Customizable music theory worksheets
Why You Should Consider Buying an Electronic Drum Set
2024.05.17 09:39 Donner_music Why You Should Consider Buying an Electronic Drum Set
 | https://preview.redd.it/2btnbpj0xx0d1.png?width=1200&format=png&auto=webp&s=da752bfa9b50a4ef2d233c2600b70d8801d93743 submitted by Donner_music to Donner_Music [link] [comments] In the world of music, the electronic drum set has carved out its own niche, offering a unique and versatile alternative to traditional acoustic drum sets. Whether you're a seasoned drummer or a music enthusiast looking to explore new sound possibilities, understanding the benefits and drawbacks of electronic drum sets is essential. In this comprehensive guide, we'll delve into the world of electronic drum sets, comparing them with their acoustic counterparts and exploring their suitability for both home practice and live performances. I. Introduction to Electronic Drum SetsA. Definition and Explanation of Electronic Drum SetsElectronic drum sets, also known as digital drum sets or electronic percussion kits, are a modern evolution of traditional acoustic drum sets. They utilize electronic sensors or pads to trigger sound samples, offering a wide range of customizable sounds and effects.B. Overview of the Components and Functionalities of Electronic Drum SetsElectronic drum sets consist of drum pads, cymbal pads, a sound module, and a set of pedals. The sound module acts as the brain of the system, processing the input from the pads and producing the corresponding sounds. Additionally, electronic drum sets often feature built-in metronomes, practice tools, and connectivity options for integrating with computers and music production software.https://preview.redd.it/stsdbg23xx0d1.png?width=480&format=png&auto=webp&s=cb9479a7b266f21319bc2e4ab9bda3200de49177 C. Evolution of Electronic Drum Sets in the Music IndustryOver the years, electronic drum sets have made significant strides in sound quality, responsiveness, and versatility. They have become a staple in various music genres, from rock and pop to electronic and hip-hop, offering musicians a wide array of sonic possibilities.II. Pros and Cons of Electronic Drum SetsA. Advantages of Electronic Drum Sets
B. Disadvantages of Electronic Drum Sets
ConclusionElectronic drum sets offer a range of benefits that make them an excellent choice for drummers of all levels. From volume control and versatility to space-saving design and modern connectivity features, they provide a practical and innovative alternative to traditional acoustic drums. While they have their own set of limitations, the advantages often outweigh the drawbacks, particularly for those who need flexibility in their practice and performance settings.Donner offers a wide selection of high-quality electronic drum sets that cater to various needs and budgets. Explore our collection today and find the perfect drum set to elevate your drumming experience. Whether you're practicing at home, recording in the studio, or performing on stage, our electronic drums will help you achieve your musical goals. https://preview.redd.it/gfz3rrcixx0d1.png?width=480&format=png&auto=webp&s=23ef14a47e3798c6bd9097cf6a3f88a12ec8700d https://preview.redd.it/bsc22u8jxx0d1.png?width=480&format=png&auto=webp&s=7dc5c0a6e0dfed2422cad9703c210bcd8a3eefdd https://preview.redd.it/72kaf93kxx0d1.png?width=480&format=png&auto=webp&s=4a626ac2b3d9780be99958e21bc1393d92d133e9 https://preview.redd.it/gzbsufpkxx0d1.png?width=480&format=png&auto=webp&s=1304e99d397c7ff830fd6d67958d5ee1a72ef1b0 |
2024.05.17 09:38 BlackIvoryPAAC Stuckism, Punk & Heckel's Horse - extract from interview with Other Muswell Hill Stuckist founder
Read the full interview at https://edgeworth.blog/2024/04/27/me-a-doll-interview/
PUG: Jompiy are quite a lot like Damien Hirst’s spin paintings.
EJ: I liked his figurative paintings that Tate didn’t include any of, in that solo show that had virtually everything else he’d ever done. I think Tate will be showing Heckel’s Horse before long.
PUG: What makes you think that?
EJ: It would be poetic. Darth Vadar comes to his senses and everyone’s rescue. There’ll probably be some new maverick Director that comes along and wants to make an easy name for herself.
PUG: How about a Heckel’s Horse Jr. show there instead? I liked the Heckel’s Horse Jr. book.
EJ: Thanks. They’re currently available to all our Fan Club members on Tiers 2 and 3. If someone was interested in finding out more, all they’d have to do is simply visit https://blackivory.org/fan-club/
PUG: Is there anything planned for Heckel’s Horse?
EJ: As far as I can tell, it’s on the back burner till whoever’s in charge decides the time’s right for a show. Billy’s been trying to push things along for years, pretty much since we started doing them.
PUG: You need this new Tate Director.
EJ: We need someone to forcibly step in with the interest, clout and balls to act irrespective of any commercial consequence or fretting what the art world and its clientele think. Like some benevolent Stuckist ex-hedge fund manager who says “Let’s do a show because of all that stuff in the Stuckism manifesto.”
PUG: Like a hostile takeover. Might Heckel’s Horse Jr. being published speed things along for Heckel’s Horse?
EJ: Apparantly the opposite. It might put them off, but whatever. It shouldn’t be all beholden to any audience thing. There needs to be a punk movement in Contemporary Art. Like Black Ivory but slightly more influential. None of this prissy “We’re not allowed to do this, we’re not allowed to do that. The clients might not like this, the clients might not like that.” I don’t know anything about how the art world functions but there’s an obvious staleness and near-universal obedience to it. Then you get things like Stuckism or our semi-Stuckist-splinter-group Black Ivory that, like opt out of the audience as target idea. That are happy to be a disgrace. I think they asked the bass player from the Manics what it was like walking around dressed up in their band gear, round their local working-class mining village in skirts and makeup, and he says “We just wanted to be hated.” I like that about Stuckism and the seemingly repellent and toe-curling bridge-burning stuff we do. The term “target audience” is business talk for a reason. Target audiences are for things like Persil Automatic, not artists. Artists worrying about this stuff is just depressing and I guess is all counter-productive to what they’re after anyway.
PUG: How would it be counter-productive?
EJ: Because it’s like some saggy-headed donkey that’s given up. Part of the shuffling crowd, which is shame if your art isn’t. Not believing in yourself. That’s how it all looks to me anyway. When I see photos of Stuckists prancing around in clown costumes outside Tate it’s so appealing. They’re building walls between themselves and the people everyone else is so desperate to be approved by.
PUG: So can Black Ivory save Contemporary Art?
EJ: We’ll stack a load of six footer Heckel’s Horse Jr. paintings against the walls. A few in the front room with the sofas, tables and chairs and whatnot. I’ll be walking round with a full teapot. Invite some friends round and do it as Stuckism would do it. Leave the evidence on our YouTube channel as Van Goghian proof for future generations that today’s Contemporary Art wasn’t just the text book stuff.
PUG: Stuckism was quite punk influenced but the art world’s still largely what it was beforehand.
EJ: Stuckism bothered. Like leading a horse to water. It’s like even the anti-establishment are only considered successful when the establishment accept them. The Other Muswell Hill Stuckists should do a manifesto about it. Stuckism‘s not for our benefit, it’s for yours. Our “failures” are your problem. We’re waking up and painting either way. We don’t need the art world. We don’t need the Turner Prize to show us what a decent painting looks like. I’m only talking about it not shaking up the artworld obviously, not the work or anything important, but like we’ve both done loads of Stuckist Turner Prize demos, published a Stuckist Turner Prize manifesto, as far as I know, the Turner Prize is still going strong. So what? Did the demos fail? Are our paintings worse now? If nothing else, it’s nice to get out the house. I like the Turner Prize demos because it’s like getting bashed on both sides. By the establishment and the hipsters. Usually it’s like, choose a team: brand A or brand B and kid yourself there’s a difference. The establishment think they’re winning and the hipsters think they’re cool and anti-establishment. Stuckism chooses neither, which I see as the only real anti-establishment. Stuckism‘s failures, if anything, proove its success becuase punk succeeded in it’s non-musical objectives, it became chart music. No chance of Stuckism falling for that one. How’s that for a theory? Failure isn’t failure. Failure’s success because failure’s longevity and success is failure. Stuckism‘s a roaring failure.
PUG: A new punk Tate for Heckel’s Horse.
EJ: I did some assistant work for Jimmy Cauty years ago, on these glittery riot shields. I think around 2016. The tracksuit bottoms still have the gold glitter and PVA stuck to them. I can’t remember if I was talking about Heckel’s Horse or something else, but Billy and I couldn’t have done too many by then. It might have been something else, but I tell Jimmy we’ve done all this work and nothing’s getting published, and he says ‘So, when’s the bonfire?’ The man who burned a million pounds. Ten years later, he we are, same situation. Thankfully, as far as I’m aware, still no bonfire. So overall, things are going great for Heckel’s Horse. All the paintings are still probably in existence.
PUG: Just a lot more of them now.
EJ: I’ve got this image of Heckel’s Horse paintings being taken at night to some secret billionaires island off the South Kent coast and chucked on a blazing fire with a load of men in white suits standing round drinking champagne, each with a cigar between their teeth going ‘Ha! Ha! Fuck you Edgeworth!’
PUG: Then there’d just be the Heckel’s Horse Jr.’s left and you could sell them for millions.
EJ: You’re a genius.
PUG: All those paintings will end up in a show at some point.
EJ: It’s been eleven years. Could be another twenty, thirty. I had this paranoia, they’d pretend they were by Billy and cut my name out. If Billy and I aren’t around. Even if I’m still around, who’s going to listen to me?
PUG: Do you reckon?
EJ: I don’t even know who it was, but some lying fart-face decided it would be alright to pretend these monoprints Billy and I collaborated on would be better sold off as ‘by Billy Childish’ and not by both of us. So that’s what happened. Like a click of the fingers, “Bye bye Edgeworth.” Pretty unimpressive, I thought.
PUG: Didn’t you say anything?
EJ: No, what’s going to happen? Better to say nothing then moan about it ten years later. The way I see it, I’m not the one lying so it’s not my problem. Do you know what I mean? It shouldn’t be on me to object if they’re doing it on purpose.
PUG: So it’s not like Damien Hirst and his assistant’s painting butterflies.
EJ: No. It’s sort of, not wanting to flatter the people that erased my attribution with the idea they’re worth bothering with. Because it’s not like I was upset or felt hard done by. It was just disillusionment in one thing, addressed by the creation of another, Black Ivory Printmaking & Audio Club. If anything it’s a net positve. “So that’s the kind of people you really are. What a fantastic opportunity!”
Damien Hirst’s different. It’s all declared and everyone knows the deal. There’s nothing dodgy about it. It’s not like some slippery gallerist-type shifts the goalposts after the works done, like they’ve got some licence to change the truth. The buyers know what they’re buying, the artists know what they’re doing. These monoprints were a thick painterly transfer technique I came up with and haven’t seen anywhere else. Until I see any that look similar, as far as I’m concerned, it’s a type of monoprint of my invention. And they think they can just sign that away from me. If people see mine now, the ones I did independently using the same technique, they’ll probably think I copied it from Billy, which I think’s quite a liberty. “Taking Berty’s.” as we said at school.
PUG: Didn’t they ask you about it first?
EJ: No, I just get emailed after with some apparent excuse. If you’re some no-name pushover like me, I guess they think it’s alright. It might all have been a lot more innocent than it looked from my end, but if they’re like this with some few hundred quid monoprints, what’s it going to be like with all these crates of 6ft paintings that are worth a fortune? Not exactly reassuring to think of Heckel’s Horse in these people’s hands.
PUG: Welcome to the art world.
EJ: It might end up for the best. A lot of why I started doing Heckel’s Horse Jr. was to get the Heckel’s Horse story out the door. A lots been done already. Billy and I want to get Heckel’s Horse paintings in front of people. Billy‘s spoken about it in interviews that I’ve super-glue-referenced into the Billy Childish wikipedia page. L-13 have done a load of prints. Things are going pretty well. The less behind-the-scenes Heckel’s Horse is, the harder I guess it is for the truth to get fudged later. Especially if Billy and I aren’t around by the time anything happens.
PUG: You’ve always got Jompiy.
EJ: Yeah, my solid backup plan. I don’t need to worry about Jompiy getting nicked.
Read the full interview at https://edgeworth.blog/2024/04/27/me-a-doll-interview/
https://youtu.be/aWN2dAleE14
submitted by BlackIvoryPAAC to BlackIvory [link] [comments]
PUG: Jompiy are quite a lot like Damien Hirst’s spin paintings.
EJ: I liked his figurative paintings that Tate didn’t include any of, in that solo show that had virtually everything else he’d ever done. I think Tate will be showing Heckel’s Horse before long.
PUG: What makes you think that?
EJ: It would be poetic. Darth Vadar comes to his senses and everyone’s rescue. There’ll probably be some new maverick Director that comes along and wants to make an easy name for herself.
PUG: How about a Heckel’s Horse Jr. show there instead? I liked the Heckel’s Horse Jr. book.
EJ: Thanks. They’re currently available to all our Fan Club members on Tiers 2 and 3. If someone was interested in finding out more, all they’d have to do is simply visit https://blackivory.org/fan-club/
PUG: Is there anything planned for Heckel’s Horse?
EJ: As far as I can tell, it’s on the back burner till whoever’s in charge decides the time’s right for a show. Billy’s been trying to push things along for years, pretty much since we started doing them.
PUG: You need this new Tate Director.
EJ: We need someone to forcibly step in with the interest, clout and balls to act irrespective of any commercial consequence or fretting what the art world and its clientele think. Like some benevolent Stuckist ex-hedge fund manager who says “Let’s do a show because of all that stuff in the Stuckism manifesto.”
PUG: Like a hostile takeover. Might Heckel’s Horse Jr. being published speed things along for Heckel’s Horse?
EJ: Apparantly the opposite. It might put them off, but whatever. It shouldn’t be all beholden to any audience thing. There needs to be a punk movement in Contemporary Art. Like Black Ivory but slightly more influential. None of this prissy “We’re not allowed to do this, we’re not allowed to do that. The clients might not like this, the clients might not like that.” I don’t know anything about how the art world functions but there’s an obvious staleness and near-universal obedience to it. Then you get things like Stuckism or our semi-Stuckist-splinter-group Black Ivory that, like opt out of the audience as target idea. That are happy to be a disgrace. I think they asked the bass player from the Manics what it was like walking around dressed up in their band gear, round their local working-class mining village in skirts and makeup, and he says “We just wanted to be hated.” I like that about Stuckism and the seemingly repellent and toe-curling bridge-burning stuff we do. The term “target audience” is business talk for a reason. Target audiences are for things like Persil Automatic, not artists. Artists worrying about this stuff is just depressing and I guess is all counter-productive to what they’re after anyway.
PUG: How would it be counter-productive?
EJ: Because it’s like some saggy-headed donkey that’s given up. Part of the shuffling crowd, which is shame if your art isn’t. Not believing in yourself. That’s how it all looks to me anyway. When I see photos of Stuckists prancing around in clown costumes outside Tate it’s so appealing. They’re building walls between themselves and the people everyone else is so desperate to be approved by.
PUG: So can Black Ivory save Contemporary Art?
EJ: We’ll stack a load of six footer Heckel’s Horse Jr. paintings against the walls. A few in the front room with the sofas, tables and chairs and whatnot. I’ll be walking round with a full teapot. Invite some friends round and do it as Stuckism would do it. Leave the evidence on our YouTube channel as Van Goghian proof for future generations that today’s Contemporary Art wasn’t just the text book stuff.
PUG: Stuckism was quite punk influenced but the art world’s still largely what it was beforehand.
EJ: Stuckism bothered. Like leading a horse to water. It’s like even the anti-establishment are only considered successful when the establishment accept them. The Other Muswell Hill Stuckists should do a manifesto about it. Stuckism‘s not for our benefit, it’s for yours. Our “failures” are your problem. We’re waking up and painting either way. We don’t need the art world. We don’t need the Turner Prize to show us what a decent painting looks like. I’m only talking about it not shaking up the artworld obviously, not the work or anything important, but like we’ve both done loads of Stuckist Turner Prize demos, published a Stuckist Turner Prize manifesto, as far as I know, the Turner Prize is still going strong. So what? Did the demos fail? Are our paintings worse now? If nothing else, it’s nice to get out the house. I like the Turner Prize demos because it’s like getting bashed on both sides. By the establishment and the hipsters. Usually it’s like, choose a team: brand A or brand B and kid yourself there’s a difference. The establishment think they’re winning and the hipsters think they’re cool and anti-establishment. Stuckism chooses neither, which I see as the only real anti-establishment. Stuckism‘s failures, if anything, proove its success becuase punk succeeded in it’s non-musical objectives, it became chart music. No chance of Stuckism falling for that one. How’s that for a theory? Failure isn’t failure. Failure’s success because failure’s longevity and success is failure. Stuckism‘s a roaring failure.
PUG: A new punk Tate for Heckel’s Horse.
EJ: I did some assistant work for Jimmy Cauty years ago, on these glittery riot shields. I think around 2016. The tracksuit bottoms still have the gold glitter and PVA stuck to them. I can’t remember if I was talking about Heckel’s Horse or something else, but Billy and I couldn’t have done too many by then. It might have been something else, but I tell Jimmy we’ve done all this work and nothing’s getting published, and he says ‘So, when’s the bonfire?’ The man who burned a million pounds. Ten years later, he we are, same situation. Thankfully, as far as I’m aware, still no bonfire. So overall, things are going great for Heckel’s Horse. All the paintings are still probably in existence.
PUG: Just a lot more of them now.
EJ: I’ve got this image of Heckel’s Horse paintings being taken at night to some secret billionaires island off the South Kent coast and chucked on a blazing fire with a load of men in white suits standing round drinking champagne, each with a cigar between their teeth going ‘Ha! Ha! Fuck you Edgeworth!’
PUG: Then there’d just be the Heckel’s Horse Jr.’s left and you could sell them for millions.
EJ: You’re a genius.
PUG: All those paintings will end up in a show at some point.
EJ: It’s been eleven years. Could be another twenty, thirty. I had this paranoia, they’d pretend they were by Billy and cut my name out. If Billy and I aren’t around. Even if I’m still around, who’s going to listen to me?
PUG: Do you reckon?
EJ: I don’t even know who it was, but some lying fart-face decided it would be alright to pretend these monoprints Billy and I collaborated on would be better sold off as ‘by Billy Childish’ and not by both of us. So that’s what happened. Like a click of the fingers, “Bye bye Edgeworth.” Pretty unimpressive, I thought.
PUG: Didn’t you say anything?
EJ: No, what’s going to happen? Better to say nothing then moan about it ten years later. The way I see it, I’m not the one lying so it’s not my problem. Do you know what I mean? It shouldn’t be on me to object if they’re doing it on purpose.
PUG: So it’s not like Damien Hirst and his assistant’s painting butterflies.
EJ: No. It’s sort of, not wanting to flatter the people that erased my attribution with the idea they’re worth bothering with. Because it’s not like I was upset or felt hard done by. It was just disillusionment in one thing, addressed by the creation of another, Black Ivory Printmaking & Audio Club. If anything it’s a net positve. “So that’s the kind of people you really are. What a fantastic opportunity!”
Damien Hirst’s different. It’s all declared and everyone knows the deal. There’s nothing dodgy about it. It’s not like some slippery gallerist-type shifts the goalposts after the works done, like they’ve got some licence to change the truth. The buyers know what they’re buying, the artists know what they’re doing. These monoprints were a thick painterly transfer technique I came up with and haven’t seen anywhere else. Until I see any that look similar, as far as I’m concerned, it’s a type of monoprint of my invention. And they think they can just sign that away from me. If people see mine now, the ones I did independently using the same technique, they’ll probably think I copied it from Billy, which I think’s quite a liberty. “Taking Berty’s.” as we said at school.
PUG: Didn’t they ask you about it first?
EJ: No, I just get emailed after with some apparent excuse. If you’re some no-name pushover like me, I guess they think it’s alright. It might all have been a lot more innocent than it looked from my end, but if they’re like this with some few hundred quid monoprints, what’s it going to be like with all these crates of 6ft paintings that are worth a fortune? Not exactly reassuring to think of Heckel’s Horse in these people’s hands.
PUG: Welcome to the art world.
EJ: It might end up for the best. A lot of why I started doing Heckel’s Horse Jr. was to get the Heckel’s Horse story out the door. A lots been done already. Billy and I want to get Heckel’s Horse paintings in front of people. Billy‘s spoken about it in interviews that I’ve super-glue-referenced into the Billy Childish wikipedia page. L-13 have done a load of prints. Things are going pretty well. The less behind-the-scenes Heckel’s Horse is, the harder I guess it is for the truth to get fudged later. Especially if Billy and I aren’t around by the time anything happens.
PUG: You’ve always got Jompiy.
EJ: Yeah, my solid backup plan. I don’t need to worry about Jompiy getting nicked.
Read the full interview at https://edgeworth.blog/2024/04/27/me-a-doll-interview/
https://youtu.be/aWN2dAleE14
2024.05.17 09:09 Hefty-Temperature-96 Question about Drumeo (I have a teacher)
Dear all, im pianist (stopped learning) and had my music theory grade 5. Lately, im so interested in Drums that I got a new drum set and have a good teacher whom I meet physically almost weekly for 45mins.
I rate my progression as a new drummer to be reasonably fast as my music theory and limbs coordination are quite good.
Will I benefit much for subscribing Drumeo? (I admit at this point, i'm more interested in their drum songs library). As I am very self-motivated, I am currently self-studying Drumset Method book with videos online. The book is great, but really wont take me long to finish it.
Shall I keep the money for future gears e.g double pedals and drumhead etc.
Thanks for any input.
submitted by Hefty-Temperature-96 to drums [link] [comments]
I rate my progression as a new drummer to be reasonably fast as my music theory and limbs coordination are quite good.
Will I benefit much for subscribing Drumeo? (I admit at this point, i'm more interested in their drum songs library). As I am very self-motivated, I am currently self-studying Drumset Method book with videos online. The book is great, but really wont take me long to finish it.
Shall I keep the money for future gears e.g double pedals and drumhead etc.
Thanks for any input.
2024.05.17 08:58 EcoLogicCrusader Must-Not-Miss Interactive Experiences at AniMinneapolis 2024!
 | https://preview.redd.it/86f1rxrvpx0d1.jpg?width=2048&format=pjpg&auto=webp&s=6df558241b7101388809fe2d7691ceea950fceec submitted by EcoLogicCrusader to animinneapolis [link] [comments] AniMinneapolis is back and bigger than ever in 2024! This family-friendly anime convention is a highlight for anime enthusiasts, offering an immersive experience that celebrates Japanese culture, anime, and gaming. Held from May 24 to May 26, 2024, at the Hyatt Regency Minneapolis, AniMinneapolis is the perfect place for fans to come together, dress up, and participate in a plethora of exciting activities. From interactive experiences to vendor halls brimming with merchandise, this convention has something for everyone. Organized by AnimeCon.org, this event attracts thousands of fans from all over, offering a welcoming community where attendees can participate in hundreds of different events, meet new friends, and indulge in their shared passions. With three full days of programming, there’s no shortage of things to do and see. Interactive Experiences One of the biggest draws of AniMinneapolis is its array of interactive experiences. These activities are designed to engage attendees in fun and memorable ways, allowing them to dive deep into the world of anime and Japanese culture. 1. Escape Room AniMinneapolis features a thrilling escape room experience where participants must solve puzzles and riddles to break free from a cursed classroom. The escape room is designed to challenge your problem-solving skills and teamwork, making it an exciting adventure for friends and strangers alike. You have 45 minutes to solve the mystery and escape the room. This interactive experience is perfect for those who enjoy a good challenge and a bit of suspense. Why You Shouldn't Miss It The escape room is a fantastic way to test your wits and bond with fellow attendees. It’s a unique and immersive experience that brings an element of mystery and excitement to the convention. Plus, it’s a great break from the hustle and bustle of the main events, providing a quieter, more focused activity. 2. Maid Cafe Inspired by the popular maid cafes in Japan, the AniMinneapolis Maid Cafe offers a whimsical dining experience where costumed maids and butlers serve snacks and beverages. The cafe is designed to transport you into a world of fantasy, with attentive staff who ensure you have a delightful time. Why You Shouldn't Miss It The Maid Cafe is a charming and unique part of the convention that allows you to experience a slice of Japanese pop culture firsthand. It’s a fun and interactive way to take a break, enjoy some refreshments, and be entertained by the maids and butlers. Whether you’re new to the concept or a seasoned fan, the Maid Cafe is a must-visit. 3. Nightly Dances AniMinneapolis hosts nightly dances featuring some of the best DJs, including Party Monster DJs, Lucid Beats, and DJ Oso. These dances are a great way to let loose and enjoy a variety of electronic dance music styles, from techno to hardstyle. Why You Shouldn't Miss It The nightly dances are a high-energy highlight of the convention. It’s an opportunity to dance, have fun, and connect with other attendees in a lively atmosphere. Whether you’re an experienced dancer or just looking to have some fun, the nightly dances are a blast. 4. Formal Fantasy Cosplay Ball The Formal Fantasy Cosplay Ball is a special event where attendees can dress in their finest cosplay and enjoy a night of dancing. The ball includes professional dance lessons, ensuring everyone can participate, regardless of their skill level. For those without a date, there’s even a Date Auction before the event. Why You Shouldn't Miss It The ball is a unique and elegant experience that adds a touch of glamour to the convention. It’s a chance to showcase your cosplay in a formal setting, learn some new dance moves, and perhaps even meet someone special. The Date Auction also adds an exciting twist, making the evening even more memorable. 5. Interactive Panels and Workshops AniMinneapolis offers a wide range of panels and workshops covering various topics related to anime, manga, and Japanese culture. These sessions are often led by industry professionals, voice actors, and passionate fans. From voice acting workshops to discussions about your favorite series, there’s something for everyone. Why You Shouldn't Miss It Panels and workshops are a fantastic way to deepen your knowledge and engage with experts and fellow fans. They provide insight into the anime industry, offer tips and tricks for cosplay and art, and allow for meaningful discussions. Participating in these sessions can enhance your convention experience and inspire your own creative pursuits. 6. Video Gaming Area The video gaming area at AniMinneapolis features a variety of gaming consoles and arcade machines. Attendees can participate in gaming tournaments, play casual games, and enjoy a wide selection of titles, from classic favorites to the latest releases. Why You Shouldn't Miss It For gamers, the video gaming area is a paradise. It’s a great place to compete, make new friends, and enjoy some downtime between other activities. The tournaments add an extra layer of excitement, with the chance to win prizes and bragging rights. 7. Karaoke Karaoke is a popular activity at AniMinneapolis, allowing attendees to sing their favorite songs in front of a supportive audience. The convention provides a vast library of songs, including anime themes, J-pop hits, and more. Why You Shouldn't Miss It Karaoke is a fun and interactive way to express yourself and entertain others. It’s a chance to showcase your singing talent (or lack thereof) and enjoy the camaraderie of fellow anime fans. Whether you’re a seasoned performer or just looking to have fun, karaoke is a must-try experience. 8. Autograph Sessions AniMinneapolis hosts autograph sessions with voice actors, artists, and other special guests. This is your chance to meet your favorite stars, get memorabilia signed, and even chat with them. Why You Shouldn't Miss It Meeting the voices behind your favorite characters is a thrilling experience. Autograph sessions provide a unique opportunity to interact with industry professionals, gain insights into their work, and create lasting memories. Plus, getting your merchandise signed adds a personal touch to your collection. 9. Cosplay Competitions The cosplay competitions at AniMinneapolis are a showcase of creativity and craftsmanship. The grand cosplay competition is the main event, where cosplayers compete for prizes and recognition. There are also other cosplay events, such as photoshoots and meetups, throughout the convention. Why You Shouldn't Miss It Cosplay competitions are a highlight for both participants and spectators. They offer a platform for cosplayers to display their hard work and creativity, and they provide inspiration for future costumes. Even if you’re not competing, watching the competitions is a treat, as you’ll see some truly amazing costumes. 10. Anime Screenings AniMinneapolis dedicates a room for anime screenings, where attendees can watch a variety of shows and movies. The screenings include both new releases and classic favorites, providing a chance to discover something new or revisit beloved series. Why You Shouldn't Miss It Anime screenings offer a relaxing way to enjoy some downtime during the convention. It’s a chance to catch up on shows you might have missed, see new episodes, and enjoy the communal experience of watching anime with fellow fans. The screenings are also a great way to introduce friends to new series. 11. Tabletop Gaming The tabletop gaming area is hosted by Flame Point Games and features a variety of board games, card games, and role-playing games. Attendees can playtest new games, join in on scheduled sessions, or just enjoy some casual gaming. Why You Shouldn't Miss It Tabletop gaming offers a different kind of interactive experience, focusing on strategy, creativity, and social interaction. It’s a great way to take a break from the fast-paced convention environment and enjoy some quality time with friends or make new ones over a game. 12. AMV Contest The Anime Music Video (AMV) contest is a competition where creators showcase their editing skills by combining anime clips with music. The contest is held on Sunday morning, and the winner receives free tickets to the next convention. Why You Shouldn't Miss It The AMV contest is a display of creativity and technical skill. Watching the entries is a fun and engaging experience, as you get to see how different creators interpret and remix anime. It’s also a great source of inspiration for aspiring editors and creators. Other Events and Activities In addition to the interactive experiences, AniMinneapolis offers a wide range of other events and activities that fans should look forward to. Vendor Hall While at the con, be sure to check out AniMinneapolis’ vendor hall - a bustling marketplace where attendees can purchase a variety of anime merchandise, artwork, and collectibles. It’s a great place to find unique items, complete your collection, or pick up some souvenirs. It’s also an opportunity to support local and independent artists by purchasing their work. ConSweet Need a place to recharge, grab a bite to eat, and meet other attendees? The ConSweet is a hospitality area that provides free snacks, ramen, and soda throughout the weekend. It’s a lifesaver during the busy convention weekend. It ensures you stay energized and hydrated, and it’s a great place to take a break and socialize with other fans. Plus, who can resist free snacks? Meetups Meetups are scheduled gatherings for fans of specific shows, genres, or interests. These events provide a chance to connect with like-minded individuals, share your passion, and make new friends. Meetups are a fantastic way to build community and make connections. Whether you’re a fan of a niche series or a popular franchise, there’s likely a meetup for you. It’s an opportunity to engage in discussions, share fan theories, and bond over shared interests. Tips for Cosplay Cosplay is a major part of AniMinneapolis, and many attendees enjoy dressing up as their favorite characters. When choosing a costume, consider your skill level, budget, and comfort. If you’re new to cosplay, start with a simpler design that you can easily assemble. Think about characters you love and feel confident portraying. If you wish to create your own cosplay, start early and plan ahead. Break the project into manageable steps, and don’t be afraid to ask for help or use online tutorials. Focus on key details that will make your costume recognizable, and remember that comfort is important, especially for long convention days. Cosplay Etiquette Respect other cosplayers and their work. Always ask for permission before taking photos and be mindful of personal space. Cosplay is about having fun and expressing your love for characters, so enjoy the process and the community. Tips for First-Time Attendees If you’re attending AniMinneapolis for the first time, here are some tips to ensure you have a fun and immersive experience.
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2024.05.17 07:51 DC-Legend2 Piano Melody vChoose Piano MOD APK (Premium Unlocked)
 | https://preview.redd.it/0jawhim8ex0d1.png?width=512&format=png&auto=webp&s=25224f57845492883a475f9c6c78905b39d5f5bf submitted by DC-Legend2 to Modifiedmods [link] [comments]
👆👆👆👆Download Link👆👆👆👆 https://t.me/official_modyolo https://instagram.com/modifiedmod.in A CORNUCOPIA OF SONGS TO DISCOVER AND MASTERImagine having a vast musical library boasting over 1000 captivating songs from different periods and styles. Piano Melody doesn’t merely provide a musical game; it offers an enriching journey across various genres and eras. Whether you have an affinity for rock, a passion for classical music, or a craving for the latest pop sensations, there’s something here for every musical palate. Impress your friends and acquaintances with your growing repertoire as you perform beloved pieces from diverse genres flawlessly.A VIRTUALLY TAILORED PIANO EXPERIENCEOne of the standout features of Piano Melody is its highly customizable piano interface. Do you prefer large, easy-to-press keys for precision, or do you want more minor keys that allow you to view all three octaves on the screen simultaneously? This game has been designed with your needs in mind. With a resizable piano compatible with all devices and tablets, you can adjust the interface to provide the most convenient and practical playing experience.EMPOWERING AND EFFECTIVE LEARNINGThe learning process offered by Piano Melody is designed to cater to your unique needs. By focusing on specific parts of each song, you gain the ability to learn quickly and effectively. The journey begins with a few simple notes and progressively builds in complexity until you’ve entirely mastered a song. Whether you’re a beginner with high aspirations or a child with a budding love for music, this app provides the tools and the environment to enhance your musical adventure.BEGINNING WITH A GIFT THAT KEEPS ON GIVINGWhen you begin your journey with Piano Melody, you are welcomed with 100 free songs from its comprehensive catalog. The journey doesn’t end there, however. You unlock the rest of the collection as you improve and display your skills. This structure provides you with a wealth of material to practice and improve upon and rewards your dedication and commitment to your musical journey.THE ESSENCE OF MELODIES CAPTURED IN EVERY SONGEvery song in Piano Melody’s extensive collection is crafted to highlight the essence of the melody. Whether it’s a catchy chorus, an invigorating intro, or a soulful verse, each piece contains up to 500 notes, giving you an immersive experience of the original composition. From iconic film theme tunes to contemporary alternative hits, this rich selection satisfies every musical preference and fuels your passion for mastering new pieces.BECOMING A VIRTUOSO: AN ENGAGING AND REWARDING PATHPiano Melody offers more than just songs to play; it paves the way for you to enhance your musical skills. Want to develop your ability to play by ear? Or perhaps you aim to impress your friends with your rapidly growing repertoire? The app provides an all-inclusive platform to elevate your piano-playing abilities. Thanks to professionally digitized grand piano sounds, adjustable song speeds, and a strategic play-and-repeat method, this game transforms your musical journey into an engaging and rewarding adventure.So, why wait? Delve into the delightful world of Piano Melody. With its diverse song selections, user-friendly piano interface, and a learning experience customized for every skill level, this application is a must-try for every aspiring pianist. Embark on your musical journey, and let the symphony of your dreams begin! |
2024.05.17 07:23 mythos2468 Ranking Every Course I've Ever Taken at Cornell
Just took my last final ever (yay) and I'm bored so I'm just gonna rank all the courses I've taken here and share it lmao.
I'm gonna rank them in order (mostly), sorted by tiers, S being the highest and F the lowest.
S TIER
submitted by mythos2468 to Cornell [link] [comments]
I'm gonna rank them in order (mostly), sorted by tiers, S being the highest and F the lowest.
S TIER
- MUSIC 1701: This is my favorite class since day 1. My specific section was on film music, and it was the only class I actually looked forward to during Zoom University. Great experience, but probably limited to my one specific section.
- CS 4780: At first, I did not buy into the ML hype. Pure cope on my part. This class is great. Very challenging, but in an intellectually stimulating way and not a "god damn I want to end it all tonight" klind of way. My only regret is not taking it in the spring with Killian.
- CS 3410: Had a great time with this one. Projects were pretty enjoyable to complete, all things considered. Bracey was a great lecturer, and it's too bad she will not be teaching this again. Truly an experience.
- PSYCH 3310/HD 3300: Honestly, I had no idea what to expect with this class, I had zero psych background and just thought it was interested. Absolutely terrific course. Interesting material, well taught, not too difficult, just great all around.
- CS 4411: I feel like I learned more about OS from this than I did from OS itself lmao. I liked the projects, challenging in a good way.
- ENGRI 1101: Took this was Professor Schalekamp the goat. A great class that was well taught. If I ever thought about being an ORIE major, this was probably why.
- MATH 3360: Best math course I ever took at this school. Taught by a great professor (at least when I took it, no idea if it rotates), and it was a great introduction to higher-level algebra.
- CS 4410: Great c;lass with very interesting and useful information. RVR is great. I have beef with Harmony. That is all.
- HD 3290: This course is this high solely because it was so easy. 2 papers, 2 online open notes exams, and weekly journal assignments. I submitted exam 2 4 days ago and I literally don't remember a single thing already.
- CLASS 2604: I took this class so long ago that I don't really remember the details, and I took it in the winter, but antiquity is my favorite period of history by far. Mythology was interesting. Got to read the Odyssey, that was cool.
- ENGL 2810 (I think 2800 is the Fall code?): Pretty easy course, just prose and poetry. It was chill and that was enough.
- HIST 2159: This was a class about presenting the Tanakh as history. It was basically a history of ancient Israel at that point. Intersting course though, but I hated writing papers for it lol.
- CS 2800: I like math. Discrete math good. About it.
- CS 1110: Another Zoom University winner. Professor White is great, and this was a very good introductory course.
- CS 2110: Gries the goat (RIP). Good class on data structures and algorithms, what more can a simple CS major want.
- CS 3110: I don't think I intentionally put the PL courses in order, but it's pretty accurate to how I feel about them tbh. Professor Clarkson is great at what he does, no doubt. I just did not like the course content. The final project was fun though.
- PSYCH 1101: I don't know how this is an easy A course. It was not an easy A course. Interesting content though.
- CS 2024: I remember absolutely nothing about this class except that it was very easy.
- CS 4820: I am indifferent on algo. It was good, but also, I feel nothing. Probably just the final I just took talking though.
- CS 2850 (There's like 3 different other names for networks I'm not looking them up bro): This class was okay, I guess. Don't really remember anything about it except Game Theory.
- MATH 2940: I enjoy linear algebra, but I feel like all of the engineering math classes are lacking. This class just kind of exists and it's just something engineers have to take.
- MATH 2930: It was good when I took it, but from what everyone says its bad now, I guess. Then again, no one has complained this semester, so maybe it's all okay now.
- ENGRD 2300: I have no idea how this course is when taught by someone else, but I took it with Helbling. Such a poorly taught class, my god. The labs were kinda cool I guess, but for the most part they were just annoying. At least it counted as ENGRD credit.
- MATH 1920: This class crushed my soul in Zoom University. Multi will live on in my nightmares forever.
- PHYS 1112: I just don't really like physics. That is all.
- PSYCH 3800: I took this course this summer and all I remember are the words "Actor-Observer effect." It was pretty easy though, so it had that going for it.
- MATH 4710: Probability theory has been crushing my soul since Algebra 2, and it continued to do so in this course. It was ok, but probably should've taken another probability course.
- MEDVL 1103: I genuinely don't remember a single thing about this class. I have no feelings about it. I feel nothing. I wrote some papers about fairy tales and got a grade.
- CS 4320: This class makes me sad because the material is very useful, but it's just taught so badly that it makes me hate it. At least I kind of know SQL now, I guess.
- ENGRC 3500: This was the biggest waste of time class in the entire engineering curriculum. That is all.
- CS 4670: The material is very interesting. That being said, definitely the most poorly organized and structured course I have ever taken. We had 4 programming assignments, 2 written homeworks. We had 1 homework due at the very end of february, and one programming assignment due in the middle of march. Then, and this is the funny part, THE REST OF THE ASSIGNMENTS WERE ALL DUE IN THE 4 WEEKS IN BETWEEN SPRING BRING AND THE END OF CLASSES. Just avoid this, not even worth the time.
- MATH 4310: I have absolutely no idea how this class is taught with literally any other professor, but I did not have any other professor. I feel no remorse when saying this: Professor Dan Barbasch is hands down the worst professor I have ever taken a course with at Cornell. His lectures can be summarized as 55 minutes of rambling on about a topic, and then him saying "ok I will see you all next time." It was so bad that by the end of the semester, of the 40 people enrolled, only 5 actually showed up to class. One time it was literally just me alone with him for like 20 minutes while he just awkwardly lectured to one person. His teaching aside, his exams were ridiculous, and homework was equally stupid. We also had an "Independent Study" to do, which only had incredibly vague guidelines and he barely gave any guidance on it. In all, yeah this is the worst class I've ever taken by far.
2024.05.17 07:09 Imaginary-Policy-762 SMMC is House Music
I think SMMC is 90s Chicago house music, this is after another theory that Sterling Void produced it. Then discovered his songs and other songs in that genre sound similar to SMMC.
submitted by Imaginary-Policy-762 to smmc [link] [comments]
2024.05.17 07:08 TerraTedds Possible theory on the tweets
I spent two hours watching the Kitty Tweets and I have a theory about what's going on. The order of the Tweets matter and you need to watch then in chronological order. These memes have to mean something. He must have spent weeks planning this whole thing out. Even years. How do we know it's the same guy? The Avocado in your anus account. He posted on that in 21, 22, and 23 with happy cat day. Plus those headlines of the communities he posted in are wild all put together. If think he planned that so we'd have some proof it's actually him. If a hacker just got the account he wouldn't know about that user. So DFV is using the post history as a block chain of sorts proving he is who he says he is.
I'm going to reference a ton of Tweets here, if people ask about it I might come back through and fill in links to the specific Tweets I'm reference. But in the spirit of the cryptic Tweets, (and because I'm too lazy to link to each individually, I'm just going to reference them.) If you've watched through them, the below might make sense. Otherwise it'll probably sound like gibberish.
I believe he saw something in the paperwork that told a story, that story is what made him believe in Cohen again. Cohen has been playing a long con and made some decisions DFV didn't like in 21. But through finding some loopholes and dealing with a lot of paperwork, they found a way to make the MOASS happen. This is likely the share buy back. But it could also be the acquisition of another company or the launch of a crazy new product. Personally I think a Buy Back makes the most sense.
When DFV saw this, he came back. He's been waiting in the shadows for the right moment to strike.
A lot of the earlier memes seem to indicate that there are "Friends" he's bringing with him. Possibly large institutions or whales that are going to be helping with this plan. Who's in charge? Ryan? DFV? Good questions.
His most recent set of Tweets are interesting, police sirens. Being on the Lam, people coming after him etc. Plus...He's a Punk Rocker, and he's not afraid to break the rules to stick it to the Man. And finally the meme "ready to face the music" in the back of the cop car.
I think all of this could indicate he's going to do something which he knows could get him into hit water and legal trouble, but he's going to do it anyways. And if peope are paying attention they can be prepared before it happens.
The other section of Tweets are very "Move when I Move" and dancing / mirroring. I think this is supposed to be interpreted as when he makes his move, it'll be a coordinated strike. Between retail, institutional investors, and GME news. Avengers end game style. This could happen when the Longs expire early June (maybe...) but it could also be something else.
Either way, he wants the community to follow his moves. And to sell when "he says it's over" or aka... of he posts a position sold after the MOASS has heights. This allows people in the know, to have a coordinated strike and exit position. This is the only way to prevent people from becoming bag holders in the event the infinity pool thesis doesn't play out. Either way, I believe he's signaling that he will lead the attack and exit.
This... will obviously get him in HUGE trouble. Hence the cryptic memes. They'll have to prove in court those memes count as market manipulation, a hard task but not an impossible one. Once again calling back to the meme about being ready to face the music if it comes to it.
I think this plan has been in the works FOR A WHILE. On this meme at timestamp 1:37 https://twitter.com/TheRoaringKitty/status/1790894938277695671?s=19 a
In the middle upper right there is a scene from an old western with three pieces of text. They are upside down and reversed. If you screenshot it, zoom in, rotate and flip you'll see three cowboys with the text "George Sherman", "Ryan Cohen," and in-between then "GME Shorts."
It's odd to me that he calls out the previous CEO. I hadn't even heard of him. But... if this is a long term play that's been going on for a very, very long time with lots of planning that could explain it. There are tons of little hidden details like that in all of his meme. I'm really looking forward to reading that smarter Apes than I find, and the different theories behind it.
But, TL;DR
Cryptic Tweets from DfV signal that he's going to help us time a coordinated push which in tandem with news from Cohen, and buying pressure from institutions will lead us finally after three long years to the moon. Where we can all finally sit down with our tendies and lambos and rest. Bananas in hands, with the friends made along the way.
submitted by TerraTedds to Superstonk [link] [comments]
I'm going to reference a ton of Tweets here, if people ask about it I might come back through and fill in links to the specific Tweets I'm reference. But in the spirit of the cryptic Tweets, (and because I'm too lazy to link to each individually, I'm just going to reference them.) If you've watched through them, the below might make sense. Otherwise it'll probably sound like gibberish.
I believe he saw something in the paperwork that told a story, that story is what made him believe in Cohen again. Cohen has been playing a long con and made some decisions DFV didn't like in 21. But through finding some loopholes and dealing with a lot of paperwork, they found a way to make the MOASS happen. This is likely the share buy back. But it could also be the acquisition of another company or the launch of a crazy new product. Personally I think a Buy Back makes the most sense.
When DFV saw this, he came back. He's been waiting in the shadows for the right moment to strike.
A lot of the earlier memes seem to indicate that there are "Friends" he's bringing with him. Possibly large institutions or whales that are going to be helping with this plan. Who's in charge? Ryan? DFV? Good questions.
His most recent set of Tweets are interesting, police sirens. Being on the Lam, people coming after him etc. Plus...He's a Punk Rocker, and he's not afraid to break the rules to stick it to the Man. And finally the meme "ready to face the music" in the back of the cop car.
I think all of this could indicate he's going to do something which he knows could get him into hit water and legal trouble, but he's going to do it anyways. And if peope are paying attention they can be prepared before it happens.
The other section of Tweets are very "Move when I Move" and dancing / mirroring. I think this is supposed to be interpreted as when he makes his move, it'll be a coordinated strike. Between retail, institutional investors, and GME news. Avengers end game style. This could happen when the Longs expire early June (maybe...) but it could also be something else.
Either way, he wants the community to follow his moves. And to sell when "he says it's over" or aka... of he posts a position sold after the MOASS has heights. This allows people in the know, to have a coordinated strike and exit position. This is the only way to prevent people from becoming bag holders in the event the infinity pool thesis doesn't play out. Either way, I believe he's signaling that he will lead the attack and exit.
This... will obviously get him in HUGE trouble. Hence the cryptic memes. They'll have to prove in court those memes count as market manipulation, a hard task but not an impossible one. Once again calling back to the meme about being ready to face the music if it comes to it.
I think this plan has been in the works FOR A WHILE. On this meme at timestamp 1:37 https://twitter.com/TheRoaringKitty/status/1790894938277695671?s=19 a
In the middle upper right there is a scene from an old western with three pieces of text. They are upside down and reversed. If you screenshot it, zoom in, rotate and flip you'll see three cowboys with the text "George Sherman", "Ryan Cohen," and in-between then "GME Shorts."
It's odd to me that he calls out the previous CEO. I hadn't even heard of him. But... if this is a long term play that's been going on for a very, very long time with lots of planning that could explain it. There are tons of little hidden details like that in all of his meme. I'm really looking forward to reading that smarter Apes than I find, and the different theories behind it.
But, TL;DR
Cryptic Tweets from DfV signal that he's going to help us time a coordinated push which in tandem with news from Cohen, and buying pressure from institutions will lead us finally after three long years to the moon. Where we can all finally sit down with our tendies and lambos and rest. Bananas in hands, with the friends made along the way.
2024.05.17 07:04 No-War-2197 I feel miserable
(Sorry for my bad English, it's not my mother language)
So I will soon turn 17, currently in senior year and will soon graduate. Little to no friend, lonely as hell and very anxious and shy
These past few years have been really lonely for me, I feel like my teenage years have been wasted. I barely had anyone to spend time with or even talk with aside from my parents, I never had like a genuine silly friend group nor a boyfriend or anything like that like most people of my age and extremely low self-steem. I can't even start a conversation without feeling extremely nervous and scared and when I get to talk to someone I don't even know what to say or how to even be interesting and have a hard time to relating/connecting with people... It makes me feel trash, like if something is wrong with me.
I was bullied around 3rd grade and 6th grade, 6th grade being the worst as I was always left out, everyone had their own group of friends and I tried TRIED talking to my classmates but they just didn't like me I guess...
My dad isn't a bad person, I love him deeply... But he also made me overthink of the things I say. Sometimes when I am talking to someone he would kinda like judge me? He would say stuff like "you're embarrassing me" or "why did you say x thing?" to things that aren't bad? I don't know why he does that but even if it isn't that that often it made me less confident and ask myself every single time if the things I am going to say are ok to even say, even for something like a "hi"
I have been constantly changing schools when I reached high school, I only made one friend who was amazing to me but I ended up changing schools so sadly that friendship didn't last. Last year I was again the one who was always left out, sometimes people talked to me but either it was short-lived or it was about school stuff. At lunch I just sat there and envied my classmates having fun with each other. I decided to join "friend group" because one of the members of that group asked me and wanting to improve myself I accepted, it was alright but I was the extra in that group. they weren't bad people tho... I just happened to have a lot of different tastes compared to them (They talked a lot about anime and artists I didn't really know) which I couldn't relate to them to the most part and neither could they, but at least I am glad they kind of tried. If you can call it that.
I changed schools mid-year after that and I was still very quiet and left out for the rest of the year in my new school, I found it hard talking to my new classmates, feeling frustrated and anxious. I was extremely tired of trying of failing over and over.
And now this year which made me realize my social anxiety is screwing me up. I joined the conservatory in this year as I like music a lot and wish to day dedicate myself to it (I play electric guitar). At the first class of music theory I felt like almost crying just because the teacher was correcting me but I managed to hold my tears because he didn't talk to me that much. But the second time? I embarrassed in front of everyone in the classroom just because my teacher talked to me and corrected me and I cried for the entire class everyone was staring at me and I had to hide under my hoodie. After that day I isolated myself refusing to talk to everyone including my parents and cried almost every night for a week feeling like a failure.
But it gets even worse...
I also have choir and I had a test about two songs, they were simple and easy and I have been practicing for almost a month and when the day came... i went in front of a crowd of 80 people including the teacher and I started to sing, I was extremely anxious and I ended up embarrassing myself AGAIN!!!! INFRONT OF 80 PEOPLE I sounded like a drowning chicken, my entire body was shaking and I felt like I was going to faint anytime soon. So much hard just to get not only a bad grade but embarrass my self in front of a lot of people...
And now today... I had music theory test and well you guessed it, it went horrible... What's worst is that my teacher said to stop having a shaky voice and I just couldn't stop it, everyone staring at me... My teacher scholding me, it went horrible...
I don't have anyone to talk about this hell... Even talk about good thing that happen in my life. I am lonely and I am sick of it.
submitted by No-War-2197 to socialanxiety [link] [comments]
So I will soon turn 17, currently in senior year and will soon graduate. Little to no friend, lonely as hell and very anxious and shy
These past few years have been really lonely for me, I feel like my teenage years have been wasted. I barely had anyone to spend time with or even talk with aside from my parents, I never had like a genuine silly friend group nor a boyfriend or anything like that like most people of my age and extremely low self-steem. I can't even start a conversation without feeling extremely nervous and scared and when I get to talk to someone I don't even know what to say or how to even be interesting and have a hard time to relating/connecting with people... It makes me feel trash, like if something is wrong with me.
I was bullied around 3rd grade and 6th grade, 6th grade being the worst as I was always left out, everyone had their own group of friends and I tried TRIED talking to my classmates but they just didn't like me I guess...
My dad isn't a bad person, I love him deeply... But he also made me overthink of the things I say. Sometimes when I am talking to someone he would kinda like judge me? He would say stuff like "you're embarrassing me" or "why did you say x thing?" to things that aren't bad? I don't know why he does that but even if it isn't that that often it made me less confident and ask myself every single time if the things I am going to say are ok to even say, even for something like a "hi"
I have been constantly changing schools when I reached high school, I only made one friend who was amazing to me but I ended up changing schools so sadly that friendship didn't last. Last year I was again the one who was always left out, sometimes people talked to me but either it was short-lived or it was about school stuff. At lunch I just sat there and envied my classmates having fun with each other. I decided to join "friend group" because one of the members of that group asked me and wanting to improve myself I accepted, it was alright but I was the extra in that group. they weren't bad people tho... I just happened to have a lot of different tastes compared to them (They talked a lot about anime and artists I didn't really know) which I couldn't relate to them to the most part and neither could they, but at least I am glad they kind of tried. If you can call it that.
I changed schools mid-year after that and I was still very quiet and left out for the rest of the year in my new school, I found it hard talking to my new classmates, feeling frustrated and anxious. I was extremely tired of trying of failing over and over.
And now this year which made me realize my social anxiety is screwing me up. I joined the conservatory in this year as I like music a lot and wish to day dedicate myself to it (I play electric guitar). At the first class of music theory I felt like almost crying just because the teacher was correcting me but I managed to hold my tears because he didn't talk to me that much. But the second time? I embarrassed in front of everyone in the classroom just because my teacher talked to me and corrected me and I cried for the entire class everyone was staring at me and I had to hide under my hoodie. After that day I isolated myself refusing to talk to everyone including my parents and cried almost every night for a week feeling like a failure.
But it gets even worse...
I also have choir and I had a test about two songs, they were simple and easy and I have been practicing for almost a month and when the day came... i went in front of a crowd of 80 people including the teacher and I started to sing, I was extremely anxious and I ended up embarrassing myself AGAIN!!!! INFRONT OF 80 PEOPLE I sounded like a drowning chicken, my entire body was shaking and I felt like I was going to faint anytime soon. So much hard just to get not only a bad grade but embarrass my self in front of a lot of people...
And now today... I had music theory test and well you guessed it, it went horrible... What's worst is that my teacher said to stop having a shaky voice and I just couldn't stop it, everyone staring at me... My teacher scholding me, it went horrible...
I don't have anyone to talk about this hell... Even talk about good thing that happen in my life. I am lonely and I am sick of it.
2024.05.17 06:58 MajesticPangolin7775 Finally learned some key signature
 | I apologize for calling them hashtags i wacthed a simplified video(just to get the gist) to know what key signatures is, ill educate myself more and i took advice from the comments, Ill continue to educate myself :3 submitted by MajesticPangolin7775 to violinist [link] [comments] |
2024.05.17 06:38 QuetzalSnake Cherry picking classics
TL;DR: People need to stop acting like we can cherry pick classics. I get that what is or is not a classic a subjective question, but Kendrick’s discography from GKMC to now is one of the strongest and most impactful of any artist in the history of the genre.
In the recent weeks of K. Dot discourse, I’ve been noticing a recurrent trend of people arguing that Kendrick only has two classics, and the two are never the same. Most agree that good kid, m.A.A.d. city is a classic, and then they alternate between TPAB or MM. In my view, the lack of consensus is a massive underselling of Kendrick’s artistry and impact overall.
To acknowledge the obvious, there is no innate or unanimous metric for what a classic is. Obviously, it’s a very subjective question. Some people like saying their favorite album is a classic because they like it so much, but (at least online) there seems to be a discourse that a classic needs to hit a certain quota of cultural impact and also needs to be a definitive of high quality. Importantly, however, it is possible for an album to be one and not the other, and still be a classic if it hits the other criteria with incredible magnitude.
There is also an understandable desire to limit artists in how many classics they drop. For example, even though 2Pac is one of the most influential musical artists of all time, even he is limited to having two (or three) classic albums (All Eyez on Me and Me Against the World are near unanimous agreements, and then 7 Day Theory is disputed by some). Further, there is a reason we don’t say that his other albums are classics, despite his incredible impact on Hip-Hop overall. Lil Wayne is like that too. If we exclude mixtapes, he only has two irrefutable classics in Tha Carter II & III, even though albums like Tha Carter, Tha Carter IV and Tha Block is Hot are regularly cited as deeply influential albums, especially by rappers in the 2010s and 2020s. The reason they aren’t widely considered classics, despite their deep influence, is because if we consider all of these classics, then nothing can truly be considered a classic, since the label itself would be void of any meaning.
Be all of that as it may, there are a few rare circumstances where most—if not all—of an artists’ discography are classics. Don’t get me wrong, fuck Kanye, but most would agree that everything from College Dropout to MBDTF is a classic, and for distinctly different reasons. Some would even put Yeezus (not me, personally) and TLOP in there too, as well as Watch the Throne. OutKast is another top tier example. Literally every album they dropped (Idlewild is a soundtrack, so excluding this) is a classic. To diversify this a bit more, Dr. Dre is another premier example. If you count albums he fully produced, Straight Outta Compton, Efil4z****n, No One Can Do It Better, The Chronic, Doggystyle, The Chronic 2001 are all classics. It is very fucking rare, but an artist can have an all-classic-catalog, or a catalog that is damn close to 100%.
Given all of the widely agreed upon metrics in popular discussion above, Kendrick is clearly one of those rare artists. To provide one modification, Section.80 is not a classic because he was not yet big enough to have the impact on Hip-Hop culture that his later work would have, despite its very high quality. Instead, everything since then surpassed that quality AND has a measurable impact. GKMC forced Hip-Hop to reconsider songwriting techniques and storytelling, and it put the West Coast back on the map. TPAB coincided with the Black Lives Matter protests, created a popular anthem for it, and is easily one of the most bold and innovative Hip-Hop albums of the last 10 years. Damn. was loaded with hits, and has one of the greatest storytelling songs of all time in Duckworth. Honestly, this is probably one of the least “classic” of these albums, and it still won Kendrick a Pulitzer, making him the only rapper to ever win the prize to this point in time. Only time will tell whether MMatBS attains classic status, however, I confidently agree with the popular sentiment that its intricate concept and bold and profound subject matter will eventually push it into classic status as people mature with the album.
There is a compelling case for literally every full length LP Kendrick has released since 2011. Each album is both deeply impactful and of impeccable quality, which, at least in the most basic sense, guarantee them as classics for broad Hip-Hop audiences.
The practice of selecting certain Kendrick albums as classics and not others is horseshit. It’s one thing to say you don’t like an album, but to deny the impact of one in favor of another is needlessly pretentious. The uniqueness of his albums does not exclude greatness from the rest. Kendrick has consistently shown that he is the bold innovator and the mover snd shaker. He has done this on each album in different ways, not worse or inferior ways. If argument goes that an artist like J. Cole (no shade of any kind; love Cole) has a classic in 2014 Forest Hills Drive, each of Kendrick’s 4 albums match—if not exceed—that album in quality. Similarly, if Drake has a classic in Take Care, then not only is the differential quality aspect true here as well, each of Kendrick’s 4 match Drake’s cultural impact on that album, granted in different ways than Take Care. Kendrick isn’t just one of the greatest rappers of all time, he has some of the best creative vision in the history Hip-Hop music. I don’t understand the argument that K. Dot only has two classics, when only a slim, marginal few could ever dream of matching the cultural impact or quality of any of his albums in this stretch since 2011.
submitted by QuetzalSnake to KendrickLamar [link] [comments]
In the recent weeks of K. Dot discourse, I’ve been noticing a recurrent trend of people arguing that Kendrick only has two classics, and the two are never the same. Most agree that good kid, m.A.A.d. city is a classic, and then they alternate between TPAB or MM. In my view, the lack of consensus is a massive underselling of Kendrick’s artistry and impact overall.
To acknowledge the obvious, there is no innate or unanimous metric for what a classic is. Obviously, it’s a very subjective question. Some people like saying their favorite album is a classic because they like it so much, but (at least online) there seems to be a discourse that a classic needs to hit a certain quota of cultural impact and also needs to be a definitive of high quality. Importantly, however, it is possible for an album to be one and not the other, and still be a classic if it hits the other criteria with incredible magnitude.
There is also an understandable desire to limit artists in how many classics they drop. For example, even though 2Pac is one of the most influential musical artists of all time, even he is limited to having two (or three) classic albums (All Eyez on Me and Me Against the World are near unanimous agreements, and then 7 Day Theory is disputed by some). Further, there is a reason we don’t say that his other albums are classics, despite his incredible impact on Hip-Hop overall. Lil Wayne is like that too. If we exclude mixtapes, he only has two irrefutable classics in Tha Carter II & III, even though albums like Tha Carter, Tha Carter IV and Tha Block is Hot are regularly cited as deeply influential albums, especially by rappers in the 2010s and 2020s. The reason they aren’t widely considered classics, despite their deep influence, is because if we consider all of these classics, then nothing can truly be considered a classic, since the label itself would be void of any meaning.
Be all of that as it may, there are a few rare circumstances where most—if not all—of an artists’ discography are classics. Don’t get me wrong, fuck Kanye, but most would agree that everything from College Dropout to MBDTF is a classic, and for distinctly different reasons. Some would even put Yeezus (not me, personally) and TLOP in there too, as well as Watch the Throne. OutKast is another top tier example. Literally every album they dropped (Idlewild is a soundtrack, so excluding this) is a classic. To diversify this a bit more, Dr. Dre is another premier example. If you count albums he fully produced, Straight Outta Compton, Efil4z****n, No One Can Do It Better, The Chronic, Doggystyle, The Chronic 2001 are all classics. It is very fucking rare, but an artist can have an all-classic-catalog, or a catalog that is damn close to 100%.
Given all of the widely agreed upon metrics in popular discussion above, Kendrick is clearly one of those rare artists. To provide one modification, Section.80 is not a classic because he was not yet big enough to have the impact on Hip-Hop culture that his later work would have, despite its very high quality. Instead, everything since then surpassed that quality AND has a measurable impact. GKMC forced Hip-Hop to reconsider songwriting techniques and storytelling, and it put the West Coast back on the map. TPAB coincided with the Black Lives Matter protests, created a popular anthem for it, and is easily one of the most bold and innovative Hip-Hop albums of the last 10 years. Damn. was loaded with hits, and has one of the greatest storytelling songs of all time in Duckworth. Honestly, this is probably one of the least “classic” of these albums, and it still won Kendrick a Pulitzer, making him the only rapper to ever win the prize to this point in time. Only time will tell whether MMatBS attains classic status, however, I confidently agree with the popular sentiment that its intricate concept and bold and profound subject matter will eventually push it into classic status as people mature with the album.
There is a compelling case for literally every full length LP Kendrick has released since 2011. Each album is both deeply impactful and of impeccable quality, which, at least in the most basic sense, guarantee them as classics for broad Hip-Hop audiences.
The practice of selecting certain Kendrick albums as classics and not others is horseshit. It’s one thing to say you don’t like an album, but to deny the impact of one in favor of another is needlessly pretentious. The uniqueness of his albums does not exclude greatness from the rest. Kendrick has consistently shown that he is the bold innovator and the mover snd shaker. He has done this on each album in different ways, not worse or inferior ways. If argument goes that an artist like J. Cole (no shade of any kind; love Cole) has a classic in 2014 Forest Hills Drive, each of Kendrick’s 4 albums match—if not exceed—that album in quality. Similarly, if Drake has a classic in Take Care, then not only is the differential quality aspect true here as well, each of Kendrick’s 4 match Drake’s cultural impact on that album, granted in different ways than Take Care. Kendrick isn’t just one of the greatest rappers of all time, he has some of the best creative vision in the history Hip-Hop music. I don’t understand the argument that K. Dot only has two classics, when only a slim, marginal few could ever dream of matching the cultural impact or quality of any of his albums in this stretch since 2011.
2024.05.17 06:38 pricetag2 BE4 Theory (Like everyone else)
 | Okay so idk I’m sure I’m reading into this because I’ve read everyone else’s stuff throughout this whole process, but now that it’s dropped. Apple Music’s summary is calling it “Hit Me” (you have to actually click the pic to see it) instead of the full name. I wonder if she’s splitting the name to go with the full double album theory? What y’all think? submitted by pricetag2 to billieeilish [link] [comments] |
2024.05.17 06:34 --_Ivo_-- Which is the best way to approach learning? (newbie)
Hi everybody! so I am an ex-jazz/rock/metal musician (guitarist) who is getting into EDM production (and hopefully djing in the future), interested in genres like DnB, jungle, IDM, breakcore, techno (industrial/hard/acid), and ambient (and dubstep when I was a kid haha). I am interested in learning as much as I can about production and maybe launching my first EP between this year and the next one ideally. Additionally, I've been attending some raves in my city, to learn more about the culture behind all of this.
However, I'm currently in college studying programming and it also takes a considerable amount of time outside of lectures; that's why I need to be intelligent with my time. So…
Which do you consider is the most effective way to learn production, and one that will be efficient enough to help me create tracks while learning, too?
Currently, I learned about Ableton, synthesis, arrangement, and EQ, and that's basically it (and things I know because of playing/creating music in other genres [e.g. music theory])
thx!!
(edit: It isn't like I do not have time at all [like just 1hr per day or sth lol that would be sad], but neither all the time in the world since I started uni. So I'd say I have at least 2-3 hours during weekdays and +5 hours on weekends. I want it to use it well)
submitted by --_Ivo_-- to edmproduction [link] [comments]
However, I'm currently in college studying programming and it also takes a considerable amount of time outside of lectures; that's why I need to be intelligent with my time. So…
Which do you consider is the most effective way to learn production, and one that will be efficient enough to help me create tracks while learning, too?
Currently, I learned about Ableton, synthesis, arrangement, and EQ, and that's basically it (and things I know because of playing/creating music in other genres [e.g. music theory])
thx!!
(edit: It isn't like I do not have time at all [like just 1hr per day or sth lol that would be sad], but neither all the time in the world since I started uni. So I'd say I have at least 2-3 hours during weekdays and +5 hours on weekends. I want it to use it well)
2024.05.17 06:32 guildedpasserby What makes Pokémon Mystery Dungeon music sound like, well, PMD music?
Sorry if this is the wrong sub to ask this, but does anyone have any idea what makes PMD music unique? I want to try composing some stuff with a similar feel but I’m having trouble figuring out exactly what to do to achieve that.
I know that the PMD2 music uses a lot of synth and the PMD super music uses more acoustic instruments, but aside from that I’m drawing a blank.
Feel free to get into music theory if you want since I’ve got some understanding of it. Thanks!
submitted by guildedpasserby to MysteryDungeon [link] [comments]
I know that the PMD2 music uses a lot of synth and the PMD super music uses more acoustic instruments, but aside from that I’m drawing a blank.
Feel free to get into music theory if you want since I’ve got some understanding of it. Thanks!
2024.05.17 05:59 Swimming_Waltz1975 my personal thoughts on the theories swirling around
so everyone is talking about there being another album coming out in addition to HMHAS because of:
i just don't feel like she'd do two albums with such similar names. she cares about her music so much i know she'd wanna make sure each album has their own identity and each get their own time to shine. because... holy SHIT dude HMHAS is insane (i heard it first at the amc dolby screening and have been blasting it in my headphones on repeat for hours now) anyway i think she'd definitely wait a sec to drop another album, especially if it's as masterful as this one is (it's my favorite of hers and I've been a fan since SoundCloud days i love her soooooo muchhhhhhh she can do no wrong to my ears)
I also think her tour being called the HMHAS tour (so excited i got pit tix 😭) is all the more reason for there not being another album yet. idk! just my thoughts, what are yours? what do you think another album would be called and when do you think it'd come out if there is one?
submitted by Swimming_Waltz1975 to billieeilish [link] [comments]
- the SoundCloud tweet (that part is kinda debunked to me based on this)
- the trademarks pending for "Hit Me Soft and Hard"
- the end of the album saying "but when can i hear the next one"
i just don't feel like she'd do two albums with such similar names. she cares about her music so much i know she'd wanna make sure each album has their own identity and each get their own time to shine. because... holy SHIT dude HMHAS is insane (i heard it first at the amc dolby screening and have been blasting it in my headphones on repeat for hours now) anyway i think she'd definitely wait a sec to drop another album, especially if it's as masterful as this one is (it's my favorite of hers and I've been a fan since SoundCloud days i love her soooooo muchhhhhhh she can do no wrong to my ears)
I also think her tour being called the HMHAS tour (so excited i got pit tix 😭) is all the more reason for there not being another album yet. idk! just my thoughts, what are yours? what do you think another album would be called and when do you think it'd come out if there is one?
2024.05.17 05:56 soft_tree111 Filmora - Best Video Editor Software for YouTubers (Windows/PC) -Reddit
 | Filmora, developed by Wondershare, is a popular video editing software known for its user-friendly interface and accessibility, making it a great choice for beginners and casual YouTube creators. Despite its simplicity, it offers a robust set of features that cater to a wide range of video editing needs. Here’s a detailed look at Filmora: submitted by soft_tree111 to u/soft_tree111 [link] [comments] Filmora - Best Video Editor Software for YouTubers (Windows/PC) -Reddit Get here FREE for Lifetime [ FileOffline ] Key Features
Pros
Cons
PricingFilmora offers several pricing options:
Ideal Users
ConclusionFilmora is an excellent choice for beginners and intermediate users due to its intuitive interface, extensive library of effects and transitions, and affordable pricing. While it may not have all the advanced features that professional editors require, it provides a solid foundation for creating high-quality videos with ease. Its cross-platform availability and frequent updates further enhance its appeal, making it a popular option for YouTube creators and casual video editors. |
2024.05.17 05:20 AliceStanleyJr "I Hate My Reflection for Years and Years": TTPD & Sylvia Plath’s “The Magic Mirror"
Introduction: The Mysterious Double Album
I’ll always remember 2 AM on April 19th 2024. I was in my pjs, alone, on my balcony, fresh off my first listen to Taylor Swift’s album The Tortured Poet’s Department. After sufficiently enjoying my solitary experience, I took to the internet to see what the masses were saying…when Swift dropped a whole second album: The Tortured Poets Department Anthology. Swift, a master of both Easter egging surprises for her fandom and practicing the number one rule of business (give the people what they want!), had been hinting at something “double” for months. Most significantly, while accepting her Grammy for Best Pop Vocal Album, she flashed a “peace sign.” That damn peace sign haunted the fandom for months. Swift’s corporate social media account, u/TaylorNation, used peace sign emojis and called attention to the number two whenever possible (ie teasing the album 22 days out etc.). There were also many “2”s present in in the promotional “experiences” leading up to the album release date—including statues of peace signs at the TTPD interactive experience at The Grove in LA. As usual, some Swifties went bonkers with their theories (or “clowning” as outlandish theorizing is referred to in the community). I myself couldn’t help but believe some concept of doubling would be significant in TTPD, but I couldn’t have guessed a full DOUBLE album (Swift’s capitalization). What an absolute treat. Mother was, as they say, mothering.
…Only the two mania didn’t seem to end post-drop. If anything, the two mania heightened. The albums were not just surprises in themselves, they were full of mystery. They seemed to reference multiple relationships, cryptic narratives, allusions to Swift’s previous songs, allusions to iconic poets, and very often, twins. The sleuthing type of Swiftie (full disclosure, moi) dove in deep. We gathered where we do—on Twitter, on TikTok, on Reddit (my preferred sandlot). And as we obsessed over every lyric, literary allusion, and video clip, Swift, our self-appointed “chairman” seemed to encourage us. Swift added a TTPD set to her Eras tour in Paris. Afterward, she posted a collection of photos to Instagram. The second photo of the post is Swift onstage, in a sparkling showman’s outfit, flashing two fingers.
Initial Tortured Poets and Sylvia Plath Connections
Swift has always been an incredible poet, but that’s not necessarily how the world saw hesees her. Swift is a pop star, specifically, Swift was a young girly pop star, most known for her tabloid romances and dramas, which she would (allegedly) write about in her music. Swift’s work has been labeled as “confessional” since her first album, which included songs she openly said were about boys at her high school. I offer this context (or, lore) to explain why I began seeing connections to TTPD in Sylvia Plath’s “confessional” work.
Of course, the theme of TTPD is tortured poets, so many avid literary Swifties have enjoyed seeking connections between Swift’s new songs and iconic poetry. No connections are overt, but some seem to be more likely than others. Namely, there’s been much discussion of Virginia Woolf thanks to the song “Who’s Afraid of Little Old Me?”(perhaps a riff on the Edward Albee play title). Other Swifties have found possible lyrical links to Mary Shelley and Charlotte Bronte. Swift herself references Patti Smith and Dylan Thomas in the album’s title track.
I remembered a third poet in relation to Smith and Thomas: Sylvia Plath, obviously an all timer of a tortured poet. I remember hearing an anecdote that she had been obsessed with Thomas and stalked him outside the Chelsea Hotel (also named in the TTPD title track). I did a quick skim of Plath’s Wikipedia to confirm and then started noticing many possible connections to TTPD and Plath’s life.
In the “Fortnight” music video, Swift acts out being institutionalized for insanity and getting electric shock treatment—two significant experiences in Plath’s life. Plath was also coupled with a deeply problematic man, Ted Hughes. Plath fell in love with Hughes for his artistic talent before he revealed himself to be an unsupportive parter, ultimately cheating on Plath with a younger woman. The narrative is not too dissimilar to the narrative about Swift’s alleged ex Matty Healy, as seemingly told in TTPD. (Of course, we don’t know the true subjects of Swift’s songs—if they’re even actually confessional—but some key hints point to Healy. Whether those hints provide actual context to Swift’s life or to the story Swift is telling of her life, one cannot know.) Finally, several of TTPD songs reference a latent desire for suicide (“I might as well die / it would make no difference” etc.). Okay, post-“finally,” these are stretches, but, I’ll note anyway: one of Plath’s most famous collections of poems is titled Ariel, but an alternate title was Daddy. There are connections to both words in TTPD via the song “But Daddy I Love Him.” The title is a line from the Disney movie The Little Mermaid (which features the main character Ariel, a mermaid, caught between two worlds). Extra clowning: some people (hi, I'm people) believe Swift’s 1989 costume for her first Paris concert was an allusion to Ariel: a pink crop top and a seafoam skirt.
As I dug into Plath's life, I couldn’t help but also see similarities to Swift's life. Both women were prolific writers from a very young age. Also, although possibly obscured through artistic license, both women were/are known to write about their own lives. (Plath was apparently encouraged by her professors Robert Lowell and Anne Sexton to write from her experience. I cannot help but tie in Swift’s “The Manuscript” lyric “the Professor said to write what you know.”) Both Plath and Swift expressed/express their depression via their writing, but if you only knew them from their public personas, you’d never guess the depths of their struggles. It seems both Plath and Swift lived/live double lives. Plath was actually fascinated by the concept of doubles. In fact, the concept of doubling was the topic of Plath’s college thesis paper “The Magic Mirror.”
The Magic Mirror and TTPD
Plath’s college paper is sadly not available to the general public. (It had a limited print run in, you guessed it, 1989.) But! I was able to read a few texts about the thesis, and the amount of possible TTPD references is astounding.
Since we can’t directly analyze Swift’s work via Plath’s directly, I’d like to share several key quotes from the most telling article I could find about the “The Magic Mirror”: “Sylvia Plath’s Magic Mirror” by Kelly Coyne (May 2018, The Los Angeles Review of Books). (To be noted, Coyne has also written about Swift, in her article “Growing Up In Taylor Swift’s America” in December 2023 on Literary Hub—a fabulous read!)
Early in her article, Coyne sets the scene for Plath's thesis:
“Her undergraduate thesis, which she wrote as a senior at Smith College...is titled “The Magic Mirror: A Study of the Double in Two of Dostoevsky’s Novels.” “The Magic Mirror” explores literary doubles made up of a character’s repressed traits, and, as the double grows in power, it heralds the protagonist’s death. Citing Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde as well as Oscar Wilde’s The Picture of Dorian Gray, Plath argued that the choice to create a double works to “reveal hitherto concealed character traits in a radical manner” and simultaneously exposes the driving conflicts of the novel housing that character. Her thesis claims that both Ivan, of The Brothers Karamazov, and Golyadkin, of The Double, have attempted to repress troubling aspects of their personalities, resulting in the double.”
Immediately, I imagine the two versions of Swift from the “Anti-Hero” music video. One Swift is real, true, sensible. The other is a pot-stirring, self-esteem destroying, alcoholic. During Eras, the huge Swift (monster on a hill) screams and stomps around in the background while the real, true Swift smiles and dances in a sparkle dress onstage. The fandom seems to be referring to these two Swifts as Taylor Swift and TAYLOR SWIFT (TM). Folks have theorized Post-Malone in the Fortnight music video is not necessarily a lover, but a twin, or double, of Swift. This theory is enhances by the Eras visuals during that song, specifically two dancers walking away to the back of the stage, but then becoming one.
More Coyne: “Plath, quoting Dostoyevsky in her thesis, noted that Ivan’s double, Smerdyakov, is “wrinkled” and “yellow.” The distinct differences in appearance between originator and double, she continued, are meant to reflect the protagonist’s mental state and cultural status.”
First of all, yellow. In the Gaylor community, folks have often theorized yellow symbolizes being closeted—a reading based on the symbolic coloring in the 1999 film …But I’m a Cheerleader. However, one need not be a Gaylor to consider the importance of yellow to Swift’s storytelling. Most recently, Swift performed “my tears ricochet” at Eras in a bright yellow dress, as her dancers were dressed for a funeral. Following Coyne’s analysis of Plath's analysis of Dostoyevsky, one could guess Swift is teasing a death of some version of herself.
Coyne discusses how Plath clearly used a “double” of herself to write The Bell Jar. Plath herself spent a summer in New York interning for Mademoiselle. The protagonist in TBJ, Esther, spends a summer in New York interning at a magazine too. To go even further down the rabbit hole, Esther also doubles herself, frequently expressing normalcy on the outside and despair on the inside. On the book's first page, Esther tells her audience, “I was supposed to be having the time of my life.” (Again, I cannot help but hear a Swift echo of, “I can read your mind / she’s having the time of her life” from “I Can Do It With a Broken Heart” about smiling through her depression.) Coyne makes many more references to mirrors and concealing in The Bell Jar, Ether’s split (and sadness) gets worse and worse the more she hides who she is from others. Notably, at a low point, Esther hides under her mother’s bed. (And Swift sings of a post-heartbreak depression, “Afterwards she only ate kids' cereal / And couldn't sleep unless it was in her mother's bed.”)
Coyne writes about the “imprisoned” aspect of doubles: “The wound from which Esther tries, and fails, to hide chimes with the inescapable, colonizing double, and Plath’s language again illustrates its penal nature: it is inside Esther, but it traps her like a jail cell.” (Again, I cannot help but see references to “Fresh Out the Slammer”, “The Smaller Man Who Ever Lived,” and the TTPD Eras visuals of cages and cell lighting.)
Coyne, on Plath’s doubles’ names, something Swift has not ever used (or so we think): “From her conception of The Bell Jar all the way to its final revisions, Plath suffered an exhausting amount of anxiety over its heroine’s name.” Plath wrote to a friend, “‘I’ll have to publish it under a pseudonym, if I ever get it accepted, because it’s so chock full of real people I’d be sued to death’...Indeed, this wasn’t mere paranoia; she did have to change her protagonist’s name at the instruction of her editor for legal reasons.”
Coyne continues, “Most novelists likely have concerns about being associated with the characters to whom they give life, especially the ugly ones, and especially when the character resembles its author. Yet what is unique about Plath’s case is her knowledge of the theoretical underpinnings and implications of her choice to push Esther away, and the hold this knowledge assumed on Plath’s work and life. Another look at The Bell Jar with a consideration of Esther as Plath’s double tangles the issue even further, and Plath drops clues for this kind of reading throughout the novel. Esther, for example, sits down to write her own novel and recounts, “My heroine would be myself, only in disguise. She would be called Elaine. Elaine. I counted the letters on my fingers. There were six letters in Esther, too. It seemed a lucky thing.” Not coincidentally, Plath’s first name has six letters as well.” Again, Plath was in a bizarre double infinity loop (like the loop on the Eras stage in “Down Bad”?). Plath was concealing her double, the protagonist in her novel, who was concealing her double, the protagonist in her novel.
Coyne wraps up her findings: “In her thesis, written nearly a decade earlier, as she turned 22 — the year after her first documented suicide attempt — Plath claimed, quoting Otto Rank:
In such situations, where the Double symbolizes the evil or repressed elements in man’s nature, the apparition of the Double “becomes a persecution by it, the repressed material returns in the form of that which represses.” Man’s instinct to avoid or ignore the unpleasant aspects of his character turns into an active terror when he is faced by his Double, which resurrects those very parts of his personality which he sought to escape. The confrontation of the Double in these instances usually results in a duel which ends in insanity or death for the original hero.”
Coyne seems to argue Plath believed an artist's double has the power to become bigger than the artist herself, ultimately killing her. Is TTPD Swift's predetermination of, hopefully, her her double's death instead of her own?
In Conclusion: Plath to her Mentor, Dessner on Swift
Who knows what TTPD is really truly about, and who knows if we ever will.
The biggest Easter egg, hiding in plain sight, is that the album is titled THE TORTURED POETS DEPARTMENT. There’s no apostrophe after “poet.” Nor is there an apostrophe after the “s” in “poets.” The department does not belong to a poet or to a collection of poets. It is a department OF tortured poets, perhaps two, to be exact. …or perhaps the album indicates the departure of the tortured poet...and her double.
I’ll sign off with two final quotes from my research:
According to Coyne, three months before Plath died by suicide, she had written a mentor about her second (obviously unfinished) book. Plath wrote, “It is to be called “Doubletake”, meaning that the second look you take at something reveals a deeper, double meaning […] it is semi-autobiographical about a wife whose husband turns out to be a deserter and philanderer although she had thought he was wonderful & perfect.”
According to Aaron Dessner’s TTPD release Instagram post: ”Keep searching and you'll find some new detail, layer or sliver of meaning with each listen.”
SUBREDDIT PS! Shout out to Expensive_Succotash5 for noting the TTPD intro poem's reference to being out of the oven, could be an allusion to Plath's death. Also shout-out to Good-Amphibian-7993 for this connection to a photo of Plath with a rose, not unlike Swift's album rose art.
submitted by AliceStanleyJr to GaylorSwift [link] [comments]
I’ll always remember 2 AM on April 19th 2024. I was in my pjs, alone, on my balcony, fresh off my first listen to Taylor Swift’s album The Tortured Poet’s Department. After sufficiently enjoying my solitary experience, I took to the internet to see what the masses were saying…when Swift dropped a whole second album: The Tortured Poets Department Anthology. Swift, a master of both Easter egging surprises for her fandom and practicing the number one rule of business (give the people what they want!), had been hinting at something “double” for months. Most significantly, while accepting her Grammy for Best Pop Vocal Album, she flashed a “peace sign.” That damn peace sign haunted the fandom for months. Swift’s corporate social media account, u/TaylorNation, used peace sign emojis and called attention to the number two whenever possible (ie teasing the album 22 days out etc.). There were also many “2”s present in in the promotional “experiences” leading up to the album release date—including statues of peace signs at the TTPD interactive experience at The Grove in LA. As usual, some Swifties went bonkers with their theories (or “clowning” as outlandish theorizing is referred to in the community). I myself couldn’t help but believe some concept of doubling would be significant in TTPD, but I couldn’t have guessed a full DOUBLE album (Swift’s capitalization). What an absolute treat. Mother was, as they say, mothering.
…Only the two mania didn’t seem to end post-drop. If anything, the two mania heightened. The albums were not just surprises in themselves, they were full of mystery. They seemed to reference multiple relationships, cryptic narratives, allusions to Swift’s previous songs, allusions to iconic poets, and very often, twins. The sleuthing type of Swiftie (full disclosure, moi) dove in deep. We gathered where we do—on Twitter, on TikTok, on Reddit (my preferred sandlot). And as we obsessed over every lyric, literary allusion, and video clip, Swift, our self-appointed “chairman” seemed to encourage us. Swift added a TTPD set to her Eras tour in Paris. Afterward, she posted a collection of photos to Instagram. The second photo of the post is Swift onstage, in a sparkling showman’s outfit, flashing two fingers.
Initial Tortured Poets and Sylvia Plath Connections
Swift has always been an incredible poet, but that’s not necessarily how the world saw hesees her. Swift is a pop star, specifically, Swift was a young girly pop star, most known for her tabloid romances and dramas, which she would (allegedly) write about in her music. Swift’s work has been labeled as “confessional” since her first album, which included songs she openly said were about boys at her high school. I offer this context (or, lore) to explain why I began seeing connections to TTPD in Sylvia Plath’s “confessional” work.
Of course, the theme of TTPD is tortured poets, so many avid literary Swifties have enjoyed seeking connections between Swift’s new songs and iconic poetry. No connections are overt, but some seem to be more likely than others. Namely, there’s been much discussion of Virginia Woolf thanks to the song “Who’s Afraid of Little Old Me?”(perhaps a riff on the Edward Albee play title). Other Swifties have found possible lyrical links to Mary Shelley and Charlotte Bronte. Swift herself references Patti Smith and Dylan Thomas in the album’s title track.
I remembered a third poet in relation to Smith and Thomas: Sylvia Plath, obviously an all timer of a tortured poet. I remember hearing an anecdote that she had been obsessed with Thomas and stalked him outside the Chelsea Hotel (also named in the TTPD title track). I did a quick skim of Plath’s Wikipedia to confirm and then started noticing many possible connections to TTPD and Plath’s life.
In the “Fortnight” music video, Swift acts out being institutionalized for insanity and getting electric shock treatment—two significant experiences in Plath’s life. Plath was also coupled with a deeply problematic man, Ted Hughes. Plath fell in love with Hughes for his artistic talent before he revealed himself to be an unsupportive parter, ultimately cheating on Plath with a younger woman. The narrative is not too dissimilar to the narrative about Swift’s alleged ex Matty Healy, as seemingly told in TTPD. (Of course, we don’t know the true subjects of Swift’s songs—if they’re even actually confessional—but some key hints point to Healy. Whether those hints provide actual context to Swift’s life or to the story Swift is telling of her life, one cannot know.) Finally, several of TTPD songs reference a latent desire for suicide (“I might as well die / it would make no difference” etc.). Okay, post-“finally,” these are stretches, but, I’ll note anyway: one of Plath’s most famous collections of poems is titled Ariel, but an alternate title was Daddy. There are connections to both words in TTPD via the song “But Daddy I Love Him.” The title is a line from the Disney movie The Little Mermaid (which features the main character Ariel, a mermaid, caught between two worlds). Extra clowning: some people (hi, I'm people) believe Swift’s 1989 costume for her first Paris concert was an allusion to Ariel: a pink crop top and a seafoam skirt.
As I dug into Plath's life, I couldn’t help but also see similarities to Swift's life. Both women were prolific writers from a very young age. Also, although possibly obscured through artistic license, both women were/are known to write about their own lives. (Plath was apparently encouraged by her professors Robert Lowell and Anne Sexton to write from her experience. I cannot help but tie in Swift’s “The Manuscript” lyric “the Professor said to write what you know.”) Both Plath and Swift expressed/express their depression via their writing, but if you only knew them from their public personas, you’d never guess the depths of their struggles. It seems both Plath and Swift lived/live double lives. Plath was actually fascinated by the concept of doubles. In fact, the concept of doubling was the topic of Plath’s college thesis paper “The Magic Mirror.”
The Magic Mirror and TTPD
Plath’s college paper is sadly not available to the general public. (It had a limited print run in, you guessed it, 1989.) But! I was able to read a few texts about the thesis, and the amount of possible TTPD references is astounding.
Since we can’t directly analyze Swift’s work via Plath’s directly, I’d like to share several key quotes from the most telling article I could find about the “The Magic Mirror”: “Sylvia Plath’s Magic Mirror” by Kelly Coyne (May 2018, The Los Angeles Review of Books). (To be noted, Coyne has also written about Swift, in her article “Growing Up In Taylor Swift’s America” in December 2023 on Literary Hub—a fabulous read!)
Early in her article, Coyne sets the scene for Plath's thesis:
“Her undergraduate thesis, which she wrote as a senior at Smith College...is titled “The Magic Mirror: A Study of the Double in Two of Dostoevsky’s Novels.” “The Magic Mirror” explores literary doubles made up of a character’s repressed traits, and, as the double grows in power, it heralds the protagonist’s death. Citing Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde as well as Oscar Wilde’s The Picture of Dorian Gray, Plath argued that the choice to create a double works to “reveal hitherto concealed character traits in a radical manner” and simultaneously exposes the driving conflicts of the novel housing that character. Her thesis claims that both Ivan, of The Brothers Karamazov, and Golyadkin, of The Double, have attempted to repress troubling aspects of their personalities, resulting in the double.”
Immediately, I imagine the two versions of Swift from the “Anti-Hero” music video. One Swift is real, true, sensible. The other is a pot-stirring, self-esteem destroying, alcoholic. During Eras, the huge Swift (monster on a hill) screams and stomps around in the background while the real, true Swift smiles and dances in a sparkle dress onstage. The fandom seems to be referring to these two Swifts as Taylor Swift and TAYLOR SWIFT (TM). Folks have theorized Post-Malone in the Fortnight music video is not necessarily a lover, but a twin, or double, of Swift. This theory is enhances by the Eras visuals during that song, specifically two dancers walking away to the back of the stage, but then becoming one.
More Coyne: “Plath, quoting Dostoyevsky in her thesis, noted that Ivan’s double, Smerdyakov, is “wrinkled” and “yellow.” The distinct differences in appearance between originator and double, she continued, are meant to reflect the protagonist’s mental state and cultural status.”
First of all, yellow. In the Gaylor community, folks have often theorized yellow symbolizes being closeted—a reading based on the symbolic coloring in the 1999 film …But I’m a Cheerleader. However, one need not be a Gaylor to consider the importance of yellow to Swift’s storytelling. Most recently, Swift performed “my tears ricochet” at Eras in a bright yellow dress, as her dancers were dressed for a funeral. Following Coyne’s analysis of Plath's analysis of Dostoyevsky, one could guess Swift is teasing a death of some version of herself.
Coyne discusses how Plath clearly used a “double” of herself to write The Bell Jar. Plath herself spent a summer in New York interning for Mademoiselle. The protagonist in TBJ, Esther, spends a summer in New York interning at a magazine too. To go even further down the rabbit hole, Esther also doubles herself, frequently expressing normalcy on the outside and despair on the inside. On the book's first page, Esther tells her audience, “I was supposed to be having the time of my life.” (Again, I cannot help but hear a Swift echo of, “I can read your mind / she’s having the time of her life” from “I Can Do It With a Broken Heart” about smiling through her depression.) Coyne makes many more references to mirrors and concealing in The Bell Jar, Ether’s split (and sadness) gets worse and worse the more she hides who she is from others. Notably, at a low point, Esther hides under her mother’s bed. (And Swift sings of a post-heartbreak depression, “Afterwards she only ate kids' cereal / And couldn't sleep unless it was in her mother's bed.”)
Coyne writes about the “imprisoned” aspect of doubles: “The wound from which Esther tries, and fails, to hide chimes with the inescapable, colonizing double, and Plath’s language again illustrates its penal nature: it is inside Esther, but it traps her like a jail cell.” (Again, I cannot help but see references to “Fresh Out the Slammer”, “The Smaller Man Who Ever Lived,” and the TTPD Eras visuals of cages and cell lighting.)
Coyne, on Plath’s doubles’ names, something Swift has not ever used (or so we think): “From her conception of The Bell Jar all the way to its final revisions, Plath suffered an exhausting amount of anxiety over its heroine’s name.” Plath wrote to a friend, “‘I’ll have to publish it under a pseudonym, if I ever get it accepted, because it’s so chock full of real people I’d be sued to death’...Indeed, this wasn’t mere paranoia; she did have to change her protagonist’s name at the instruction of her editor for legal reasons.”
Coyne continues, “Most novelists likely have concerns about being associated with the characters to whom they give life, especially the ugly ones, and especially when the character resembles its author. Yet what is unique about Plath’s case is her knowledge of the theoretical underpinnings and implications of her choice to push Esther away, and the hold this knowledge assumed on Plath’s work and life. Another look at The Bell Jar with a consideration of Esther as Plath’s double tangles the issue even further, and Plath drops clues for this kind of reading throughout the novel. Esther, for example, sits down to write her own novel and recounts, “My heroine would be myself, only in disguise. She would be called Elaine. Elaine. I counted the letters on my fingers. There were six letters in Esther, too. It seemed a lucky thing.” Not coincidentally, Plath’s first name has six letters as well.” Again, Plath was in a bizarre double infinity loop (like the loop on the Eras stage in “Down Bad”?). Plath was concealing her double, the protagonist in her novel, who was concealing her double, the protagonist in her novel.
Coyne wraps up her findings: “In her thesis, written nearly a decade earlier, as she turned 22 — the year after her first documented suicide attempt — Plath claimed, quoting Otto Rank:
In such situations, where the Double symbolizes the evil or repressed elements in man’s nature, the apparition of the Double “becomes a persecution by it, the repressed material returns in the form of that which represses.” Man’s instinct to avoid or ignore the unpleasant aspects of his character turns into an active terror when he is faced by his Double, which resurrects those very parts of his personality which he sought to escape. The confrontation of the Double in these instances usually results in a duel which ends in insanity or death for the original hero.”
Coyne seems to argue Plath believed an artist's double has the power to become bigger than the artist herself, ultimately killing her. Is TTPD Swift's predetermination of, hopefully, her her double's death instead of her own?
In Conclusion: Plath to her Mentor, Dessner on Swift
Who knows what TTPD is really truly about, and who knows if we ever will.
The biggest Easter egg, hiding in plain sight, is that the album is titled THE TORTURED POETS DEPARTMENT. There’s no apostrophe after “poet.” Nor is there an apostrophe after the “s” in “poets.” The department does not belong to a poet or to a collection of poets. It is a department OF tortured poets, perhaps two, to be exact. …or perhaps the album indicates the departure of the tortured poet...and her double.
I’ll sign off with two final quotes from my research:
According to Coyne, three months before Plath died by suicide, she had written a mentor about her second (obviously unfinished) book. Plath wrote, “It is to be called “Doubletake”, meaning that the second look you take at something reveals a deeper, double meaning […] it is semi-autobiographical about a wife whose husband turns out to be a deserter and philanderer although she had thought he was wonderful & perfect.”
According to Aaron Dessner’s TTPD release Instagram post: ”Keep searching and you'll find some new detail, layer or sliver of meaning with each listen.”
SUBREDDIT PS! Shout out to Expensive_Succotash5 for noting the TTPD intro poem's reference to being out of the oven, could be an allusion to Plath's death. Also shout-out to Good-Amphibian-7993 for this connection to a photo of Plath with a rose, not unlike Swift's album rose art.
2024.05.17 04:43 MelodramaticCrap So, Let’s Talk About DA4 and the Boxed Vinyl Set [da4 spoilers]
I don’t recall exactly when it launched for preorders, but the Bioware blog wrote a page on the 4LP box set on June 21, 2023. Before I get into the artwork, the bonus track D’read Koda is of particular note. See the Blog here:
DRAGON AGE SELECTIONS FROM THE VIDEO GAME SOUNDTRACK 4LP BOX SET – Official BioWare Gear Store
D’read Koda
Please check the D’read Koda track on YouTube if you haven’t already! To my ear, it sounds like a creepy lullaby with a crescendo at the end. The singing sounds like a warning of what’s to come. Or perhaps even a lament of what was loss. The final chanting sounds is a nice touch to my ears. The name itself appears to be a homage for our dear Egghead. Although, it perhaps may refer to something or someone else. In any case, a coda is described as the end of a musical piece. I have no musical training whatsoever, so I can’t comment too much on this. In any case, I wonder where we’ll here this. I personally like the idea that it will play at some point when initially booting up the main menu. I hope it’s part of a dynamic piece where it’ll lead into an alternative version of the song. Alas, I have had a taste of Borislav Slavov’s compositions and I wish there were more dynamic music in videogames.
Now Onto the Artwork!
The artwork is stunning even upon first glance. The images on the Bioware blog are a bit too small to really examine, thankfully, another redditor made a post showing more of the art here:
Vinyl Box Set Photos [no spoilers] :
https://preview.redd.it/4hsv9uj8hw0d1.jpg?width=2048&format=pjpg&auto=webp&s=2f7b3e27c49f752d4bf6bb0f64103ab8abbda9bd
I could very well be blind, but I was unable to find a post discussing the vinyl’s art in detail. From what I have read, and personally endorse, the artwork depicts Arlathan/the Black City. Given the lore Bioware has been teasing with trailers and books, this seems to be the likely answer. But hey, if anyone else wants to talk about this.
The first image shows a grand structure in the center. There’s always a change this is wrong, but let’s call it Arlathan. My eyes perceive the archway at the ground floor as a person’s figure. Their hat is pointed downwards like a V. Assuming this is one, I’m unable to place if this is one of the Evanuris. My best guess is Mythal because it looks like one of the murals in the temple of Mythal in DAI. I can’t discredit that I’m simply seeing what I’d like to, especially because it showed her dragon form. And pretty much all dragons have a curvature to their head.
Mythal's Dragon Mural
Naturally, there’s a pretty notable dragon at the top of the vinyl art. The autumnal growth at the sides forms the dragon’s wings. I see some dark and light lines but not to the extent of the “veins” in the second image. An eclipse (?) sits behind the dragon’s neck. I’m not too certain if there’s a particular meaning behind this imagery or if it’s only meant to be evocative. What looks like a mage highlighted in blue stands at the bottom rocks. Perhaps it’s Solas, perhaps not. Although, I find it interesting that the head of the staff matches the V that can be seen on the figure’s head.
Onwards to the More Fun Image!
https://preview.redd.it/p9wa109mhw0d1.jpg?width=3279&format=pjpg&auto=webp&s=f5c6b963f42a71946e595787c92c3004bd7e1206
The dragon is still very much there, only now it sports an interesting set of jutted horns by the maw. Even the tongue appears to slither from its jaw. Unless it’s a disturbing mouth monstrosity like the Mother has. Instead of the orange leaves we saw earlier, the wings now appear to consist of grotesque flesh. White “veins” are more easily seen on the wing’s interior. Given the combination of flesh and veins, I believe this is meant to represent the darkspawn taint. This might be the transformation of a dragon into an archdemon. There are certainly theories out there that the archdemons are actually the Evanuris or parts of the Evanuris but I can’t do it justice.
The city, Arlathan, has darkened and is now crumbling. The archway is missing, replaced by a weird vulva looking hole with pink tendrils stretching outwards. The tendrils make me think of the red lyrium veins we’ve seen before. Honestly, it leans towards the Lovecraftian and it makes me excited to see DAD get creepy. The top of the building (previously a spade) stands out. I can only see a woman stretching her arm upwards. The crumbling looks like her head got chewed off by the archdemon. Then again, that’s one weird looking neck lol. Once again, I’m thinking this figure is meant to be Mythal. Particularly, after she was betrayed by the other Evanuris. This would certainly be interesting if the archdemon is supposed to resemble Elgar’nan. The placement could make sense since it would depict the All-Father and All-Mother. I think Elgar’nan spoke the last line in the Thedas Calls Dragon Age Day trailer, so he may very well fit here.
You can also see 6 elven heads lined across the wings. I recognize the top right one as Ghilan’nain based on concept art that we’ve seen. ~~I totally did not write all of this simply because I saw her head~~ This seems to imply that the other 5 would then likely also be Evanuris. The numbers tally, if we subtract Fen’Harel from the group. I really can’t decipher the other gods, so hopefully there’s someone out there who can better identify them. Finally, the eclipse has revealed itself into a full-blown sun. An intriguing contrast to the destruction in the rest of the image. And look, no more egghead!
There’s obviously quite a bit going on here, but this is what I’m able to see. Granted, this all has been discussed before but the art makes for fun discussion. Anyone else want to share their thoughts on the artwork? What are some things you’re hoping to see in DAD? Look, I’m yet another person in a DAD drought and desperately need something to cling to before the summer reveal. ~~Manifesting a cinematic and gameplay trailer for summer game fest~~
TLDR: I believe we’re looking at the corruption of Arlathan by red lyrium (?) before it’s shown as the Black City. The dragon that may or not be Elgar’nan has transformed into what appears to be an archdemon. The blighted city crumbles after the betrayal of Mythal. Evanuris! (I did not mean to write an essay oops)
submitted by MelodramaticCrap to dragonage [link] [comments]
DRAGON AGE SELECTIONS FROM THE VIDEO GAME SOUNDTRACK 4LP BOX SET – Official BioWare Gear Store
D’read Koda
Please check the D’read Koda track on YouTube if you haven’t already! To my ear, it sounds like a creepy lullaby with a crescendo at the end. The singing sounds like a warning of what’s to come. Or perhaps even a lament of what was loss. The final chanting sounds is a nice touch to my ears. The name itself appears to be a homage for our dear Egghead. Although, it perhaps may refer to something or someone else. In any case, a coda is described as the end of a musical piece. I have no musical training whatsoever, so I can’t comment too much on this. In any case, I wonder where we’ll here this. I personally like the idea that it will play at some point when initially booting up the main menu. I hope it’s part of a dynamic piece where it’ll lead into an alternative version of the song. Alas, I have had a taste of Borislav Slavov’s compositions and I wish there were more dynamic music in videogames.
Now Onto the Artwork!
The artwork is stunning even upon first glance. The images on the Bioware blog are a bit too small to really examine, thankfully, another redditor made a post showing more of the art here:
Vinyl Box Set Photos [no spoilers] :
https://preview.redd.it/4hsv9uj8hw0d1.jpg?width=2048&format=pjpg&auto=webp&s=2f7b3e27c49f752d4bf6bb0f64103ab8abbda9bd
I could very well be blind, but I was unable to find a post discussing the vinyl’s art in detail. From what I have read, and personally endorse, the artwork depicts Arlathan/the Black City. Given the lore Bioware has been teasing with trailers and books, this seems to be the likely answer. But hey, if anyone else wants to talk about this.
The first image shows a grand structure in the center. There’s always a change this is wrong, but let’s call it Arlathan. My eyes perceive the archway at the ground floor as a person’s figure. Their hat is pointed downwards like a V. Assuming this is one, I’m unable to place if this is one of the Evanuris. My best guess is Mythal because it looks like one of the murals in the temple of Mythal in DAI. I can’t discredit that I’m simply seeing what I’d like to, especially because it showed her dragon form. And pretty much all dragons have a curvature to their head.
Mythal's Dragon Mural
Naturally, there’s a pretty notable dragon at the top of the vinyl art. The autumnal growth at the sides forms the dragon’s wings. I see some dark and light lines but not to the extent of the “veins” in the second image. An eclipse (?) sits behind the dragon’s neck. I’m not too certain if there’s a particular meaning behind this imagery or if it’s only meant to be evocative. What looks like a mage highlighted in blue stands at the bottom rocks. Perhaps it’s Solas, perhaps not. Although, I find it interesting that the head of the staff matches the V that can be seen on the figure’s head.
Onwards to the More Fun Image!
https://preview.redd.it/p9wa109mhw0d1.jpg?width=3279&format=pjpg&auto=webp&s=f5c6b963f42a71946e595787c92c3004bd7e1206
The dragon is still very much there, only now it sports an interesting set of jutted horns by the maw. Even the tongue appears to slither from its jaw. Unless it’s a disturbing mouth monstrosity like the Mother has. Instead of the orange leaves we saw earlier, the wings now appear to consist of grotesque flesh. White “veins” are more easily seen on the wing’s interior. Given the combination of flesh and veins, I believe this is meant to represent the darkspawn taint. This might be the transformation of a dragon into an archdemon. There are certainly theories out there that the archdemons are actually the Evanuris or parts of the Evanuris but I can’t do it justice.
The city, Arlathan, has darkened and is now crumbling. The archway is missing, replaced by a weird vulva looking hole with pink tendrils stretching outwards. The tendrils make me think of the red lyrium veins we’ve seen before. Honestly, it leans towards the Lovecraftian and it makes me excited to see DAD get creepy. The top of the building (previously a spade) stands out. I can only see a woman stretching her arm upwards. The crumbling looks like her head got chewed off by the archdemon. Then again, that’s one weird looking neck lol. Once again, I’m thinking this figure is meant to be Mythal. Particularly, after she was betrayed by the other Evanuris. This would certainly be interesting if the archdemon is supposed to resemble Elgar’nan. The placement could make sense since it would depict the All-Father and All-Mother. I think Elgar’nan spoke the last line in the Thedas Calls Dragon Age Day trailer, so he may very well fit here.
You can also see 6 elven heads lined across the wings. I recognize the top right one as Ghilan’nain based on concept art that we’ve seen. ~~I totally did not write all of this simply because I saw her head~~ This seems to imply that the other 5 would then likely also be Evanuris. The numbers tally, if we subtract Fen’Harel from the group. I really can’t decipher the other gods, so hopefully there’s someone out there who can better identify them. Finally, the eclipse has revealed itself into a full-blown sun. An intriguing contrast to the destruction in the rest of the image. And look, no more egghead!
There’s obviously quite a bit going on here, but this is what I’m able to see. Granted, this all has been discussed before but the art makes for fun discussion. Anyone else want to share their thoughts on the artwork? What are some things you’re hoping to see in DAD? Look, I’m yet another person in a DAD drought and desperately need something to cling to before the summer reveal. ~~Manifesting a cinematic and gameplay trailer for summer game fest~~
TLDR: I believe we’re looking at the corruption of Arlathan by red lyrium (?) before it’s shown as the Black City. The dragon that may or not be Elgar’nan has transformed into what appears to be an archdemon. The blighted city crumbles after the betrayal of Mythal. Evanuris! (I did not mean to write an essay oops)
2024.05.17 03:33 Fogerty45 Left-Handed Patterns, Fills, and Riffs
I am at somewhat of an impasse in my piano progress. I am self-taught, primarily through YouTube videos, HDPiano, reading, practicing, and improvising.
I cannot move beyond playing basic chords in my left hand, and it is sounding boring in all of my pieces. I do not know how to "learn" left-handed patterns, but I know it is a combination of arpeggios and some basic music theory to know what to play.
I am looking for guidance on song tutorials that teach the patterns, advice, tips, videos, or anything that can help me continue to progress, it is starting to get somewhat discouraging.
submitted by Fogerty45 to piano [link] [comments]
I cannot move beyond playing basic chords in my left hand, and it is sounding boring in all of my pieces. I do not know how to "learn" left-handed patterns, but I know it is a combination of arpeggios and some basic music theory to know what to play.
I am looking for guidance on song tutorials that teach the patterns, advice, tips, videos, or anything that can help me continue to progress, it is starting to get somewhat discouraging.
2024.05.17 03:28 throw_ra878 Tortured Poets—and wolves?—take us from 1989 TV to reputation TV
 | Amid all my attempts to tie The Tortured Poets Department to literature, poems, and the rest of Taylor Swift’s discography, I missed one of the most obvious references possible. With the song “Who’s Afraid of Little Old Me?” as a play on titles of other works—namely, “Who’s Afraid of the Big Bad Wolf?” and Who’s Afraid of Virginia Woolf?—Taylor Swift is calling herself a wolf. submitted by throw_ra878 to GaylorSwift [link] [comments] If Taylor Swift is calling herself a wolf, and that wolf is a dangerous force to be reckoned with, I wondered where else in her filmography or discography Swift has referenced or even identified with wolves, so I set out to see if there is a common (queer) thread tying it together. Swift directly references wolves just three times in her lyrical discography: “Daylight” from Lover and “Guilty as Sin?” and “The Prophecy” from The Tortured Poets Department, plus the indirect reference in the “Who’s Afraid of Little Old Me?” song title, also from Tortured Poets. However, the first time we meet wolves in Swift’s catalog is in the “Out of the Woods” music video from 1989, where our rabbit hole begins. My thesis: Tortured Poets is the mourning warning for what’s to come on reputation (Taylor's Version), and this is tied together by wolves and light versus dark imagery being threaded from 1989 (Taylor’s Version) through Tortured Poets, in addition to the scenery of the woods, underwater, and the beach. All of this is ultimately leading us out of the woods and into the daylight to fully understand reputation (Taylor's Version) through the lens of Tortured Poets. Are we out of the woods yet?We first see wolves in the “Out of the Woods” music video. A pack of snarling wolves is chasing Swift through a dark forest, even shredding her evening gown (hello, "The Alcott") trying to attack her. Once she emerges from the woods, Swift and the wolves run through a snowy landscape, but it becomes unclear whether Swift is running from or with the wolves. By the end of the music video, Swift and the wolves appear to coexist.Taylor Swift in the \"Out of the Woods\" music video Swift re-released 1989 in 2023, and the lyric video for “Out of the Woods (Taylor’s Version)” shows the exact tour visuals from the 1989 World Tour. The visuals show two wolves running through the dark forest along a body of water that shows their reflections. There are multiple “twos” throughout the lyric video (which have been flashed incessantly during the Tortured Poets era) but there are a few other notable things. First, the wolves appear to be ghosts or phantoms, transparent and glowing only in the moonlight. Second, the two wolves emerge from the forest together, then leap from the cliff and turn to dust as the song ends. For reference for anyone who wants to watch all of these:
Swift “finds herself” on a sunny beach. The version of Swift that has braved and endured the trials and tribulations of the forest, fires, and more reunites with this version of herself. This is the last music video of the seven (! and, of course, "seven" is tied up in this theory later on) released during the original 1989 era, which leads us directly to reputation, namely, “Look What You Made Me Do.” What did we make her do?No, Taylor Swift doesn’t reference wolves on reputation or in the song “Look What You Made Me Do,” but reputation is tied to the symbolism of “Out of the Woods.” The LWYMMD music video opens with the version of Swift we saw at the end of OOTW picking up where we left off, except it appears Swift (or at least her reputation, as is displayed on the gravestone) is dead and buried.Wolves typically represent the untamed, wildness, and freedom. In many adages and fables about wolves, there tends to be a duality, either with wolves versus their domesticated counterparts in dogs or good and light versus evil and dark. For Swift to run from then become a wolf signifies a desire to outrun her own identity—something wild and dangerous—only to accept it and find peace in the light. For Swift to have found this version of herself and come to accept it in OOTW only to see it buried in LWYMMD suggests the thing “we made her do” is kill off that version of herself to save her reputation. I interpret this as a dangerous element of Swift’s self, potentially queerness, being so threatening to her reputation that she was forced to bury or conceal it despite thinking she was finally “out of the woods,” grounding the plane we see Taylor saw the wings off at the end of the music video. Aligned with the Karma/lost album theory, Swift’s plans were scrapped and replaced with reputation, and the thing she sought to do—come out—forced another rebirth in LWYMMD. Swift is notably caged in LWYMMD in an orange jumpsuit reminiscent of a prisoner’s, and there is more caged imagery aligned to wolves later in Swift’s lyrics, especially in the Tortured Poets tracks tied to this theory. More on that soon. To bring this full circle, I believe this is the reason 1989 (Taylor’s Version) is beach-themed: Swift is reclaiming the union of her two selves that she should have been able to claim post-1989 originally before the events that inspired reputation came to be. For some more bonus content, the LWYMMD lyric video includes a typewriter that appears to be writing a manuscript for a film or play: Screenshot from the official LWYMMD lyric video She only saw daylightSwift mentions wolves for the very first time in her lyrics on “Daylight,” the last track of Lover, her first owned album and what is thought to be the “coming out” album. (And, in my opinion, the aesthetic no one noticed that forced her to become a non-functioning alcoholic.)Maybe you ran with the wolves and refused to settle downTo run with the wolves is to live wildly with unbridled freedom, typically against societal norms. In psychology, there is a concept of “women who run with wolves” as women rediscovering their wild and their passions. Several reflections I found on this concept relative to queerness discuss the idea of wolfpacks and tribes, and I see this in “Daylight” as Swift focuses not only on emerging from the darkness herself but bringing someone else with her ("threw out our cloaks and our daggers"), allowing them to abandon the frustration represented by storming out of rooms or the need to run instead of standing in the light. As we know, sadly, Swift returns to the woods in folklore and evermore after another ruining of her “best-laid plans” despite emerging from a “twenty-year dark night” and “throwing out [her cloak and dagger]” in “Daylight.” On The Eras Tour, the folklore and evermore sets take place in the forest at night under a massive moon similar to the one in the “Out of the Woods” lyric video and original tour visuals for 1989. Swift also famously wears a cloak during the “willow” performance on tour. Taylor Swift performing \"willow\" on The Eras Tour in a cloak Following folklore and evermore, Swift released Midnights, a continued commentary on the light versus dark motif representing “thirteen sleepless nights” across Swift’s life. The next references to wolves don’t come until The Tortured Poets Department. There are two, both on songs that (I believe) describe an identity crisis and struggle: “Guilty as Sin?” and “The Prophecy” as well as the indirect reference in “Who’s Afraid of Little Old Me?” that started me down this rabbit hole. As noted above, these songs also reference cages and being trapped. She (still) dreams of throwing her life to the wolvesThe Tortured Poets Department plays with dark and light, a frequent motif in Swift’s discography. While the standard version of the album is represented by white with a relaxed image of Swift’s body literally laid back with a notable ray of sunlight over it, The Anthology is near-black and pictures Swift holding her head in anguish.Both versions of The Tortured Poets Department official album artwork, representing light versus dark Swift mentioned that Tortured Poets was written about the “last two years” of her life, and I feel this has been mischaracterized and reduced to focus only on the highly public elements of her love life. Swift likely spent those two years deep in her rerecording process for all four albums following Fearless (Taylor’s Version) and Red (Taylor’s Version). During this two-year timespan, we can assume Swift likely recorded Speak Now (Taylor’s Version) and 1989 (Taylor’s Version) in addition to their releases, and it is likely that Swift has already recorded reputation (Taylor’s Version) and Taylor Swift (Taylor’s Version) in the same timeframe. For Swift to say that Tortured Poets represents "the end of this chapter of the author’s life" most likely signifies a closing door on a period of deep retrospective. I believe this is the crux of Tortured Poets entirely. I find it probable, not just possible, that much of Tortured Poets references this process and Swift’s experience and feelings unearthing and rerecording these albums. In revisiting those “eras” (or times in her actual life as a human being), I imagine the process to be quite painful. For anyone, revisiting diary entries (or souvenirs as Swift calls them in “The Manuscript”) from painful times in one’s life would be difficult enough, but to rerecord music that may have been so painful for entertainment purposes must be another beast altogether, especially after being essentially forced into the retrospective after her album catalog was stolen from her, or potentially viewing the music you wrote at the time differently through the lens of new perspective… Just, ouch. As an aside, with both Midnights and Tortured Poets, Swift seems to be making the “paternity testing” she discusses on reputation of her music more difficult, ascribing the periods of the album-writing to broader swaths of time over her life that weave further into her past, perhaps (and likely) referencing more than her love life or what the public knows. I believe “Guilty as Sin?” refers to the “Out of the Woods” music video. Swift runs from the wolves to save herself, and there’s even a point when Swift jumps off a snowy cliff into the ocean, and it seems Swift dreams about this moment in “Guilty as Sin?” and perhaps the song was even inspired by the 1989 rerecording process. My boredom's bone deepWe see the same imagery—Swift seemingly drowning in the ocean—on The Eras Tour during “my tears ricochet,” reminiscent of the “Out of the Woods” imagery. Swift sings MTR right after “illicit affairs,” a song in which Swift tells her muse she would “ruin [herself] a million little times” to be with them, the same phenomenon Swift has been singing about since at least 1989. Swift also sings about her “stolen lullabies” during “my tears ricochet,” tying the song to at least the events that triggered the rerecording process. Image from live performance of “my tears ricochet” from The Eras Tour (2023) where Swift can be seen falling deeply into the ocean (and potentially not trying to swim or save herself) Still image from the “Out of the Woods” music video where Swift nearly drowns before finding herself spit out back on the beach Potentially also notably, the lyric video for “Is It Over Now?” from 1989 even features sheets swirling like the ocean does in the MTR tour visuals. Image from live performance of “my tears ricochet” from The Eras Tour (2023) Still image from the “Is It Over Now? (From The Vault)” lyric video This is notable because during the acoustic set of The Eras Tour, Swift has performed a mashup of “Out of the Woods” and “Is It Over Now?” from 1989 (Taylor’s Version). At the time of writing this post, Swift has sung the mashup twice on her tour, once in Argentina on November 11th—or 11/11, a callback to the doubles and duality concept—and once in Paris on May 10th (which also happened to be the second night of the Paris tour stop, and 10 is a double of 5, for those keeping track at home). Quick, semi-wolf-related tangentSo we’ve established that OOTW and IION? are connected, and I found yet another song that seems to be referencing the same moment in time as OOTW: “But Daddy I Love Him.” In both songs, Swift and her muse experience “the heat” or a backlash against their relationship, then find a seemingly happy ending: In BDILH, Swift’s parents “came around” to accept the relationship, and in OOTW, the monsters were just trees.https://preview.redd.it/9avqekl0xv0d1.png?width=2144&format=png&auto=webp&s=3b5f9d232050387ddd7723936568203b6171122b Linking these three songs, I find it interesting that Swift sings, “But fuck it, it’s over” during BDILH, perhaps an answer to the final track of 1989 (Taylor’s Version) that begs, “Is it over now?” repeatedly. That’s not where the similarities end, either. There are also two references to the phrase “good name” in Tortured Poets. Merriam-Webster defines a “good name” as a person’s good reputation. This leads me to believe these songs, namely “Who’s Afraid of Little Old Me?” (wolf reference) and “But Daddy I Love Him” directly reference reputation and the scandals that marked the start of the reputation era and what the Lover era tried (yet failed again) to accomplish. https://preview.redd.it/up1tjgc7xv0d1.png?width=1970&format=png&auto=webp&s=963e0bac1f837ff6f9f845bf789dcae75f021b5f As a side note, her “good name” could also be a double entendre nod to Swift’s other upcoming rerecorded album, Taylor Swift (Taylor’s Version), in a very meta sense of the phrase, which would represent a country album that would likely be less well-received coming from an openly queer artist. Back to the wolvesThe last time Swift mentions wolves is in “The Prophecy,” a song from The Anthology version of Tortured Poets, comparing herself to a wolf howling.A greater woman stays coolSwift fights against fate, howling at the moon. The coven and sorceress’ table call back to the cloaks and daggers Swift threw out in “Daylight,” signaling that she has found herself yet again in the darkness or night which, of course, is the only time the moon would be visible to howl at. As an aside, this is not dissimilar from the picture she paints of herself in “seven” from folklore, screaming “ferociously anytime [she] wanted,” another song tied to 1989 via The Eras Tour in which Swift had previously (and has now removed) a “seven” x “Wildest Dreams” spoken interlude (or poem!) before the folklore set, further linking the two albums with the woods and darkness motifs, as well as the concept of “wildness” in both songs. Overall, “The Prophecy” seems to describe the version of Swift we see in the “Out of the Woods” music video before she reaches acceptance. Swift is constantly battling against natural elements and forces, fighting back against her true and fated self or the path she finds herself on. There is, however, still a happy ending. The wolves eventually reach the end of the woods together. The heat dies down, the monsters are just trees, and the parents come around. What “The Prophecy” represents are the moments when that journey through the woods seems neverending, not necessarily Swift's current feelings about her life. It’s (almost) overWhen discussing her short film for “All Too Well (Taylor’s Version),” Swift talks about how she would have been unable to create this kind of art without the perspective she’s gained in the years since. The fictionalized version of Swift in Tavi Gevinson’s “Fan Fiction” also comments on the “Taylor’s Version” element of the rerecording, which I find to be an apt description of what it must be like to create and have others consume the art in this context—that listeners should be made to feel uncomfortable with the added context that has come from the retrospective wisdom of the artist in hindsight.In it, Swift says: Her unrealistic expectations should only emphasize the gulf between their experiences. Her capacity for remembering, compared to his, is a symptom of youth. And her need for control, to tell the story, might also be seen as a trauma response. The line “The idea you had of me—who was she?” indicates that he was the first to dehumanize-by-idealizing. It should be unsettling to relisten to the 2012 version with the understanding that they had been living in his fantasy.(Don't even get me started on "Fan Fiction." Or do. Maybe it'll be fun.) In summary, my theory is this: Inserting Tortured Poets between the sequential release of 1989 (Taylor’s Version) and reputation (Taylor’s Version) serves as the necessary lens and context to properly read reputation for what it is and what it represents to Taylor Swift. Not only is Tortured Poets a commentary on fame, identity, and this highly vulnerable process and moment she finds herself in, but the lens through which all her rerecordings must be listened to through. |
2024.05.17 02:49 ChampionshipFine3988 What is the best Classical harmony book?
I understand that there are many similar questions,
but in my case, I have already read a few basic music theory books and Berklee book of Jazz Harmony, which was already very dense to me.
I wish to venture into classical equivalent of 'Berklee book of Jazz Harmony'.
Could anyone recommend a book?
submitted by ChampionshipFine3988 to musictheory [link] [comments]
but in my case, I have already read a few basic music theory books and Berklee book of Jazz Harmony, which was already very dense to me.
I wish to venture into classical equivalent of 'Berklee book of Jazz Harmony'.
Could anyone recommend a book?
2024.05.17 01:41 AOTTTN I’m not new to FL studio, but completely new to music composition. Is this a good start as I have never learnt any music theory before? Which part should I focus on?
 | submitted by AOTTTN to FL_Studio [link] [comments] |