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2024.06.05 20:57 shahla_naz The Enchanting Ensembles: Unveiling the Magic of Musical Instruments (Pre-1930s) - A Journey Through String and Song
For centuries before the dawn of the 1930s, musical instruments held a captivating power. They weren't just tools for creating melodies; they were believed to possess a touch of the mystical, weaving emotions, transporting listeners to different worlds, and even influencing the natural world. This article delves into the enchanting realm of pre-1930s musical instruments, particularly focusing on the captivating world of strings
Strings That Sing: A Legacy of Enchantment
String instruments have been woven into the fabric of human history for millennia. The harp, with its celestial melodies, was said to have calmed storms and soothed the savage beast according to ancient Greek myths. In India, the sitar, a long-necked fretted instrument, was believed to be a bridge between the human and divine realms, its music a form of meditation for the player and a pathway to enlightenment for the listener.
The Stats Speak for Themselves:
· The history of string instruments stretches back an estimated 5,000 years, with evidence of lutes and harps found in ancient Mesopotamia and Egypt.
· String instruments were some of the most popular instruments in the pre-1930s, featuring prominently in courtly music, religious ceremonies, and folk traditions across the globe.
· A study published in 2014 found that listening to string music can improve cognitive function and reduce stress.
String Instruments: A Symphony of Sounds
The Violin: This versatile instrument, with its soaring melodies and heart-wrenching cries, emerged in the 16th century. It quickly became a cornerstone of European classical music, featuring in solo performances, chamber ensembles, and orchestras. The intricate craftsmanship of violins like those by Stradivari and Guarneri del Gesù added to their mystique, with some believing the wood used held a special resonance.
The Lute: A fretted instrument with a pear-shaped body, the lute enjoyed immense popularity from the Renaissance to the Baroque period (roughly 14th-18th centuries). Its delicate plucked strings produced a range of sweet and melancholic tones, perfect for accompanying singers and for solo pieces. The lute was often seen as a symbol of courtly love and sophistication.
The Harp: With its ethereal sound and elegant form, the harp has been a symbol of music and poetry for millennia. From the clàrsach, the Gaelic harp with its haunting melodies, to the grand concert harps seen in orchestras, the harp's strings resonated with a magical quality. In some cultures, it was said to possess healing powers and the ability to connect with the spirit world.
The Guitar: The guitar, with its rich history and diverse forms, has always held a special place in musical traditions. In Spain, the flamenco guitar, with its percussive playing style and passionate sound, was believed to embody the fiery spirit of flamenco dance. In the Americas, the various forms of guitar, from the six-string to the twelve-string, became integral to folk and popular music, weaving tales of love, loss, and rebellion.
Beyond the Strings: A Symphony of Craftsmanship, Performance, and Belief
The pre-1930s witnessed a time when musical instruments weren't just tools for creating melodies; they were imbued with a deeper magic woven from the meticulousness of their construction, the symbolic power of materials, and the transformative nature of performance.
A Symphony of Craftsmanship:
The creation of a pre-1930s instrument was an art form in itself. Master luthiers, with years of honed skills and a deep understanding of wood, meticulously crafted each instrument. The choice of materials itself held significance.
· Rare Woods: Spruce, known for its light weight and resonant qualities, was often used for soundboards, while denser woods like ebony and rosewood provided strength and tonal richness for backs and fingerboards. The selection of wood wasn't just practical; it was believed to imbue the instrument with a distinct character. For example, some cultures associated rosewood with a warm and earthy sound, while spruce was believed to lend a brighter and more ethereal quality.
· Intricate Carvings: Many instruments, particularly lutes and harps, were adorned with intricate carvings. These weren't just decorative; they often held symbolic meaning. Carvings of mythical creatures, religious figures, or floral patterns served as visual representations of the music's power or the cultural significance of the instrument.
· Precious Metals: Accents of gold, silver, or even ivory were sometimes incorporated into instruments, particularly those owned by royalty or used in religious ceremonies. These precious materials added not just value but also a sense of awe and reverence to the instrument, further elevating its perceived power.
Performance as a Magical Act:
The act of playing a pre-1930s instrument wasn't just about technical skill; it was often seen as a form of magic. Skilled musicians were revered for their ability to coax emotions from their instruments, weaving stories through sound that could transport listeners to different worlds.
· Channeling the Divine: In some cultures, musicians were seen as conduits between the human and the divine realm. Their performances were believed to be a form of channeling, using the music to connect with higher powers or influence the natural world. This belief added a layer of mysticism to the act of playing, further amplifying the perceived magic of the instruments.
· Weaving Stories Through Sound: The limitations of technology in the pre-1930s era meant music relied heavily on storytelling through sound. Skilled musicians used their instruments to create narratives, employing dynamics, phrasing, and improvisation to paint vivid pictures with notes. This ability to evoke emotions and tell stories through music further solidified the instrument's role as a magical tool.
The Enduring Magic:
While the 20th century brought advancements in instrument production, the magic of pre-1930s instruments continues to resonate. The meticulous craftsmanship, the symbolic power of materials, and the transformative nature of performance with these instruments remain a testament to the enduring power of music to connect us to something larger than ourselves.
Stats and Anecdotes: Unveiling the Mystique
· The Traveling Fiddler: In many European cultures, there were superstitions surrounding fiddlers. It was believed that they could bring bad luck or even cause storms if they were not treated with respect. This superstition highlights the power and potential danger that was associated with music and musicians.
· The Healing Power of Music: The ancient Greeks believed that music, particularly music played on string instruments like the lyre, could cure illnesses and restore balance to the body and mind. This belief in the therapeutic power of music continues to this day, with music therapy becoming a recognized medical practice.
· The Stolen Stradivarius: The story of the "Messiah" Stradivarius violin, stolen from violinist Erick Friedman in 1936, highlights the almost mythical status of some instruments. The violin, valued at millions of dollars, has never been recovered and continues to be shrouded in mystery.
The Enduring Legacy: A Symphony Beyond the Decades
While the rise of electronic instruments and new musical styles in the post-1930s era has changed the musical landscape, the magic of pre-1930s string instruments continues to resonate. Here's how:
Preserved Traditions: String instruments remain central to many traditional music forms around the world. From the soaring bagpipes of Scotland to the soulful fiddles of Appalachia, pre-1930s string instruments continue to be the beating heart of these vibrant cultural expressions.
Classical Cornerstone: Violins, cellos, double basses, and harps remain the backbone of the classical orchestra, their rich tones and complex melodies transporting listeners to bygone eras. The continued popularity of classical music ensures these instruments remain relevant and cherished.
Modern Inspiration: The sounds and techniques developed for pre-1930s string instruments continue to inspire modern musicians. Folk and rock artists incorporate elements of blues guitar playing, while jazz musicians draw inspiration from the improvisational techniques of violinists and guitarists from earlier eras.
Museum Magic: Instruments from the pre-1930s are not just relics of the past; they are living testaments to human ingenuity and artistic expression. Many museums around the world house collections of these instruments, allowing visitors to marvel at their craftsmanship and sometimes even hear them played.
The Future Symphony: A Blend of Old and New
The future of music promises a fascinating blend of old and new. While electronic instruments continue to evolve, the unique sound and soulful expression of pre-1930s string instruments will undoubtedly continue to captivate audiences. Perhaps future innovations will even bridge the gap between the traditional and the digital, creating exciting new possibilities for string instruments in the years to come.
The magic of these instruments lies not just in their physical form but in their ability to evoke emotions, tell stories, and connect us to something larger than ourselves. Whether crafted by a revered master or a local luthier, each instrument holds within its strings the potential to weave a symphony of sound and emotion, keeping the legacy of pre-1930s musical instruments vibrant for generations to come.
Unveiling a Treasure Trove: Exploring Pre-1930s Instruments with TrueGether
For those captivated by the allure of pre-1930s string instruments, online marketplaces like TrueGether offer a treasure trove of discoveries. TrueGether boasts a curated selection of vintage instruments, including stringed beauties from this bygone era. Whether you are a seasoned collector searching for a rare find or a budding musician seeking a piece of history to fuel your passion, TrueGether provides a platform to explore these enchanting instruments.
While the current selection on TrueGether, the best alternative to eBay, might be limited, with only a single Vintage Roth 3/4 Violin available at the time of this writing, it serves as a starting point for your exploration. By diligently checking TrueGether's listings, you might just stumble upon the perfect pre-1930s string instrument to add a touch of timeless magic to your musical collection. Remember, with prices starting at an affordable $22.53, TrueGether makes owning a piece of musical history more accessible than ever.
Go and grab the best deals now!
submitted by shahla_naz to u/shahla_naz [link] [comments]
Strings That Sing: A Legacy of Enchantment
String instruments have been woven into the fabric of human history for millennia. The harp, with its celestial melodies, was said to have calmed storms and soothed the savage beast according to ancient Greek myths. In India, the sitar, a long-necked fretted instrument, was believed to be a bridge between the human and divine realms, its music a form of meditation for the player and a pathway to enlightenment for the listener.
The Stats Speak for Themselves:
· The history of string instruments stretches back an estimated 5,000 years, with evidence of lutes and harps found in ancient Mesopotamia and Egypt.
· String instruments were some of the most popular instruments in the pre-1930s, featuring prominently in courtly music, religious ceremonies, and folk traditions across the globe.
· A study published in 2014 found that listening to string music can improve cognitive function and reduce stress.
String Instruments: A Symphony of Sounds
The Violin: This versatile instrument, with its soaring melodies and heart-wrenching cries, emerged in the 16th century. It quickly became a cornerstone of European classical music, featuring in solo performances, chamber ensembles, and orchestras. The intricate craftsmanship of violins like those by Stradivari and Guarneri del Gesù added to their mystique, with some believing the wood used held a special resonance.
The Lute: A fretted instrument with a pear-shaped body, the lute enjoyed immense popularity from the Renaissance to the Baroque period (roughly 14th-18th centuries). Its delicate plucked strings produced a range of sweet and melancholic tones, perfect for accompanying singers and for solo pieces. The lute was often seen as a symbol of courtly love and sophistication.
The Harp: With its ethereal sound and elegant form, the harp has been a symbol of music and poetry for millennia. From the clàrsach, the Gaelic harp with its haunting melodies, to the grand concert harps seen in orchestras, the harp's strings resonated with a magical quality. In some cultures, it was said to possess healing powers and the ability to connect with the spirit world.
The Guitar: The guitar, with its rich history and diverse forms, has always held a special place in musical traditions. In Spain, the flamenco guitar, with its percussive playing style and passionate sound, was believed to embody the fiery spirit of flamenco dance. In the Americas, the various forms of guitar, from the six-string to the twelve-string, became integral to folk and popular music, weaving tales of love, loss, and rebellion.
Beyond the Strings: A Symphony of Craftsmanship, Performance, and Belief
The pre-1930s witnessed a time when musical instruments weren't just tools for creating melodies; they were imbued with a deeper magic woven from the meticulousness of their construction, the symbolic power of materials, and the transformative nature of performance.
A Symphony of Craftsmanship:
The creation of a pre-1930s instrument was an art form in itself. Master luthiers, with years of honed skills and a deep understanding of wood, meticulously crafted each instrument. The choice of materials itself held significance.
· Rare Woods: Spruce, known for its light weight and resonant qualities, was often used for soundboards, while denser woods like ebony and rosewood provided strength and tonal richness for backs and fingerboards. The selection of wood wasn't just practical; it was believed to imbue the instrument with a distinct character. For example, some cultures associated rosewood with a warm and earthy sound, while spruce was believed to lend a brighter and more ethereal quality.
· Intricate Carvings: Many instruments, particularly lutes and harps, were adorned with intricate carvings. These weren't just decorative; they often held symbolic meaning. Carvings of mythical creatures, religious figures, or floral patterns served as visual representations of the music's power or the cultural significance of the instrument.
· Precious Metals: Accents of gold, silver, or even ivory were sometimes incorporated into instruments, particularly those owned by royalty or used in religious ceremonies. These precious materials added not just value but also a sense of awe and reverence to the instrument, further elevating its perceived power.
Performance as a Magical Act:
The act of playing a pre-1930s instrument wasn't just about technical skill; it was often seen as a form of magic. Skilled musicians were revered for their ability to coax emotions from their instruments, weaving stories through sound that could transport listeners to different worlds.
· Channeling the Divine: In some cultures, musicians were seen as conduits between the human and the divine realm. Their performances were believed to be a form of channeling, using the music to connect with higher powers or influence the natural world. This belief added a layer of mysticism to the act of playing, further amplifying the perceived magic of the instruments.
· Weaving Stories Through Sound: The limitations of technology in the pre-1930s era meant music relied heavily on storytelling through sound. Skilled musicians used their instruments to create narratives, employing dynamics, phrasing, and improvisation to paint vivid pictures with notes. This ability to evoke emotions and tell stories through music further solidified the instrument's role as a magical tool.
The Enduring Magic:
While the 20th century brought advancements in instrument production, the magic of pre-1930s instruments continues to resonate. The meticulous craftsmanship, the symbolic power of materials, and the transformative nature of performance with these instruments remain a testament to the enduring power of music to connect us to something larger than ourselves.
Stats and Anecdotes: Unveiling the Mystique
· The Traveling Fiddler: In many European cultures, there were superstitions surrounding fiddlers. It was believed that they could bring bad luck or even cause storms if they were not treated with respect. This superstition highlights the power and potential danger that was associated with music and musicians.
· The Healing Power of Music: The ancient Greeks believed that music, particularly music played on string instruments like the lyre, could cure illnesses and restore balance to the body and mind. This belief in the therapeutic power of music continues to this day, with music therapy becoming a recognized medical practice.
· The Stolen Stradivarius: The story of the "Messiah" Stradivarius violin, stolen from violinist Erick Friedman in 1936, highlights the almost mythical status of some instruments. The violin, valued at millions of dollars, has never been recovered and continues to be shrouded in mystery.
The Enduring Legacy: A Symphony Beyond the Decades
While the rise of electronic instruments and new musical styles in the post-1930s era has changed the musical landscape, the magic of pre-1930s string instruments continues to resonate. Here's how:
Preserved Traditions: String instruments remain central to many traditional music forms around the world. From the soaring bagpipes of Scotland to the soulful fiddles of Appalachia, pre-1930s string instruments continue to be the beating heart of these vibrant cultural expressions.
Classical Cornerstone: Violins, cellos, double basses, and harps remain the backbone of the classical orchestra, their rich tones and complex melodies transporting listeners to bygone eras. The continued popularity of classical music ensures these instruments remain relevant and cherished.
Modern Inspiration: The sounds and techniques developed for pre-1930s string instruments continue to inspire modern musicians. Folk and rock artists incorporate elements of blues guitar playing, while jazz musicians draw inspiration from the improvisational techniques of violinists and guitarists from earlier eras.
Museum Magic: Instruments from the pre-1930s are not just relics of the past; they are living testaments to human ingenuity and artistic expression. Many museums around the world house collections of these instruments, allowing visitors to marvel at their craftsmanship and sometimes even hear them played.
The Future Symphony: A Blend of Old and New
The future of music promises a fascinating blend of old and new. While electronic instruments continue to evolve, the unique sound and soulful expression of pre-1930s string instruments will undoubtedly continue to captivate audiences. Perhaps future innovations will even bridge the gap between the traditional and the digital, creating exciting new possibilities for string instruments in the years to come.
The magic of these instruments lies not just in their physical form but in their ability to evoke emotions, tell stories, and connect us to something larger than ourselves. Whether crafted by a revered master or a local luthier, each instrument holds within its strings the potential to weave a symphony of sound and emotion, keeping the legacy of pre-1930s musical instruments vibrant for generations to come.
Unveiling a Treasure Trove: Exploring Pre-1930s Instruments with TrueGether
For those captivated by the allure of pre-1930s string instruments, online marketplaces like TrueGether offer a treasure trove of discoveries. TrueGether boasts a curated selection of vintage instruments, including stringed beauties from this bygone era. Whether you are a seasoned collector searching for a rare find or a budding musician seeking a piece of history to fuel your passion, TrueGether provides a platform to explore these enchanting instruments.
While the current selection on TrueGether, the best alternative to eBay, might be limited, with only a single Vintage Roth 3/4 Violin available at the time of this writing, it serves as a starting point for your exploration. By diligently checking TrueGether's listings, you might just stumble upon the perfect pre-1930s string instrument to add a touch of timeless magic to your musical collection. Remember, with prices starting at an affordable $22.53, TrueGether makes owning a piece of musical history more accessible than ever.
Go and grab the best deals now!
2024.06.05 18:25 Lille_8 Tips for Reaching Farther with my Fourth Finger?
I'm playing the Devil's Trill sonata right now and in a few places in the trill sections, my pinkie doesn't quite reach as far as it needs to. It is either a bit flat or it touches another string, making the double stop not clean. I am swinging my elbow under the violin but my pinkie still can't reach. My pinkie is on the short side. Are there any other tips for reaching those notes? Thanks for the help!
submitted by Lille_8 to violinist [link] [comments]
2024.06.05 16:27 Infamous_Worth_9727 Trying out an intro
Im very inspired by "Your lie in april" So if you see similarities, Thats why :> this is a new story and i have the concept in my mind.. I only have the intro written so far. If i made any errors or if u have suggestions, It'd be good to know :>
*The melody briefly echoed throughout the Grand Concert Hall, the strains of Beethoven's 'Kreutzer Sonata' filling the air with an electrifying presence. Played with such passion, one could easily mistake it for the handiwork of the legendary Ludwig van Beethoven himself.\*
The grand piano resonated with precision under Kanade's masterful touch, as if guided by the spirit of Beethoven himself. Her fingers moved effortlessly across the keys, each note delivered with menacing accuracy. Even the rare mistake seemed to seamlessly integrate into Beethoven's composition, as though it had always belonged among the notes.
Beside her, the violin sang with graceful elegance under Rei's skilled bow. Every stroke elicited a longing from the audience, a desire to hear more. Rei's fixation on his instrument was unmatched, his dedication palpable in every note.\*
As the Presto unfurled, the melody quickened to a frantic pace, the music racing like a wild stallion unleashed upon the open plains. Kanade and Rei both played with a graceful motion, Despite the enforced speed, they tackled every passage with unwavering determination, As Kanade and Rei briefly Glance at eachother, With a look of reassurance to the other.
As the andante con variazioni unfolded, the music softened to a gentler symphony. Kanade's piano provided a delicate backdrop, creating space for Rei's violin to take center stage. But without warning, the presto returned in a flash, a triumphant crescendo engulfing the audience in its powerful embrace. As Kanade and Rei's prides arised, As they attempt to overpower eachother’s melodies in this fight for dominance.
And as the final chords rang out into the night, Silence filled the Hall. The audience speechless and entranced by the performance. As they recieved applause.
submitted by Infamous_Worth_9727 to writingfeedback [link] [comments]
*The melody briefly echoed throughout the Grand Concert Hall, the strains of Beethoven's 'Kreutzer Sonata' filling the air with an electrifying presence. Played with such passion, one could easily mistake it for the handiwork of the legendary Ludwig van Beethoven himself.\*
The grand piano resonated with precision under Kanade's masterful touch, as if guided by the spirit of Beethoven himself. Her fingers moved effortlessly across the keys, each note delivered with menacing accuracy. Even the rare mistake seemed to seamlessly integrate into Beethoven's composition, as though it had always belonged among the notes.
Beside her, the violin sang with graceful elegance under Rei's skilled bow. Every stroke elicited a longing from the audience, a desire to hear more. Rei's fixation on his instrument was unmatched, his dedication palpable in every note.\*
As the Presto unfurled, the melody quickened to a frantic pace, the music racing like a wild stallion unleashed upon the open plains. Kanade and Rei both played with a graceful motion, Despite the enforced speed, they tackled every passage with unwavering determination, As Kanade and Rei briefly Glance at eachother, With a look of reassurance to the other.
As the andante con variazioni unfolded, the music softened to a gentler symphony. Kanade's piano provided a delicate backdrop, creating space for Rei's violin to take center stage. But without warning, the presto returned in a flash, a triumphant crescendo engulfing the audience in its powerful embrace. As Kanade and Rei's prides arised, As they attempt to overpower eachother’s melodies in this fight for dominance.
And as the final chords rang out into the night, Silence filled the Hall. The audience speechless and entranced by the performance. As they recieved applause.
2024.06.05 09:26 tea_bubble_tea Games with post-shibuya kei soundtracks?
I was listening to some classics by Tomosuke Funaki (most of which were featured in bemani games like pop'n music) and I noticed a couple of songs using a very specific style, with cute vocals on top of bouncy 8bit synths and disco violins.
The genre could probably be labelled under post shibuya-kei, but there's something specific about these tracks that felt familiar although I couldn't exactly point down what they reminded me of. The first thing that came to mind was obviously Katamari Damacy or maybe even stuff from Elebits (which was composed by Nekomata Master), but I didn't play either of these games growing up and it wouldn't really justify the nostalgia factor. Does anyone have any recommendations for soundtracks or even one off songs with a similar style?
On a completely different and mostly unrelated note, I was also looking for cute piano arrangements with fast tempos but soft melodic movements. I heard a couple beautiful compositions for Deemo II by Tomggg and Miyolophone and I don't know if it's something intrinsic about the melodies but they also felt reminiscent of something I can't put my finger on. Once again if I had to guess, these kinda remind me of stuff by Mitsukiyo but preferably with a faster tempo, so I'm also open for suggestions for similar stuff under that front. Thanks!
submitted by tea_bubble_tea to gamemusic [link] [comments]
The genre could probably be labelled under post shibuya-kei, but there's something specific about these tracks that felt familiar although I couldn't exactly point down what they reminded me of. The first thing that came to mind was obviously Katamari Damacy or maybe even stuff from Elebits (which was composed by Nekomata Master), but I didn't play either of these games growing up and it wouldn't really justify the nostalgia factor. Does anyone have any recommendations for soundtracks or even one off songs with a similar style?
2024.06.04 20:28 WeirdoTheMusical84 Looking for a collaborator (composer/librettist) for a Gothic-inspired period musical
NOTE: As much as I am forever grateful for the amount of resources available, and y'all for providing them, please do not comment unless you are actually interested in collaborating on the project. Thank you so much!
TRIGGER WARNING: This show contains strong language and depicts graphic murder, parental death, as well as the death of a young child. Please be advised before taking on the project if you are comfortable with that subject matter.
LOGLINE: After her parents died in a car accident when she was a baby, a young woman has been raised in a mental institution, unawares of her true family, until the day an older lady shows up at the institution's door, claiming to be her older biological sister...but what none of them know is that she's a serial killer.
This is a musical I originally came up with the idea with about a year ago now, after having to do some research about mental institutions for a research paper of mine. The story of how I came up with the show itself is rather weird, in my opinion. Ever seen those "you wouldn't last a day in the asylum where they raised me" posts on social media?
My brain thought it'd be a good idea to make that quite literal.
Sorry, the logline is quite vague, that's my apologies. The show takes place in post-WW2 (the year in my head is 1947/1948) deep American South, say Alabama, Mississippi, or Louisiana. The setting and time period are left vague in the script anyways.
The main character, Helen, as the logline says, has been raised in a mental institution since she was a baby. This show is NOT supposed to be realistic in that regard. Everything else? Relatively, yes. We all know that someone would've long called CPS or the police if they saw a baby on the side of the road next to two dead bodies. The town the institute is in is quite small, and I've always phrased it in my head as "suspend reality for just one moment and nobody happened to see her except the one nurse who knew there were no homes for miles around". Just keep that in mind.
Helen is raised in this institute by a rather strict and seemingly uncaring nurse named Dolores, and it's hinted at throughout the show that Dolores only took in Helen out of moral/legal obligation (can't leave the baby to die). Despite this, the two do respect each other, but it's not exactly a mothedaughter relationship. The one who actually really loves her is Edgar, who's the head of the institute (only by bribing his way in and blackmailing half of the board of directors). They're more of a fathedaughter type.
And then there's Edgar's adoptive son, William. His mom was a drug addict and died by ODing, so he was taken in at a young age, much like Helen. Him and Helen have a very close platonic relationship, but it never veers into romantic territory (Helen is heavily implied to be aro/ace, though I'm not totally sure about this)....as William is gay. And this is the 1940s. There's a song in the show that reveals the whole schpeel behind that, but basically he has a boyfriend named Richard he's been sneaking out to meet for the past two years, and nobody beside Dolores knows (him and Dolores have a more familial relationship).
All of this to say, this all sets up for the inciting incident of the story, when Arabella steps in the picture. She appears to be your classic 1940s/50s housewife, nothing off about her in the slightest, rather bubbly, etc. But of course...she's a serial killer who killed her past 5 fiancés. Were the fiancés abusive (as well as her current playboy husband, Michael)? Yes. Was she abusive? Also yes. Nearly everyone in the show is morally grey, but she is not someone the audience is intended to root for, namely also because she's abusive towards her two children, quiet supergenius Alan (who later dies) and bratty albeit somewhat good intentioned Marie.
The whole show from there is Helen trying to get out of this situation (aka: don't end up dead) but the dilemma is she both sees Arabella is a bad person and yet she wants her to change so damn badly, even though she knows, deep down, she can't. It's very much reminiscent of Stockholm Syndrome, except in a more familial and not "romantic" way (do note: this show is inspired by the Gothic aesthetic and not by the concept of Gothic itself). She plunges herself way too far into it, and it ends up with Alan, William, Edgar, and Michael all dead by the end of the show.
After all...is anybody entirely good? And is being entirely "good" a good thing?
That's my ramble, lol. Like I said, I originally came up with the idea around a year ago, but kind of took a hiatus 6 months ago only to pick it up again around 2 months ago. I always reach out to actors for a project while I'm still writing the show, just to see if it's viable conceptually and if anyone would be interested. I actually had Teagan Early, Athena in EPIC: The Musical, slated to play Arabella, and 3-4 others slated who had been on Broadway (in ensemble, swing, or supporting role capacities, nobody famous). Unfortunately, due to scheduling and personal emergencies, they all fell through.
So here I am, back at the drawing board.
This one, overall, is somewhere in the middle between "idea" and "rehearsal-ready". I have an outline, and I have 7-8 of the songs out of 20 written, but I'm still in the first 10 pages of the libretto and don't have a score for it yet. I am a librettist/lyricist, I am vocally trained, not instrumentally, haha. I'm primarily looking for a composer, but if someone here is a composer AND a librettist and would want to do the majority of the book, then by all means.
I'm thinking a heavy classical sound for the show: piano, violin, but maybe a little sax and trombone, depending on the number. The style of the songs for the show is both somber and doomed hopeful, I'd say it's a pretty even mix between upbeat songs and more slower, contemplative (I don't want to say ballads). Helen I'm envisioning a little more faster piano, violin, while Arabella is full blown jazz, William is a slower piano and sax, while Dolores is an upbeat mix of both, among others. This is all subject to change, and you'd have a LOT of creative freedom. This is just how I originally envisioned it.
Some logistical things. I'm based just south of LA, in the Pacific Standard Timezone (GMT - 8:00; so for example, right now, it's almost 11:30 AM here). I'm open to collaborations in timezones of all sorts though!
I will say I'd like a collaborator that is active, but also "slow and steady wins the race". I'm working on three other projects in varying states of development right now, and I'm sure y'all are working on stuff too, so my goal would be to get this produced end of next year, beginning of 2026. And when I mean produced, I mean full workshop, up on its feet. I'm totally down for hosting smaller staged readings for feedback beforehand. So if you're someone who a): ghosts and b): likes to go quickly, DNI. Sorry!
Dear god...I just legit rambled, lol. If interested, please DM me! I'll send you the planning document I've been using for the show then, and we can get started. Have a great day, y'all!
submitted by WeirdoTheMusical84 to musicalwriting [link] [comments]
TRIGGER WARNING: This show contains strong language and depicts graphic murder, parental death, as well as the death of a young child. Please be advised before taking on the project if you are comfortable with that subject matter.
LOGLINE: After her parents died in a car accident when she was a baby, a young woman has been raised in a mental institution, unawares of her true family, until the day an older lady shows up at the institution's door, claiming to be her older biological sister...but what none of them know is that she's a serial killer.
This is a musical I originally came up with the idea with about a year ago now, after having to do some research about mental institutions for a research paper of mine. The story of how I came up with the show itself is rather weird, in my opinion. Ever seen those "you wouldn't last a day in the asylum where they raised me" posts on social media?
My brain thought it'd be a good idea to make that quite literal.
Sorry, the logline is quite vague, that's my apologies. The show takes place in post-WW2 (the year in my head is 1947/1948) deep American South, say Alabama, Mississippi, or Louisiana. The setting and time period are left vague in the script anyways.
The main character, Helen, as the logline says, has been raised in a mental institution since she was a baby. This show is NOT supposed to be realistic in that regard. Everything else? Relatively, yes. We all know that someone would've long called CPS or the police if they saw a baby on the side of the road next to two dead bodies. The town the institute is in is quite small, and I've always phrased it in my head as "suspend reality for just one moment and nobody happened to see her except the one nurse who knew there were no homes for miles around". Just keep that in mind.
Helen is raised in this institute by a rather strict and seemingly uncaring nurse named Dolores, and it's hinted at throughout the show that Dolores only took in Helen out of moral/legal obligation (can't leave the baby to die). Despite this, the two do respect each other, but it's not exactly a mothedaughter relationship. The one who actually really loves her is Edgar, who's the head of the institute (only by bribing his way in and blackmailing half of the board of directors). They're more of a fathedaughter type.
And then there's Edgar's adoptive son, William. His mom was a drug addict and died by ODing, so he was taken in at a young age, much like Helen. Him and Helen have a very close platonic relationship, but it never veers into romantic territory (Helen is heavily implied to be aro/ace, though I'm not totally sure about this)....as William is gay. And this is the 1940s. There's a song in the show that reveals the whole schpeel behind that, but basically he has a boyfriend named Richard he's been sneaking out to meet for the past two years, and nobody beside Dolores knows (him and Dolores have a more familial relationship).
All of this to say, this all sets up for the inciting incident of the story, when Arabella steps in the picture. She appears to be your classic 1940s/50s housewife, nothing off about her in the slightest, rather bubbly, etc. But of course...she's a serial killer who killed her past 5 fiancés. Were the fiancés abusive (as well as her current playboy husband, Michael)? Yes. Was she abusive? Also yes. Nearly everyone in the show is morally grey, but she is not someone the audience is intended to root for, namely also because she's abusive towards her two children, quiet supergenius Alan (who later dies) and bratty albeit somewhat good intentioned Marie.
The whole show from there is Helen trying to get out of this situation (aka: don't end up dead) but the dilemma is she both sees Arabella is a bad person and yet she wants her to change so damn badly, even though she knows, deep down, she can't. It's very much reminiscent of Stockholm Syndrome, except in a more familial and not "romantic" way (do note: this show is inspired by the Gothic aesthetic and not by the concept of Gothic itself). She plunges herself way too far into it, and it ends up with Alan, William, Edgar, and Michael all dead by the end of the show.
After all...is anybody entirely good? And is being entirely "good" a good thing?
That's my ramble, lol. Like I said, I originally came up with the idea around a year ago, but kind of took a hiatus 6 months ago only to pick it up again around 2 months ago. I always reach out to actors for a project while I'm still writing the show, just to see if it's viable conceptually and if anyone would be interested. I actually had Teagan Early, Athena in EPIC: The Musical, slated to play Arabella, and 3-4 others slated who had been on Broadway (in ensemble, swing, or supporting role capacities, nobody famous). Unfortunately, due to scheduling and personal emergencies, they all fell through.
So here I am, back at the drawing board.
This one, overall, is somewhere in the middle between "idea" and "rehearsal-ready". I have an outline, and I have 7-8 of the songs out of 20 written, but I'm still in the first 10 pages of the libretto and don't have a score for it yet. I am a librettist/lyricist, I am vocally trained, not instrumentally, haha. I'm primarily looking for a composer, but if someone here is a composer AND a librettist and would want to do the majority of the book, then by all means.
I'm thinking a heavy classical sound for the show: piano, violin, but maybe a little sax and trombone, depending on the number. The style of the songs for the show is both somber and doomed hopeful, I'd say it's a pretty even mix between upbeat songs and more slower, contemplative (I don't want to say ballads). Helen I'm envisioning a little more faster piano, violin, while Arabella is full blown jazz, William is a slower piano and sax, while Dolores is an upbeat mix of both, among others. This is all subject to change, and you'd have a LOT of creative freedom. This is just how I originally envisioned it.
Some logistical things. I'm based just south of LA, in the Pacific Standard Timezone (GMT - 8:00; so for example, right now, it's almost 11:30 AM here). I'm open to collaborations in timezones of all sorts though!
I will say I'd like a collaborator that is active, but also "slow and steady wins the race". I'm working on three other projects in varying states of development right now, and I'm sure y'all are working on stuff too, so my goal would be to get this produced end of next year, beginning of 2026. And when I mean produced, I mean full workshop, up on its feet. I'm totally down for hosting smaller staged readings for feedback beforehand. So if you're someone who a): ghosts and b): likes to go quickly, DNI. Sorry!
Dear god...I just legit rambled, lol. If interested, please DM me! I'll send you the planning document I've been using for the show then, and we can get started. Have a great day, y'all!
2024.06.04 19:14 insomniacla Are there any good mandolin arrangements of Bach's Chaconne?
I know it's probably a long shot because it's a violin piece so I imagine people just use the violin sheet music and ignore the slurs and bowing notation. But if there's an arrangement out there that helps to capture the flavor of the piece a bit better on the mandolin than just the standard violin sheet music, please let me know! Especially any arrangement that accounts focompensates for the relative difficulty of sustaining notes on the mandolin compared to the violin.
Bonus question: do you have a favorite mandolin performance of the Chaconne? Please link me any recordings if that's allowed here! I was a middling violinist at best and I realize it's going to take me YEARS of practice to get anywhere near proficient enough on the mandolin to master the Chaconne, but hearing different recordings is great inspiration. TYIA!
submitted by insomniacla to mandolin [link] [comments]
Bonus question: do you have a favorite mandolin performance of the Chaconne? Please link me any recordings if that's allowed here! I was a middling violinist at best and I realize it's going to take me YEARS of practice to get anywhere near proficient enough on the mandolin to master the Chaconne, but hearing different recordings is great inspiration. TYIA!
2024.06.04 18:32 Just_Impress_885 Oskar Rieding op. 35 Allegro Moderato
Hi everyone,
I'm an adult violinist beginner (23 y.o). I started to play violin in october, 8 months ago. I have one class of 30 minutes every week in theory. But I'm studying a lot for a competitive exam (History teacher in France). It's the end of the year in my music school so I have to play a piece in a week. I chose the one I was practising with my teacher which is this student concerto.
I'm looking for feedbacks so feel free to give it a go, you can be harsh, as long as it is constructive ;)
I messed up some bowing and had a few wrong notes (not the good one I mean) but I wanted to send you a sample that was not "perfect"
Also, with a teacher, do you think my amount of progress is good ? I can sighread those music sheets now but I'm unsure if I'm doing good "progress wise"
https://reddit.com/link/1d81ism/video/nxywij451l4d1/player
submitted by Just_Impress_885 to violinist [link] [comments]
I'm an adult violinist beginner (23 y.o). I started to play violin in october, 8 months ago. I have one class of 30 minutes every week in theory. But I'm studying a lot for a competitive exam (History teacher in France). It's the end of the year in my music school so I have to play a piece in a week. I chose the one I was practising with my teacher which is this student concerto.
I'm looking for feedbacks so feel free to give it a go, you can be harsh, as long as it is constructive ;)
I messed up some bowing and had a few wrong notes (not the good one I mean) but I wanted to send you a sample that was not "perfect"
Also, with a teacher, do you think my amount of progress is good ? I can sighread those music sheets now but I'm unsure if I'm doing good "progress wise"
https://reddit.com/link/1d81ism/video/nxywij451l4d1/player
2024.06.04 15:42 DotEnvironmental9288 Song from the 2000's ?
Hi! There is a song stuck in my head for days now and I can't remember neither the artist nor the song title..
I tried to recreate the refrain here: https://onlinesequencer.net/4039816
Here are the notes I worked out (I guess they are correct?):
C#, C, Bb, C#, F G#, F#, F, G#, F# F#, F, Eb, F#, F F#, F, F#, F, G#, Bb
C#, C, Bb, C#, F G#, F#, F, G#, F# F#, F, Eb, C#, C F, Eb, C#, C, Bb
some other hints:
submitted by DotEnvironmental9288 to NameThatSong [link] [comments]
I tried to recreate the refrain here: https://onlinesequencer.net/4039816
Here are the notes I worked out (I guess they are correct?):
C#, C, Bb, C#, F G#, F#, F, G#, F# F#, F, Eb, F#, F F#, F, F#, F, G#, Bb
C#, C, Bb, C#, F G#, F#, F, G#, F# F#, F, Eb, C#, C F, Eb, C#, C, Bb
some other hints:
- the song is sung by a woman, which at least in my head sounds a bit like Anastacia.
- probably made in the early 2000's ?
- at the end of the refrain, there is a violin being played with the notes: C#, C
2024.06.04 05:17 Fuzzy-Reason-3207 Help me find a cover of Waltz No.2 (Dmitri Shostakovich)
So there's this cover of Waltz No.2 I'd listen to on loop that I've since lost (since they all have the same title). I can only describe it as having EXTRA EXTRA emphasis on that high F note around halfway through (like at the apex of the song.) If usually the violin(s) is singing, in this one it's voice cracks (intentional technique by the performer) and its so tasty. Why did they have to put so much tragic stank on it.
I've been listening to covers of Waltz No.2 for like an hour
cheers!
submitted by Fuzzy-Reason-3207 to HelpMeFind [link] [comments]
I've been listening to covers of Waltz No.2 for like an hour
cheers!
2024.06.04 03:48 Kay_Done Post Purge, Current Cowffairs, and Sidenote from a major depressive
I purged all the posts because they were made by me at some low times. Re-reading them did not help me feel better. They were worthless one time thoughts.
Currently, I’m still depressed (as always), but I’m still learning from my mistakes and other’s mistakes. I’m still fighting to be the best I can be. I’m still too open with my emotions and opinions, but I’m getting better at holding my tongue (sort of - it’s a lifelong process for someone who is an incessant prattler haha).
Side note; I’m looking forward to starting a new chapter. I’m not out of this depressive episode, but I’ve been doing a lot to stay positive and stay productive. I’m finally learning arpeggios on Violin after 8 months of starting violin lessons. I’m proud of myself and the progress I’ve made. I’ve also gotten more involved with the local arts and community development (albeit in a very limited sense - I’m still taking my time leaving my comfort zone)
submitted by Kay_Done to depression_fr [link] [comments]
Currently, I’m still depressed (as always), but I’m still learning from my mistakes and other’s mistakes. I’m still fighting to be the best I can be. I’m still too open with my emotions and opinions, but I’m getting better at holding my tongue (sort of - it’s a lifelong process for someone who is an incessant prattler haha).
Side note; I’m looking forward to starting a new chapter. I’m not out of this depressive episode, but I’ve been doing a lot to stay positive and stay productive. I’m finally learning arpeggios on Violin after 8 months of starting violin lessons. I’m proud of myself and the progress I’ve made. I’ve also gotten more involved with the local arts and community development (albeit in a very limited sense - I’m still taking my time leaving my comfort zone)
2024.06.03 21:57 xxxlun4icexxx Looking for suggestions on how to learn the guitar instead of just songs.
So, not to ramble too much but I played the guitar for about 3 years and actually got quite good as I practiced 3-4 hours a day and was playing most of the songs I wanted to. The problem is that I was just playing the songs via tabs. Didn’t know what key they’re in, didn’t know what notes I was playing, what chords, etc. I just had really good technical fingers.
Now fast forward after a two year hiatus I am coming back feeling like I’m starting at square one and I really want to actually learn those things. In person teachers are difficult because everyone I’ve had around here just reinforces the “bring in some songs you like and I’ll tab it for you”. I don’t want to be professional level or anything, I just want to be able to know the scales I should, basic basic basic soloing in a simple key, know the notes on the fretboard, etc.
The weird part is, I play clarinet and violin and I 100% can grasp theory for those instruments and what not but for some reason with guitar it’s like another language. Maybe it’s because I’m not reading sheet music for a guitar or what not I’m not sure but I just haven’t “got it” yet.
I want to drill those basics into my head along with getting back to playing the rock/metal songs I like too.
Do you guys have any advice on courses or strategies/lessons etc? I am a very very guided lesson kind of person I need the structure. I tried guitar mastery method for a bit and it was ok, but wondered if there was something better out there for a person in my situation. Also if I get another email from Charlie about how I’m missing out on some crazy deal I’m going to blow my own head off.
Thanks all!!
submitted by xxxlun4icexxx to Guitar [link] [comments]
Now fast forward after a two year hiatus I am coming back feeling like I’m starting at square one and I really want to actually learn those things. In person teachers are difficult because everyone I’ve had around here just reinforces the “bring in some songs you like and I’ll tab it for you”. I don’t want to be professional level or anything, I just want to be able to know the scales I should, basic basic basic soloing in a simple key, know the notes on the fretboard, etc.
The weird part is, I play clarinet and violin and I 100% can grasp theory for those instruments and what not but for some reason with guitar it’s like another language. Maybe it’s because I’m not reading sheet music for a guitar or what not I’m not sure but I just haven’t “got it” yet.
I want to drill those basics into my head along with getting back to playing the rock/metal songs I like too.
Do you guys have any advice on courses or strategies/lessons etc? I am a very very guided lesson kind of person I need the structure. I tried guitar mastery method for a bit and it was ok, but wondered if there was something better out there for a person in my situation. Also if I get another email from Charlie about how I’m missing out on some crazy deal I’m going to blow my own head off.
Thanks all!!
2024.06.03 20:30 Ninlilizi_ [Subreddit Drama] Recollection of the immediate events that led to the ban on CNP posting.
So, there is a long history of years at this point involving CNP and their continually disruptive behaviour. This post encompasses simply the direct series of events that led to their blacklisting from the Subreddit, to provide a perfunctory retelling of history. Also, to complete the record, as they insist on pretending to be victims of some kind of bias. In this case, I will refer to the leader of CNP as $LEADER$ to offer the courtesy of not naming and calling out directly (and also to stay within the wider rules of Reddit).
We had been in a state of being heavily brigaded and heavily spammed by CNP recruiting attempts for a solid year of asking $LEADER$ to tone it down. $LEADER$ would promise to do so, then carry on with no changes to their behaviour, at all. This is the history at that point.
Then, after endless requests to tone it down, $LEADER$, rather than take note of our pleas, escalated, instead. It was at this point $LEADER$ started making what amounted to multiple recruitment threads, a day. Alongside this $LEADER$ had their lackies brigading and spamming about CNP throughout the entire sub. Not just in the many spammy recruitment threads, which were already a point of contention and disliked by the community, but any random thread they could find to post about the wonders of CNP. I understand that $LEADER$ was driving their behaviour and requiring this of them. I remember $LEADER$ directly confessing this to me way back, so I'm sure there is no difficulty remembering this themself. Then during this, $LEADER$ had them all start role-playing about being in a cult while mass spamming the subreddit with dozens of CNP posts a day. One would post about CNP, then another would chime in to say they 'love the leader' and stuff like 'in our prophet $LEADER$ we trust', and whole rounds of hallelujahs and cheering for CNP, their glorious leader and the promised land they would lead us too. Then every one of those posts would be hit by like 30 upvotes as CNP all engaged in vote manipulation, in direct contravention of Reddit site-wide policy. Often people responding to object and clarify who uncomfy that behaviour made them were mass-downvoted by the same pack of brigadiers. Several of CNPs former members have directly confessed to having been involved in this. Naturally, we began receiving truck loads of complaints from the regular subreddit users who didn't understand what was going on, many greatly uncomfortable due to struggling with religious delusions that this behaviour was triggering hard for them. People were incensed and angry that we didn't do more to prevent it. We could have, and rightly would have been correct to ban them all right away, at that moment. But, instead, we spent several weeks attempting to negotiate with $LEADER$, giving them far more chances than anybody deserved to tone down and correct their behaviour. But, sadly, after several weeks, there was no improvement and this level of recruitment spam and cult role-playing continued in full ferocity.
I remember clearly that day, speaking to $LEADER$, to tell them that this has gone too far and to cease all 'recruitment' activity for the time being, until we, the mods, have had a chance to discuss this situation and decide how to handle it going forward, as all the diplomacy in the world has achieved nothing thus far. The last thing I wanted to do was restrict or ban $LEADER$ or their club, but their consistent brigading was out of control. We were exhausted, $LEADER$ agreed not to do it any more each time, then proceeded to do it all again the next day. Still, we had not banned them and were attempting to negotiate, but really, we were exhausted; we just wanted, for the sake of our sanity, for this situation to end. $LEADER$ promised after our chat on this day, that they would instruct their lackies to cease all advertising activities, until we, the exhausted moderators had a chance to catch our breath and discuss this chaos among ourselves.
They kept this promise, for 3, maybe 4 days, before the whole thing started right back up again.
Then, on the day $LEADER$ disregarded this latest agreement, they resumed full-throttle. Because at this point we had discussed, and $LEADER$ had agreed to pause all CNP activities on our Subreddit, I began removing their recruitment posts by hand. During the first half of the day, they posted 3 separate recruitment threads. Each of the 3 times, I removed the post, then spoke to $LEADER$ directly to remind them that we had agreed a pause in recruitment and to please honour that agreement. Each time, they agreed that they would not post any further recruitment threads until we had time to discuss CNP and decide otherwise. Then within the next 1-2 hours, they entirely disregarded the earlier conversations and agreement they had made earlier in that day, and yet another recruitment post sprang up.
I should note, by that time we had gone through this dance with removing the post, directly speaking with $LEADER$, them promising not to do it again, to do it again an hour later, 3 times.
That I was having to deal with people mod mailing to complain about the enduring CNP spam and asking to know why we are not doing more after being bothered with notifications to the third CNP recruiting thread within a few hours. This was the final straw that led to the CNP AutoMod rule being constructed. I have responsibilities, things I need to be doing, I live with a debilitating mental condition, yet was unable to achieve anything else because I was forced to deal with CNP and $LEADER$ behaviour.
I had no choice but to institute the AutoMod rule, so I could do anything else but deal with CNP that day.
After that 3rd recruitment post, I didn't announce I had created the rule, but I took it down, then politely had the exact same conversation with $LEADER$ as I had twice already during the previous few hours, and they promised again that they would not post any more recruitment spam. Then, about 20 minutes later, the 4th CNP recruitment thread, within 5 hours, was posted by $LEADER$. The CNP filter kicked in, removed it. Then $LEADER$ had the audacity to make contact, using some impolite words to complain about how I was the one being unreasonable in this situation. I should note, at this point we were still not discussing seriously banning them from the Subreddit, with only short cool-off periods and requests to reduce the intensity of their activity, as even the regular posters were done with the noise and everyone was uncomfy.
This was all followed by months of negotiations, patience, forgiveness and opportunity after opportunity after opportunity for them to learn and amend their still continuously disruptive behaviour (mostly comprising of brigading, vote manipulation and targetting of their own ex-members), with them only interested in what they can take and no progress being made before they were finally banned and the embargo on CNP extended in perpetuity. It's the last thing anyone on the team wanted to do, and CNP along with $LEADER$, specifically, were giving more chances than anybody in the entire history of Reddit to amend their behaviour and do better.
But, yes, apparently we just dislike $LEADER$, unfairly, for no reason.
Meanwhile, several independently run subreddits all reached the same conclusion of being done with their behaviour and banned them of their own volition too. I think it speaks more to the scale of the problems that several unconnected subreddits have also reached the same position, than my recounting alone.
submitted by Ninlilizi_ to schizophrenia [link] [comments]
We had been in a state of being heavily brigaded and heavily spammed by CNP recruiting attempts for a solid year of asking $LEADER$ to tone it down. $LEADER$ would promise to do so, then carry on with no changes to their behaviour, at all. This is the history at that point.
Then, after endless requests to tone it down, $LEADER$, rather than take note of our pleas, escalated, instead. It was at this point $LEADER$ started making what amounted to multiple recruitment threads, a day. Alongside this $LEADER$ had their lackies brigading and spamming about CNP throughout the entire sub. Not just in the many spammy recruitment threads, which were already a point of contention and disliked by the community, but any random thread they could find to post about the wonders of CNP. I understand that $LEADER$ was driving their behaviour and requiring this of them. I remember $LEADER$ directly confessing this to me way back, so I'm sure there is no difficulty remembering this themself. Then during this, $LEADER$ had them all start role-playing about being in a cult while mass spamming the subreddit with dozens of CNP posts a day. One would post about CNP, then another would chime in to say they 'love the leader' and stuff like 'in our prophet $LEADER$ we trust', and whole rounds of hallelujahs and cheering for CNP, their glorious leader and the promised land they would lead us too. Then every one of those posts would be hit by like 30 upvotes as CNP all engaged in vote manipulation, in direct contravention of Reddit site-wide policy. Often people responding to object and clarify who uncomfy that behaviour made them were mass-downvoted by the same pack of brigadiers. Several of CNPs former members have directly confessed to having been involved in this. Naturally, we began receiving truck loads of complaints from the regular subreddit users who didn't understand what was going on, many greatly uncomfortable due to struggling with religious delusions that this behaviour was triggering hard for them. People were incensed and angry that we didn't do more to prevent it. We could have, and rightly would have been correct to ban them all right away, at that moment. But, instead, we spent several weeks attempting to negotiate with $LEADER$, giving them far more chances than anybody deserved to tone down and correct their behaviour. But, sadly, after several weeks, there was no improvement and this level of recruitment spam and cult role-playing continued in full ferocity.
I remember clearly that day, speaking to $LEADER$, to tell them that this has gone too far and to cease all 'recruitment' activity for the time being, until we, the mods, have had a chance to discuss this situation and decide how to handle it going forward, as all the diplomacy in the world has achieved nothing thus far. The last thing I wanted to do was restrict or ban $LEADER$ or their club, but their consistent brigading was out of control. We were exhausted, $LEADER$ agreed not to do it any more each time, then proceeded to do it all again the next day. Still, we had not banned them and were attempting to negotiate, but really, we were exhausted; we just wanted, for the sake of our sanity, for this situation to end. $LEADER$ promised after our chat on this day, that they would instruct their lackies to cease all advertising activities, until we, the exhausted moderators had a chance to catch our breath and discuss this chaos among ourselves.
They kept this promise, for 3, maybe 4 days, before the whole thing started right back up again.
Then, on the day $LEADER$ disregarded this latest agreement, they resumed full-throttle. Because at this point we had discussed, and $LEADER$ had agreed to pause all CNP activities on our Subreddit, I began removing their recruitment posts by hand. During the first half of the day, they posted 3 separate recruitment threads. Each of the 3 times, I removed the post, then spoke to $LEADER$ directly to remind them that we had agreed a pause in recruitment and to please honour that agreement. Each time, they agreed that they would not post any further recruitment threads until we had time to discuss CNP and decide otherwise. Then within the next 1-2 hours, they entirely disregarded the earlier conversations and agreement they had made earlier in that day, and yet another recruitment post sprang up.
I should note, by that time we had gone through this dance with removing the post, directly speaking with $LEADER$, them promising not to do it again, to do it again an hour later, 3 times.
That I was having to deal with people mod mailing to complain about the enduring CNP spam and asking to know why we are not doing more after being bothered with notifications to the third CNP recruiting thread within a few hours. This was the final straw that led to the CNP AutoMod rule being constructed. I have responsibilities, things I need to be doing, I live with a debilitating mental condition, yet was unable to achieve anything else because I was forced to deal with CNP and $LEADER$ behaviour.
I had no choice but to institute the AutoMod rule, so I could do anything else but deal with CNP that day.
After that 3rd recruitment post, I didn't announce I had created the rule, but I took it down, then politely had the exact same conversation with $LEADER$ as I had twice already during the previous few hours, and they promised again that they would not post any more recruitment spam. Then, about 20 minutes later, the 4th CNP recruitment thread, within 5 hours, was posted by $LEADER$. The CNP filter kicked in, removed it. Then $LEADER$ had the audacity to make contact, using some impolite words to complain about how I was the one being unreasonable in this situation. I should note, at this point we were still not discussing seriously banning them from the Subreddit, with only short cool-off periods and requests to reduce the intensity of their activity, as even the regular posters were done with the noise and everyone was uncomfy.
This was all followed by months of negotiations, patience, forgiveness and opportunity after opportunity after opportunity for them to learn and amend their still continuously disruptive behaviour (mostly comprising of brigading, vote manipulation and targetting of their own ex-members), with them only interested in what they can take and no progress being made before they were finally banned and the embargo on CNP extended in perpetuity. It's the last thing anyone on the team wanted to do, and CNP along with $LEADER$, specifically, were giving more chances than anybody in the entire history of Reddit to amend their behaviour and do better.
But, yes, apparently we just dislike $LEADER$, unfairly, for no reason.
Meanwhile, several independently run subreddits all reached the same conclusion of being done with their behaviour and banned them of their own volition too. I think it speaks more to the scale of the problems that several unconnected subreddits have also reached the same position, than my recounting alone.
2024.06.03 12:20 Acquaintance9 Fake Eurovision Awards - VOTING!!!
The votes for the very final nomination session are in, and here are your nominations for Cringiest Song/Aged The Worst:
Cringiest Song
Link: https://forms.gle/iCW9abXQ8h6LGXc47
EDIT - Just realized I don't have a release date for the results. You have a week to vote, and the results are coming on June 11th, 2024!
Best Vocals
submitted by Acquaintance9 to nilpoints [link] [comments]
Cringiest Song
- 🇪🇸 Do It For Your Lover by Manuel Navarro - Spain 2017 🇪🇸
- 🇮🇱 Unicorn by Noa Kirel - Israel 2023 🇮🇱
- 🇵🇱 Solo by Blanka - Poland 2023 🇵🇱
- 🇷🇴 DGT (On and Off) by Theodor Andrei - Romania 2023 🇷🇴
Link: https://forms.gle/iCW9abXQ8h6LGXc47
EDIT - Just realized I don't have a release date for the results. You have a week to vote, and the results are coming on June 11th, 2024!
Best Vocals
- 🇪🇪 La Forza by Elina Necheyeva - Estonia 2018 🇪🇪
- 🇨🇭 Tout L'univers by Gjon's Tears - Switzerland 2021 🇨🇭
- 🇪🇪 Bridges by Alika - Estonia 2023 🇪🇪
- 🇳🇴 Ulveham by Gåte - Norway 2024 🇳🇴
- 🇲🇩 My Lucky Day by DoReDoS - Moldova 2018 🇲🇩
- 🇦🇺 Zero Gravity by Kate Miller-Heidke - Australia 2019 🇦🇺
- 🇷🇸 In Corpore Sano by Konstrata - Serbia 2022 🇷🇸
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇧🇪 Rhythm Inside by Loïc Nottet - Belgium 2015 🇧🇪
- 🇨🇾 Fuego by Eleni Foureira - Cyprus 2018 🇨🇾
- 🇪🇸 SloMo by Chanel - Spain 2022 🇪🇸
- 🇲🇩 Soarele şi Luna by Pasha Parfeni - Moldova 2023 🇲🇩
- 🇫🇮 Hard Rock Hallelujah by Lordi - Finland 2006 🇫🇮
- 🇺🇦 Dancing Lasha Tumbai by Verka Serduchka - Ukraine 2007 🇺🇦
- 🇮🇸 Hatrið mun sigra by Hatari - Iceland 2019 🇮🇸
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇲🇪 Space by Slavko Kalezić - Montenegro 2017 🇲🇪
- 🇬🇧 Space Man by Sam Ryder - United Kingdom 2022 🇬🇧
- 🇨🇿 My Sister's Crown by Vesna - Czechia 2023 🇨🇿
- 🇱🇻 Hollow by Dons - Latvia 2024 🇱🇻
- 🇷🇺 Party for Everybody by Buranovskiye Babushki - Russia 2012 - Oven 🇷🇺
- 🇷🇺 RUSSIAN WOMAN by Manizha - Russia 2021 - Moving Dress 🇷🇺
- 🇦🇺 Promise by Voyager - Australia 2023 - Car 🇦🇺
- 🇫🇮 No Rules! by Windows95man - Finland 2024 - Jegg and Jorts 🇫🇮
- 🇪🇸 Do It For Your Lover by Manuel Navarro - Spain 2017 🇪🇸
- 🇮🇱 Set Me Free by Eden Alene - Israel 2021 🇮🇱
- 🇨🇭 Tout L'univers by Gjon's Tears - Switzerland 2021🇨🇭
- 🇵🇹 Ai Coração by Mimicat - Portugal 2023 🇵🇹
- 🇺🇦 Dancing Lasha Tumbai by Verka Serduchka - Ukraine 2007 🇺🇦
- 🇷🇺 Uno by Little Big - Russia 2020 🇷🇺
- 🇲🇩 Trenulețul by Advahov Brothers and Zdob și Zdub - Moldova 2022 🇲🇩
- 🇳🇱 Europapa by Joost Klein - Netherlands 2024 🇳🇱
- 🇲🇪 Euro Neuro by Rambo Amadeus - Montenegro 2012 🇲🇪
- 🇷🇸 In Corpore Sano by Konstrakta - Serbia 2022 🇷🇸
- 🇸🇪 Hold Me Closer by Cornelia Jakobs - Sweden 2022 🇸🇪
- 🇪🇸 ZORRA by Nebulossa - Spain 2024 🇪🇸
- 🇷🇺 RUSSIAN WOMAN by Manizha - Russia 2021 🇷🇺
- 🇺🇦 Stefania by Kalush Orchestra - Ukraine 2022 🇺🇦
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇺🇦 Maria & Teresa by alyona alyona and Jerry Heil - Ukraine 2024 🇺🇦
- 🇺🇦 Dancing Lasha Tumbai by Verka Serduchka - Ukraine 2007 🇺🇦
- 🇺🇦 SHUM by Go_A - Ukraine 2021 🇺🇦
- 🇲🇩 Trenulețul by Advahov Brothers and Zdob și Zdub - Moldova 2022 🇲🇩
- 🇪🇪 (nendest) narkootikumidest ei tea me (küll) midagi by 5miinust and Puuluup - Estonia 2024 🇪🇪
- 🇧🇬 Water by Elitsa Todorova and Stoyan Yankulov - Drums - Bulgaria 2007 🇧🇬
- 🇲🇩 Runaway by Sunstroke Project and Olia Tira - Saxophone - Moldova 2010 🇲🇩
- 🇮🇸 10 years by Daði og Gagnamagnið - Keytar - Iceland 2021 🇮🇸
- 🇪🇪 (nendest) narkootikumidest ei tea me (küll) midagi by 5miinust and Puuluup - Talharpa - Estonia 2024🇪🇪
- 🇳🇴 Fairytale by Alexander Rybak - Norway 2009 🇳🇴
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇦🇲 Jako by Ladaniva - Armenia 2024 🇦🇲
- 🇭🇷 Rim Tim Tagi Dim by Baby Lasagna - Croatia 2024 🇭🇷
- 🇱🇻 Eat Your Salad by Citi Zēni - Latvia 2022 🇱🇻
- 🇱🇻 Aijā by Sudden Lights - Latvia 2023 🇱🇻
- 🇨🇿 Pedestal by Aiko - Czechia 2024 🇨🇿
- 🇸🇲 11:11 by Megara - San Marino 2024 🇸🇲
- 🇨🇭 Tout L'univers by Gjon's Tears - Switzerland 2021 🇨🇭
- 🇳🇱 De Diepte by S10 - Netherlands 2022 🇳🇱
- 🇵🇹 Saudade, saudade by MARO - Portugal 2022 🇵🇹
- 🇳🇱 Europapa by Joost Klein - Netherlands 2024 🇳🇱
- 🇲🇩 Runaway by Sunstroke Project and Olia Tira - Moldova 2010 🇲🇩
- 🇱🇹 Discoteque by The Roop - Lithuania 2021 🇱🇹
- 🇨🇿 Lights Off by We Are Domi - Czechia 2022 🇨🇿
- 🇦🇹 Who The Hell Is Edgar by Teya and Salena - Austria 2023 🇦🇹
- 🇸🇲 Adrenalina by Senhit ft. Flo Rida - San Marino 2024 🇸🇲
- 🇦🇺 Promise by Voyager - Australia 2023 🇦🇺
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇳🇱 Europapa by Joost Klein - Netherlands 2024 🇳🇱
- 🇮🇹 Måneskin - Italy 2021 🇮🇹
- 🇸🇮 Joker Out - Slovenia 2023 🇸🇮
- 🇦🇲 Ladaniva - Armenia 2024 🇦🇲
- 🇮🇪 Bambie Thug - Ireland 2024 🇮🇪
- 🇺🇦 Be My Valentine! (Anti-Crisis Girl) by Svetlana Loboda - Ukraine 2009 🇺🇦
- 🇦🇺 Zero Gravity by Kate Miller-Heidke - Australia 2019 🇦🇺
- 🇭🇷 Mama ŠČ! by Let 3 - Croatia 2023 🇭🇷
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇫🇮 No Rules! by Windows95Man - Finland 2024 🇫🇮
- 🇮🇪 Doomsday Blue by Bambie Thug - Ireland 2024 🇮🇪
- 🇸🇪 Waterloo by ABBA - Sweden 1974 🇸🇪
- 🇫🇮 Hard Rock Hallelujah by Lordi - Finland 2007 🇫🇮
- 🇮🇪 Doomsday Blue by Bambie Thug - Ireland 2024 🇮🇪
- 🇨🇭 The Code by Nemo - Switzerland 2024 🇨🇭
- 🇲🇪 Space by Slavko Kalezić - Montenegro 2017 🇲🇪
- 🇷🇸 Loco Loco by Hurricane - Serbia 2021 🇷🇸
- 🇨🇿 My Sister's Crown by Vesna - Czechia 2023 🇨🇿
- 🇱🇻 Hollow by Dons - Latvia 2024 🇱🇻
- 🇪🇸 Do It For Your Lover by Manuel Navarro - Spain 2017 🇪🇸
- 🇮🇱 Unicorn by Noa Kirel - Israel 2023 🇮🇱
- 🇵🇱 Solo by Blanka - Poland 2023 🇵🇱
- 🇷🇴 DGT (On and Off) by Theodor Andrei - Romania 2023 🇷🇴
2024.06.02 19:30 thesilverpoets96 Song of the Week: Not A Fan
https://youtu.be/DkVXB3bO6M8?si=zc4sfdYo7gJAq9dt
https://www.azlyrics.com/lyrics/benfolds/notafan.html
Hello everyone, I hope all is well. Today we are going to be talking about the song “Not a Fan” which is the second track of Ben’s collaborative album So There.
So There was an album Ben released in 2015 with the help of the yMusic Ensemble. yMusic is an American sextet chamber ensemble from New York City. It consists of a trumpet, flute, clarinet, violin, viola and cello. The album consists of eight songs which are considered chamber pop (although you could argue it’s more orchestral pop) and then a piano concerto that Ben composed and played with the Nashville Symphony.
“Not a Fan” is a waltz with a 3/4 time signature and it was the song from the album that took the longest to grow on me. I think for me, the classic sounding approach from Ben was not what I wanted from him at that time. Don’t get me wrong, I enjoy his more mature sounding songs like “The Luckiest” or “Selfless, Cold and Composed.” But this song sounds like it could be in a black and white movie. And that’s not a bad thing, Ben’s playing is beautiful and the song flows quite nicely. But it does take a bit for the rest of yMusic to make an appearance and even then they do it’s still somewhat minimal.
But to me, it’s the lyrics of this song that really make an impact. The song starts off with Ben explaining how he’s not a fan of something that his partner is a fan of. But he understands that this thing moves them and not him and how that’s actually a quality that he adore of his partner. And as someone in a a relationship, it’s very common that you and your partner have different likes and interests. It’s actually something that keeps a relationship interesting. So I really relate to the lyric “it's part of what makes you beautiful to me.” Musically there’s beautiful violins and violins that fill out the sound quite nicely when Ben finishes up the chorus and the song goes into the more minor chords.
In the second verse, Ben starts off with the same lyric as the first; “I’m not a fan.” This time Ben explains how his partner is well read and how he “grew up on sugar cereal and TV.” And because of these differences Ben starts to wonder what his partner actually see’s in him. This insecurity makes Ben wonder that although he’s not a fan of whatever it is his partner is into, maybe one day he could be a fan. It’s a delicate line to walk, trying to “learn” to be into something just because your partner or friend may be into it. You want to compromise and please them but you also want to stay true to yourself. I noticed too that when Ben begins this verse , he’s playing with some fluttering piano notes and it sounds gorgeous. In addition to the other instrumentation from yMusic (like the flute) which also is beginning to build.
Then we get to the bride of the song where the dynamics really start to shine. While Ben’s piano playing is still soft, he’s playing more staccato to fit the feel of the cello. And as the bridge continues, either the violin or the viola gets a small solo section where it hits you hard like a heartache. Which makes sense because Ben is describing the beginning of a heartbreak. He sings about something small that appears at the beginning of a relationship and you make yourself believe it’s nothing at all. But in the end it’s that same problem that can end the relationship. I have to mention I love how Ben’s vocal melody during the ending of the bridge matches up with his stop and go piano playing.
Now we get to my favorite part of the song which is the last verse and chorus. It’s here where I think yMusic really blossoms. Their playing is a bit more orchestral and their rhythm works perfect with that waltz time signature. And this set of lyrics really sell the song for me because Ben is no longer putting up with any bullshit. He not only exclaims that he’s not a fan (this time with some sort of band/artist), he even questions his partner on whether they are really a fan themselves. He suggests that his partner only likes this artist because it makes them “feel smart” and then goes on to sing “a boy band with glasses just minus the heart.” Ben also points out that his partner considers “shaking your ass” on stage art, which is definitely a hilarious blow. But my favorite lyric is “I'll wait in the lobby; go meet him for real. We can all go to dinner, yeah, and I'll be third wheel.” It’s Ben at his sarcastic best.
Ben call his partner a “fangirl” and warns them that when they come back from getting their T-shirt signed, he may not be around anymore. And right when the rest of the band is playing their last notes during the song’s coda, you can quietly hear Ben say “So fuck you, and your friends.” I also get a chuckle during this part because what starts off as a lovely song about two people’s slight differences in taste, turns into a bitter breakup song. Although this song may not be the most exciting song musically from So There, I love the contrast in the lyrics with each verse because it’s a fantastic build up. Plus seeing the song live made me appreciate way more.
But what do you think of this song? Is this a favorite of yours from So There? What do you think the song is about? Favorite lyrical or musical moments? And have you ever seen it live?
submitted by thesilverpoets96 to benfolds [link] [comments]
https://www.azlyrics.com/lyrics/benfolds/notafan.html
Hello everyone, I hope all is well. Today we are going to be talking about the song “Not a Fan” which is the second track of Ben’s collaborative album So There.
So There was an album Ben released in 2015 with the help of the yMusic Ensemble. yMusic is an American sextet chamber ensemble from New York City. It consists of a trumpet, flute, clarinet, violin, viola and cello. The album consists of eight songs which are considered chamber pop (although you could argue it’s more orchestral pop) and then a piano concerto that Ben composed and played with the Nashville Symphony.
“Not a Fan” is a waltz with a 3/4 time signature and it was the song from the album that took the longest to grow on me. I think for me, the classic sounding approach from Ben was not what I wanted from him at that time. Don’t get me wrong, I enjoy his more mature sounding songs like “The Luckiest” or “Selfless, Cold and Composed.” But this song sounds like it could be in a black and white movie. And that’s not a bad thing, Ben’s playing is beautiful and the song flows quite nicely. But it does take a bit for the rest of yMusic to make an appearance and even then they do it’s still somewhat minimal.
But to me, it’s the lyrics of this song that really make an impact. The song starts off with Ben explaining how he’s not a fan of something that his partner is a fan of. But he understands that this thing moves them and not him and how that’s actually a quality that he adore of his partner. And as someone in a a relationship, it’s very common that you and your partner have different likes and interests. It’s actually something that keeps a relationship interesting. So I really relate to the lyric “it's part of what makes you beautiful to me.” Musically there’s beautiful violins and violins that fill out the sound quite nicely when Ben finishes up the chorus and the song goes into the more minor chords.
In the second verse, Ben starts off with the same lyric as the first; “I’m not a fan.” This time Ben explains how his partner is well read and how he “grew up on sugar cereal and TV.” And because of these differences Ben starts to wonder what his partner actually see’s in him. This insecurity makes Ben wonder that although he’s not a fan of whatever it is his partner is into, maybe one day he could be a fan. It’s a delicate line to walk, trying to “learn” to be into something just because your partner or friend may be into it. You want to compromise and please them but you also want to stay true to yourself. I noticed too that when Ben begins this verse , he’s playing with some fluttering piano notes and it sounds gorgeous. In addition to the other instrumentation from yMusic (like the flute) which also is beginning to build.
Then we get to the bride of the song where the dynamics really start to shine. While Ben’s piano playing is still soft, he’s playing more staccato to fit the feel of the cello. And as the bridge continues, either the violin or the viola gets a small solo section where it hits you hard like a heartache. Which makes sense because Ben is describing the beginning of a heartbreak. He sings about something small that appears at the beginning of a relationship and you make yourself believe it’s nothing at all. But in the end it’s that same problem that can end the relationship. I have to mention I love how Ben’s vocal melody during the ending of the bridge matches up with his stop and go piano playing.
Now we get to my favorite part of the song which is the last verse and chorus. It’s here where I think yMusic really blossoms. Their playing is a bit more orchestral and their rhythm works perfect with that waltz time signature. And this set of lyrics really sell the song for me because Ben is no longer putting up with any bullshit. He not only exclaims that he’s not a fan (this time with some sort of band/artist), he even questions his partner on whether they are really a fan themselves. He suggests that his partner only likes this artist because it makes them “feel smart” and then goes on to sing “a boy band with glasses just minus the heart.” Ben also points out that his partner considers “shaking your ass” on stage art, which is definitely a hilarious blow. But my favorite lyric is “I'll wait in the lobby; go meet him for real. We can all go to dinner, yeah, and I'll be third wheel.” It’s Ben at his sarcastic best.
Ben call his partner a “fangirl” and warns them that when they come back from getting their T-shirt signed, he may not be around anymore. And right when the rest of the band is playing their last notes during the song’s coda, you can quietly hear Ben say “So fuck you, and your friends.” I also get a chuckle during this part because what starts off as a lovely song about two people’s slight differences in taste, turns into a bitter breakup song. Although this song may not be the most exciting song musically from So There, I love the contrast in the lyrics with each verse because it’s a fantastic build up. Plus seeing the song live made me appreciate way more.
But what do you think of this song? Is this a favorite of yours from So There? What do you think the song is about? Favorite lyrical or musical moments? And have you ever seen it live?
2024.06.02 18:35 gregornot Phil Lesh
 | He didn't start out as a bass player: Lesh's first instrument of choice was the violin, but while attending Berkeley High School, he switched instruments and started playing...the trumpet. He'd never even played a bass guitar before Jerry Garcia asked him to be the bassist for The Warlocks. (original name for the Grateful Dead) submitted by gregornot to grateful_dead [link] [comments] Phil Lesh stands out as a unique and unconventional bass player, known for his adventurous and creative improvisational style. His fame stems from his ability to navigate melodies with daring innovation, playing every note except the root and effortlessly harmonizing with the song. He guested on David Crosby's 1971 album "If I Could Only Remember My Name": Lesh wasn't the only member of the Dead to turn up in the credits of Crosby's debut solo album, either: he was joined by Garcia, Bill Kreutzmann, and Mickey Hart. He's Courtney Love's godfather: Her father, Hank Harrison, went to college with Lesh and roomed with him in the early '60s, and he reportedly even managed the Warlocks, if for a very short time. (We're talking something like a week, by most reports.) According to Love, her father wasn't nearly as involved with the Grateful Dead as he often claimed to have been, but she really is Lesh's goddaughter. |
2024.06.02 18:05 Nightmare2828 ELI5: why are Do Re Mi Fa Sol La Si the standard notes?
If you take an instrument without predefined notes, such as a trombone or a violin, you can produce an infinite amount of notes between Do and Re for example (applies with out of tunes instruments as well). With that logic, you could have an infinite set of 7 notes that are as evenly « spaced » as our current standard. Im sure im missing something obvious.
EDIT: people pointed out how poorly framed my question is. I was in fact asking, « why is Do always the same frequencies depending on the octave? Why did we assign the name Do this specific sound wavelength? » it does seem like the answer is « because we arbitrary chose to somewhat recently so that all music follows a standard, but it could have been any frequencies. »
submitted by Nightmare2828 to explainlikeimfive [link] [comments]
EDIT: people pointed out how poorly framed my question is. I was in fact asking, « why is Do always the same frequencies depending on the octave? Why did we assign the name Do this specific sound wavelength? » it does seem like the answer is « because we arbitrary chose to somewhat recently so that all music follows a standard, but it could have been any frequencies. »
2024.06.02 10:39 doritheduck Pain in the wrist, but my teacher says I’m doing everything right
I just started playing bass a couple weeks ago and am having issues with pain in my wrist. I’ve been practicing in 10m increments for about an hour a day. I’ve been playing violin and piano for 22 years and professionally for 5, so supposedly I already have finger dexterity that can transfer over to other instruments. However, I’ve had tendinitis issues before so I was thinking it flared up again, but the area of pain is in a completely different spot so I don’t think it’s tendinitis. My hands are also really small, I have to stretch quite a bit so I got a short scale bass, but even then I have to stretch a little bit. But the thing is, it hurts even when I don’t stretch.
I first asked my teacher if it’s because of my posture, but he says my posture is fine and I’m bending just the right amount, around 30 degrees. I was wondering if perhaps I was putting too much pressure but then the notes come out buzzy, so I don’t think it’s that. Now I am wondering if it’s just me lacking muscle in that area, maybe my wrist is just tired? I would describe the pain as a throbbing sting.
This pic shows where the pain resides.
https://imgur.la/images/2024/06/02/IMG_9340.jpeg
https://imgur.la/images/2024/06/02/IMG_9338.jpeg
https://imgur.la/images/2024/06/02/IMG_9341.png
Any advice is greatly appreciated!
submitted by doritheduck to Bass [link] [comments]
I first asked my teacher if it’s because of my posture, but he says my posture is fine and I’m bending just the right amount, around 30 degrees. I was wondering if perhaps I was putting too much pressure but then the notes come out buzzy, so I don’t think it’s that. Now I am wondering if it’s just me lacking muscle in that area, maybe my wrist is just tired? I would describe the pain as a throbbing sting.
This pic shows where the pain resides.
https://imgur.la/images/2024/06/02/IMG_9340.jpeg
https://imgur.la/images/2024/06/02/IMG_9338.jpeg
https://imgur.la/images/2024/06/02/IMG_9341.png
Any advice is greatly appreciated!
2024.06.02 01:15 wombocombodumbo Need your input
Hi all!
I've been browsing this subreddit for a bit and I need your guys' opinion.
I went to an audio shop ( this is their website https://www.hifipro.ca/en/ ) today to look for a new set and the owner, with whom I spoke for 4 hours (lovely 65 yo guy and he is really really passionate about everything audio-related and is a sound engineer), recommended this set.
What I'm looking for within this set: Sound as pure as it can get without breaking the bank (don't want to spend over $5k) as it will be mostly for classical music (violin solos/piano, etc).
I initially wanted to go for automatic for simplicity reasons. However, he HIGHLY recommended this manual turntable if I want to prioritize sound quality over simplicity.
Budget: approx $3500 CAD + tax (Quebec)
manual turntable: Gold Note Valore 425 Plus with an Ortofon 2M red (acrylic for $1600)
OR
automatic turntable: DUAL CS 529 with an Ortofon 2M red (approx $1500)
amp: Atoll IN 50 Signature Integrated Amplifier (with phono option and DAC for my TV as well for $2150)
As for the speakers, I will be cheaping out on these as I am still in an apartment and will be bought once I move into my house next year. I will probably dedicate approximately $1000-$1500 into these in the future. Possibly more if needed.
Perhaps, somebody can recommend me a pair of cheap speakers from here (not really any budget but would prefer as cheap as possible without destroying the sound quality as they will be switched out in 1 year) https://www.hifipro.ca/en/
He is adamant that the Gold Note Valore 425 Plus ($1600) is much better than the Rega Planar 3 + Exact ($2000). I've demo'd both today, and I do notice a considerable difference between the two. He mentioned that he does love the Regas but at this price, the Gold Note is an obvious winner by a massive margin (he is friends with one of Rega's co-owner Gandy I believe).
As for the integrated amp, he said that anything past this level of amp will be get exponentially more expensive and I'll get less and less value out of it. So apparently this is a pretty good sweet spot.
Would greatly appreciate your feedbacks.
TIA!
submitted by wombocombodumbo to turntables [link] [comments]
I've been browsing this subreddit for a bit and I need your guys' opinion.
I went to an audio shop ( this is their website https://www.hifipro.ca/en/ ) today to look for a new set and the owner, with whom I spoke for 4 hours (lovely 65 yo guy and he is really really passionate about everything audio-related and is a sound engineer), recommended this set.
What I'm looking for within this set: Sound as pure as it can get without breaking the bank (don't want to spend over $5k) as it will be mostly for classical music (violin solos/piano, etc).
I initially wanted to go for automatic for simplicity reasons. However, he HIGHLY recommended this manual turntable if I want to prioritize sound quality over simplicity.
Budget: approx $3500 CAD + tax (Quebec)
manual turntable: Gold Note Valore 425 Plus with an Ortofon 2M red (acrylic for $1600)
OR
automatic turntable: DUAL CS 529 with an Ortofon 2M red (approx $1500)
amp: Atoll IN 50 Signature Integrated Amplifier (with phono option and DAC for my TV as well for $2150)
As for the speakers, I will be cheaping out on these as I am still in an apartment and will be bought once I move into my house next year. I will probably dedicate approximately $1000-$1500 into these in the future. Possibly more if needed.
Perhaps, somebody can recommend me a pair of cheap speakers from here (not really any budget but would prefer as cheap as possible without destroying the sound quality as they will be switched out in 1 year) https://www.hifipro.ca/en/
He is adamant that the Gold Note Valore 425 Plus ($1600) is much better than the Rega Planar 3 + Exact ($2000). I've demo'd both today, and I do notice a considerable difference between the two. He mentioned that he does love the Regas but at this price, the Gold Note is an obvious winner by a massive margin (he is friends with one of Rega's co-owner Gandy I believe).
As for the integrated amp, he said that anything past this level of amp will be get exponentially more expensive and I'll get less and less value out of it. So apparently this is a pretty good sweet spot.
Would greatly appreciate your feedbacks.
TIA!
2024.06.01 21:02 stewblock2023 I am making and planning a what-if the yellow background/orange background’s characters were replaced by new characters?
This is my idea of what if instead of the same characters from the B&W Part, they replaced it with new characters, to symbol how Dangerous the world is, and it will use the designs of the same heads used in my previous post, here are the characters who would replace them: • The Small Green Thing. • Musti. • Miffy. • Gadget Heckwanch. • Freddie (Bitty Big Heads version only). • Handy. • Vinni Pukh. • Po Ping. • Roary the Racing Car. • Gumball Watterson. • Squidward. • Clancy. • Belle Butterfly. • The LemonLand Mascot. • Pike from Pike's Lagoon. • The screaming evil paper thing aka the Virus from Pencilmation. • 3 from Number Lore (Derpy Eyes). • Bernie from Zig & Sharko (The Face when he gets his hand bitten by the plant in The Gardener). • the Yellow Shirt Kid from Boundaries by Hopscotch. • The Frog from If You’re Happy & You Know It by Muffin Songs. • Uncle Grandpa. • DogDay. • Blue (MAD version only). • Garfield. Colin the Computer. Ronald McDonald (McDonaldland Fun-Doh version only). Pink from Rainbow Friends (Rusrock version only because I like her design in Rainbow Nightmares). Peter Griffin. A Rabbid. The little girl from Hello by Muffin Songs. Nostalgia Critic. Kim Jong-un (NOTE: I still hate him, but I only like his Presidents counterpart). Ambrose Burnside. Bill Cipher. An inanimate clock. Iscream. Joseph Stalin (NOTE: I still hate him). John Cena. Chicken from Cow & Chicken. Ricky Bowers. Mammott. Baroness von Bon Bon. Mr. Blobby. Snoopy. A cat from PJ Pugapillar’s sad Origin Story by Gametoons. A Tyrannosaurus-Rex. Shrek. Troll Face. Lil’ Sam Lil’ Cat Lil’ Dice The Vandal from Matanim’s Cabinet Man Animation. A Blockster. Kevin Felix. Braden Broome. Bigmouth. Taylet Toad. A Creeper. The Block Of Eternal Screaming. Marge from Fright Night. Violin Girl from Courage The Cowardly Dog. (Scary Face) Upset Tune. RB. Mario. Wario. Goofy. Bambi.
And in the orange background part for the Hitler Andreas Hykade Mickey Mouse Hybrid Screaming will be Matthew Littermore’s Angry Screaming Face from Cartoonmania: The Movie, Handy’s Screaming Face from Don’t Yank My Chain, Evil Leafy with Scribble Mouth open, The Piano from DHMIS Fathers Day by Animeshun Man in his “Deafening Scream Form”, all fused in one as the screams from original Love & Theft gets replaced by Handy’s Scream, The Howie Scream, The Love & Theft Bitgewitter Preformance Scream and Tension in 1:47, Evil Leafy’s Roar, and the T-Rex’s Death Scream from N00bs Man Retreat mixed together and in distorted and glitchy effects, and the building up what appears to be a angry buff Gromit looking drug being, and then goes to transitioning characters who have appeared in this section such as: The Fish from DCTF. The Zookeeper from Zoonomaly. Tom Pelican/Pouli. Gregory Heffley. Freddy Fazbear. Flumpty Bumpty. Jane from The FNAF Movie. Pinocchio. Cheesehead Cheddarboy/Spugna. Gary The Snail. And in the Tongue Frenching part, the characters appear in this section as couples/2 characters from shows as: P & G from Alphabet Lore. X & Y from Alphabet Lore. Goku & Naruto. Sonic & Tails. Chuchel & Kekel. The Little Boy & The Bully from Happy Game. Orion & The Dark. Poochee & Pansy. Godzilla & Ghidorah. Frisk & Chara. And then at the pulling mutated thing with veins part. The characters appear as Riley & Maya from Girl Meets World (Stop-Motion & Cartoon style from World of Terror.) and the mutated thing with veins is replaced of what appears to be some blob-like part with textures of frames of Videos from Gen Z Traumas, and at the mutated characters part. It will have parts of real life animals, inanimate objects, B-Day’s Drawings such as the clock from the Mallrooms 2.5 footage, the bootleg hybrids from the Chip n' Dale: Rescue Rangers movie, the character mashups from Sporcle, the original and same characters from the original Love & Theft fused with the replacements and along with the Gen Z trauma characters mixed with them & etc, And at the zooming in part, it will show the same characters but will be extended after the blue triangle zooms in, and reveals most of the replacements with the DHMIS 1 Let’s Get Creative Tension as the blue texture turns to a reddish hue. And then flashing lights then zooms to black background.
submitted by stewblock2023 to u/stewblock2023 [link] [comments]
And in the orange background part for the Hitler Andreas Hykade Mickey Mouse Hybrid Screaming will be Matthew Littermore’s Angry Screaming Face from Cartoonmania: The Movie, Handy’s Screaming Face from Don’t Yank My Chain, Evil Leafy with Scribble Mouth open, The Piano from DHMIS Fathers Day by Animeshun Man in his “Deafening Scream Form”, all fused in one as the screams from original Love & Theft gets replaced by Handy’s Scream, The Howie Scream, The Love & Theft Bitgewitter Preformance Scream and Tension in 1:47, Evil Leafy’s Roar, and the T-Rex’s Death Scream from N00bs Man Retreat mixed together and in distorted and glitchy effects, and the building up what appears to be a angry buff Gromit looking drug being, and then goes to transitioning characters who have appeared in this section such as: The Fish from DCTF. The Zookeeper from Zoonomaly. Tom Pelican/Pouli. Gregory Heffley. Freddy Fazbear. Flumpty Bumpty. Jane from The FNAF Movie. Pinocchio. Cheesehead Cheddarboy/Spugna. Gary The Snail. And in the Tongue Frenching part, the characters appear in this section as couples/2 characters from shows as: P & G from Alphabet Lore. X & Y from Alphabet Lore. Goku & Naruto. Sonic & Tails. Chuchel & Kekel. The Little Boy & The Bully from Happy Game. Orion & The Dark. Poochee & Pansy. Godzilla & Ghidorah. Frisk & Chara. And then at the pulling mutated thing with veins part. The characters appear as Riley & Maya from Girl Meets World (Stop-Motion & Cartoon style from World of Terror.) and the mutated thing with veins is replaced of what appears to be some blob-like part with textures of frames of Videos from Gen Z Traumas, and at the mutated characters part. It will have parts of real life animals, inanimate objects, B-Day’s Drawings such as the clock from the Mallrooms 2.5 footage, the bootleg hybrids from the Chip n' Dale: Rescue Rangers movie, the character mashups from Sporcle, the original and same characters from the original Love & Theft fused with the replacements and along with the Gen Z trauma characters mixed with them & etc, And at the zooming in part, it will show the same characters but will be extended after the blue triangle zooms in, and reveals most of the replacements with the DHMIS 1 Let’s Get Creative Tension as the blue texture turns to a reddish hue. And then flashing lights then zooms to black background.
2024.06.01 13:38 Acquaintance9 THE LAST Fake Eurovision Award Nominations - Cringiest Performance
Hey guys! I've just been feeling kind of out of it and forgot to post yesterday, but I don't think the results changed very much. Here are your nominees for Best Hairography:
Best Hairography
You can comment a Eurovision song from 1957 - 2024 you think fits the category of the day best (for example, Albania 2012). If a song is already nominated for another category, you can put it up for consideration in another category also. If somebody has already posted a song you wanted to post, DO NOT post that song. If you are going to comment, do it in this format: Song Name + Artist - Country + Year. It should look like this: Suus by Rona Nishliu - Albania 2012. You can also upvote the posts that you think should be part of this category. At the end of two days, the four songs with the most upvotes will be nominees for the categories we have, which we will eventually vote on. Have fun!
Categories So Far:
Best Vocals
submitted by Acquaintance9 to nilpoints [link] [comments]
Best Hairography
- 🇲🇪 Space by Slavko Kalezić - Montenegro 2017 🇲🇪
- 🇷🇸 Loco Loco by Hurricane - Serbia 2021 🇷🇸
- 🇨🇿 My Sister's Crown by Vesna - Czechia 2023 🇨🇿
- 🇱🇻 Hollow by Dons - Latvia 2024 🇱🇻
You can comment a Eurovision song from 1957 - 2024 you think fits the category of the day best (for example, Albania 2012). If a song is already nominated for another category, you can put it up for consideration in another category also. If somebody has already posted a song you wanted to post, DO NOT post that song. If you are going to comment, do it in this format: Song Name + Artist - Country + Year. It should look like this: Suus by Rona Nishliu - Albania 2012. You can also upvote the posts that you think should be part of this category. At the end of two days, the four songs with the most upvotes will be nominees for the categories we have, which we will eventually vote on. Have fun!
Categories So Far:
Best Vocals
- 🇪🇪 La Forza by Elina Necheyeva - Estonia 2018 🇪🇪
- 🇨🇭 Tout L'univers by Gjon's Tears - Switzerland 2021 🇨🇭
- 🇪🇪 Bridges by Alika - Estonia 2023 🇪🇪
- 🇳🇴 Ulveham by Gåte - Norway 2024 🇳🇴
- 🇲🇩 My Lucky Day by DoReDoS - Moldova 2018 🇲🇩
- 🇦🇺 Zero Gravity by Kate Miller-Heidke - Australia 2019 🇦🇺
- 🇷🇸 In Corpore Sano by Konstrata - Serbia 2022 🇷🇸
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇧🇪 Rhythm Inside by Loïc Nottet - Belgium 2015 🇧🇪
- 🇨🇾 Fuego by Eleni Foureira - Cyprus 2018 🇨🇾
- 🇪🇸 SloMo by Chanel - Spain 2022 🇪🇸
- 🇲🇩 Soarele şi Luna by Pasha Parfeni - Moldova 2023 🇲🇩
- 🇫🇮 Hard Rock Hallelujah by Lordi - Finland 2006 🇫🇮
- 🇺🇦 Dancing Lasha Tumbai by Verka Serduchka - Ukraine 2007 🇺🇦
- 🇮🇸 Hatrið mun sigra by Hatari - Iceland 2019 🇮🇸
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇲🇪 Space by Slavko Kalezić - Montenegro 2017 🇲🇪
- 🇬🇧 Space Man by Sam Ryder - United Kingdom 2022 🇬🇧
- 🇨🇿 My Sister's Crown by Vesna - Czechia 2023 🇨🇿
- 🇱🇻 Hollow by Dons - Latvia 2024 🇱🇻
- 🇷🇺 Party for Everybody by Buranovskiye Babushki - Russia 2012 - Oven 🇷🇺
- 🇷🇺 RUSSIAN WOMAN by Manizha - Russia 2021 - Moving Dress 🇷🇺
- 🇦🇺 Promise by Voyager - Australia 2023 - Car 🇦🇺
- 🇫🇮 No Rules! by Windows95man - Finland 2024 - Jegg and Jorts 🇫🇮
- 🇪🇸 Do It For Your Lover by Manuel Navarro - Spain 2017 🇪🇸
- 🇮🇱 Set Me Free by Eden Alene - Israel 2021 🇮🇱
- 🇨🇭 Tout L'univers by Gjon's Tears - Switzerland 2021🇨🇭
- 🇵🇹 Ai Coração by Mimicat - Portugal 2023 🇵🇹
- 🇺🇦 Dancing Lasha Tumbai by Verka Serduchka - Ukraine 2007 🇺🇦
- 🇷🇺 Uno by Little Big - Russia 2020 🇷🇺
- 🇲🇩 Trenulețul by Advahov Brothers and Zdob și Zdub - Moldova 2022 🇲🇩
- 🇳🇱 Europapa by Joost Klein - Netherlands 2024 🇳🇱
- 🇲🇪 Euro Neuro by Rambo Amadeus - Montenegro 2012 🇲🇪
- 🇷🇸 In Corpore Sano by Konstrakta - Serbia 2022 🇷🇸
- 🇸🇪 Hold Me Closer by Cornelia Jakobs - Sweden 2022 🇸🇪
- 🇪🇸 ZORRA by Nebulossa - Spain 2024 🇪🇸
- 🇷🇺 RUSSIAN WOMAN by Manizha - Russia 2021 🇷🇺
- 🇺🇦 Stefania by Kalush Orchestra - Ukraine 2022 🇺🇦
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇺🇦 Maria & Teresa by alyona alyona and Jerry Heil - Ukraine 2024 🇺🇦
- 🇺🇦 Dancing Lasha Tumbai by Verka Serduchka - Ukraine 2007 🇺🇦
- 🇺🇦 SHUM by Go_A - Ukraine 2021 🇺🇦
- 🇲🇩 Trenulețul by Advahov Brothers and Zdob și Zdub - Moldova 2022 🇲🇩
- 🇪🇪 (nendest) narkootikumidest ei tea me (küll) midagi by 5miinust and Puuluup - Estonia 2024 🇪🇪
- 🇧🇬 Water by Elitsa Todorova and Stoyan Yankulov - Drums - Bulgaria 2007 🇧🇬
- 🇲🇩 Runaway by Sunstroke Project and Olia Tira - Saxophone - Moldova 2010 🇲🇩
- 🇮🇸 10 years by Daði og Gagnamagnið - Keytar - Iceland 2021 🇮🇸
- 🇪🇪 (nendest) narkootikumidest ei tea me (küll) midagi by 5miinust and Puuluup - Talharpa - Estonia 2024🇪🇪
- 🇳🇴 Fairytale by Alexander Rybak - Norway 2009 🇳🇴
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇦🇲 Jako by Ladaniva - Armenia 2024 🇦🇲
- 🇭🇷 Rim Tim Tagi Dim by Baby Lasagna - Croatia 2024 🇭🇷
- 🇱🇻 Eat Your Salad by Citi Zēni - Latvia 2022 🇱🇻
- 🇱🇻 Aijā by Sudden Lights - Latvia 2023 🇱🇻
- 🇨🇿 Pedestal by Aiko - Czechia 2024 🇨🇿
- 🇸🇲 11:11 by Megara - San Marino 2024 🇸🇲
- 🇨🇭 Tout L'univers by Gjon's Tears - Switzerland 2021 🇨🇭
- 🇳🇱 De Diepte by S10 - Netherlands 2022 🇳🇱
- 🇵🇹 Saudade, saudade by MARO - Portugal 2022 🇵🇹
- 🇳🇱 Europapa by Joost Klein - Netherlands 2024 🇳🇱
- 🇲🇩 Runaway by Sunstroke Project and Olia Tira - Moldova 2010 🇲🇩
- 🇱🇹 Discoteque by The Roop - Lithuania 2021 🇱🇹
- 🇨🇿 Lights Off by We Are Domi - Czechia 2022 🇨🇿
- 🇦🇹 Who The Hell Is Edgar by Teya and Salena - Austria 2023 🇦🇹
- 🇸🇲 Adrenalina by Senhit ft. Flo Rida - San Marino 2024 🇸🇲
- 🇦🇺 Promise by Voyager - Australia 2023 🇦🇺
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇳🇱 Europapa by Joost Klein - Netherlands 2024 🇳🇱
- 🇮🇹 Måneskin - Italy 2021 🇮🇹
- 🇸🇮 Joker Out - Slovenia 2023 🇸🇮
- 🇦🇲 Ladaniva - Armenia 2024 🇦🇲
- 🇮🇪 Bambie Thug - Ireland 2024 🇮🇪
- 🇺🇦 Be My Valentine! (Anti-Crisis Girl) by Svetlana Loboda - Ukraine 2009 🇺🇦
- 🇦🇺 Zero Gravity by Kate Miller-Heidke - Australia 2019 🇦🇺
- 🇭🇷 Mama ŠČ! by Let 3 - Croatia 2023 🇭🇷
- 🇫🇮 Cha Cha Cha by Käärijä - Finland 2023 🇫🇮
- 🇫🇮 No Rules! by Windows95Man - Finland 2024 🇫🇮
- 🇮🇪 Doomsday Blue by Bambie Thug - Ireland 2024 🇮🇪
- 🇸🇪 Waterloo by ABBA - Sweden 1974 🇸🇪
- 🇫🇮 Hard Rock Hallelujah by Lordi - Finland 2007 🇫🇮
- 🇮🇪 Doomsday Blue by Bambie Thug - Ireland 2024 🇮🇪
- 🇨🇭 The Code by Nemo - Switzerland 2024 🇨🇭
- 🇲🇪 Space by Slavko Kalezić - Montenegro 2017 🇲🇪
- 🇷🇸 Loco Loco by Hurricane - Serbia 2021 🇷🇸
- 🇨🇿 My Sister's Crown by Vesna - Czechia 2023 🇨🇿
- 🇱🇻 Hollow by Dons - Latvia 2024 🇱🇻
2024.06.01 07:54 IQueryVisiC Synthy music: frequencies
So I just learned that people like to hear two frequencies with a ratio of 1:2 2:3 3:4 4:5 . Now when we have a chain of notes, we multiply these fractions and the nominator and denominator get bigger and bigger. But this is okay because notes far away don’t need to be as harmonic.
There seems to be a lot of theory involved to try to compose melodies where it is possible to shorten fraction. It even seems to be that the audience doesn’t hear frequencies precisely. You can fool them and try to almost hit a harmonic.
Did people compose music like this for SID? Note how you cannot write these down as notes for the piano. It is only for singing or violin. An app can check and color code frequency ratios and let notes snap to a dynamic scale .. backwards and forwards as you optimize for harmony.
submitted by IQueryVisiC to c64 [link] [comments]
There seems to be a lot of theory involved to try to compose melodies where it is possible to shorten fraction. It even seems to be that the audience doesn’t hear frequencies precisely. You can fool them and try to almost hit a harmonic.
Did people compose music like this for SID? Note how you cannot write these down as notes for the piano. It is only for singing or violin. An app can check and color code frequency ratios and let notes snap to a dynamic scale .. backwards and forwards as you optimize for harmony.
2024.06.01 05:16 No_Top_1930 The Infamous [TMP Fear Theory]
Welcome one and all to the Big Top. Here I attempt to do the one thing that Jonathan Sims didn’t want us to do, and that The Magnus Protocol seems to try to be dissuading. But I’m going to categorize one of the current standing fears within TMP.
Now why am I doing this? It’s because organization was one of the things I really liked about The Magnus Archives, and Smirke’s 14 (technically 15) helped organize all of which that is fear into 14 (again 15) neat spots. Despite knowing that’s not how fear works, and it can’t be separated from one another.
So call me Robert Smirke, because I’m taking his task today to categorize one of the current “Fears” in this world. The Infamous.
As it stands, we have no idea how fears work. So the best we can do is grasp at what is similar. But with only 18 episodes, it’s a little hard to do. At least I thought.
But I think two episodes in particular have told us already what one of the fears is.
Episode 6 “Introductions” And Episode 12 “Getting Off”
These two episodes, are why I started this. Featuring Needles and Mr.Bonzo. And I believe wholeheartedly they are connected. Why? It’s because of how… weird their statements are.
Needle’s statement, at episode 6, is essentially our best friend Mr.Pin Cushion calling the police to tell them about the person they’ve filled with Needles in an effort to scare someone. Ultimately, it doesn’t work and so Needles instead resolves to hunting the caller down to harm instead. Show them why they should be afraid of… well, Needles.
Then to the second Mr.Bonzo statement, episode 12, is a group of friends gifting some dude Mr.Bonzo merch and playing his theme song way too loud on a speaker, and then Mr.Bonzo shows up to brutalize the party in some of the best depictions of gore we’ve ever gotten in this franchise.
So why do I bring these two episodes up? Well if Needles is our stand in for a Slaughter-esc character, and Mr.Bonzo is our stand in for a Stranger character, then why would they do things that work as the other’s fear?
Mr.Bonzo’s murders can easily be construed as something Slaughter related, had it not been done by a bumbling mascot character with googly eyes.
And while Needles’s connection to Stranger isn’t really there, the phone call seemed very reminiscent to Mag 101’s “Another Twist” with Nikola Orsinov and her statement to Elias about Jon’s… “situation”.
And so it got me thinking. Maybe there’s some connecting factor now between the Stranger and Slaughter in this world.
I turn your attention to Episode 4 “Taking Notes”. Another Slaughter-esc episode, with an even stronger connection than Needles. An object that tore up the skin of your fingers to feed on your blood. That object being a Violin. But what makes it weird is its effects.
Yes, if you don’t feed the violin, everyone who hears your music goes into a frenzy. But if you do feed it, you play music far greater then anyone could realize. You become infamous as a musician. And it’s this connection between fame and violence that can tie back to my Infamous theory.
The only reason I can’t 100% say this is legit is one of our newer episodes “17 - Saved Copy”. The Other Darrien seemed to be a violent murderer who’s only real witness to his crimes was his housekeeper. So he can’t be infamous.
If I had to peg how to describe “The Infamous”, it would be a horrible and violent tragedy or event that scars you deeply. Whose trauma will eat you alive until it has nothing left to feast on. It manifests in violence, in fame, in pain, and in artistry.
But what are your thoughts? Am I crazy, or am I on to something? Lemme know below
submitted by No_Top_1930 to themagnusprotocol [link] [comments]
Now why am I doing this? It’s because organization was one of the things I really liked about The Magnus Archives, and Smirke’s 14 (technically 15) helped organize all of which that is fear into 14 (again 15) neat spots. Despite knowing that’s not how fear works, and it can’t be separated from one another.
So call me Robert Smirke, because I’m taking his task today to categorize one of the current “Fears” in this world. The Infamous.
As it stands, we have no idea how fears work. So the best we can do is grasp at what is similar. But with only 18 episodes, it’s a little hard to do. At least I thought.
But I think two episodes in particular have told us already what one of the fears is.
Episode 6 “Introductions” And Episode 12 “Getting Off”
These two episodes, are why I started this. Featuring Needles and Mr.Bonzo. And I believe wholeheartedly they are connected. Why? It’s because of how… weird their statements are.
Needle’s statement, at episode 6, is essentially our best friend Mr.Pin Cushion calling the police to tell them about the person they’ve filled with Needles in an effort to scare someone. Ultimately, it doesn’t work and so Needles instead resolves to hunting the caller down to harm instead. Show them why they should be afraid of… well, Needles.
Then to the second Mr.Bonzo statement, episode 12, is a group of friends gifting some dude Mr.Bonzo merch and playing his theme song way too loud on a speaker, and then Mr.Bonzo shows up to brutalize the party in some of the best depictions of gore we’ve ever gotten in this franchise.
So why do I bring these two episodes up? Well if Needles is our stand in for a Slaughter-esc character, and Mr.Bonzo is our stand in for a Stranger character, then why would they do things that work as the other’s fear?
Mr.Bonzo’s murders can easily be construed as something Slaughter related, had it not been done by a bumbling mascot character with googly eyes.
And while Needles’s connection to Stranger isn’t really there, the phone call seemed very reminiscent to Mag 101’s “Another Twist” with Nikola Orsinov and her statement to Elias about Jon’s… “situation”.
And so it got me thinking. Maybe there’s some connecting factor now between the Stranger and Slaughter in this world.
I turn your attention to Episode 4 “Taking Notes”. Another Slaughter-esc episode, with an even stronger connection than Needles. An object that tore up the skin of your fingers to feed on your blood. That object being a Violin. But what makes it weird is its effects.
Yes, if you don’t feed the violin, everyone who hears your music goes into a frenzy. But if you do feed it, you play music far greater then anyone could realize. You become infamous as a musician. And it’s this connection between fame and violence that can tie back to my Infamous theory.
The only reason I can’t 100% say this is legit is one of our newer episodes “17 - Saved Copy”. The Other Darrien seemed to be a violent murderer who’s only real witness to his crimes was his housekeeper. So he can’t be infamous.
If I had to peg how to describe “The Infamous”, it would be a horrible and violent tragedy or event that scars you deeply. Whose trauma will eat you alive until it has nothing left to feast on. It manifests in violence, in fame, in pain, and in artistry.
But what are your thoughts? Am I crazy, or am I on to something? Lemme know below