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I'm not here to stifle anyone's creativity but how do you have a track produced by 7 people for one of the most famous artists in the world and have it end up like this https://www.youtube.com/watch?v=vp3BSjJdyow Good Soldier Svejk has issued a correction as of 16:33 on Apr 11, 2024 |
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Apr 11, 2024 16:31
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I think it's pretty neat that she has Rhiannon Giddens on one of the tracks. I hope the album will expose her fans to country and Americana music and their artists.
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Apr 11, 2024 16:33
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Apr 11, 2024 16:34
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beyonce is practically the definition of mid, and unfortunately it required her doing country music for people to recognize it
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Apr 11, 2024 16:35
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waiting for cardi b’s collab with wheeler walker jr.
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Apr 11, 2024 16:35
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I just need JayZ revelations to happen already so she can get owned twice
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Apr 11, 2024 16:35
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oh my god i'm speechless. this is so overproduced it reminds me of madonna's "american pie" cover from 2000, or a worse version of the (very good) robert plant and alison krauss album
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Apr 11, 2024 16:35
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Nonsense posted:I just need JayZ revelations to happen already so she can get owned twice i imagine hes tied up in the puffy poo poo too???
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Apr 11, 2024 16:39
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i say swears online posted:oh my god i'm speechless. this is so overproduced that and her voice is just like... she sounds audibly uncomfortable and is trying to interlace the twang with her usual pop effects and it doesn't work at all so they keep adding in the weird voice overdubs and compressed the hell out of her vocal track It confounds me somebody at some point in the decision chain should have said "we need to try this again" And I get entirely what she's going for, I love an album opening track that's just "here's what this album's about" but you don't do it like that, you do it like this: https://www.youtube.com/watch?v=EyTaepxQxH4
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Apr 11, 2024 16:42
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And is it fair to compare a pop star's midlife crisis country album to one of the best albums ever made? No absolutely not but if you're gonna be Queen you should at least hire people who know how to operate a studio
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Apr 11, 2024 16:44
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The biggest stars record at home now. Studios are for bandcampers to overpay for everything
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Apr 11, 2024 16:46
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I turned 73 yesterday. Saw the Beatles live twice in my tweens. Went through a long hippie phase in the 60s. Got completely engulfed in punk in the 70s and post-punk in the 80s. In a lifetime of listening to great music, Cowboy Carter has grabbed me and won't let me go. This album is SUBLIME. Lemonade turned me into a Beyonce fan; Cowboy Carter clinched me as a fan for life. Long live Queen Bee! IT'S A LITERAL FUNERAL MASS IN UNDER 6 MINS. LOVE IT. It's structured like a Church service with a clear Opening Hymn, Sermon, Closing Hymn structure, and specifically a Black or Southern Baptist church when it comes to the Sermon portion. A lot of people realize that requiem means funeral mass and what the song means about laying the old ideas and biases to rest but no one is pointing out that the song itself is quite literally a full funeral mass, start to end. During the sermon portion there are vocal interjections as a choir would with a preacher in a call and response sort of way and also preaching chords. IT IS INGENIOUS & BRILLIANT! A clever girl indeed. Up until 3 days ago, I had never listened to a Beyonce song. Then I heard Blackbird and I wept tears of joy . . . and then I heard American Requiem and I was totally mesmerized by the power and the vastness of the intention. Beyonce, you are a force of Nature and you are leading the way towards justice and equality. Thank you.
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Apr 11, 2024 16:48
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I finally listened to the cover of Jolene and it's not like, objectively awful, but it is such a weird decision to take a song where the message is "drat that Jolene, she's gonna steal my man!" and change it to "Jolene tried, but my marriage is stronger than that, tell her, husband!"
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Apr 11, 2024 16:52
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WampaLord posted:I finally listened to the cover of Jolene and it's not like, objectively awful, but it is such a weird decision to take a song where the message is "drat that Jolene, she's gonna steal my man!" and change it to "Jolene tried, but my marriage is stronger than that, tell her, husband!" The only way that could telegraph harder would be if she changed Jolene to Rhianna
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Apr 11, 2024 17:24
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Al! posted:i imagine hes tied up in the puffy poo poo too???
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Apr 11, 2024 17:26
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Samuel Glompers posted:Please, expand on the evil of Fallout New Vegas Digital Opium. Those addicted to it need to be thrown into camps until they recover from usage.
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Apr 11, 2024 17:29
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WampaLord posted:I finally listened to the cover of Jolene and it's not like, objectively awful, but it is such a weird decision to take a song where the message is "drat that Jolene, she's gonna steal my man!" and change it to "Jolene tried, but my marriage is stronger than that, tell her, husband!" wonder if the marriage will survive the human trafficking allegations
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Apr 11, 2024 17:34
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I mean, did lyin’ Todd say the Fallout show is canon to the games or something? Cause otherwise it’s just a case of adaptations having their own canons like they have since forever and I don’t see the issue. If he actually did though lmao, way to punish a game for daring to be more beloved than yours.
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Apr 11, 2024 17:41
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i say swears online posted:oh my god i'm speechless. this is so overproduced Classsic too many cooks situation. Theres like 5 different songs there and nowhere near as snappy and catchy as good country pop can be.
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Apr 11, 2024 17:41
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I have mastered a breathing technique that makes me impervious to digital opium
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Apr 11, 2024 17:41
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Clip-On Fedora posted:I have mastered a breathing technique that makes me impervious to digital opium https://www.youtube.com/watch?v=lyb1mA0hGX0
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Apr 11, 2024 17:44
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galagazombie posted:I mean, did lyin’ Todd say the Fallout show is canon to the games or something? Variety posted:Fans of the games should know that everything in the series is officially part of Fallout lore, and Bethesda was careful to make sure the scripts could coexist with previous storylines from the gaming titles. “We view what’s happening in the show as canon,” says Howard. “That’s what’s great, when someone else looks at your work and then translates it in some fashion.” He admits to being envious of some of the TV show’s interpretations and additions: “I sort of looked at it like, ‘Ah, why didn’t we do that?’”
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Apr 11, 2024 18:08
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Al! posted:i imagine hes tied up in the puffy poo poo too??? He must be
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Apr 11, 2024 18:15
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fallout leaning really hard on the Chekhov's MacGuffin Injected Into A Scientist's Head trope in episode two a little hard smdh
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Apr 11, 2024 18:21
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KirbyKhan posted:He must be It's kinda complicated--there wasn't a ton of crossover between Rocafella and Bad Boy in terms of artists/lanes--Rocafella was glitzy and glammy, and you would have some guesting on each other's poo poo, but they were also different crews. I mean Jay-Z fuckin' stabbed Un Rivera lol, there's not a ton of love lost between the two camps over poo poo like that. I think Jay Z absolutely has skeletons in his closet but I don't think it's hella likely he's that tangled up in Puffy's poo poo. He probably has his own entire parallel setup, for whatever his pervert fantasies are.
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Apr 11, 2024 18:24
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Apr 11, 2024 19:19
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Does everyone on the new Fallout show talk like an Oblivion NPC? Because if they don’t I refuse to watch it
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Apr 11, 2024 19:20
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Nichael posted:i really think this is matt selman's worst episode of the simpsons yet https://youtu.be/cw2RvJWGs7M?si=_4oG4Fs_pkdZ2KwH
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Apr 11, 2024 19:34
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man pre-apoc america in fallout seems like the biggest hellhole just a endless forever 1950s the commies were right, america deserved to be nuked, etc
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Apr 11, 2024 19:40
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what is the premise behind Fallout, nuclear war in the 50s?
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Apr 11, 2024 19:45
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In 2007, the New Yorker staff writer Vinson Cunningham was in his early twenties, working as a tutor in Manhattan. These were exciting times for the liberal public sphere: the iPhone, Tumblr, and Nancy Pelosi had just made debuts, the latter as the first woman speaker of the House of Representatives. Through luck, or fate, or divine intervention, Cunningham’s tutoring connections drew him into the orbit of a charismatic black senator from Illinois making a bid for the presidency. Working on Barack Obama’s campaign, he called potential donors, collected checks, clutched a clipboard at the entrance to the apartments of the rich and famous — the kind of work that inspires and requires jaded cynicism. Cunningham has lent his own potted biography to the protagonist of his debut novel, Great Expectations. Like its namesake, this is a story about searching for identity, but race, religion, and political disillusionment in early 2000s America take the place of Charles Dickens’s class-inflected Victorian romance. Great Expectations follows David Hammond, a black man, also in his early twenties, over the eighteen months he spends working for the senator’s campaign. One character jokes about the similarity between his and the name of the artist David Hammons, whose work has dealt ironically with symbols of race and power in the United States (“magical things happen when you mess around with a symbol,” he told the critic Kellie Jones in 1986). Cunningham’s novel, much like Hammons’s art, explores the hollowness and malleability of symbols. At its center is the unnamed senator, referred to throughout as simply “the candidate” but clearly more than inspired by Barack Obama. When the novel opens, David is a twenty-two-year-old college dropout with a child he didn’t plan for and a whole lot of promise he’s afraid he has squandered. The campaign takes him into a world of BlackBerry phones and sensible heels, cocktail parties thrown by liberals with good tailoring and Park Avenue mansions. He has affairs, takes some drugs, has a brush with financial scandal. This is a bildungsroman for the West Wing generation. Political machinations provide the skeleton of the novel, but the candidate barely figures. David moves from New York to New Hampshire, Los Angeles to Chicago, making recognizable stops in the months leading up to Obama/the candidate’s 2008 victory. The political world into which he has been thrust acts as the backdrop for a series of diaristic digressions on art, fatherhood, religion, and race. Pair this with the first-glance similarity to the author’s own life, the basis in real world events, and Cunningham’s novel might sound like yet another work of autofiction. But in interviews he has made clear that he rejects the collapse between author, narrator, and protagonist that occurs in the works of Karl Ove Knausgaard, Rachel Cusk, Ben Lerner, etc. Diversions from reality seem surface level at first — while Cornel West appears as himself, Ed Koch’s park commissioner Gordon Davis is renamed “Wilson Taylor” — but they are emblematic of the novel’s preoccupation with digging into a symbol to see what, if anything, lies beneath. David observes, “in the end they did treat [the candidate] like a sign, like something whose outward image was intrinsic to its identity.” Like Cunningham at his age, David wants to be a writer. The people he meets through the campaign, and the spaces they occupy, provide fodder for his various ruminations. At one party in a publisher’s Brooklyn brownstone, he finds himself fixated on a Jenny Holzer artwork, words scrolling over an LED screen. “My interest in the visual arts,” David admits, “often came down to meaning, which, for me, mostly came down to words.” A Renoir painting, a schoolgirl’s drawing, a set of vintage photos from a secondhand market are each subjected to visual analysis, but David doesn’t look for meaning in the artworks themselves. Instead, his thoughts flow from image to his own experience. Renoir was Catholic, David is reminded of his Jesuit middle school; the drawing shows a lonely figure, David feels guilty about his relationship with his daughter; a man in a photo looks like Jean Toomer, David recounts a conversation about the effect the candidate might have on American politics of race. It’s Beverly, the woman who got him the job in the first place, who points out that when everybody talks about how the candidate would “change race in America” what they mean is “he’ll change white people.” She’s one of several high-powered black professionals with whom David comes into contact in his new world, people who summer in Oak Bluffs or live in Hollywood mansions. Although he is never quite at ease among the big-money types, he watches them closely, “searching for a way to be.” Through David’s detailed observations — of the candidate’s “incredibly erect posture,” for example — we see him creating himself, assembling a collage of people to whom he relates. The sketches of other characters are sparing, but precise enough that you would recognize them on a crowded subway platform. David’s tutee is “sweet and gangly, with an indecisive almost-Afro, ashy elbows, and a mouth crowded with braces and spit,” while Regina, a campaign-trail fling, is “tall and substantial, with dark, enthusiastic eyes, a negligible forehead, and a low hairline that sprouted handfuls of thick, near-black hair.” Elsewhere, Cunningham’s overreliance on rough-hewn adverbs — an abusive teacher whispers “hotly”; the handle of a steel toast rack gleams “lithely”; light comes “yellowly” from a lamp and “bluely” from open laptops — begins to grate. When a sidewalk is disrupted by “huge lividly fertile tree roots bursting sexually through the concrete,” the prose threatens to buckle under their weight. But generally, Cunningham’s writing is elegant and evocative. In one passage, he produces the literary equivalent of high-definition television capturing a close-up of a politician’s sweaty pores. Here’s a moment from a sex scene between David and Regina: She had thin, dry, protrusive lips, which she often pursed in the manner of the Buddha in certain sculptures. Each of my lips was as large as both of hers, and so she suctioned one at a time, drawing cool, inscrutable patterns with her tongue. Cunningham’s intention is clearly to make us squirm, and he succeeds. But there is also something tender about the detail. When David arrives at her apartment, he observes a landscape of hair-clogged drains, dull razors, and a graveyard of discarded toothbrushes on the lip of the sink that he describes with a reverence usually reserved for religious relics. “I have always felt happy in spaces like these,” he muses, because their inhabitants “constitute a kind of priesthood.” Religion, sprinkled over nearly every scene of Great Expectations, becomes so familiar that it almost feels inevitable that Regina happens to be getting baptized the day after their tryst. A building on the Upper East Side reminds David of a church, a bookfair talk of Sunday service. The campaign fieldworkers are, “together, John the Baptist, eating their locusts and honey, twigs caught in their dreadlocking hair,” spreading the gospel about Christ the candidate. One of David’s memories of the church sermons of his youth is of a “constant stream of references, all pointing back to a languid, strolling exposition of the text via current events.” Cunningham — who, like his protagonist, was raised by a Bible study teacher and a church musician — has said he was taught to read in an exegetical way by finding correspondences between the Old and New Testaments. But when it comes to the candidate himself, connections seem to lead everywhere and nowhere at the same time. Looking back at the way Obama used his own faith to connect with Americans, at the way he treated his supporters, as David notices, “as congregants,” it’s no surprise he draws comparisons with a pastor. In a 2006 keynote speech at the Call to Renewal’s Building a Covenant for a New America conference, Obama warned, “if we scrub language of all religious content, we forfeit the imagery and terminology through which millions of Americans understand both their personal morality and social justice.” This is faith as a rhetorical tool, as a kind of code through which personal experience takes on the appearance of something more universal. Cunningham’s repeated return to religion throughout the novel creates a parallel between a young man questioning his faith in god and growing sceptical of the promised land of the future politicians tend to preach. By the end of the book, David has learned — from the candidate, from donors he’s become close to — “a language of signs.” He has lost the reverence he once held for the world of politics, seen behind the curtain and witnessed scurrying assistants, frantic fundraisers, and not much else. By the novel’s close, he has no capacity for admiration “now that I could interpret the symbols [the candidate] offered in such profusion.” When he arrives in Chicago for election day, David finds himself attracted to the “veiled God of my youth, if only because He still spoke words I couldn’t comprehend.” Great Expectations asks what happens when what was once clouded in smoke comes clearly into view, and we discover that the symbols we had treated as synecdoche for something larger are in fact empty. Belief in hope and change alone can only get you so far.
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Apr 11, 2024 19:48
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indigi posted:what is the premise behind Fallout, nuclear war in the 50s? nuclear war in the Cyberpunk year due to the fact that due to limitless nuclear power everyone forgot about conserving oil, so they go to war with China over the arctic oil fields.
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Apr 11, 2024 19:48
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Justin Tyme posted:All I remember is the guy in the trailer going "I'm gonna kill Aquaman, and his family" the delivery of which made me n my wife lmao so hard we keep quoting it any time we watch a show and someone says "I'm gonna kill X" your framing makes the family thing sound like a random afterthought kind of like the and zoidberg gag from futurama but presumably without the irony
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Apr 11, 2024 19:51
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indigi posted:what is the premise behind Fallout, nuclear war in the 50s? the insanity of the post-war 50s never ending until the end of the world, canada gets annexed?, an AI that thought it was the president launched the nukes? its been a bit
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Apr 11, 2024 19:51
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Al! posted:nuclear war in the Cyberpunk year due to the fact that due to limitless nuclear power everyone forgot about conserving oil, so they go to war with China over the arctic oil fields. oh, that's kind of interesting. why is it all 1950s then? e: Matt Berry is in this show???? ok I'll watch
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Apr 11, 2024 19:52
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josh04 posted:we got six whole years of "the REAL DC cinematic universe starts... now!" and depending on how things play out with gunn they may not yet have stopped. superman legacy has guy garnder in it and they're adapting that post about superman sobbing as he beats bizzaro to death. does anyone else think its weird how theyre trying to hype us up for a new superman movie by talking about literally every random comic book character whos in it except for superman
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Apr 11, 2024 19:54
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indigi posted:oh, that's kind of interesting. why is it all 1950s then? He does the voice acting for some kind of murder robot, I've only seen the trailer but I'm guessing he won't be in more than one episode
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Apr 11, 2024 20:00
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galagazombie posted:I mean, did lyin’ Todd say the Fallout show is canon to the games or something? Cause otherwise it’s just a case of adaptations having their own canons like they have since forever and I don’t see the issue. If he actually did though lmao, way to punish a game for daring to be more beloved than yours. How do you measure belovedness. Amount of annoying twitter people online?
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Apr 11, 2024 20:07
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indigi posted:oh, that's kind of interesting. why is it all 1950s then? because 50s americana is funny also a thematic point about cultural stagnation
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Apr 11, 2024 20:08
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indigi posted:oh, that's kind of interesting. why is it all 1950s then? Its set in the post apocalypse of a 1950's vision of the future. I don't know if theres any actual lore reason culture just kinda crystalized in the 50's.
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Apr 11, 2024 20:09
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