I don't like giving VladTV metrics, they're a terrible organization
summarize for me, please?
Oh. I'm not familiar with them. What makes them terrible out of curiosity?
Most of the interview is him talking about the "white people are guests in the house of hip-hop" comment, which Talib Kweli disagrees with, but for the whole gay agenda thing he says "There's a lot of things Lord Jamar has said to you that I don't agree with, but I agree with the premise of what's he's trying to say. There is a problem with white privilege in hip hop. There is a problem with the feminization and emasculation of black men in hip hop, so when lord Jamar speaks out against what he considers the gay agenda, I feel like that what he's really speaking on, the emasculation of the black male image, which to me is a real issue. I just think that sometimes, because he's speaking in a street manner, some people miss that point."
Also, already done Muscovy.
I'm pretty comfortable saying that Kweli is wrong, assuming "feminization" were even an issue in the first place, which is a statement I think a lot of black gay men and transwomen would have an issue with, among other people.
Jamar is a homophobic asshole, the reason he is given a platform and defended by some people is that he was part of Brand Nubian who were very influential (he worked with a young MF DOOM when the latter was still known as Zev-Love X, for instance) and are still looked up to by a lot of folks. It's sad, but also relatively straightforward, and it's not like Jamar is ambiguous about this sort of thing, he's gotten really hung up on, for instance, Kanye West wearing a kilt, in past interviews. He's a dick and I don't like him. Kweli I am willing to give something akin to a benefit of a doubt, but I just think he's in the wrong here.
It's a common point too. Like as a random example, Count Bass D's first album has a song where he compares mainstream rappers rocking chains to women wearing jewelry and we're just supposed to think this is inherently bad. It's dumb and not really a new argument (that album came out when Kanye West was still working with people like Talib Kweli).
Then again, I am not black, so maybe I'm just speaking from a place of ignorance. :shrug:
as for VladTV it's just basically a tabloid, they try to get artists to say controversial things so they can get metrics.
I don't like giving VladTV metrics, they're a terrible organization
summarize for me, please?
Oh. I'm not familiar with them. What makes them terrible out of curiosity?
Most of the interview is him talking about the "white people are guests in the house of hip-hop" comment, which Talib Kweli disagrees with, but for the whole gay agenda thing he says "There's a lot of things Lord Jamar has said to you that I don't agree with, but I agree with the premise of what's he's trying to say. There is a problem with white privilege in hip hop. There is a problem with the feminization and emasculation of black men in hip hop, so when lord Jamar speaks out against what he considers the gay agenda, I feel like that what he's really speaking on, the emasculation of the black male image, which to me is a real issue. I just think that sometimes, because he's speaking in a street manner, some people miss that point."
Also, already done Muscovy.
I'm pretty comfortable saying that Kweli is wrong, assuming "feminization" were even an issue in the first place, which is a statement I think a lot of black gay men and transwomen would have an issue with, among other people.
Jamar is a homophobic asshole, the reason he is given a platform and defended by some people is that he was part of Brand Nubian who were very influential (he worked with a young MF DOOM when the latter was still known as Zev-Love X, for instance) and are still looked up to by a lot of folks. It's sad, but also relatively straightforward, and it's not like Jamar is ambiguous about this sort of thing, he's gotten really hung up on, for instance, Kanye West wearing a kilt, in past interviews. He's a dick and I don't like him. Kweli I am willing to give something akin to a benefit of a doubt, but I just think he's in the wrong here.
It's a common point too. Like as a random example, Count Bass D's first album has a song where he compares mainstream rappers rocking chains to women wearing jewelry and we're just supposed to think this is inherently bad. It's dumb and not really a new argument (that album came out when Kanye West was still working with people like Talib Kweli).
Then again, I am not black, so maybe I'm just speaking from a place of ignorance. :shrug:
Okay, this was pretty much my gut reaction to the interview and to Jamar (from the very little I know of him). I just wanted to get a second opinion since, as you said, I'm not black either and maybe I'm speaking from a place of ignorance too.
Really though, no one would become a math nerd unless they had no ability to feel the higher emotions.
...
that's how you feel about me then...
FYI when he says "math nerds" he apparently actually means "people who have a fetish for the STEM fields and think that philosophy and other non-STEM fields are crap", or something like that
Really though, no one would become a math nerd unless they had no ability to feel the higher emotions.
...
that's how you feel about me then...
FYI when he says "math nerds" he apparently actually means "people who have a fetish for the STEM fields and think that philosophy and other non-STEM fields are crap", or something like that
You are the end result of a “would you push the button” prompt where the prompt was “you have unlimited godlike powers but you appear to all and sundry to be an impetuous child” – Zero, 2022
Russell doesn't seem to have a very high opinion of the Eleatics
in his history he treats Parmenides' argument as a simple bit of fallacious reasoning, notes that Parmenides might disagree and supply a stronger formulation of the argument, and moves on, without even mentioning Zeno
Russell doesn't seem to have a very high opinion of the Eleatics
in his history he treats Parmenides' argument as a simple bit of fallacious reasoning, notes that Parmenides might disagree and supply a stronger formulation of the argument, and moves on, without even mentioning Zeno
Russell's history should be taken with a wheelbarrow full of salt.
mostly i'm just reading this as a 'way in' to the discipline, and i figured i've probably outgrown Sophie's World
if it provides context for understanding Russell, so much the better
Peter Adamson's podcasts have a more in-depth discussion of the pre-Socratics, and i mean to go back and read the primary sources where they exist, at some point
Honestly, I'm well past the point of raging about how people these days don't appreciate Clementi (or any other notable classical composer who's not super famous) because I realized that you just can't force people to like something -- they gotta come to a liking on their own terms.
though lately it seems I've been attempting to enforce composer focus on pop music
which is actually more interesting than it may seem at first glance because there is a potential wealth of insight there that explains "why does this song sound a lot like that one"
i feel like i would need music appreciation classes to properly 'get' why some old composers are so great
as it is i can usually get some enjoyment out of melody and texture, but i feel like i'm missing something
probably harmony and form
pop harmony uses the same chords very differently from classical harmony
and form is just the larger narrative organization of musical ideas. most pop uses song form (verse refrain verse refrain bridge refrain), though that's pretty uncommon in classical. however, even in classical music, form is about the organized, selective restatement of musical material.
i think harmony is the glue that binds melody ideas together intoa coherent narrative at the small scale, though my way of thinking (using that which i understand most) also leads me to finding some somgs boring because their harmonies are unengaging to me.
different music -- and that includes different pieces of music even within one genre/style -- use melody, texture, harmony, form, rhythm, etc. in different ways, with different emphases on each, and sometimes those combinations are ones i find more satisfying or appealing
I like Vivaldi's Four Seasons and Saint-Saens's Carnival of Animals, because they're more like pop albums than your average symphony.
yeah, the larger sonata-form works generally have a lot more melodic/motivic ideas going on in them than the average pop song, and go on for a lot longer, which might make them less accessible than simpler, more straightforward pieces that juggle fewer musical ideas at a time
also maybe it's just me but sometimes ya gotta just get really into one idea and want to play with it left right up down top bottom charmed inside out i think, rather than just letting it be stated and pass oneself by
also wrt a composer focus on popular music, it's an interesting idea
there are difficulties that need to be considered though, often in pop you don't have any individual credited as a composer, instead you have a songwriter who might be composer or might just be a lyricist
then there are issues of interpretation and production (a remix can be more creative than a cover!)
there's also the role improvisation plays, obvious in jazz but important also in blues, prog, hip-hop and other genres
and then there's the fact that sheet music is no longer regarded as 'canonical' in the way it once was, where it exists at all; instead the record is usually treated as definitive, though not in jazz where there is often no one definitive version, nor in (trad) folk where the oral tradition has acquired a semi-sacrosanct status
im thinking i might make a thread about stuff i learn while reading about philosophy and related material
i think it would help motivate me to keep reading (i don't read enough these days), and maybe it would be of use to anyone else curious about the subject who isn't sure where to begin
also some music just seems more suited to be listened to over and over again
or maybe that's just due to my own personal practice of mentally replaying stuff
There is the idea that I got from my music classes, that more repetitive forms like the ABABCB sort of thing that pop music loves sticks in the head easier but can't
also wrt a composer focus on popular music, it's an interesting idea
there are difficulties that need to be considered though, often in pop you don't have any individual credited as a composer, instead you have a songwriter who might be composer or might just be a lyricist
then there are issues of interpretation and production (a remix can be more creative than a cover!)
there's also the role improvisation plays, obvious in jazz but important also in blues, prog, hip-hop and other genres
and then there's the fact that sheet music is no longer regarded as 'canonical' in the way it once was, where it exists at all; instead the record is usually treated as definitive, though not in jazz where there is often no one definitive version, nor in (trad) folk where the oral tradition has acquired a semi-sacrosanct status
There's also the issue that most people consider the performer more important than the composer in pop music. Partially because of the aforementioned influence from the jazz age, but partially because of the idea that music is a form of expression on the part of the performer, to the point that a lot of people assume that artists write their own songs.
im thinking i might make a thread about stuff i learn while reading about philosophy and related material
i think it would help motivate me to keep reading (i don't read enough these days), and maybe it would be of use to anyone else curious about the subject who isn't sure where to begin
so i have at least one reader, that's reason enough to start
@ Yarrun: also sampling is a potential complication, i think
in some cases the sample's composer(s) warrant a feature credit, at the other extreme (as exemplified by e.g. RZA) the sampling becomes basically a hugely versatile instrument in its own right
Comments
that's how you feel about me then...
not "math nerds" in the usual sense
in his history he treats Parmenides' argument as a simple bit of fallacious reasoning, notes that Parmenides might disagree and supply a stronger formulation of the argument, and moves on, without even mentioning Zeno
the fact that he treats the 'flux doctrine' as more reasonable on the basis of wholly anachronistic information was a big tip off
the stuff on Orphism was cool and new to me, though
if it provides context for understanding Russell, so much the better
Peter Adamson's podcasts have a more in-depth discussion of the pre-Socratics, and i mean to go back and read the primary sources where they exist, at some point
plus there's SEP and IEP
which is actually more interesting than it may seem at first glance because there is a potential wealth of insight there that explains "why does this song sound a lot like that one"
as it is i can usually get some enjoyment out of melody and texture, but i feel like i'm missing something
pop harmony uses the same chords very differently from classical harmony
and form is just the larger narrative organization of musical ideas. most pop uses song form (verse refrain verse refrain bridge refrain), though that's pretty uncommon in classical. however, even in classical music, form is about the organized, selective restatement of musical material.
i think harmony is the glue that binds melody ideas together intoa coherent narrative at the small scale, though my way of thinking (using that which i understand most) also leads me to finding some somgs boring because their harmonies are unengaging to me.
or maybe that's just due to my own personal practice of mentally replaying stuff
there are difficulties that need to be considered though, often in pop you don't have any individual credited as a composer, instead you have a songwriter who might be composer or might just be a lyricist
then there are issues of interpretation and production (a remix can be more creative than a cover!)
there's also the role improvisation plays, obvious in jazz but important also in blues, prog, hip-hop and other genres
and then there's the fact that sheet music is no longer regarded as 'canonical' in the way it once was, where it exists at all; instead the record is usually treated as definitive, though not in jazz where there is often no one definitive version, nor in (trad) folk where the oral tradition has acquired a semi-sacrosanct status
i think it would help motivate me to keep reading (i don't read enough these days), and maybe it would be of use to anyone else curious about the subject who isn't sure where to begin
would anyone read it?
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
@ Yarrun: also sampling is a potential complication, i think
in some cases the sample's composer(s) warrant a feature credit, at the other extreme (as exemplified by e.g. RZA) the sampling becomes basically a hugely versatile instrument in its own right