This girl deserves the world. I’ve been saying for years how pop artists these days can’t even perform live without getting out of breath and how their music all sounds the same, and tonight Camila Cabello just proved me wrong. She’s the only reason I ever started listening to pop music again after so much time and I’m sharing this because I am truly proud of her. What an artist. 💕
i was walking back from the lounge to my room after washing dishes between classes and i pass by this room playing music and the voice sounds super super familiar but like, i wasn’t sure if it was just like a popular radio song or if it was something i knew
and then it hit me
is was frickin zhang yixing
but like i never heard the song before ???? but i was so sure it was yixing
so like i knocked on the girl’s door and she immediately quiets the music and opens the door a lil bit and she’s like “hello?”
and i’m like
…is that yixing
and the second i say yixing she like swings the door open and shes like YEAH IT IS
and i was like DUDE HOW COME I’VE NEVER HEARD THIS
and she was like DUDE IT DROPPED LIKE YESTERDAY IVE BEEN SCREAMING ALL DAY
so i watched his new mv ‘i need u’ in her room holding my basket of dishes
The idea of changing up your sound and not wanting to hear more of the same thing you’re hearing from everyone else in the genre is an interesting debate to me. I’m one of those people that don’t necessarily think you have to keep changing your sound…but I’m also open to hearing what different sounds artists and producers are experimenting with and putting out. Sometimes that means not jumping to judge before you’ve had a chance to listen a few times and understand and get comfortable with a new sound.
But I find it interesting that some of the same people who call for a new sound and complain about all the music sounding the same…also seem the least open to the very change they claim they want to hear. For example I hear a lot of complaints about how the pop music we hear most often all sounds the same. But then when artists and producers like Taylor and Jack and Max experiment with something different there is an immediate and negative reaction to that different sound. I see people saying well the chorus isn’t the way it’s done in pop music…or it doesn’t have the right drop for edm/dance…or the beat is not what we are use to…
Ummm…yeah that’s because they are experimenting with new sounds. It’s going to be different. It’s not going to follow the same rules. It’s meant to break away from the crowd. It’s meant to be judged on its own not on how it doesn’t match everything else we are hearing…the very same thing being complained about as “all sounding all the same”.
I can’t tell if you’re trolling, genuinely curious, or trying to say that I don’t do anything. Or maybe a combo of all three. I’ll just take the question at face value and answer honestly.
My part in the KiriBaku game is primarily coding and story; it’s a role that involves lots of writing both technically and creatively. To a lesser degree, I also do sprite, item, and background art too. Most of my background work is with interactables because it involves a lot of editing and updating and I didn’t want to thrust a whole afternoon of “I NEED THIS TO BE UPDATED!!!” at artists. Also, I get to choose music and sound effects, which is super fun! I have lost hours listening to random things and trying to pick the best one for each scene.
Most of my days are “What needs to happen sequentially in the game in order for this to trigger? Why is this broken?? WTF DID I DO.” So…I guess I have less things to show for it since a lot of what I do is currently under wraps and some are just not that interesting at all to post.
p.s. any more trolly questions, i will just ignore from now on, thanks.
I think the binding glyph is a natural consequence of something primordial about magic, rather than Ugin's invention. Like how calculus is one way to figure out what musical triads sound the most harmonious but it's not the only way. Specifically I'm thinking of how Nissa seemed to already know the glyph when the Gatewatch bound and killed Ulamog & Kozilek.
From the pretty French Quarter to the hip Marigny district, each of New Orleans’ neighbourhoods jive to their own funky beat – learn all about them with our in-the-know guide.
The charming, walkable Quarter is full of step-back in-time architecture and venerable dining institutions that speak to its status as New Orleans’ oldest neighbourhood, but it’s also home to exciting, new foodie spots…
Photo by CC-By-SA-3.0 on Wiki Commons
For more than a hundred years, Galatoire’s has been serving trout meuniere (trout with a flour-based sauce), soufflé potatoes and champagne to the New Orleans elite in its mirrored, tiled dining room. The French 75 bar at Arnaud’s, has an eccentric museum of vintage Mardi Gras costumes hidden upstairs.
Built in 1886, the Hotel Monteleone breathes old New Orleans character, from its elegant Beaux Arts architecture to its many reported ghost sightings.
Preservation Hall faithfully presents traditional jazz each night, just like when it was launched in 1961, with musicians who were there when the genre was born in the early twentieth century. Expect intimate, late-night concerts with contemporary artists like Elvis Costello and Angelique Kidjo.
Just downriver of the French Quarter, the bohemian Marigny and Bywater neighborhoods have become a centre for hip, laid-back art, music and cuisine.
Photo by Infrogmation of New Orleans on Wiki Commons
Grab a bottle at tiny, jewel-like wine shop Bacchanal, then drink it in the expansive, magically lit garden where live bands provide the soundtrack. In New Orleans, there are gigs 365 nights of the year meaning your toes will always be kept tapping. A block from the Press Street train tracks in Bywater, the aptly named Junction features Louisana’s finest craft brews and gourmet burgers.
The cute Balcony Guest House oozes Creole charm with its pretty characterful rooms. Its eponymous balcony provides a wonderful vantage point to admire the area’s rainbow-coloured tiny ‘shotgun’ houses, and see Marigny’s creative types ambling through the streets.
At Euclid Records and the Louisiana Music Factory, stock up on sounds to remember your visit to the cradle of American music. Crescent Park runs for two miles on the edge of Marigny and Bywater, and has breathtaking river vistas, as well as running and biking paths.
A few blocks uptown of the French Quarter, this neighbourhood is packed with galleries, plus stylish hotels and restaurants.
The latest from celeb chef John Besh’s team is Willa Jean, an expansive, corner space specializing in delectable bakery items, and brunch accompanied by lemony frozen rosé. Grab a seat on the raw bar at the award-winning Peche, for the best seafood in the Gulf. In 2016, New Orleans had the most James Beard award nominees per capita over any American city, so come hungry.
The old Roosevelt Hotel epitomises grandeur, with a Guerlain spa and its historic Blue Room, where Louis Armstrong once performed.
Stop by the Ogden Museum and browse its collection of contemporary and classic Southern art. On Thursday nights, local musicians play in its soaring atrium. The National World War Two Museum houses an extraordinary multimedia collection dedicated to telling the story of the conflict that shaped the twentieth century.
UPTOWN AND THE GARDEN DISTRICT
Live oaks and magnolias provide lush natural canopies over some of the city’s most impressive architecture
Photo by Pexels on Pixabay
The relatively new Freret Street cultural district is home to a handful of laid-back, innovative bars and restaurants, from the home-style Southern cooking at High Hat Café to next-level cocktails at Cure. Hidden away on a residential street, Clancy’s where generations have enjoyed fried oysters with Brie and lemon icebox pie.
The Avenue Plaza Resort, is home to locals’ favourite Mr. John’s Steakhouse which serves up prime beef just steps away from oak-lined St. Charles Avenue, where streetcars rumble by.
Tipitina’s, founded in the 1970s to give rhythm-and-blues piano man Professor Longhair a place to play, brings in both major touring bands and local luminaries. Magazine Street offers brilliant shopping for miles, including handcrafted jewellery inspired by the history of South Louisiana at Mignon Faget’s
For such a harrowing scene, for a scene that was paced so well—the use of sound was absolutely appropriate and perfect. I couldn’t disagree more with people saying that it was ill-fitting, and I’m going to explain why.
The most important thing I can tell you is that the music is NOT meant to assist in portraying Bellamy’s reaction. Rather, it is a SYMBOL of his reaction. It IS his reaction.
The use of sound in general in this scene is phenomenal to me. I adored the slow clattering of the weapon at Bellamy’s feet, that echoing diegetic sound of metal touching metal. The addition of this chilling wind sound as the weapon hits the floor almost feels like this very last exhalation of breath. That sort of breathing out at the sight of something that would soon knock the wind out of you. And silence. To Bellamy, in this one second, everything freezes, including time itself.
And to Bellamy, at the same time, as with any other human, the
abruptness and instantaneous nature of loss reaches him all too soon,
and that moment of disquietude he felt as Echo approached him and threw
down the weapon just drops.
The best thing about the music is noticing where it even plays. It started as the camera panned upwards to Bellamy’s face, sounding very muted
and faint, but intensifying and becoming more and more amplified as it
reached him—we feel his reaction before we see it. That slow climb in volume and intensity symbolized the cognizance of his
sister’s death and the burden of such morbid news. Figuratively speaking, the realization began at Bellamy’s feet—before the weapon—and crept all the way up to his conscious.
The notes used at the beginning were very deep and macabre sounding. It was quite disturbing—it made the situation seem even more wrong, like something is seriously amiss. It represents Bellamy’s processing of the information given to him even more clearly, that he was just unable to understand
what he had just been told—that it can’t actually be possible. It has
to be wrong.
The music stops when
it cuts to Roan and Echo, almost showing that this
music is almost really reserved for just Bellamy (just in case you
needed any more proof that the music is an aural presentation of
Bellamy’s reaction). The room is silent
when Roan tells him ‘she wouldn’t be taken alive’.
come back to Bellamy, the music kicks up again, still sounding the almost grisly tone of the piano we heard before—Roan tells him that he’s sorry,
and Bellamy has to physically turn away because he can’t face the news. Again, the diegetic sound of his handcuffs clattering together is highly amplified, almost reminding us of this state of his incapacitation regarding both his physical and mental imprisonment. He is both literally and figuratively chained.
Now this is one of my favorite moments: the music dies down again and this absolutely spine-chilling gust
of wind seeps into the atmosphere once more. A symbol of isolation. Hopelessness.
Clearly a non-diegetic sound, but it contains the capacity to showthe calm before the storm within Bellamy in that moment. These amplified noises reflect how sensitive Bellamy is to sound at this point. Note that the music stops again when Echo tells Bellamy that it was a good death. Silence again for Bellamy, as the news finally breaks his heart.
And as he begins to scream, even as it cuts to Echo and Roan, that peculiar and uncanny piano remains, but weaving with another instrument that I think may be the cello. There’s an undertone of sadness now, a reflection of
his hopeless denial, his plea for it to not be true but his understanding that there’s no chance that it isn’t. Do you know what that symbolizes?
It’s disbelief and grief ebbing and flowing into one. It’s horror and
sorrow intertwining. Bellamy doesn’t know what to feel. It’s all so wrong
to him, and yet he feels absolute desolation and loss all the same.
The music falls and rises rhythmically, just as Bellamy’s thoughts do—he
breaks down, completely destroyed. He feels the emptiness in his heart,
he thinks of what he has just lost and breaks down all over again. It’s
deliberately patterned to synchronize with this routine of despair he appears to have.
And even as the melancholic music ties together with the piano, the
piano still prevails. It’s still the loudest of them both and to me that
depicts Bellamy’s cyclical thought process. Regret.
Guilt. Shame. This feeling he can’t shake that something is wrong. The realization that this is earth and it was never on his side. That it is cruel, and it takes. Guilt for being so naive. Shame for failing his promise. Self-hatred as he realizes they never reconciled. That she died while still hating him. That to him, nothing will ever be the same again.
clear that this scene’s intention is to illustrate the wave of absolute
horror that washes over Bellamy. The suddenness of it, the absence of
warning. Bellamy’s inner battle between rejection of fact, denial on the basis
that it can’t possibly have happened and succumbing to the tragedy of death because he knows it is nothing but the truth.