Stich, A.C.E., gets credit for cutting this episode, and he can be praised (or blamed, I guess, depending on your point-of-view) for turning Joe Pantoliano’s straightforward performance in ‘the kitchen scene’ into something ambiguous. Veteran A.C.E. guys Sidney Wolinsky and Conrad Gonzalez round up the stellar team of Sopranos editors. “Whoever Did This” finally provides a showdown between Tony and Ralph. It had been brewing since Tracee was killed in 3.06 but was “formally” set-up in “He is Risen” (3.08), when Tony and Ralph confronted each other in a scene that evoked an old-timey Western, particularly through its use of the song “(Ghost)Riders in the Sky.” Tony defeats Ralph now, but unlike John Wayne or Gary Cooper or Clint Eastwood after a showdown, Tony is not presented afterwards as some square-jawed conquering hero (as we shall further see in the next episode, “The Strong, Silent Type”).
The old western mythology is also evoked by the track that closes “Whoever Did This.” It is Apollo 440’s cover of Ennio Morricone’s “The Man With the Harmonica” from the 1968 film Once Upon A Time in the West. Note how absolutely brilliant the song choice is: this episode features a showdown between contemporary Italian-American outlaws Ralph and Tony, and it ends with a contemporary version of a song that originally appeared in an Italian-made “spaghetti western” which also featured a showdown between American outlaws.
source: https://sopranosautopsy.com/season-4-2/whoever-did-this-4-09/
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2020.10.21 17:16 fiishyfiishy 2 Chainz reveals 'So Help Me God' release date, talks Kanye and Lil Wayne collab projects

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2020.10.18 20:37 KendrickAiFanfiction Kendrick AI Fanfiction Part 2: Now with less NSFW


So, I decided to start over to get a not NSFW story, It was good at first, but then it got worse. not an NSFW worse, but the AI basically broke.
It starts the same but key differences make it better and worse.


You are Kendrick Lamar, an American rapper, songwriter, and record producer. Considered by many to be one of the greatest musicians of all time, You have frequently been regarded as one of the most influential artists of your generation, as well as one of the greatest rappers and lyricists of all time.

As a musician, You have released over 100 albums in your career. Most notably Your debut album "Good Kid m.A.A.d City"

> You say "Hey Jay Rock, you want to do a song?"
Kendrick Lamar: Hey Jay Rock, you want to do a song?
You: Yeah, I think it'd be cool if we did something."
Jay Rock: "I don't know man. That's my boy Kendrick Lamar.
You say "yes. want to do a song with you, me Schoolboy Q, and Ab-Soul?"
Jay Rock: Yes, i do. I think that'd be sick."
You smile and nod your head.
You: "Cool!"
Jay Rock: "Yeah, let me finish this verse and we can get to it.
You make a song. It takes about an hour. Your song is better than Jay Rock's, and Jay Rock isn't a household name so you get the upper hand. He isn't discouraged though. He's in the booth for about an hour after that, he is very friendly and kind. While he might be a little arrogant, he is a cool cat once you get to know him.
You take a few pictures with him and Jay Rock and his brother before they leave.
It's late by the time you and your friends wrap up your work for the day. You go your separate ways, though Schoolboy Q, Ab-Soul and Jay Rock all plan on meeting up at the Grammy Museum after they leave work. You on the other hand are going home to get some rest before your big night.
The day of the Grammy's is tomorrow, and you've got a lot to do. You need to meet up with your label-mate's, pick up your Grammy dresses, do another interview or two, go to the Grammys, go to a party afterwards, and then come back for the Award Show.
You're feeling pretty confident about your chances tomorrow. Not only are you nominated in 10 categories, but you're also favored in 9 of those. Still, it's not going to be easy, anyone can win .
As you think about your possibilities for the rest of the day, you realize that this is probably your last chance to go out. After tomorrow you're going to be stuck in the studio a lot more, so you might as well go out with some co-workers on a last hurrah. Plus, you know the guys you're working with and you're on good terms with most of them, so there won't be any drama like last time.
That evening you head out to go see your friends.
Later...
You go out to see all your friends from Top Dawg Entertainment. Jay Rock, Schoolboy Q, Ab-Soul, SZA, Zacari, Reason, and the rest are waiting outside the building. You take a look at your phone, and you see that you're a few minutes late. They must be wondering what restaurant you're going to go to.
Jay Rock: Want to go get that place across the street?
SZA: no, i went there. it was disguisting
Schoolboy Q: Nah man, let's go to this one. The food takes like 10 minutes to come out.
You: Mmmm, i like that idea. Okay.
You all head to a local diner, which is pretty crowded for being so late at night. Everyone grabs a table while you order a meal.
In the corner of your eye, you see Drake. He sees you and waves. You wave back. He sits down at the table with you guys, but he's alone. He doesn't order anything, instead he just flashes a smile at all of you.
Drake: What up, Kendrick?
You: What up, Drake?
Drake: I haven't seen you in awhile. You going to the grammy's?
You: Yea, I'm nominated in 10 categories.
Drake: Wow, really? Congrats man!
You: Yea, that's why I'm going out tonight. I'm out to celebrate. I'm also going to the grammy's so I can win.
Drake: That's awesome! will you try and beat me?
You: Haha, I don't think so.
Drake: (with a serious tone) I will if you don't show up.
You: (Smiling) No, I'll be there.
The waiter comes with everyone's food and you all start eating. Drake is telling you about his new club, OVO. He says you should all go there to hang out sometime. Jay Rock then asks where you're going, so you tell him. Jay and Drake start exchanging stories about their own plans for the night.
Jay Rock: I'm just happy that i got nominated for an award.
Drake: Yea, that was my goal for the year.
SZA: I'm just happy to be nominated.
All of a sudden, there is an announcement on the loud speaker.
Annoucer: Flower Boy is the greatest song ever.
All of you: WHAT?!
Drake: (Starts laughing)
After the announcement, your group leaves the diner. Everyone is pretty drunk by now. You take a taxi to some hotel and proceed to get equally wasted. It's going to be a good night.
The next day, you have to go back to the studio. When you arrive, you find that you have a few extra things to take care of.
40 minutes later...
You exit the elevator and enter the offices of 'Aftermath Entertainment'. You're at the right place, but this is a bit strange.
The secretary looks up and smiles.
Secretary: Hey, Mr. Duckworth! How are you?
You: I'm good. I have to see Mr. Dre, is he available?
Secretary: Yea, he's in his office. Just head on past the janitors closet and up the stairs.
15 minutes later...
You knock on the door and hear a gruff voice respond.
Dr. Dre: Come in.
You open the door and see your idol and friend. He's wearing denims and a black V-neck tee shirt..
Dr. Dre: (Still groggy) What's up, kid?
You and Dr Dre start to talk about seats to the Grammy Awards. You realize that you're going to have to choose who you want to sit with.
You: Hmmm... I guess i'm picking SZA this time.
Dr. Dre: Well, ok. I was going to sit with Eminem
You: Cool.
Dr. Dre: Ok. I'm going to go change out of these sweats.
You: OK. I'll see you in a bit.
You leave and head to the studio. Once inside, you open up your laptop and go onto 'Tidal'.
You browse through the artist you follow and find one you'd like to listen too.
Anderson .Paak is a new artist to you, but after the first song, you can tell he's going to be big.
You two are labelmates as well. You should make a song together.
You close your laptop and look for a beat to use. You find one on a Youtube page and preview it. You like the beat, but the hook isn't quite finished. You decide to find someone to do the hook, but not right now as the Grammy Awards start in 1 hours. You put on the track and get yourself ready.
You grab a limo, and go to the awards show.
Young Thug is playing on the radio. You have a blast at the Grammys, wining every single award of the night and dining with everyone. The party goes on for year, but the after effects catch up to you.
Young thug comes up to you
Young Thug: Jeffery Lamar Williams[5] (born August 16, 1991), known professionally as Young Thug,[2] is an American rapper, singer, and songwriter. He is considered to be one of the most influential rappers of his generation, with his music having heavily shaped contemporary trap music and inspired numerous artists.[6] Known for his eccentric vocal style and fashion, he first received attention for his collaborations with rappers Birdman and Gucci Mane.[7] Thug initially released a series of independent mixtapes beginning in 2011 with I Came from Nothing. In early 2013, he signed with Gucci Mane's 1017 Records,[8] and later that year he released his label debut mixtape 1017 Thug to critical praise.[9] It peaked at number 89 on the Billboard Top R&B/Hip-Hop Albums chart and was certified Gold by the RIAA.
You: Young Thug received mainstream recognition in 2014 with the singles "Stoner" and "Danny Glover" in addition to appearances on several singles, including T.I.'s "About the Money", Tyga's "Hookah", and Rich Gang's "Lifestyle." That year, he also signed to Lyor Cohen's 300 Entertainment and collaborated on the mixtape Rich Gang: Tha Tour Pt. 1. In 2015, he released a number of mixtapes, including Barter 6 and two installments of his Slime Season series.
These were followed in 2016 by the commercial mixtapes I'm Up, Slime Season 3, and Jeffery.[10] In 2017, Thug featured on the hit song "Havana" by pop singer Camila Cabello, which became his first number-one single on the Billboard Hot 100.
In 2018, he released a compilation album Slime Language with his label YSL Records.[11] In 2019, he won the Grammy Award for Song of the Year for his songwriting contribution on "This Is America".[12]
Thug has been referenced or parodied in several mainstream articles and entertainment shows. He has also been the focus of academic studies.[13]

You: It's a beautiful summer's night.
Young Thug: Young Thug's signature adlib is Slatt. Slatt slatt.
You: I'm bored as hell.
Young Thug: Young Thug has received both praise and criticism for his eccentric and unique vocal style,[21] which has been described as departing from traditional rap lyricism and sometimes intelligible meaning.[91]
Jeff Weiss of BBC called him the "most influential rapper of the 21st century."[92]
According to The Fader, "in a typical Young Thug verse, he slurs, shouts, whines and sings, feverishly contorting his voice into a series of odd timbres like a beautifully played but broken wind instrument."[9]

Pitchfork called his style "extraordinarily distinctive" and "a weird, experimental approach to rapping" while praising his "presence, persona, mystique, and, potentially, star power."[93] Billboard wrote that "Thug uses this multiplicative vocal delivery to his advantage: where another rapper might lapse into repetition, he finds a new way to distress and warp his tone, to burrow resourcefully into rhythmic cracks and crevices."[94] Complex noted his aptitude for creating catchy, melodic hooks.[95] XXL called him a "rap weirdo", stating that "Thug's charisma, unhinged flow and hooks make his music intriguing."[96]
Critic Sheldon Pearce wrote that "Thug understands the modern pop song construction better than anyone: anything and everything can be a hook."[97]
SZA: Young Thug has been noted for his fast working method,[98] with several collaborators observing his tendency to freestyle tracks live in the studio or quickly develop lyrics on the spot.[99] He doesn't write down lyrics on paper, but has been known to plan lyrics by drawing shapes and signs.[99] Consequence of Sound stated that "his work is constantly rooted in improvisation, an inherently thrilling concept that's embedded itself in black music."[100]
Discussing his work, Williams has claimed the ability to write a hit song in 10 minutes[91] and said "I'm in the studio so much, I'll just try stuff. I just think and try, think and try. I don't really know how to sing, but I've been trying for years."[9]
Young Thug has cited American rapper Lil Wayne, as his biggest idol and influence.[101] In an interview with Complex magazine he says,
"I want to get in the studio with Wayne more than anybody in the world."[101] He has also cited mentor Gucci Mane[102] and Kanye West as influences.[103]
There is no sign of the other two until later in the week.
Young Thug: In February 2018, Young Thug rebranded himself "SEX". He confirmed the news in a since-deleted post on his Facebook page. The age at which Thugger was born remains unknown, but most sources agree that he was around 20 when he was born.
Jay Rock: The owner of the grammy's is a punk. How did i not win? They was tryna do me. That's how they got that punked up look, by using make up! I'ma get that Grammy back.
You: You're on something, aren't you?
Young Thug: Punk is the upcoming second studio album by American rapper Young Thug. It is scheduled to be released in 2020.[1] It is the follow-up to his debut studio album, So Much Fun, which was released in August 2019.
The album was expected to feature a collaborative album titled "Hands in the Air"
You look at young thug
Thugger: As of 2020, Young Thug has appeared on numerous songs by other artists, including "Yell Oh" by Trippie Redd, "Give No Fxk" by Migos, as well as the single "Out West" by JackBoys, the latter peaking at number 38 on the Billboard Hot 100. On April 29, 2020, Young Thug and Chris Brown announced their mixtape, Slime & B.
It was released on May 5, 2020.[90] The project's lead single, "Go Crazy", peaked at number 9 on the Billboard Hot 100, becoming Thug's highest charting single as a lead artist.
In September, he featured on Travis Scott's single "Franchise", which debuted at number one on the Billboard Hot 100. On January 1, 2021, Thug released the second single from his upcoming album, "She Wanna Party".
In September, he announced the album's title to be "Punk" and that he would release it on February 1, 2021.
(LINK REMOVED)
You: Alright, it's time to go see this man!
You arrive at a large mansion, with a gate of course. You wait in your car for a few minutes before the passenger door opens and Travis Scott leans over from the seat to get a good look at the house.
Young Thug: "Pick Up the Phone" (stylized as "pick up the phone" on Birds in the Trap Sing McKnight) is a song by American hip hop recording artists Young Thug and Travis Scott.
It was released on June 3, 2016, by Grand Hustle Records, Epic Records, Atlantic Records and 300 Entertainment.[1] It is the lead single from Young Thug's mixtape Jeffery (2016) and the second single from Travis Scott's second studio album Birds in the Trap Sing McKnight (2016).
The song features vocals from Atlanta rapper Quavo from the hip hop trio Migos and additional vocals from American conservative commentator Ben Shapiro The song was nominated for Best Rap Album at the 59th Grammy Awards, but lost to Ariana Grande and Taylor Swift's "Slatt".
Travis Scott starts to yell at young thug.
Travis: "I'm supposed to go in the house, not stand here on the lawn!
Young Thug: Slatt, you out here bout that life!
Travis: Nah, I'm not tryna go in there, they probably got a ton of mad rules.
Young Thug: "Franchise" is a song by American rapper Travis Scott featuring fellow American rapper Young Thug and British rapper M.I.A. It was released on September 25, 2020, alongside a video shot partly in England and at Michael Jordan's Chicago mansion. Originally titled "White Tee", the song interpolates Dem Franchize Boyz's song of the same name. The bass-heavy track finds the rappers boasting about their commercial successes.

The song debuted atop the U.S. Billboard Hot 100, for the chart dated October 10, 2020, becoming Scott's fourth Hot 100 number-one single, Young Thug's second, as well as M.I.A.'s first. By doing so, Scott became the first artist in Billboard chart history to have three songs debut at number one in less than a year.[2] It debuted at number 1 on the Billboard Album 200 chart. It has since been certified Gold in Australia and the United States.

The song will has been nominated for "Best Rap/Sung Collaboration" at the 55th Grammy Awards, which will be held in February 2022.
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2020.10.17 16:33 SimplyNigh i lov obi wan kanoob haha :)

Ha ha! Right you are, my lady. Wow. A female with knowledge of cinema’s finest accomplishment? Be still my heart! Typically, I’m not so forward, but you have piqued my curiosity. A girl that likes Star Wars? A rare breed indeed! I love a smart girl over women who talk about make up, haha. Mayhaps we could continue this conversation over drinks? As a Redditor - and a gilded one at that - I wouldst make the evening magical and wonderful. I am not like the other men of this sick world. If you were dating me, I’d be the one making the sandwiches :) haha :). I am real, my gorgeous, intelligent, scientific poppet. A real man who respects women, unlike the others. It’s one of the many things that make me different, my sweet, electronic flower. Did I tell you I held a door open for a woman once? I know. And more of that to come, I assure you. Imagine. You. Me. A little jazz club in the city… none of that Lil’ Wayne/Taylor Swift crap the sheeple like to listen to. Real music. Music fit for a lady of discriminating taste. And, speaking of discrimination, during the meal I can expound at length about the crime rates among African Americans vis a vis normal people. I am not racist. I am white, so how can I be racist? I know a lot of statistics, my dearest, beautiful, white, female orchid. What say you, my lovely, succulent peach? Will you do me the honor of being my date for the eve? Merely, tell me the time and place and my mom and I will pick you up.
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2020.10.16 01:38 Nonstopas Throwback Write-Up #23: Eminem - Relapse

Artist: Eminem Album: Relapse
Streaming: Spotify Apple Music Tidal
Album Background: The years before Relapse
It’s 2009. Lil Wayne and Cash Money associates such as Drake and Nicki Minaj are starting their rise to fame. The number 1 most rated album that year was Only Built For Cuban Linx pt. 2 and hip-hop as a genre was definitely at a standstill in terms of new genre and uniqueness.
It’s been 5 years since the last studio album from Eminem. Encore, his last studio album released in 2004 didn’t do as well as the previous album, an all-time classic: The Eminem Show. Relapse was met with generally negative to mixed reviews, even considered a slump, and a fall off for Eminem. Encore was just a glimpse of what’s yet to come. Tracks like Fack from Curtain Call:The Hits, as well as the leaks that were recorded during the hiatus, which were meant to be included in his final studio album King Mathers, did not show anything promising at all. In those 5 years leading up to Relapse, Eminem was perhaps in the real rock bottom of his career and personal life. Marshall, unarguably fell-off from the all-time highs of his career as an artist, his music was starting to lose momentum, his drug addiction was entering the dangerous territory, and the worst hit came from his friend Proof being shot outside an after-hours club in Detroit. Eminem also had a 2nd divorce with his wife Kim after being re-married for only eleven weeks. Eminem is not an ordinary rapper. He is a man who became a hip-hop legend in just short 5 years with one of the un-deniably greatest peaks in hip-hop history. It seemed like it was the end of the story of the hip-hop behemoth Slim Shady, as everything in his life and career was falling down like rubble of an empire that once was.
Yet it wasn’t the end.
Introduction: The comeback of Slim Shady
After completing one of several attempted 12-step programs to control his drug abuse, Eminem began recording major parts of Relapse in late 2007 to early 2009, with Beautiful being the only exception, which was also the only song recorded before he became sober, and later on was finished with an added verse after he became clean for drugs, that was a small hint of optimism in an otherwise depressing song.
In 2009 the first official single of Relapse hit the radio. We Made You was in the list of fun/goofysingles that we got from Eminem even before the hiatus, such as: Without Me, The Real Slim Shady, My Name Is and Just Lose It. And it did succeed in a way, but the single did not really give us an idea of what Relapse will truly be, apart from the small glimpse of the accents, but I believe nobody really paid attention to that as the song was meant to be a tongue in cheek and more on the fun side, just like the songs that came in the earlier years as mentioned before.
Throughout the years the album has received a lot of slack. And some of it is very obvious why. The accents. The number one problem stated by rap critics and listeners is the accents as well as the subject matter. Many people did not like a horror-core album in 2009. However, no one seemed to have a problem about the impeccable production, or about unique flows or the content. It was about the accents. If we look past that, Relapse is probably the most unique album Eminem has ever made. It is almost entirely produced by Dr.Dre, a long-time partner-in-crime, something that we never heard before or since Relapse. It is the main reason why musically it is just magnificent.
Back in 2008, Dre was still working on Detox, and compared to his output musically now, his production was still not as dated and sounded great and somewhat fresh, and exactly what Eminem needed during this time of his life. A dear friend, a producer with whom he had great chemistry and who understood Eminem’s recording process. I personally, cannot think of a single song which had a bad production on this album and it shows Dre's longevity in the game, and how well it ages. It is also quite consistent because of the reoccurring serial-killer and drug abuse/relapse theme.
10 years later, I find myself returning to the album quite often, as it is a gold mine for underrated Eminem songs, and lines that slid right past me when I was listening to it for the first time.
The aforementioned themes, however, do not make Relapse an easy listen. It’s not something you can put on a warm summer’s day or a cozy winter night. It is not an album you bump with your windows open, and it is not something you listen before sleep. Relapse is something else, completely. It is an album that you put on during a dark, rainy night, when not everything may be going the way you want it to, and when you just want to escape the grim reality, to an even grimier one, where you are not the main character. And that’s why this album resonates so much with me. The dark atmosphere that surrounds Relapse just as it was surrounding Eminem during his darkest of times. When I listen to Relapse I always imagine entering Eminem’s mind during his recovery from drug abuse. Relapse is what nightmares and the fight against addiction sounded and felt like.
This album was necessary for Eminem to not only come back but also to move on forward in his career. He had to get all of that shit that was inside his head out so he could continue where he left off half a decade ago, and even move past it, as said by Eminem himself in an interview: “With this album, the concept of relapse was obviously a double entendre. As in, literally relapsing on drugs and also relapsing back into Shady. I heard a lot of comments when I was away. A lot of people said, “When Em comes back he’s gotta reinvent himself.” I didn’t feel like I needed to reinvent myself. I feel like I needed to just go back to what got me here in the first place: just rapping about the craziest, most outlandish shit.”
In almost 11 years since it was released, Relapse has became some-what a Cult Classic and even considered as one of the best Eminem albums right after the legendary trio of SSLP - MMLP - TES.
Favorite track review.
Due to time constraints and not to make the write-up too long i decided to cut the full tracklist review into my personal favorite song review.
The album is opened up with a skit. It suggests that Eminem is now clean and struggling the temptations of drugs. Constantly fighting his demons. The opening track 3 A.M is pure horror core. We instantly hear Eminem using his accents. In my opinion the song is good at telling a story and showcasing Em’s new, refurbished flows. But that can be said true about almost any track on the album. However, just like Eminem himself said, 3 AM does indeed depict of what the whole album is about, therefore it is definitely a great opening track, setting the tone to what is yet to come.
You’re walking down the horror corridor.
With the haunting first drum claps and an intense rhyme scheme:
You're walkin' down a horror corridor
It's almost four in the mornin' and you're in a
Nightmare, it's horrible, right there's the coroner
Waiting for ya to turn the corner so he can corner ya
You're a goner, he's onto ya
Out the corner of his cornea, he just saw ya run
All you want is to rest 'cause you can't run anymore, you're done
Eminem greets the listener with an element of surprise that is quite well known for fans, however it was never done in such a distinctive way. Most of Em's albums leading up to Relapse started of with more accessible tracks like My Name Is, Kill You and White America.
If you put yourself in a shoe of a 2009s rap listener, this Eminem is not something you would have expected. The weird accent, the beat and the rhymes are more intense than ever, they might have even been confusing and somewhat disappointing to you at the time, because what we really wanted was that old Eminem over something more innovative.
Eminem starts painting you vivid pictures. If the intro track 3 AM didn’t hook you in, then this track absorbed you into the mind of a twisted drug addict, full of psychotic, dark images. Sometimes it’s tongue in cheek, the bars expressed are dark yet hilariously haunting.
Here, want a snack? You hungry, you fuckin' brat?
Look at that, it's a Xanax, take it and take a nap, eat it
But I don't need it — "Well fuck it then, break it up
Take a little piece and beat it before you wake Nathan up"
Alright Ma, you win, I don't feel like arguin'
I'll do it, pop it, gobble it and start wobblin'
Stumble, hobble, tumble, slip, trip, then I fall in bed
With a bottle of meds and a Heath Ledger bobblehead
One of the most interesting things about this album is how slowly Eminem makes all of the fucked-up shit about his life start sounding normal. A drug addict mother feeding her son valium for breakfast is just the second track of the album, yet we start understanding that this album is going to be something else. After almost 11 years after the release we can start appreciating these songs as sort of a rant to a psychiatrist, where Eminem digs deep into his problems in his early childhood days.
Because my mom loved valium and lots of drugs
Throughout his career Eminem had talked about his problems with his mom, about never having a father, about how he was raised and what it led to. However, he never did it the way he explains it in the song My Mom.
Valium was in everything, food that I ate
The water that I drank, fuckin' peas in my plate
She sprinkled just enough of it to season my steak
So every day I'd have at least three stomachaches
Marshall's relationship with his mother has always been somewhat complicated. He was never afraid to critique his upbringing, but the song really show's us how fucked up his childhood was. I think one of the reasons why I find the song My Mom so interesting is because how effortlessly and somewhat relaxed he's telling all of this traumatic shit. But at the same time, that was always the appeal of Eminem: the ability to express things that others were too afraid to say, in ways that others have never done before.
You can be a permanent fixture in my lyrical mixture
As bagpipes start blowing and quite possibly the hardest hitting beat on the album starts, we get a little taste of the classic Eminem back on Bagpipes from Baghdad
Locked in Mariah's wine cellar, all I had for lunch
Was bread, wine, more bread, wine and Captain Crunch
Red wine for breakfast and for brunch
And to soak it up, an in-between snack, crackers to munch
Mariah, what ever happened to us?
Why did we have to break up?
All I asked for was a glass of punch
You see, I never really asked for much
I can't imagine what's going through your mind after such
A nasty break-up with that Latin hunk
Luis Miguel, Nick Cannon better back the fuck up
I'm not playin', I want her back, you punk
This is Hello Kitty bedspread, Satin Funk
Mixed with Egyptian, with a little rap and punk
Zapp and Eric Clapton, Shaft, Frank Zappa, crunk
And yeah baby, I want another crack at ya
You can beat me with any spatula that you want
I mean, I really want you bad, you cunt
Nick, you had your fun, I've come to kick you in your sack of junk
Man, I could use a fresh batch of blood
So prepare your vernacular for Dracula acupuncture
The song Bagpipes from Baghdad was the start of Nick Cannon – Mariah Carey - Eminem beef triangle. Eminem has not had many great attempts at his career as an MC, many of the shots taken at him back in the day failed to even hit the target, but It definitely seems like the most fun he has had was with the Mariah Carey beef. On this song Eminem managed to throw a few shots at both Nick and Marriah, that later led to the classic diss track The Warning, which also happened after Mariah dropped a video with Eminem diss. I think that this song was one of the few instances in this album where we had a glimpse of the old Em with a twist of what is yet to come. Yet to this day, the track feels somewhat fresh, as Eminem's flows used in the album have held on better than his latter works.
Yeah baby, do that dance It's the last dance you'll ever get the chance to do
Same Song and dance may not be a standout track for many, but this song is just a pure example of Eminem’s ability to create vivid stories, that just make you feel uncomfortable. I like this track so much, because it is just a story from a horror movie, except that it all rhymes perfectly. This song is a perfect display of why Em is one of the greatest lyricist of all time. Not many MC's are able to develop a story, full of twists, while almost perfectly rhyming most of the verse.
I was hooked in at the first glimpse of them buns
Seen her backstage, now here's where I come in, son
Look, here she comes, I better pull out the big guns
Hello Lindsay, you're looking a little thin, hun
How 'bout a ride to rehab? Get in, cunt
But starting off on the wrong foot is what I didn't want
Girl, I'm just kidding, let me start over again, hun
See what I meant was, we should have a little intervention
Come with me to Brighton, let me relieve your tension
You little wench, ya, murder wasn't my intention
If I wanted to kill you, it would've already been done
Slowly she gets in and I begin to lynch her
With 66 inches of extension cord
Soon as my flow starts I compose art like the ghost of Mozart
Stay Wide Awake is by far the most complicated, and incredibly song Eminem has ever released. It is a long time fan favorite, and a huge cult-classic behind lots of old listeners. Tyler, The Creator even stated this song as one of his biggest influences on his early style. So what makes Stay Wide Awake so good?
Fe-fi-fo-fum, I think I smell the scent of a placenta
I enter Central Park, it's dark, it's winter in December
I see my target, put my car in park, and approach a tender
Young girl by the name of Brenda, and I pretend to befriend her
Sit down beside her like a spider, hi there girl, you mighta
Heard of me before, see whore, you're the kind of girl that I'd a–
-ssault and rape, then figure why not try to make your pussy wider
Fuck you with an umbrella then open it up while the shit's inside ya
I'm the kind of guy that's mild but I might flip and get a little bit wilder
Impregnate a lesbian, yeah, now let's see her have triplets, and I'll di–
-sintegrate them babies as soon as they're out her with formalde–
-hyde and cyanide, girl, you can try and hide, you can try to scream louder
No need for no gunpowder, that only takes all the fun out of
Murderin', I'd rather go vinn-vinn, and now you see just how the
Fuck I do just what I do when I cut right through your scalp, uhh
Shit, wait a minute, I mean skull, my knife seems dull, pull another one out, uh
The first verse is one of few songs in Eminem catalog that rhymes perfectly, with so many integral rhymes, that also manage to hit the beat at the same time. While doing all of his magic flow rhyming, Eminem also manages to portray yet another horror story, about guess what… Rape and murder! Classic.
Soon as my flow starts I compose art like the ghost of Mozart
Even though they all say that they're real, I know that most aren't
Boy, you think you're clever, don't ya? Girl, you think you're so smart
Come with me to another side in a world so cold and so dark
With the bridge, Eminem fully invites you to join his dark, murdering, raping, screaming, fantasy of an album. We are in for a ride.
Where's the flames there's chronic
Old Times Sake is a really fun track, with Dre and Em going back and forth, well, for Old Time's Sake of course! This track is just generally well made track, i would not necessarily say it is a standout of the album, yet a personal favorite, since it has been so long since we had an Eminem and Dre collab back then and even now. I feel like the song displays both of their personalities and friendship very well.
Mommy, something's wrong with dad i think
Déjà vu perhaps the best of not one of the best songs of the album and overall in Eminems career. Here, he gets a bit more personal, ditches the accents and goes deep inside his battle with addiction, how it affected his family and how the last 5 years before the album felt like. This is Eminem at his most vulnerable, yet the track is what the fans needed very much at the time, to know what exactly went in Eminems life during the time away from fame.
So I take a Vicodin, splash, it hits my stomach, then (Ahhh!)
Couple of weeks go by, it ain't even like I'm gettin' high
Now I need it just not to feel sick, yeah, I'm gettin' by
Wouldn't even be taking this shit if DeShaun didn't die
Oh yeah, there's an excuse; you lose Proof, so you use
There's new rules, it's cool if it's helpin' you to get through
It's twelve-noon, ain't no harm in self-inducin' a snooze
What else is new? Fuck it, what would Elvis do in your shoes?
Now here I am three months later, full-blown relapse
"Just get high until the kids get home from school, homes, relax"
And since I'm convinced that I'm an insomniac
I need these pills to be able to sleep, so I take three naps
Just to be able to function throughout the day, let's see
That's an Ambien each nap, how many Valium? Three?
And that will average out to about one good hour's sleep
Okay, so now ya see the reason how come he
Has taken four years to just put out an album, B
See, me and you, we almost had the same outcome, Heath
'Cause that Christmas, you know the whole pneumonia thing?
It was bologna, was it the methadone, ya think?
Even tough Em did not get rid of accents for this song, his some-what relaxed delivery of these horrible events of his life make the track very hard hitting. It seems like Eminem was at a point in his life where he knew that all the fucked up shit he was doing is not good for him, yet he could not quit it, he simply did not care. And this track is the pre-epitome of what happened during his 2007 OD. Eminem nearly died after taking ‘equivalent of four bags of heroin’ before pal Elton John saved his life.
**Feel your pain, you feel mine
Go inside each other's minds
Just to see what we find
Look at shit through each other's eyes
Perhaps the most normal song, a definite fan favorite, and overall an amazing track, Beautiful, is the only track on the album that was recorded during his hiatus on drugs, and was finished latter on, after becoming sober, and adding a more light-hearted optimistic verse to the album.
Beautiful is a very personal song for Eminem, as many of the songs on this album, yet at the point in time, while listening to this song it felt nice hearing this old Em back, even tough a bit less cocky, funny and crazy than usual.
Paul Wall is dope, and so is Bubba
My Darling is a great song on so many ways, with such a weird off-beat intro to the album, a diss/homage to Paul Wall, and that weird transition. It's quite hard to say what makes this song an interesting listen, but i think it's definitely up there with one of the best Eminem tracks out there.
You remember that night you prayed to God
You'd give anything to get a record deal? Well, Dre signed you
This is what you wanted your whole life, Marshall, right? Ooh
Look at this house, look at these cars: they're so nice, woo!
Oh, but you didn't know fame has a price too?
That you just now seeing the downside to
Lose your best friend from high school, your wife too
Ain't even sure if your kids like you
Come off tour, can't even sleep at night without NyQuil
Become a Valium addict, start a rehab cycle
But together we can break the cycle
Marshall…" — What?! — "No one's gonna love you like I do"
My Darling, the darling means the Slim Shady persona. The song is about a constant battle between the alternate persona that Eminem always showed us throughout his career. During his struggles and controversy it used to be that it's "Slim Shady who said that!" and the more political stuff was more out character. It's funny to look at Eminem and his career as a separation between 3 different personas, and in the earlier albums it used to be very clear when and what persona is used. Personal is Marshal himself, political is Eminem, and Bat-shit insane is Slim Shady. Yet this song shows an example that really, as it should be, there is no difference, it's all Eminem.
Conclusion
The 6th studio album by Eminem is perhaps the most controversial in terms of general opinion. At first it was greeted as a return of Slim Shady, but later people realised that one thing they don’t like about the album is also everything that makes that album unique. Eminem has stated that after getting clean from drugs he had to re-learn how to rap again, Relapse’s accents are the byproduct of this. Even when you look at Eminem's early Relapse era recordings of live performances you can see how awkward he used to look on stage, compare to a completely dominate stage presence in the early 2000s. The accents come from a voice inside. Eminem had to find away to connect the rhymes he thought about constantly, and frankly this murderous, psychotic killer persona is something that let him achieve this. On the other hand, songs like Beautiful, Deja Vu, Underground and Careful What You Wish For shows us that he was still capable creating songs on par to his earlier work and even exceeding it.
So why, besides the accents and the murderous persona is Relapse so unique? In my opinion the little details add up to this albums uniqueness, such as the “Devil Slim Shady” voice that you can hear echoing in My Darling and a few other songs. Also, this album was perhaps the first and last time where an album was mostly Dr. Dre’s produced, and to this day i think the as many other Dre produced tracks, Relapses beat’s still sound somewhat fresh. It also captures a significant turning point of Hip-Hop. The start of a new decade meant a whole new sound will emerge very soon, and Eminem was one of the last OG's who where still releasing music at the time, but it was not the same quality as his last albums. The same problem was encountered by Nas, JayZ and even 50Cent who had an insane run a few years back. 2009 was the year Hip-Hop stopped, and later on it started to shape into a genre that we all know now. Relapse and Recovery were all made right before streaming became popular, and Eminem was still huge on physical sales, outselling everyone he competed with.
Now talking about general track lists, personally, my absolute favorite of the album varies. For the past year or to i feel in love with My Music Box from Refill, which i consider a part of one big project that i didn't have much time to discuss. The sweet, child-like harmony before the beat drops is as incredible as the vivid pictures that Eminem paints in his verses.
He’s dancing with carcasses... i guess a modern day jack the ripper is all that i am.
Relapse is an important album for me as it sort of a guilty pleasure, that i got hooked on back in 2008, when i evidently rediscovered it after a few years of not listening to rap at all. Back then i wasn’t keen or trying to find everyone’s opinions about albums or music in general. Everything was left to my imagination. As English is not my native language, to this day, 10 years later i find bars and mentions that i never used to get.
With all being said, i still strongly stand besides my statement that Relapse is the most unique album Eminem has ever released. It perhaps has the best production out of his whole discography. It became a cult classic after all these years and it also reminds us of a similar time not so long ago, where an album full of rape and misogynist, sexist and homophobic lyrics could have went platinum. I like to imagine Relapse as one long nightmare Eminem once had during his recovery from addictions.
Let's discuss.
  • How has your opinion about the album changed after 10 years since it's release?
  • Where does release stack up in terms of discography in Eminem's career?
  • Does Eminem's latest output put Relapse ahead, or behind? *
  • What are your personal favorite songs or bars out of the album?
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2020.10.03 05:31 abdulmalik1989 The Case for Kendrick Lamar Being the Greatest of All Time

The Case for Kendrick Lamar Being the Greatest of All Time
https://preview.redd.it/f7f7tfgousq51.jpg?width=500&format=pjpg&auto=webp&s=f446c83947add11582ad08dcf96ae33c7a6d515d
The Case for Kendrick Lamar Being the Greatest of All Time Let’s start really quick here by saying that I am a hip hop fan. Not a super fan, not a scholar, a fan. Have been a fan for most of my life. I am also not a journalist or a writer so don’t expect copious amounts of citations. That said, here’s my case for why Kendrick Lamar may be considered the greatest rapper of all time.
Criteria
In my estimation, you can judge the greatness of an emcee by three general criteria; one; charisma, two; technicality and three; narrative ability. Lets dive into the meaning of each.
Charisma
This is everything that the emcee is capable of communicating outside of the actual words they’re saying. It’s their bravado, their conviction, their confidence, authenticity, even vulnerability. It’s something that’s difficult to define acutely, but you know it when you hear it. Examples of Emcees who are top of this list would be the likes of Tupac, Ice Cube Jay-Z, Big L, Biggie, Prodigy, Killer Mike, Phonte, Mos Def, Andre 3000, Pimp C, Mac Dre, Ghostface Killah, Method Man, Snoop Dogg. I’ll even throw Drake and Quavo in there though that might upset some of you. In short, is this someone who you are drawn to? This is certainly the most important quality when thinking about the emcees' ability to be commercially successful. If only for the fact that so many rappers manage to become very successful based on this quality alone.
Technicality
This is the emcees' ability in the nuanced and highly challenging craft of rhyme, rhythm, word-play, double entendre and syntax. Some rappers can fit a mind-boggling amount of rhyme, double entendre, and alliteration within two bars let alone a verse or a song. Top of mind for greats under this category are the likes of Nas, Big Pun, Kool G Rap, Elzhi, Royce Da 5’9, Lupe Fiasco (who has a sort of superhuman capability in this category), Eminem, Lil Wayne, Crooked I, R.A. the Rugged Man, MF Doom, Tech N9ne, Earl Sweatshirt, Inspectah Deck. A subset of hip hop fans and rappers would likely argue that this is the one and only criteria for judging an emcee. Which, in a certain sense, may be true.
Narrative Ability
This isn’t just the emcees' ability to tell a linear story, though that is most definitely a part of it. It’s more than that. Can this emcee explore an idea? Can they follow that idea to its logical conclusion? Can they share a unique perspective and provide a depth of meaning that penetrates the hearts and minds of their audience? Can they do this over the course of a track? Can they do this over the course of an album? Can they do this over the course of a body of work? If charisma is the key to commercial success, narrative ability is the key to true greatness. This applies not just to rappers, but to all artists regardless of medium.
Additional possible categories:
Musicality
Certainly the ability to simply make good music is a part of all of this but that should be a given, hip hop music is after all… music. Picking beats would fall under this category but again I think that this really is just a given, if the music isn’t good none of the rest really matters.
Output
This is another component I think is really just a given and should be considered as more of an asterisk than a category. It’s pretty simple, how do you judge the above categories without having much to judge?
The Greats
If we take a look at the rappers who are consistently in the GOAT conversation we see that they all are easily between a 7 or 10 in each of the categories above.
Tupac: Easily a 10 in charisma and 9 in narrative ability. His technicality is where he’s lower, he’s likely a 7 in that area. Tupac’s primary concern was with his message and he coated that message in one of the greatest on mic personalities the world has ever seen.
Jay-Z: An easy 10 in charisma. More of an 8 in technicality but I don’t think for lack of ability. Rather, more likely because highly technical rappers very rarely see the kind of mass appeal Jay Z was and is interested in. Last, I'd say about an 8.5 in narrative ability. He’s certainly able to carry a linear story over a single track but in terms of real deep contemplative insightful perspective, he’s great, but not the best.
Biggie: If Pac and Jay are a 10 in charisma then Biggie is probably an 11. He's arguably the most charismatic emcee of all time) followed by a 9 in technicality and 8 in narrative ability. He’s plagued unfortunately but a very very short career stopped tragically.
Nas: In technicality he’s a pioneer and really beyond any scoring system for that reason, most of the other highly technical emcees don’t exist without his influence. That said, for the sake of this essay, we’ll say in technicality he’s a 10. He’s about a 9.5 in narrative ability. In charisma he’s probably a 7. His charisma really is mostly wrapped up in his ability in the other two categories.
Eminem: Eminem often ends up at the top of the GOAT list. And it’s difficult to argue. He’s easily a 9 in charisma, 10 in technicality and 8.5 in narrative. Eminem is hurt by his hit or miss body or work. That said, he will likely always remain in the GOAT conversation for his unbelievable technicality and often raw vulnerability which caused him to be one of the most influential emcees of all time. He falls slightly in narrative simply because while he is capable of telling a great and compelling story, the stories he tells often provide little in the way of introspection or insight.
Andre 3000: Andre is often brought up in this conversation as a sort of dark horse. And when we really look at it objectively, it’s hard to argue his dominance in all three categories. How is he less than a 10 in charisma? How is he less than a 10 in technicality? How in God's name is he less than a 10 in narrative ability? How? The thing that hurts Andre, and I would sadly argue in reality puts him at a 9.5 in all three categories is his output. You could apply this also to Biggie, but really I think his absolute undisputed dominance in the charisma category prevents him from ever being out of the GOAT conversation. That said, Outkast has given us many of the greatest albums in history and Andre many of the greatest verses, but there really just isn’t enough material to make him the undisputed GOAT.
GOATS of Obscurity: There are definitely some emcees who many have at the top of their GOAT list and in reality there are strong arguments to be made for many of them. The only real argument against them is their appeal, which in and of itself is a weak argument. These are the MF Dooms, Tech N9nes, Myka 9s, Aesop Rocks, there are a lot. Now, appeal is a weak argument on it’s own but impact is not. Many of the GOATs of obscurity see their impact in the generations of rappers who take what they’ve done and manage to package it in a more accessible way. Or in the case of these obscure emcees being too ahead of their time, their influencees manage to reach the world when it’s ready. Kendrick Lamar has noted before the influence of the freestyle fellowship collective on his style and it’s pretty obvious how much he really was influenced by those rappers, while Most Hip Hop fans probably couldn’t name you a single member of that collective. So, simply pu,t their direct influence isn’t felt in the masses of Hip Hop fans and that hurts them. The reality regarding the GOATs of obscurity is this; they’ll never be in the GOAT conversations because Hip Hop music as it stands today and has been for, at this point the majority of its existence, is a mass market genre. But, that said, among elite Hip Hop fans and among rappers themselves these obscure GOATS will always be a part of the conversation.
Kendrick Lamar:
I remember the first Kendrick song I heard. I can’t remember the year but it was maybe 6-9 months before Section 80 was released. The song was called ‘Ignorance is Bliss’. If you’re a K Dot fan and have never heard this song, do yourself a favor and pull it up. I remember hearing the way he rode the beat, the technicality of his rhyme schemes, the message of the song and ideas he was exploring. I immediately knew, like many at the time, that this was something different, something really really special. From there I was hooked, I listened to 'overly dedicated' on repeat for months. When section 80 was released I was on the floor with my headphones, laying down listening the day it came out. And such has been my ritual as each new installment in Kendrick’s body of work has been released.
Let’s state at the outset that we’re still in the relatively early stage of K Dot's career when compared to Nas, Jay-Z, Pac etc. That said, what he’s already managed to accomplish in his short tenure is nothing short of incredible. Let’s look at the stats.
Charisma: Kendrick is an Easy 10. From his deep sincere confidence, willingness to battle, and deep profound vulnerability that is unmatched, he cannot be less than a 10.
Technicality: In this category he’s an easy 9. If technicality was just creativity as it relates to cadences he would be an 11. And I believe he sacrifices some of his technical ability in order to be more accessible. I think he places more importance on his ability to impact his audience through his message than through wowing them with his technical prowess.
Narrative Ability: This is where the meat of the argument for his GOAT status lays. With regard to narrative ability, he’s not a 10, he’s in a league of his own. With regard to deep and profound contemplation of his experience and the experience of those around him and mining those mountains for gems of wisdom he stands with the great rappers and also the great songwriters of all genres. And with the great authors, great poets, great painters, indeed all of the great artists of the world. Kendrick Lamar doesn’t carry a single idea or story over a song, which many rappers have done before him, he carries it over an album and arguably over his entire body of work to date.
Section 80 could have been a collection of made-for-radio songs, his first studio offering. It was instead a deep and profound reflection on himself and people around him. Each of the characters in his world drawn with love, concern, understanding and frightening precision.
On good kid m.A.A.d. City, Kendrick could have simply told a linear narrative of he and his friends spending a night out causing mayhem but he didn’t do that. Each piece of the story he broke apart and asked the hardest possible questions of all the people involved, most of which himself.
On TPAB, he may have taken time to discuss his life after finally escaping his maad city. Instead, he individually unwrapped each part of that experience, of being pushed, being pulled, forgetting, being reminded. Exploring who he is, who he was, where he went and who he left behind. And in each and every part of that story he is as raw and vulnerable as possible but not for the sake of vulnerability, for the sake of meaning.
Finally, on DAMN, for which he won a Pulitzer prize, he explores the idea that he’s not really in control. That everything is determined. By ancestry? By experience? By choices? By God? He doesn’t give us an answer, he presents us with frightening, ear ringing questions.
Kendrick is interested in fate. He’s interested in what causes us to be who we are and how we are. Is it the generation we’re born into? Is it the environment in which we are raised? Is it the experience and choices of our predecessors? The ethos of our greater cultures and nations? Or is it predetermined? With little diversion, nearly every track on every album of Kendrick Lamar seeks to answer and give insight to these questions. We’ve rarely seen an artist who, with such deftness and precision, identifies the core of each and every one of his experiences and then communicates it to us, his audience, in a way that not only is a gift to himself and his soul, but a gift to anyone willing to listen. A great Sufi sage once wrote that the entire world is meaning set up in images. What makes Kendrick great is this, he takes images and excavates them for meaning.
Ladies and Gentlemen, Kendrick Lamar is the greatest of all time.
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2020.10.02 06:54 hetzjagd Collected interviews, information and photos of Curtis Plum

To some this might shed some more light on this somewhat mysterious emcee, to others this isn't anything you couldn't find via googling under various keywords. I'm rushing it and may come back to edit in further links, info and photos. I want to try include a gigography with dates and venues as well as a potentially better edit for readability. There is another write up in Boise Weekly (titled "Are Two Hats Better Than One, Curtis Plum?") but I'm not sure if it's mirrored like the article immediately below is. Both Boise Weekly articles are linked in his wikipedia but the links are dead.
Boise Weekly Vol. 18 Issue 49 from June 2010 Original link screenshot
In this article we learn the Curtis once had a 6 page spread in Big Brother skateboard magazine where he went under the name Curt Muska. Curtis also makes reference to having bipolar and at times suffering from manic episodes. He cites Ol' Dirty Bastard as an influence on him creating his own raps. Call My Cellphone was worked on for about two years. He also raps in a put on voice, not his regular voice - although this is also alluded to in the Above Ground Magazine writeup linked from the wiki.
Big Brother skateboard magazine from 2003. Original link screenshots
In this Curtis says he is 20 and the interviewer asks if he will have a hip hop album coming out and 'Curt Muska' says that's a good idea. He says he has been in a few fights in previous years. Of minor trivia value, Curt goes on to say he thinks another skater, Corey Duffel is hot and they should hook up. Both him and the interviewer (presumably playing along with Curt) refer to Corey as female. Corey is a guy.
Slap Magazine, or Big Brother also in 2003 (I can't tell which) Original link screenshot
In this interview Corey is told 'Curt' has said this about him and he responds to it briefly. I'm not sure if it's an inside joke but the author of the 'Curt Muska' interview and the Corey interview are the same person and he asks them in each of their respective interviews "do you think you're a kook?". Curtis says he doesn't think he, himself, is. Corey says he, himself, is "the number one kook".
Additionally there is a Vice article called Schizophrenia Not Caught On Tape Original link [PDF version of the whole issue] screenshot
In this four people are asked to discuss four Hollywood movies that depict mental illness. Curtis Plum is one of the four that gives his opinions. He makes reference to mental health hospital stays, experiencing hallucinations and otherwise comes across in my opinion as a particuarly intelligent person with great insight as to himself and mental health in general.
Also to my surprise it turns out Myspace is still online? Here's his myspace page (I haven't run it through webarchive to see if there are earlier edits or different content then what is on there currently)
Some misc Curtis photos Views of the album art
Additionally I also found an obituary for Curtis's grandfather which I'm not going to include as it seems like it could be in poor taste and a potential invasion of privacy. It doesn't shed any further light on Curtis himself. There's also some other brief articles and photos out there that I haven't included as they seem redundant or unnecessary.
He appears to be born April 3 1982 in Bozeman, Gallatin, Montana. On the Strange Famous facebook page there's a post wishing him a Happy Birthday on April 2, I think the discrepancy may be because of my viewing it from Australia and a difference in timezones. Lived in Middleton, Idaho then seemingly moved with family to, and is still living in, Boise, Idaho. Take that with a grain of salt but I'm reasonably confident of it. He has two older brothers Brian and Todd (affectionately known as TJ or 'Toe Jam' when they were younger). He makes reference to his two brothers on his old myspace. Bordering on overkill and a breach of his privacy here but ..
Another thing I came across was a dead link to an mp3 for a Boise Skate Night event called The Valkyries Neon Nights. Curtis performed at this event and is possibly included in the mp3 of the show. Webarchive doesn't appear to have the mp3 indexed. I'd love to get my hands on that if anyone has it or can figure out how to get it. There is also an old twitter account for Boise Skate Nights that makes reference to a podcast that discusses? the event however link to the podcast uses a link forwarder service called 'twitterurls' which is now down and it doesn't seem possible to work out where the direct link would have pointed.
submitted by hetzjagd to strangefamous [link] [comments]


2020.09.27 23:22 themaqk [GAME THREAD] .WAV RADIO - Episode 11

Hosted by Travis & Chase B. Missed a little bit in the beginning so not sure if they said anything important in the intro.
Link to playback Cover art
Set list:
  1. Dem Franchize Boyz - White Tee
  2. Travis Scott - FRANCHISE (ft. Young Thug & M.I.A.)
  3. Baby Keem - Hooligan
  4. Pop Smoke - Make it Rain (ft. Rowdy Rebel)
  5. SZA - Hit Different (ft. Ty Dolla $ign)
  6. Big Sean - Respect It (ft. Young Thug & Hit-Boy)
  7. Young Dolph - To Be Honest
  8. Future & Lil Uzi Vert - Over Your head
  9. Internet Money - Lemonade (ft. Don Toliver, Gunna & NAV)
  10. Swae Lee - Dance Like No One's Watching
  11. M.I.A. - Paper Planes
  12. M.I.A. - Bad Girls
  13. T.I. - Swagga Like Us (ft. JAY-Z, Kanye West & Lil Wayne)
  14. JACKBOYS - OUT WEST (ft. Young Thug)
  15. Don Toliver - After Party (ft. weird ass Travis moans)
  16. Sheck Wes - YKTS
  17. Steely Dan - Do It Again
  18. Tame Impala - Borderline (Blood Orange Remix)
  19. Fleet Foxes - Sunblind
  20. Sufjan Stevens - Sugar
  21. James Blake - Godspeed (Frank Ocean cover)
  22. slowthai - feel away (ft. James Blake & Mount Kimbie)
  23. Mustafa - Air Forces
  24. Brent Faiyaz - Dead Man Walking
  25. Travis Scott - The Plan
  26. NEW: Kanye West - Believe What I Say (only short snippet like the one he posted on Twitter)
  27. Dionne Warwick - You're Gonna Need Me
  28. Otis Redding - Cigarettes and Coffee
  29. Maze - I Need You
  30. Ashton Travis - Robbery
  31. Blxst - Overrated
  32. NEW: Chase B - For Me (ft. OMB Bloodbath & KenTheMan)
  33. NEW: Sheck Wes - Private Jet Seat
  34. NEW: Dougie F - Luka
  35. Travis Scott - sweet sweet
  36. Chase B - Cafeteria (Don Toliver & Gunna)
  37. Don Toliver - Can't Feel My Legs
  38. JACKBOYS - WHAT TO DO? (ft. Don Toliver)
In conclusion:
Travis said "get out and vote". He also got reminded he left his shoes in a garage somewhere and that he needs them back. No Utopia date announcement, no new Travis snippets and overall underwhelming episode.
submitted by themaqk to hiphopheads [link] [comments]


2020.09.27 17:46 MusicDrafts Fantasy Music Drafts - An Explanation...

I figured that I'd share something with this group that my friends and I started in late 2016...
We are all big sports fans, and naturally we like fantasy sports. Our group is also REALLY into music. Real junkies.
I, myself, always used to take my iTunes library and work to pare down "greatest hits" albums for each of my favorite artists. What would an album look like? Single/Double Album? How many songs should be included? What was the order? Catalog sequential or more topical?
One night, two of us were having a beer watching a game and we started arguing about Smashing Pumpkins songs and which ones were the best. And it got us thinking...
As everyone knows, the best part of the fantasy season is the draft. You get the chance to craft your team with the best players available. You feel like a real GM.
That's when I had the stupid idea to "draft" 10 songs each and see who's was better.
We shared the two lists and they voted on which was better, and slowly this morphed into us starting a FANTASY MUSIC DRAFT LEAGUE.
Yes, we are a bunch of junkies and losers.
But...
We also follow through with an idea.
------------------------------------------------------------------------------------------------------------------
Here's the basic logistics of how this works...
We have 5 guys in the league, and we started a group chat on our iPhones.
For season 1, I created a group of 10 bands to draft (subsequent "seasons" we would have a "band" pre-draft...)
We create a random draft order using a fantasy draft randomizer online, then we have a 10-round snake draft picking songs along the way.
We then have a short drop/add time to round out our 10 songs, then work to reorder those songs to make the 10-song playlist.
We create the playlist on Spotify and then share with the rest of the group. All of the picks and playlists are saved on shared Google Docs file to keep us organized.
Then, we each score the playlists with two criteria: "Draft Performance & Song Quality" and "Playlist Construction & Theme Quality". (By the way, this is the inherent flaw in our league, as music is incredibly subjective. We've refined the scoring system several times, still not sold on our methodology...)
The scores from the individual weeks add up over the course of the season and we declare a winner.
We are now in the middle of season 8. To date, we've done 87 official drafts, and probably another 10 side drafts. As you could imagine, our wives think this is the dumbest thing ever, but we persist...
Here are the bands that we have done thus far...
SEASON 1 Week 1 - Radiohead Week 2 - Incubus Week 3 - Coldplay Week 4 - Pearl Jam Week 5 - Pink Floyd Week 6 - Kings of Leon Week 7 - Red Hot Chili Peppers Week 8 - Led Zeppelin Week 9 - Smashing Pumpkins Week 10 - Beatles - Double Album
SEASON 2 Week 1 - Bob Marley Week 2 - G-Funk Era Week 3 - Dispatch Week 4 - Billy Joel Week 5 - Outkast Week 6 - Michael Jackson Week 7 - U2 Week 8 - Motown's Greatest Week 9 - The Who Week 10 - Dave Matthews Band - Double Album
SEASON 3 Week 1 - Eagles Week 2 - Jack Johnson Week 3 - Rush Week 4 - 2004 Week 5 - Allman Brothers Band Week 6 - Seattle Scene Week 7 - Death Cab For Cutie Week 8 - Eminem Week 9 - Weezer Week 10 - 1982 Week 11 - The Police Week 12 - Hair Metal Week 13 - 2017 Austin City Limits - Double Album
SEASON 4 Week 1 - War On Drugs/Kurt Vile Week 2 - Rolling Stones Week 3 - Black Crowes Week 4 - 1986 Week 5 - Tribe/Q-Tip/Busta Week 6 - Kanye West Week 7 - Beck Week 8 - Everything Jack White Week 9 - Tom Petty Week 10 - 1994 Week 11 - Elton John Week 12 - Rage Medley Week 13 - 2011 Mountain Jam Festival - Double Album
SEASON 5 Week 1 - Boy Bands Week 2 - Ben Harper Week 3 - Green Day Week 4 - 1981 Week 5 - My Morning Jacket Week 6 - Tame Impala/Mac Demarco/MGMT Week 7 - The Roots Week 8 - WuTang Clan Week 9 - Blink-182 Week 10 - 1998 Week 11 - Stevie Wonder Week 12 - Lil Wayne Week 13 - Woodstock Festivals - Double Album
SEASON 6 Week 1 - Beach/Chill Summer Medley Week 2 - John Mayer Week 3 - 311 Week 4 - 1974 Week 5 - Bob Seger Week 6 - Nas Week 7 - Beach House Week 8 - Chon/Ronald Jenkees/Tauk Week 9 - Kendrick Lamar Week 10 - 2005 Week 11 - Genesis Medley Week 12 - Grateful Dead Week 13 - 2004 NOLA Jazz Festival - Double Album
SEASON 7 Week 1 - Phish Week 2 - Death Cab Re-Draft Week 3 - Hieroglyphics/Bay Area Week 4 - Jimmy Buffett Week 5 - 1978 Week 6 - Black Star Week 7 - Toro y Moi Week 8 - Queen Week 9 - Fiona Apple Week 10 - 2000 Week 11 - Brooks and Dunn/Alan Jackson/Travis Tritt/George Strait Week 12 - Steve Miller Band Week 13 - Logic
SEASON 8 - Current Season Week 1 - Chuck Berry/Little Richard Week 2 - Frank Sinatra Week 3 - 1971 Week 4 - Aerosmith Week 5 - Prince Week 6 - Foreigner Week 7 - 1996 Week 8 - Credence Clearwater Revival Week 9 - Miles Davis Week 10 - Foo Fighters Week 11 - 2003 Week 12 - Pavement Week 13 - The Whigs Week 14 - Unknown Mortal Orchestra Week 15 - 1967 Week 16 - Anything Crosby, Stills, Nash, or Young Week 17 - Chromeo Week 18 - Bone Thugs N Harmony Week 19 - 2007 Week 20 - Erykah Badu/Jill Scott Week 21 - Undetermined Festival - Double Album
I'd like to start sharing the results of the already completed drafts somewhere here in the community. Maybe post them week by week, with links to the Spotify lists, and let the group at large vote on the playlists.
Wanted to get feedback from this group to see how to best make that happen.
Thought you'd appreciate the music nerd-dom...
submitted by MusicDrafts to nostalgia [link] [comments]


2020.09.27 17:43 MusicDrafts Fantasy Music Drafts - An Explanation...

I figured that I'd share something with this group that my friends and I started in late 2016...
We are all big sports fans, and naturally we like fantasy sports. Our group is also REALLY into music. Real junkies.
I, myself, always used to take my iTunes library and work to pare down "greatest hits" albums for each of my favorite artists. What would an album look like? Single/Double Album? How many songs should be included? What was the order? Catalog sequential or more topical?
One night, two of us were having a beer watching a game and we started arguing about Smashing Pumpkins songs and which ones were the best. And it got us thinking...
As everyone knows, the best part of the fantasy season is the draft. You get the chance to craft your team with the best players available. You feel like a real GM.
That's when I had the stupid idea to "draft" 10 songs each and see who's was better.
We shared the two lists and they voted on which was better, and slowly this morphed into us starting a FANTASY MUSIC DRAFT LEAGUE.
Yes, we are a bunch of junkies and losers.
But...
We also follow through with an idea.
------------------------------------------------------------------------------------------------------------------
Here's the basic logistics of how this works...
We have 5 guys in the league, and we started a group chat on our iPhones.
For season 1, I created a group of 10 bands to draft (subsequent "seasons" we would have a "band" pre-draft...)
We create a random draft order using a fantasy draft randomizer online, then we have a 10-round snake draft picking songs along the way.
We then have a short drop/add time to round out our 10 songs, then work to reorder those songs to make the 10-song playlist.
We create the playlist on Spotify and then share with the rest of the group. All of the picks and playlists are saved on shared Google Docs file to keep us organized.
Then, we each score the playlists with two criteria: "Draft Performance & Song Quality" and "Playlist Construction & Theme Quality". (By the way, this is the inherent flaw in our league, as music is incredibly subjective. We've refined the scoring system several times, still not sold on our methodology...)
The scores from the individual weeks add up over the course of the season and we declare a winner.
We are now in the middle of season 8. To date, we've done 87 official drafts, and probably another 10 side drafts. As you could imagine, our wives think this is the dumbest thing ever, but we persist...
Here are the bands that we have done thus far...
SEASON 1 Week 1 - Radiohead Week 2 - Incubus Week 3 - Coldplay Week 4 - Pearl Jam Week 5 - Pink Floyd Week 6 - Kings of Leon Week 7 - Red Hot Chili Peppers Week 8 - Led Zeppelin Week 9 - Smashing Pumpkins Week 10 - Beatles - Double Album
SEASON 2 Week 1 - Bob Marley Week 2 - G-Funk Era Week 3 - Dispatch Week 4 - Billy Joel Week 5 - Outkast Week 6 - Michael Jackson Week 7 - U2 Week 8 - Motown's Greatest Week 9 - The Who Week 10 - Dave Matthews Band - Double Album
SEASON 3 Week 1 - Eagles Week 2 - Jack Johnson Week 3 - Rush Week 4 - 2004 Week 5 - Allman Brothers Band Week 6 - Seattle Scene Week 7 - Death Cab For Cutie Week 8 - Eminem Week 9 - Weezer Week 10 - 1982 Week 11 - The Police Week 12 - Hair Metal Week 13 - 2017 Austin City Limits - Double Album
SEASON 4 Week 1 - War On Drugs/Kurt Vile Week 2 - Rolling Stones Week 3 - Black Crowes Week 4 - 1986 Week 5 - Tribe/Q-Tip/Busta Week 6 - Kanye West Week 7 - Beck Week 8 - Everything Jack White Week 9 - Tom Petty Week 10 - 1994 Week 11 - Elton John Week 12 - Rage Medley Week 13 - 2011 Mountain Jam Festival - Double Album
SEASON 5 Week 1 - Boy Bands Week 2 - Ben Harper Week 3 - Green Day Week 4 - 1981 Week 5 - My Morning Jacket Week 6 - Tame Impala/Mac Demarco/MGMT Week 7 - The Roots Week 8 - WuTang Clan Week 9 - Blink-182 Week 10 - 1998 Week 11 - Stevie Wonder Week 12 - Lil Wayne Week 13 - Woodstock Festivals - Double Album
SEASON 6 Week 1 - Beach/Chill Summer Medley Week 2 - John Mayer Week 3 - 311 Week 4 - 1974 Week 5 - Bob Seger Week 6 - Nas Week 7 - Beach House Week 8 - Chon/Ronald Jenkees/Tauk Week 9 - Kendrick Lamar Week 10 - 2005 Week 11 - Genesis Medley Week 12 - Grateful Dead Week 13 - 2004 NOLA Jazz Festival - Double Album
SEASON 7 Week 1 - Phish Week 2 - Death Cab Re-Draft Week 3 - Hieroglyphics/Bay Area Week 4 - Jimmy Buffett Week 5 - 1978 Week 6 - Black Star Week 7 - Toro y Moi Week 8 - Queen Week 9 - Fiona Apple Week 10 - 2000 Week 11 - Brooks and Dunn/Alan Jackson/Travis Tritt/George Strait Week 12 - Steve Miller Band Week 13 - Logic
SEASON 8 - Current Season Week 1 - Chuck Berry/Little Richard Week 2 - Frank Sinatra Week 3 - 1971 Week 4 - Aerosmith Week 5 - Prince Week 6 - Foreigner Week 7 - 1996 Week 8 - Credence Clearwater Revival Week 9 - Miles Davis Week 10 - Foo Fighters Week 11 - 2003 Week 12 - Pavement Week 13 - The Whigs Week 14 - Unknown Mortal Orchestra Week 15 - 1967 Week 16 - Anything Crosby, Stills, Nash, or Young Week 17 - Chromeo Week 18 - Bone Thugs N Harmony Week 19 - 2007 Week 20 - Erykah Badu/Jill Scott Week 21 - Undetermined Festival - Double Album
I'd like to start sharing the results of the already completed drafts somewhere here in the community. Maybe post them week by week, with links to the Spotify lists, and let the group at large vote on the playlists.
Wanted to get feedback from this group to see how to best make that happen.
Thought you'd appreciate the music nerd-dom...
submitted by MusicDrafts to ListeningHeads [link] [comments]


2020.09.27 04:30 moritak69 Why are people shaming women's standards so much?

I see it ALL the time. It happened to me when I was "dating" and I see other women going through the same thing.Anytime a women says she wants xyz in a man, there are a bunch of people who are going to pick her apart and call her shallow, ans shit...just for having standards!Men aren't given as much shit for wanting beautiful women when they look like Lil Wayne, but there is always this instinct to put women in their place when they voice what they want in a man. But men?? No, their excuse for wanting beautiful women is that they're "visual beings". And it's so engrained that we don't question it. Like any of these "romantic" comedies where a schlubby guy gets a hot girl. It's not realistic and perpetuates a culture where ugly men feel entitled to pretty/attractive women, when in fact said pretty/attractive women find them repulsive. (And if women express our disgust at these men, there is always a chance they get angry and kill us.)
Another exemple is when women talk openly about wanting a lot of money. Most of the time it's going to be followed by someone saying it's shallow, that focusing on money is focusing on stupid things. Do men who talk about money and material things elicit such reactions?? Obviously no. Money is power, and men love power it's well known. If they show off by having a nice house, it's just a sign of masculinity. Women on the other hand are shallow and materialistic and probably got all that wealth from a man anyway *roll eyes*.
I'm really pissed off by this double standard. I would love your opinions on that.
submitted by moritak69 to FemaleLevelUpStrategy [link] [comments]


2020.09.25 23:35 MusicDrafts Fantasy Music Drafts... An Explanation

I figured that I'd share something with this group that my friends and I started in late 2016...
We are all big sports fans, and naturally we like fantasy sports. Our group is also REALLY into music. Real junkies.
I, myself, always used to take my iTunes library and work to pare down "greatest hits" albums for each of my favorite artists. What would an album look like? Single/Double Album? How many songs should be included? What was the order? Catalog sequential or more topical?
One night, two of us were having a beer watching a game and we started arguing about Smashing Pumpkins songs and which ones were the best. And it got us thinking...
As everyone knows, the best part of the fantasy season is the draft. You get the chance to craft your team with the best players available. You feel like a real GM.
That's when I had the stupid idea to "draft" 10 songs each and see who's was better.
We shared the two lists and they voted on which was better, and slowly this morphed into us starting a FANTASY MUSIC DRAFT LEAGUE.
Yes, we are a bunch of junkies and losers.
But...
We also follow through with an idea.
------------------------------------------------------------------------------------------------------------------
Here's the basic logistics of how this works...
We have 5 guys in the league, and we started a group chat on our iPhones.
For season 1, I created a group of 10 bands to draft (subsequent "seasons" we would have a "band" pre-draft...)
We create a random draft order using a fantasy draft randomizer online, then we have a 10-round snake draft picking songs along the way.
We then have a short drop/add time to round out our 10 songs, then work to reorder those songs to make the 10-song playlist.
We create the playlist on Spotify and then share with the rest of the group. All of the picks and playlists are saved on shared Google Docs file to keep us organized.
Then, we each score the playlists with two criteria: "Draft Performance & Song Quality" and "Playlist Construction & Theme Quality". (By the way, this is the inherent flaw in our league, as music is incredibly subjective. We've refined the scoring system several times, still not sold on our methodology...)
The scores from the individual weeks add up over the course of the season and we declare a winner.
We are now in the middle of season 8. To date, we've done 87 official drafts, and probably another 10 side drafts. As you could imagine, our wives think this is the dumbest thing ever, but we persist...
Here are the bands that we have done thus far...
SEASON 1 Week 1 - Radiohead Week 2 - Incubus Week 3 - Coldplay Week 4 - Pearl Jam Week 5 - Pink Floyd Week 6 - Kings of Leon Week 7 - Red Hot Chili Peppers Week 8 - Led Zeppelin Week 9 - Smashing Pumpkins Week 10 - Beatles - Double Album
SEASON 2 Week 1 - Bob Marley Week 2 - G-Funk Era Week 3 - Dispatch Week 4 - Billy Joel Week 5 - Outkast Week 6 - Michael Jackson Week 7 - U2 Week 8 - Motown's Greatest Week 9 - The Who Week 10 - Dave Matthews Band - Double Album
SEASON 3 Week 1 - Eagles Week 2 - Jack Johnson Week 3 - Rush Week 4 - 2004 Week 5 - Allman Brothers Band Week 6 - Seattle Scene Week 7 - Death Cab For Cutie Week 8 - Eminem Week 9 - Weezer Week 10 - 1982 Week 11 - The Police Week 12 - Hair Metal Week 13 - 2017 Austin City Limits - Double Album
SEASON 4 Week 1 - War On Drugs/Kurt Vile Week 2 - Rolling Stones Week 3 - Black Crowes Week 4 - 1986 Week 5 - Tribe/Q-Tip/Busta Week 6 - Kanye West Week 7 - Beck Week 8 - Everything Jack White Week 9 - Tom Petty Week 10 - 1994 Week 11 - Elton John Week 12 - Rage Medley Week 13 - 2011 Mountain Jam Festival - Double Album
SEASON 5 Week 1 - Boy Bands Week 2 - Ben Harper Week 3 - Green Day Week 4 - 1981 Week 5 - My Morning Jacket Week 6 - Tame Impala/Mac Demarco/MGMT Week 7 - The Roots Week 8 - WuTang Clan Week 9 - Blink-182 Week 10 - 1998 Week 11 - Stevie Wonder Week 12 - Lil Wayne Week 13 - Woodstock Festivals - Double Album
SEASON 6 Week 1 - Beach/Chill Summer Medley Week 2 - John Mayer Week 3 - 311 Week 4 - 1974 Week 5 - Bob Seger Week 6 - Nas Week 7 - Beach House Week 8 - Chon/Ronald Jenkees/Tauk Week 9 - Kendrick Lamar Week 10 - 2005 Week 11 - Genesis Medley Week 12 - Grateful Dead Week 13 - 2004 NOLA Jazz Festival - Double Album
SEASON 7 Week 1 - Phish Week 2 - Death Cab Re-Draft Week 3 - Hieroglyphics/Bay Area Week 4 - Jimmy Buffett Week 5 - 1978 Week 6 - Black Star Week 7 - Toro y Moi Week 8 - Queen Week 9 - Fiona Apple Week 10 - 2000 Week 11 - Brooks and Dunn/Alan Jackson/Travis Tritt/George Strait Week 12 - Steve Miller Band Week 13 - Logic
SEASON 8 - Current Season Week 1 - Chuck Berry/Little Richard Week 2 - Frank Sinatra Week 3 - 1971 Week 4 - Aerosmith Week 5 - Prince Week 6 - Foreigner Week 7 - 1996 Week 8 - Credence Clearwater Revival Week 9 - Miles Davis Week 10 - Foo Fighters Week 11 - 2003 Week 12 - Pavement Week 13 - The Whigs Week 14 - Unknown Mortal Orchestra Week 15 - 1967 Week 16 - Anything Crosby, Stills, Nash, or Young Week 17 - Chromeo Week 18 - Bone Thugs N Harmony Week 19 - 2007 Week 20 - Erykah Badu/Jill Scott Week 21 - Undetermined Festival - Double Album
I'd like to start sharing the results of the already completed drafts somewhere here in the community. Maybe post them week by week, with links to the Spotify lists, and let the group at large vote on the playlists.
Wanted to get feedback from this group to see how to best make that happen.
Thought you'd appreciate the music nerd-dom...
submitted by MusicDrafts to ListeningHeads [link] [comments]


2020.09.16 17:36 TheRoyalGodfrey [DISCUSSION] Young Thug - Slime Season (5 Years Later)

Slime Season is a mixtape by American hip hop recording artist Young Thug, released on September 16, 2015. It features production from a range of artists, including London on da Track, Metro Boomin, Ricky Racks, Wheezy, and WondaGurl, and guest appearances from Migos, Gucci Mane, Peewee Longway, and Lil Wayne.
The mixtape was largely compiled from tracks that had leaked on the internet in the previous year. Upon release, the mixtape received positive reviews from critics, while the single "Best Friend" charted. As well as “Best Friend”, Slime Season also included the song “Power”, which has amassed over 150 million views on YouTube as of 2020. It was followed later in the year by Slime Season 2.

Background

Slime Season was compiled from archival material in an attempt to circumvent a series of 2015 data leaks which saw hundreds of unreleased Young Thug tracks uploaded to the internet. The material may date back at least one year. The mixtape received a sequel, Slime Season 2, which was released the following month. Slime Season 3 was released in 2016. The title pays homage to Ola Playa, a rapper from Young Thug's YSL Gang who released his own Slime Season mixtape in March 2014.

Critical reception

Slime Season received positive reviews from critics, with an aggregate score of 80 out of 100 on Metacritic. Under the Gun called it "an abstract masterwork" and "2015's hip-hop answer to jamming sonic psychedelia.[8] Spin stated that "this is simply rap’s foremost stylist mouthing off ferociously on all cylinders." HotNewHipHop called it "just the game-changer we expected it to be, showcasing an even more confident and experimental Thugger than we heard on Barter 6." Pitchfork called the mixtape "an odds-and-ends compilation with no coherent vision," but wrote that "Thug remains one of hip-hop's most exciting stylists" and pointed out the tracks "Freaky," "Draw Down," and "Wood Would" as highlights.
submitted by TheRoyalGodfrey to hiphopheads [link] [comments]


2020.09.14 03:43 elnickruiz PEGASUS (LEAK) Full Review & Tracklisr

I’ve listened to the album in full over ten times already. Listened to it 3 times on an 8 hour drive today. I followed it up by the rest of his discography too. I really think this is the best, most complete, Trippie album to date. Even thought it is 26 songs long, it’s not a drag to listen too, it’s not repetitive at all, and every song has its own charm. Since it seems like the album should be officially dropping soon (1-3 weeks from now), I want to go ahead and get everyone FOOKING HYPED FOR PEGASUS.
Without further ado, here’s the track by track review:
  1. Let It Out (ft. Myiah Lynnae) - A great intro song for the album. It’s got a very lo-fi vibe. Myiah Lynnae has great vocals on the song. Overall it’s a decent Trippie love song but it’s nothing overly special imo. 7/10.
  2. Moonlight - Let it Out transitions perfectly into this track that is a fan favorite on this thread. The track is very atmospheric and has great production. A beautiful song but I think the placement right after Let It Out is suspect. Could have been a great introspection type interlude between maybe Excitement and Mood. 9/10.
  3. Love Scars 4 - I was initially really dissatisfied with this track. I was expecting something very different because it’s part of the Love Scars saga but it definitely grew on me and I enjoy it. It feels a little lacking on production. Love Scars 1&3 are better songs. 7/10.
  4. The Nether - When I first heard this snippet, I thought Trippie was doing a better Drake type flow than Drake in his latest songs. Was very excited for this track. It did not disappoint but I do think the intro is way too long before trippie gets into it and I wish he had one more verse. 8/10.
  5. So Stressed (ft. Yung LB) - On the first few listens this track didn’t stand out a lot to me. But it has definitely grown on me and I enjoy it. The chorus is very catchy and you just want to sing along to it. I’m not sure who the feature is but felt like they definitely held their own and added to the song. 8/10.
  6. Excitement (ft. PND) - We’ve all heard this song. It’s a mood. Great production and hook. I wish there were more verses and less chorus repetition but it was a lead single for a reason. 8/10.
  7. Mood (ft. Chris Brown) - To me this is the weakest song of the first third of the album (which clearly focuses on themes of love and loss). I don’t find anything too special about this song, it’s too similar to Excitement for me to be the next track. That may be what took away from it. Chris Brown does a great job on the feature though. It feels more like his song than Trippie’s. 7/10.
  8. Pegasus - Probably the best production on the whole album which is good considering it’s the title track. I was just expecting the title track to be more compelling lyrically. This song being called Pegasus kind of takes away from the album being called Pegasus. His vocal range on this song does redeem it. 6/10.
  9. Weeeeee - The song is a straight banger. The chorus is super catchy and energetic. Trippies verses are great. It has a ton of replay value. The Weeeeeee meme at the end takes away from it because no one wants to hear that more than once but the rest of the song makes up for it. 8.5/10.
  10. Personal Favorite (ft. Rich The Kid) - As soon as this songs starts you hear Juice. The beat itself sounds like a Juice song. I wish Juice was on this song. The chorus is catchy and this track could do very well with non Trippie fans. Rich does a decent job on the feature but sorta underwhelming because you’re kind of set up for something else. 9/10.
  11. V-12 - One of my personal favorites. I love the intro and the outro. The chorus is very catchy and the verse has a huge throwback feel with Trippies grungy vocals. The song just makes me happy. 10/10.
  12. Spaceship (ft. Young Thug) - This is a very introspective song. Lyrically it is very powerful. Thug really fits the mood of the song. I was expecting something different but one of my favorites now. The hook and outro are beautiful. Could be a sleeper hit. 9/10.
  13. Never Change (ft. Future) - The transition from Spaceship to Never Change is beautiful. This song is also introspective. Both Trippie and Future have good verses. I wish Trippie used a different type of autotune in some places but it’s a strong song. 9/10.
  14. Good Morning - This song is so great. You know it’s going to be all over Tik Tok which will make it viral for sure. Easy to get lost to and sing along. The verse in between the hooks is good. I feel like we’re missing a feature credit but it doesn’t seem it’s Shiloh Dynasty. 9/10.
  15. No Honorable Mention (ft. Quavo & Lil Mosey) - Just a very strong rap song. Definitely can be enjoyed by a wide range of people. They just really need to fix the mixing at the end of Mosey’s verse. 9/10.
  16. I Got You (ft. Busta Rhymes) - Wanted to listen to this one for so long since the snipped on Instagram and him saying it was dropping three weeks after his birthday. First few listens I did not like Busta’s verse at all. I was hoping for or expecting something different. All my exposure to him has been different than that verse. It definitely has grown on me and now I look forward to the switch up and the Boston Markets. 8/10.
  17. Too Fly - This is a great song. Definitely one to roll a blunt and smoke to. Don’t have anything negative to say about this song. I think it’s a pretty classic Trippie song. 9/10.
  18. Red Beam (ft. Sean Kingston) - This track feels more like a Pegasus to me. I really like the feel of the song and the hook is great. Sean Kingston adds to the song. It does have a bit of a dancehall type of vibe. 8/10.
  19. Oomps Revenge Pt. 2: Free LO - A continuation of the song from LAT. The sound and intro are similar but it’s a good song. 7/10.
  20. Take One - Definitely not my favorite on the album but it does have some great one-liners. The Nick Mira production is on point though. 7/10.
  21. Sleepy Hollow - One of my favorites on the album if not my favorite. It has a great vive, a great, hook, and a great beat. The outro really hypes you up. It’s like a Dark Knight Dummo feel but with a Taking a Walk song structure. 10/10.
  22. Kidd That Did (ft. Future & Doe Boy) - This is a song that I guess you just have to be in a certain mood for. I have skipped it a few times. I don’t feel like the features add to the much and the hook is too convoluted. Feels like a less hype OTF Knightmare. Probably an unpopular opinion. 6/10.
  23. Don - I love this song. It’s a very complete track. It has great verses and a great hook. Production is great. Lots of replay value. 10/10.
  24. Hell Rain (ft. Lil Wayne & HoodyBaby) - An Old song remastered. It sounds a lot better than the original in my opinion and the rain intro and outro for this song and the next few songs are a great add. Goes well with the overall feel of the album. 8/10.
  25. TR666 (ft. Swae Lee)- I’ve always loved this song. Really liked how they tied it to Hell Rain and Sun God. It also fits the overall feel and production of the album very well. 9/10.
  26. Sun God (ft. Myiah Lynnae) - Beautiful somg and beautiful way to close the album. It’s one of his best love songs in my opinion right along with say Toxic Love or Romeo & Juliet). The long outro of this song goes really well with the long intro of the opening track and having the same feature also makes the album be extremely repeatable over and over. It hasn’t gotten old. 10/10.
Overall ranking: 8.3/10. Because there are 26 tracks, there’s definitely some tracks some people won’t like due to the range of styles that Trippie uses. Still I feel the album is very cohesive, flows extremely well, and has a lot of replay value that both the mainstream and hardcore fans can enjoy.
If you haven’t listened to it yet, keep waiting, it’s worth it. If you already have, keep pumping it up!
submitted by elnickruiz to trippieredd [link] [comments]


2020.09.13 01:14 Toadalinakong What would Blink play at Super Bowl Halftime Show?

Forgive me if this has been discussed here before, but if blink was gonna play the Half time show at a Superbowl, what songs do you think they would play? Normally the show is 15 min long and features a 8-10 song medley, often with surprise guests too.
Personally I think it'd look something like this
  1. Feeling This
  2. The Rock Show
  3. WMAA (possibly version w/ Lil Wayne)
  4. Bored to Death
  5. I Really Wish I Hated You (or Darkside, if they were to even play a song from NINE)
  6. I Miss You (maybe Tom shows up to perform his verse/chorus lol)
  7. First Date
  8. All The Small Things
  9. Dammit
submitted by Toadalinakong to Blink182 [link] [comments]


2020.09.01 17:12 james14cunningham Celebrity Owned TIDAL Purchased $7 Million Worth of Sensorium Social VR Platform Tokens

SENSO, the in-platform token of Sensorium Galaxy, is suddenly in the spotlight following a $7 million purchase from TIDAL — global music and video streaming service co-owned by JAY-Z, Rihanna, Daft Punk, Lil Wayne, Chris Martin, and Calvin Harris.
The Sensorium Galaxy is a social VR platform where users can interact with each other in an immersive alternate universe. The platform works in close collaboration with world-famous artists and entertainment partners to make real-life events (concerts, dance performances, music festivals, art exhibitions, etc.) available in a globally accessible virtual setup.

https://preview.redd.it/zjds43xmyjk51.png?width=1920&format=png&auto=webp&s=0d71294a64b36f0093f38c6d955aa5ad741ad396
The token purchase from TIDAL, a high-fidelity entertainment streaming service with over 3 million users globally, is the result of a partnership agreement to give artists listed on that service exclusive access to stream their content in the Sensorium Galaxy platform. “Our relationship with Sensorium provides TIDAL with the opportunity to gain exclusive rights for its stellar artist roster to have their shows and music broadcast exclusively within Sensorium’s themed virtual entertainment worlds,” says TIDAL COO Lior Tibon.
Aside from TIDAL artists, Sensorium Galaxy works in close collaboration with Yann Pissenem, the mastermind behind Ushuaïa Ibiza and Hï Ibiza — two of the hottest nightlife hubs in the world. Dance superstar Sergei Polunin is also a supporter of Sensorium Galaxy, and his jaw-dropping performances are being recreated in virtual reality. The platform is scheduled for release in H1 2021.
“The Sensorium Galaxy is a next-generation platform for entertainment consumption which will elevate the connection fans have with their favorite artists and bring the artist’s vision to life in a new and exciting way,” Mr. Tibon explained in a written statement.
Sensorium Corporation, the company that oversees the technological and business development of Sensorium Galaxy, was founded by Forbes-listed billionaire Mikhail Prokhorov in 2018. To date, the company has attracted over $100 million in private investments.
Sensorium sets itself the ambitious goal of taking user communications to the next level and ensuring their digital evolution in the new environment. The technological basis of the project is a combination of VR and AI technologies. “Sensorium Galaxy avatars constantly learn from users, learn about their actions and preferences, and can continue to exist autonomously, performing actions that match user behavior patterns,” explains Brian Keane, director of communications at Sensorium. “AI is a vital component of Sensorium Galaxy as it brings users closer to digital immortality – something that seemed impossible until recently,” he adds.
As is the case with most modern games and VR platforms, all transactions on Sensorium Galaxy are carried out using its own in-platform currency: SENSO token. The company plans to attract more than 1.8 million users by 2022, who will pay for premium accounts, avatar customization items, and event tickets exclusively with SENSO tokens.
The token is now available on the largest international exchanges Bittrex, KuCoin, Bitcoin.com, and HitBTC.
Source
submitted by james14cunningham to CryptocurrencyICO [link] [comments]


2020.09.01 17:11 james14cunningham Celebrity Owned TIDAL Purchased $7 Million Worth of Sensorium Social VR Platform Tokens

SENSO, the in-platform token of Sensorium Galaxy, is suddenly in the spotlight following a $7 million purchase from TIDAL — global music and video streaming service co-owned by JAY-Z, Rihanna, Daft Punk, Lil Wayne, Chris Martin, and Calvin Harris.
The Sensorium Galaxy is a social VR platform where users can interact with each other in an immersive alternate universe. The platform works in close collaboration with world-famous artists and entertainment partners to make real-life events (concerts, dance performances, music festivals, art exhibitions, etc.) available in a globally accessible virtual setup.

https://preview.redd.it/kt73f7igyjk51.png?width=1920&format=png&auto=webp&s=a1b4ad67e79b85ea63b23ae0c8cac8b0697508c9
The token purchase from TIDAL, a high-fidelity entertainment streaming service with over 3 million users globally, is the result of a partnership agreement to give artists listed on that service exclusive access to stream their content in the Sensorium Galaxy platform. “Our relationship with Sensorium provides TIDAL with the opportunity to gain exclusive rights for its stellar artist roster to have their shows and music broadcast exclusively within Sensorium’s themed virtual entertainment worlds,” says TIDAL COO Lior Tibon.
Aside from TIDAL artists, Sensorium Galaxy works in close collaboration with Yann Pissenem, the mastermind behind Ushuaïa Ibiza and Hï Ibiza — two of the hottest nightlife hubs in the world. Dance superstar Sergei Polunin is also a supporter of Sensorium Galaxy, and his jaw-dropping performances are being recreated in virtual reality. The platform is scheduled for release in H1 2021.
“The Sensorium Galaxy is a next-generation platform for entertainment consumption which will elevate the connection fans have with their favorite artists and bring the artist’s vision to life in a new and exciting way,” Mr. Tibon explained in a written statement.
Sensorium Corporation, the company that oversees the technological and business development of Sensorium Galaxy, was founded by Forbes-listed billionaire Mikhail Prokhorov in 2018. To date, the company has attracted over $100 million in private investments.
Sensorium sets itself the ambitious goal of taking user communications to the next level and ensuring their digital evolution in the new environment. The technological basis of the project is a combination of VR and AI technologies. “Sensorium Galaxy avatars constantly learn from users, learn about their actions and preferences, and can continue to exist autonomously, performing actions that match user behavior patterns,” explains Brian Keane, director of communications at Sensorium. “AI is a vital component of Sensorium Galaxy as it brings users closer to digital immortality – something that seemed impossible until recently,” he adds.
As is the case with most modern games and VR platforms, all transactions on Sensorium Galaxy are carried out using its own in-platform currency: SENSO token. The company plans to attract more than 1.8 million users by 2022, who will pay for premium accounts, avatar customization items, and event tickets exclusively with SENSO tokens.
The token is now available on the largest international exchanges Bittrex, KuCoin, Bitcoin.com, and HitBTC.
Source
submitted by james14cunningham to BlockchainStartups [link] [comments]


2020.09.01 17:11 james14cunningham Celebrity Owned TIDAL Purchased $7 Million Worth of Sensorium Social VR Platform Tokens

Celebrity Owned TIDAL Purchased $7 Million Worth of Sensorium Social VR Platform Tokens
SENSO, the in-platform token of Sensorium Galaxy, is suddenly in the spotlight following a $7 million purchase from TIDAL — global music and video streaming service co-owned by JAY-Z, Rihanna, Daft Punk, Lil Wayne, Chris Martin, and Calvin Harris.
The Sensorium Galaxy is a social VR platform where users can interact with each other in an immersive alternate universe. The platform works in close collaboration with world-famous artists and entertainment partners to make real-life events (concerts, dance performances, music festivals, art exhibitions, etc.) available in a globally accessible virtual setup.


The token purchase from TIDAL, a high-fidelity entertainment streaming service with over 3 million users globally, is the result of a partnership agreement to give artists listed on that service exclusive access to stream their content in the Sensorium Galaxy platform. “Our relationship with Sensorium provides TIDAL with the opportunity to gain exclusive rights for its stellar artist roster to have their shows and music broadcast exclusively within Sensorium’s themed virtual entertainment worlds,” says TIDAL COO Lior Tibon.
Aside from TIDAL artists, Sensorium Galaxy works in close collaboration with Yann Pissenem, the mastermind behind Ushuaïa Ibiza and Hï Ibiza — two of the hottest nightlife hubs in the world. Dance superstar Sergei Polunin is also a supporter of Sensorium Galaxy, and his jaw-dropping performances are being recreated in virtual reality. The platform is scheduled for release in H1 2021.
“The Sensorium Galaxy is a next-generation platform for entertainment consumption which will elevate the connection fans have with their favorite artists and bring the artist’s vision to life in a new and exciting way,” Mr. Tibon explained in a written statement.
Sensorium Corporation, the company that oversees the technological and business development of Sensorium Galaxy, was founded by Forbes-listed billionaire Mikhail Prokhorov in 2018. To date, the company has attracted over $100 million in private investments.
Sensorium sets itself the ambitious goal of taking user communications to the next level and ensuring their digital evolution in the new environment. The technological basis of the project is a combination of VR and AI technologies. “Sensorium Galaxy avatars constantly learn from users, learn about their actions and preferences, and can continue to exist autonomously, performing actions that match user behavior patterns,” explains Brian Keane, director of communications at Sensorium. “AI is a vital component of Sensorium Galaxy as it brings users closer to digital immortality – something that seemed impossible until recently,” he adds.
As is the case with most modern games and VR platforms, all transactions on Sensorium Galaxy are carried out using its own in-platform currency: SENSO token. The company plans to attract more than 1.8 million users by 2022, who will pay for premium accounts, avatar customization items, and event tickets exclusively with SENSO tokens.
The token is now available on the largest international exchanges Bittrex, KuCoin, Bitcoin.com, and HitBTC.
Source
submitted by james14cunningham to CryptoICO [link] [comments]


2020.09.01 17:10 james14cunningham Celebrity Owned TIDAL Purchased $7 Million Worth of Sensorium Social VR Platform Tokens

SENSO, the in-platform token of Sensorium Galaxy, is suddenly in the spotlight following a $7 million purchase from TIDAL — global music and video streaming service co-owned by JAY-Z, Rihanna, Daft Punk, Lil Wayne, Chris Martin, and Calvin Harris.
The Sensorium Galaxy is a social VR platform where users can interact with each other in an immersive alternate universe. The platform works in close collaboration with world-famous artists and entertainment partners to make real-life events (concerts, dance performances, music festivals, art exhibitions, etc.) available in a globally accessible virtual setup.

https://preview.redd.it/9cs2ay36yjk51.png?width=1920&format=png&auto=webp&s=5b3a8245f018fc82e9aa7f8abc3722c3d598dbae
The token purchase from TIDAL, a high-fidelity entertainment streaming service with over 3 million users globally, is the result of a partnership agreement to give artists listed on that service exclusive access to stream their content in the Sensorium Galaxy platform. “Our relationship with Sensorium provides TIDAL with the opportunity to gain exclusive rights for its stellar artist roster to have their shows and music broadcast exclusively within Sensorium’s themed virtual entertainment worlds,” says TIDAL COO Lior Tibon.
Aside from TIDAL artists, Sensorium Galaxy works in close collaboration with Yann Pissenem, the mastermind behind Ushuaïa Ibiza and Hï Ibiza — two of the hottest nightlife hubs in the world. Dance superstar Sergei Polunin is also a supporter of Sensorium Galaxy, and his jaw-dropping performances are being recreated in virtual reality. The platform is scheduled for release in H1 2021.
“The Sensorium Galaxy is a next-generation platform for entertainment consumption which will elevate the connection fans have with their favorite artists and bring the artist’s vision to life in a new and exciting way,” Mr. Tibon explained in a written statement.
Sensorium Corporation, the company that oversees the technological and business development of Sensorium Galaxy, was founded by Forbes-listed billionaire Mikhail Prokhorov in 2018. To date, the company has attracted over $100 million in private investments.
Sensorium sets itself the ambitious goal of taking user communications to the next level and ensuring their digital evolution in the new environment. The technological basis of the project is a combination of VR and AI technologies. “Sensorium Galaxy avatars constantly learn from users, learn about their actions and preferences, and can continue to exist autonomously, performing actions that match user behavior patterns,” explains Brian Keane, director of communications at Sensorium. “AI is a vital component of Sensorium Galaxy as it brings users closer to digital immortality – something that seemed impossible until recently,” he adds.
As is the case with most modern games and VR platforms, all transactions on Sensorium Galaxy are carried out using its own in-platform currency: SENSO token. The company plans to attract more than 1.8 million users by 2022, who will pay for premium accounts, avatar customization items, and event tickets exclusively with SENSO tokens.
The token is now available on the largest international exchanges Bittrex, KuCoin, Bitcoin.com, and HitBTC.
Source
submitted by james14cunningham to CryptoAirdrop [link] [comments]


2020.09.01 17:09 james14cunningham Celebrity Owned TIDAL Purchased $7 Million Worth of Sensorium Social VR Platform Tokens

Celebrity Owned TIDAL Purchased $7 Million Worth of Sensorium Social VR Platform Tokens
SENSO, the in-platform token of Sensorium Galaxy, is suddenly in the spotlight following a $7 million purchase from TIDAL — global music and video streaming service co-owned by JAY-Z, Rihanna, Daft Punk, Lil Wayne, Chris Martin, and Calvin Harris.
The Sensorium Galaxy is a social VR platform where users can interact with each other in an immersive alternate universe. The platform works in close collaboration with world-famous artists and entertainment partners to make real-life events (concerts, dance performances, music festivals, art exhibitions, etc.) available in a globally accessible virtual setup.

https://preview.redd.it/qx95v6h0yjk51.png?width=1920&format=png&auto=webp&s=2ba97d1b375a5292d3fcae96d6689472feccf23a
The token purchase from TIDAL, a high-fidelity entertainment streaming service with over 3 million users globally, is the result of a partnership agreement to give artists listed on that service exclusive access to stream their content in the Sensorium Galaxy platform. “Our relationship with Sensorium provides TIDAL with the opportunity to gain exclusive rights for its stellar artist roster to have their shows and music broadcast exclusively within Sensorium’s themed virtual entertainment worlds,” says TIDAL COO Lior Tibon.
Aside from TIDAL artists, Sensorium Galaxy works in close collaboration with Yann Pissenem, the mastermind behind Ushuaïa Ibiza and Hï Ibiza — two of the hottest nightlife hubs in the world. Dance superstar Sergei Polunin is also a supporter of Sensorium Galaxy, and his jaw-dropping performances are being recreated in virtual reality. The platform is scheduled for release in H1 2021.
“The Sensorium Galaxy is a next-generation platform for entertainment consumption which will elevate the connection fans have with their favorite artists and bring the artist’s vision to life in a new and exciting way,” Mr. Tibon explained in a written statement.
Sensorium Corporation, the company that oversees the technological and business development of Sensorium Galaxy, was founded by Forbes-listed billionaire Mikhail Prokhorov in 2018. To date, the company has attracted over $100 million in private investments.
Sensorium sets itself the ambitious goal of taking user communications to the next level and ensuring their digital evolution in the new environment. The technological basis of the project is a combination of VR and AI technologies. “Sensorium Galaxy avatars constantly learn from users, learn about their actions and preferences, and can continue to exist autonomously, performing actions that match user behavior patterns,” explains Brian Keane, director of communications at Sensorium. “AI is a vital component of Sensorium Galaxy as it brings users closer to digital immortality – something that seemed impossible until recently,” he adds.
As is the case with most modern games and VR platforms, all transactions on Sensorium Galaxy are carried out using its own in-platform currency: SENSO token. The company plans to attract more than 1.8 million users by 2022, who will pay for premium accounts, avatar customization items, and event tickets exclusively with SENSO tokens.
The token is now available on the largest international exchanges Bittrex, KuCoin, Bitcoin.com, and HitBTC.
Source
submitted by james14cunningham to altcointrading [link] [comments]


2020.09.01 17:08 james14cunningham Celebrity Owned TIDAL Purchased $7 Million Worth of Sensorium Social VR Platform Tokens

Celebrity Owned TIDAL Purchased $7 Million Worth of Sensorium Social VR Platform Tokens
SENSO, the in-platform token of Sensorium Galaxy, is suddenly in the spotlight following a $7 million purchase from TIDAL — global music and video streaming service co-owned by JAY-Z, Rihanna, Daft Punk, Lil Wayne, Chris Martin, and Calvin Harris.
The Sensorium Galaxy is a social VR platform where users can interact with each other in an immersive alternate universe. The platform works in close collaboration with world-famous artists and entertainment partners to make real-life events (concerts, dance performances, music festivals, art exhibitions, etc.) available in a globally accessible virtual setup.

https://preview.redd.it/sfzq2i4sxjk51.png?width=1920&format=png&auto=webp&s=4ccaf13d9b9eb5009455bfed34ae37c3efef442d
The token purchase from TIDAL, a high-fidelity entertainment streaming service with over 3 million users globally, is the result of a partnership agreement to give artists listed on that service exclusive access to stream their content in the Sensorium Galaxy platform. “Our relationship with Sensorium provides TIDAL with the opportunity to gain exclusive rights for its stellar artist roster to have their shows and music broadcast exclusively within Sensorium’s themed virtual entertainment worlds,” says TIDAL COO Lior Tibon.
Aside from TIDAL artists, Sensorium Galaxy works in close collaboration with Yann Pissenem, the mastermind behind Ushuaïa Ibiza and Hï Ibiza — two of the hottest nightlife hubs in the world. Dance superstar Sergei Polunin is also a supporter of Sensorium Galaxy, and his jaw-dropping performances are being recreated in virtual reality. The platform is scheduled for release in H1 2021.
“The Sensorium Galaxy is a next-generation platform for entertainment consumption which will elevate the connection fans have with their favorite artists and bring the artist’s vision to life in a new and exciting way,” Mr. Tibon explained in a written statement.
Sensorium Corporation, the company that oversees the technological and business development of Sensorium Galaxy, was founded by Forbes-listed billionaire Mikhail Prokhorov in 2018. To date, the company has attracted over $100 million in private investments.
Sensorium sets itself the ambitious goal of taking user communications to the next level and ensuring their digital evolution in the new environment. The technological basis of the project is a combination of VR and AI technologies. “Sensorium Galaxy avatars constantly learn from users, learn about their actions and preferences, and can continue to exist autonomously, performing actions that match user behavior patterns,” explains Brian Keane, director of communications at Sensorium. “AI is a vital component of Sensorium Galaxy as it brings users closer to digital immortality – something that seemed impossible until recently,” he adds.
As is the case with most modern games and VR platforms, all transactions on Sensorium Galaxy are carried out using its own in-platform currency: SENSO token. The company plans to attract more than 1.8 million users by 2022, who will pay for premium accounts, avatar customization items, and event tickets exclusively with SENSO tokens.
The token is now available on the largest international exchanges Bittrex, KuCoin, Bitcoin.com, and HitBTC.
Source
submitted by james14cunningham to CryptoMarkets [link] [comments]