Pemulis

I deeply love the cultural framework of the 60' in the USA, for me the american counter-culture produced some of the best music ever created by mankind. I have an odi et amo relationship with the folk movement: on one hand I admire their political involvement, on the other hand I think that the movement was reactionary (paradoxically!) and somehow disconnected from what was going on in the USA back then. The emblematic sign of that is what happened to Bob Dylan during the infamous concert in Newport 1965, where the pubblic booed and challenged Bob and his band cause they prepared an electric set. In hindsight, it is something that makes me smile, especially considering how music evolved later on. I'd need another chapter to rant on how the influence of the folk movement raped and almost destroyed italian music, but that would be another story.

I did not catch any of these claims in the lyrics, to me they were about the clash between the urge to express our individuality and the conformism, which is kinda general. It's okay anyway to write lyrics which carry their meaning in an implicit way, but I do not see any implicit attack to heteronormativity in them (or to anything else specifically). Writing music with lyrics is not mandatory, therefore when the artist decides to put some in their songs I use to expect something. Anyway I red the bio of this group and they have all my support in their battle against the russian regime, what a bravery! I guess other works in their discography have to be very interesting, I'll take a better look.

In my perception, this is straight forward a female version of XXXTentacion. Lyrics are also very... trivial I like some rap music but I'm not very compatible with such kind. Which artists are you referring to? Lying on facts it's a kind of freedom I try not to give to myself, but yeah I got your point eheh

It's true — in fact, I don't believe that an artist's aesthetic research necessarily has to be cerebral or experimental. I believe that an artist should simply use it as a means to express the emotions or concepts behind a piece, rather than delegating all the communicative power to the lyrics. This process, generally, can be carried out without creating anything too “weird” to listen to. It all depends on the subject of your activism, and what you want to express about it. For example, imagine you want to write a song about civil disobedience. Aesthetically speaking, expressing anger and violence certainly doesn't require any particularly elaborate musical tricks. For example: On the other hand, if you want to talk about more complex topics, the aesthetic boundaries (at least the mainstream ones) of music must be pushed in order to fully express extreme emotions and concepts. The classic example is the attempt to write a song about war. An artist can choose to write absolute garbage like Mad World by Gary Jules, turning the madness of war into a crying little tune that might as well be about a failed romantic relationship; or they can attempt to express that madness through the music itself. It goes without saying that in such an attempt, the common aesthetic sense must be left behind — because the violence of war does not fall within common aesthetic norms. It therefore becomes necessary to break out of conventional frameworks if one wants to speak credibly about something like that. For example: Or: Music is art, and when some "music" is clearly not art then it is clearly not music as well: it becomes a commodity. Of course there's nothing criminal in enjoying consumer music, but as listeners we have at least to know what are we consuming. I am free to eat McDonald's, but I am not free to say McDonald's is a top class full of nutrients meal. Also I don't believe that a high degree of musical education is needed in order to appreciate complex music, assuming you are talking about technical knowledge like music theory, harmony etc. The only thing needed is curiosity! I'm barely able to read a staff, for example, but I can enjoy a lot of contemporary classical music. It's more about ideas than technicalities! About the original subversiveness of rap, I think both of those aspects were already true for rock/blues music.

You are right and I should have replaced "hip hop" with "rap". Regards the loss of socio-political topics in rap music, surely a product in order to be sold to the majority of public has to lose its divisive traits and trying to be as generalistic as possible. This process is applied to every underground social movement in the exact moment it become mainstream. Anyway, my opinion on Tupac and most of the 'historical' rappers is generally very low despite the fact I can appreciate their activism. I prefer when such activism is expressed working on the musical-aesthetic framework and the lyrics, not just through the latter: you can write books if you want to communicate exclusively with words.

Hip hop music can be considered, chronologically speaking, the last avant-garde musical movement to have reached widespread circulation in pop culture. Despite the general tone of the lyrics found in many rap songs — "Poopy-di scoop / Scoop-diddy-whoop / Whoop-di-scoop-di-poop", from Lift Yourself by Kanye West — hip hop music stands in the history of music as the genre that pushed to the extreme the subversion of Western musical tradition—a process already initiated by rock music at the beginning of the last century: the dominance of rhythm over harmony. Western musical culture, for centuries, made the study of harmony its defining stylistic trait. To simplify this concept and connect it to your everyday experience, just ask yourself how many times you’ve found yourself unconsciously tapping your foot to the beat while listening to a symphony from the 19th century or earlier. The answer is likely close to zero. Symphony orchestras, in fact, traditionally consist solely of instruments whose role is to play notes—in other words, pitched instruments. Even orchestral percussion instruments (such as timpani, marimba, glockenspiel, etc.) are tuned and play definable pitches that can be written on a staff. There is, therefore, no instrument whose primary purpose is to explicitly mark rhythm; rhythm in Western classical music is present only implicitly, as an underlying structural framework. Rock music disrupted this balance, bringing the essence of African tribal music into contact with the Western mainstream. Tribal music, as is well known, was originally composed of purely percussive, non-pitched instruments. These were not intended to play notes (a concept that didn’t even exist in traditional African cultures) but rather to mark time during religious rituals, allowing participants to dance in sync with the beat. So, in the 19th century, the modern drum kit was invented. Jazz and rock music radically transformed the cultural landscape of Western countries, whose musical tradition was suddenly renewed through its encounter with African-American musical heritage. But what does hip hop music have to do with all of this? Hip hop music further radicalizes this aesthetic process through two key mechanisms: the simplification of musical structure—made deliberately repetitive and ornamental so that it serves only as a backdrop—and the transformation of the vocal line into a purely rhythmic element. The voice, traditionally the primary vehicle for melody, becomes a percussive instrument; it stops singing, and thus stops producing pitched notes (and existing within a harmonic context), becoming instead a purely rhythmic expression. A precursor to this idea can be found in Sprechgesang, a vocal technique developed by Schönberg as a middle point between singing and speaking. That said, the truly sad part of this whole story is that most rappers—and the people who listen to them—are completely unaware of this historical and cultural nerdiness. They're like children using a nuclear reactor to warm up their steak. Truly fascinating. Poopy-di scoop / Scoop-diddy-whoop / Whoop-di-scoop-di-poop

This might be one of the most embarrassing things I've seen in my life

0ad is not dead, it just smells funny.

Fratello mio, scrivimi in privato qui sul forum così vedo di aiutarti. Mandami uno screen dell'errore che ti esce fuori così quantomeno possiamo essere precisi nel capire il problema.

These are some old ss I have, 1492 is one of Geriatrix doppleganger. I don't remember precisely why he started acting like that, but I guess it's not really the case to find some logic in all this. In my opinion there's not much to do beyond ignoring him, since the need for a punishment is probably already being met by his own life.

A technology for unique formations? I've always wandered what's the point of unique formations that some civs offer. In reality, they consisted in a material advantage for melee troops during fights. In game, they are more or less completely useless. Would be viable to offer some buffs with their utilization (thought the research of a related technology)? E.g., roman testudo was designed to offer more cover against ranged troops, so it could be reflected easily in game with a buff on ranged defense. I find would be very cool if the historical and tactical revolution such formations brought to the field was represented in game.

I totally agree on this, giving to them something more than the other spear champions would be very reasonable. But I think there were something going on about this on the borg-'s post about differentiating Spartan civ. By now the biggest issue for this civ is imho the very poor mobility.

It's amazing how far entertainment has gone. I wonder if one day we'll see a COD tournament among the presidents of the most important world countries.

Pemulis

I saw his biography, looks like he had very important influences. I'm very curious about him, gonna listen more of his works. I want to say thank you sharing an amazing rock album from my country. Let me know what you think if you give it a chance. At the very beginning I wanted to add The Sound of Muzak in the opening post And I'm a huge fan of Tool as well! Happy to see someone else here who loves that band, they are outstanding: the part of 10,000 days where Marie finally reaches the gates of Heaven is one of the few musical moments that gave me physical goosebumps in my life.