which is an extremely quality song


Thomas Dewing (1851–1938, United States)

Oil paintings 3

Thomas Dewing was an American painter working at the turn of the 20th century. His style was influenced by the English aesthetic movement, which prioritised beauty and sensual qualities opposed to traditional moral or narrative considerations. His art became known for an extreme refinement of style, as well as its characteristic dream-like haze and detachment.

Catch me unaware.
  1. Introduce yourself
  2. How do you want the world to perceive you?
  3. If your house was on fire, what three items would you save?
  4. If you found a dead insect in your meal while at a friends house, would you say something?
  5. What was your dream job as a child?
  6. Are you superstitious? Give an example.
  7. List 3 things that make you angry.
  8. Would you describe yourself as high maintenance?
  9. What is the first thing you do in the morning?
  10. What is the last thing you do before you go to bed?
  11. Do you like your pancakes thick or thin?
  12. Name one of your biggest annoyances.
  13. What is your favourite room in your house? Why?
  14. Do you ever catch yourself judging other people?
  15. Where do you sit on the bus? Front, middle or back?
  16. What is your least favourite colour?
  17. What is something you are dreading right now?
  18. Do you give up your seat for other people on public transport?
  19. Do you like giving and/or receiving hugs?
  20. What social issues fire you up?
  21. When was the last time you laughed?
  22. Do you believe in true love?
  23. Do you make your bed in the morning?
  24. What, in your opinion, is standing between you and happiness?
  25. How many pillows do you sleep with?
  26. What is your favourite season? Why?
  27. What do you consider unforgivable?
  28. What habit do you need to break?
  29. Do you sing in the shower?
  30. What is your favourite part of your body?
  31. Do you ever want children? How many?
  32. What did you last dream about?
  33. Do you tell white lies?
  34. When was the last time you cried?
  35. How do you respond when someone asks “How are you?” Is this an honest response?
  36. Where can you see yourself in 5 years?
  37. What are you excited about?
  38. Do you cry during sad films?
  39. List 5 things you are thankful for today.
  40. Do you consider yourself a spiritual person
  41. Which dish/food reminds you of your childhood?
  42. What is the most important quality in a partner?
  43. What are you proud of yourself for?
  44. Who are you jealous of?
  45. Which quality do you feel you need more of in your life?
  46. What is the most extreme change you have made to your appearance?
  47. What is your motto?
  48. If you could bring a fictional character to life, who would you choose?
  49. If you were a philanthropist, which charity would you donate to?
  50. What is your most treasured memory?
  51. Which song do you always get stuck in your head?
  52. Do you dream a lot?
  53. Is mental or physical health more important to you?
  54. What is at the bottom of your wardrobe?
  55. What is your guilty pleasure?
  56. Who do you feel most comfortable with?
  57. Do you hide your true emotions?
  58. How often do you wear an outfit before washing it?
  59. Would you travel into space if you had the opportunity?
  60. What is a recent thing you have learned?

I came across Tom’s lyric book not long ago and happened to open it on this page. Following a conversation with a friend it has become increasingly important to me that the intention behind these words, and specifically the album title is understood. Words are just words, it’s the intention behind the words that matters. Some people, myself included, believe that the intention behind words holds more than just an intellectual meaning.

As a band we broadcast a message and how that message is deciphered can be extremely important. We had discussed leaving the title to interpretation but I am aware that we have a reputation for being part of some type of evangelical atheist cult, which is not the case, and that perception would be factored in when people draw their conclusions on what these words mean. Some of our songs have touched upon the ugly side of religion, the destructive and manipulative side, but many religious folk are lovely, harmless people. We don’t identify with any religion but we all possess some level of spirituality within our lives and it is the lack of that quality in modern western culture to which the title refers. It feels to me as if modern culture has been starved of introspection. We’re incessantly fixated on the material world and our immediate environment. Our focus on the tangible means that we’ve lost our connection with the intangible. We’ve lost touch with ourselves. Our Gods have been replaced by material God’s or ‘false idols’. Tom joked that the album would have perhaps been better off being named ‘We’ve Abandoned All Our Gods’, but that it didn’t have the appropriate ring that an album title calls for.

We embark upon our biggest ever headline tour this Saturday and tens of thousands of you will sing that line back at us over the course of the 5 weeks tour. To some of you the line is just a line. A cool sounding string of words that precedes some (really good) heavy riffs, and for me that’s fine. What I don’t want is thousands of people broadcasting some ‘fuck the world’ or ‘fuck God’ meaning because that is not what was intended. If that is how you feel towards the world then who am I to stop you, but what I would like you to remember is that when those words were written in this book, they were written as a critique on ourselves. It’s a reminder that we need to take a look in the mirror and question who and what we really are. Many of us feel a void in our lives, some sense of emptiness that we struggle to fill but we have to wonder, in a rapidly evolving world, how far adrift are we from where we’re really supposed to be? And how much is this modern culture contributing towards our feeling of unfulfillment.

The song that the title is lifted from is ‘Nihilist’, so yeah, you could assume some type of pessimism or negativity within the lyrics. I think a level nihilism is experienced by anyone that is faced with their mortality and I’ve certainly encountered it whilst I’ve been grieving. Maybe everyone that experiences some level of depression experiences a taste of nihilism. But whilst nihilism seems unpleasant to some, I think it offers a deeper perspective into life and it allows you to dissolve some of the boundaries that we accept as normal in everyday life. Although at times existence itself feels utterly meaningless, I do my best to bring lessons back from my trips into absolute nihilism that could serve as useful tools for when I attempt to resume normal service.

Yes, the song was written from a place of deep dissatisfaction with the state of the world, but it is written as a wake up call. A request to those who listen to take a look at themselves, to wonder who (and what) they really are and what it is that they’re bringing to the world. If people want to live their lives as culturally engineered pre-programmed zombie drones, then by all means do, I’m often as guilty as the next man, but for me its important to examine your actions, your thoughts and your words and question what it is that YOU are broadcasting into the world.

Magazines, please stop paraphrasing my ramblings on your online platforms, it ain’t journalism. If I get tagged later with ‘Grieving nihilist @danarchitects thinks fans are culturally engineered pre-programmed zombie drones’ I won’t be impressed. It helps for me to write and share, so please let me do so in peace.

Dan x

Dave Brubeck Quartet "Gone With The Wind" (1959)

When I pulled this record out, after looking at the cover for a bit, I said, “A bunch of jazz guys,” and for some reason that made Alex laugh really hard. This one has an essay on the back by Teo Macero, I’m going to read it before I put the record on, and then google Teo Macero.

Two things of note that I learned from this essay, it is a tribute to old songs of the south, rather than an album of originals, and almost every song on here was the first take or as the essay says, “first-takers, if I may coin the word.” There are also two versions of “Camptown Races,” because they liked two different takes so much that they just decided to put both on the album. I’ve never heard of that on an album before! Okay, I feel like I should make myself a mint julep or something, let’s put this record on!

The first song “Swanee River,” is very piano heavy in the beginning but then what I think is a sweet sounding sax comes in, but it does sound a little woodwindy, like an oboe? I’m not sure. Either way, this is the kind of jazz song that sounds like a bebopping ramble for most of the song and will occasionally go back to the melody that you’re familiar with, which is “Swanee River.” After a few notes in the beginning Alex said, oh, this is “Swanee River,” but then it doesn’t sound like “Swanee River” again for a while. When it does start to sound like it again though, my ears always perk up, I like how it’s a little reminder, oh yeah, that’s what we’re listening to! We just went on a rambling journey but not we’re back and it all makes sense as to why we took that journey. This is the kind of jazz that really makes you want to snap your fingers and tap your feet.

Teo Macero produced “Kind of Blue.” Also, Brian Eno was into him, “Eno describes being “fascinated” by Macero’s editing techniques and the “spatial” quality he added to the music. “He did something that was extremely modern.”

The second song is “The Lonesome Road,” which I’m not familiar with, if it is an old southern song. It gets really groovy towards the middle. The essay says:

In Dave’s words, ‘Look Down That Lonesome Road,’ is a little drama depicting the life story of a man. Loneliness in the beginning then a fuller, expanded life, then gradually back to the loneliness of old age at the end of the road. The clicks that you hear at the end of this tune are intentional, and are meant to represent footsteps.

While I would have never thought of that from just listening to this song, I’m into it. I think the fuller life part is when it gets really lively with bass and drums in the middle.

“Georgia on My Mind,” is very slow and leisurely and I barely recognize it. The melody isn’t as easy to pick out as “Swanee River.” This is the kind of jazz that reminds me of Christmas- maybe it’s because of the Charlie Brown Christmas album, but the piano and soft sounding drums are making me feel like a fire should be going and it should be snowing outside with the Christmas tree lit up in the living room and slippers on your feet. I like this kind of music, but you have to be in a certain mood for it, (which I think I am.) A little more on the quiet side, and on the grown up side. It just feels sophisticated, like listening to opera or classical, even though what they’re playing are just playful songs from the “American Songbook.” It feels like American classical. It’s kind of making me want to finally watch that Ken Burns documentary.

Oh, here’s the first version of Camptown Races! This version is really fast and swingy, it kind of sounds like a grown up version of what I always think of as a kid’s song. Okay, the second version of “Camptown” starts off side b and I have to say, it sound basically the same. The essay describes the first version as the original take and the second as “of interest because of more West Indian rhythm played by Joe Morello.” (who is the drummer.)  I have to say, I’m not hearing a west Indian vibe. It really sounds the same as the first take to me. Oh well!

“Basin Street Blues,” is making me feel happy. I feel like this music and this song especially has a such a clean sound, it makes it sound easier to play than I am sure it is, but I like that about it. It’s like watching ballet and thinking the dancers make it look easy when you know that it’s anything but, that always gives me that happiness feeling as an audience member, it makes the art form a little more exciting.

All in all, this is a lovely evening listen for any time of the year. Also a lovely listen for anytime of the day! But I think I’m going to have to remember to put it on when I’m starting to feel the Christmas spirit, but it’s too early to start playing Christmas music in the house, because Alex will kill me. This album will scratch that itch for me and satisfy us both.

anonymous asked:

Can you believe a former country songwriter wrote a number 1 EDM song? hahahaha that's like way beyond the fucking spectrum

You know, it’s not what I ever imagined, but it’s also not that shocking to me.

I’ve been looking for a little while for a particular quote from years and years ago that is extremely relevant right now, and I finally found it:

Her precociousness isn’t about her chart success, but lies in the quality of her work, how fully she’s absorbed the lessons of her elders and how little she seems to care which radio format will eventually claim her. Change the beat and the instruments around the voice, and her songs could work anywhere.
PRODIGY: The Rise of Taylor Swift
Sasha Frere-Jones
November 10, 2008

On a sidenote, that article from the New Yorker is a worthwhile read, particularly for Hiddlestoners or Swifties who might not have been around during the TS or Fearless eras.

off topic ! from your convalescing editor.

i just started watching my mad fat diary online (using the links from this post), and as a fat person who was 15 in 1996, i have to say that it’s completely realistic so far… except for 1) a music snob being impressed by putting ‘sabotage’ by the beastie boys on the jukebox in 1996 (that would be like someone now being impressed that you put “blurred lines” on or something- not that the songs are comparable in quality, but it was an extremely popular song that was all over the radio and mtv at the time) and 2) a fat person finding a bikini in store in 1996?!?! we can’t even do that now !

also there are cute people on this show which is unrealistic, because basically everyone factually looked like shit in the 90s except drew barrymore. no teenagers had any awareness of their eyebrows or hair greasiness.

but other than that, i love it <3

edited to add: a picture of me in 1996, with my friend’s girl scout troop, at disney.  john lennon shirt…? dog choke collar? 'nerdy’ glasses before they were cool?

Why only Kendrick can battle Drake.

The only MC that can battle Drake and fair well, lyrically and in public opinion, right now, is Kendrick Lamar

Drake, Kendrick, & J.Cole have etched themselves as this generations Biggie, Jay-Z & Nas in Hip-Hop, but eventually both Biggie & Jay-Z had verbal spats with Nas, and that climate of competition is similar to what is happening with the MC’s of now. 

Drake came out around the same time as J.Cole (a little before), in 2009, but Drake had “So Far Gone,” which impacted quicker and to more people than Cole’s “Warm Up,” because Drake could also sing, which was not the norm for rappers at the time. Drake also had Young Money’s support, where his CEO did songs with him and ushered him into the spotlight, where as Cole was on Roc Nation, and essentially had to get hot on his own. While having to get hot on his own, Cole’s first big record that got him heard by more people was “In the Morning,” featuring none other than Drake. The two have maintained a mutual friendship since, and have occasionally thrown playful jabs at each other (Cole’s “January 28th” for instance).

Kendrick Lamar started to buzz around 2010, and by 2011, Drake was on his second album, Take Care, and becoming a more global artist and star. Drake put a Kendrick mixtape song, “Cut You Off,” on his OVO blog, which was getting a lot of hits at the time, because it was there that Drake would premier his music. So, this is where many fans, outside of the West Coast, first heard of, or saw Kendrick Lamar. Drake then put Kendrick Lamar on an Interlude, “Buried Alive,” on “Take Care”. In this verse, Kendrick explains how Drake shows him the high life, what it feels like to be rich and successful from rap, and that he was going to need this success as well. 

This verse is important because Kendrick was basically telling Drake then that they would have to eventually clash, because he didn’t want to be shown success, he wanted to have it for himself. Drake then took Kendrick on his first tour, as well as a few other rappers (see here : https://en.wikipedia.org/wiki/Club_Paradise_Tour).  Kendrick went on to drop the critically acclaimed classic GOOD KID, MAAD City (with a single and video featuring Drake), win prestigious awards, win the crown from all the West Coast OG’s, and stand out as the leader of the West Coast, through a whole new generation of Western MC’s (YG, Dom Kennedy, Nipsey Hussle, Odd Future, etc.) 

After Kendrick builds up some power in the rap game, he did the “Control” verse, which wound up being a throwaway Big Sean song. He name dropped a few worthy MC’s, saying that he’s the best and lyrically stating his position as so. Drake was mentioned, and was offended by this, which was criticized by rap fans, because Kendrick was only competing and not really trying to ruffle any feathers, even though he didn’t care if he did. But, if you take into context that Drake put Kendrick on his first major album and also helped him gain fans through the album’s feature, his website, and tour, you could maybe see how Drake found that a little foul and off-guard. 

Nevertheless, Drake responded to Kendrick’s verse, subliminally, on “The Language,” off his third album Nothing Was The Same. Kendrick then responded to Drake via the BET Awards Hip-Hop cypher (https://www.youtube.com/watch?v=h65f8CR7AmA), leading Drake to respond back on Future’s “Shit” remix (you can read the lyrics for yourself here : http://genius.com/2564451). 

Since then, Kendrick and Drake have been at a stalemate, and other rappers and artists have had spats with Drake (namely Meek Mill & Chris Brown). Drake, early on in his career, said “diss me, you’ll never hear a reply from me”. However, he and Kendrick did battle, subliminally, no matter how much they deny that they threw shots at each other, for now. It’s all in the lyrics and like Jay-Z infamously said “do you listen to music, or do you just skim through it?”. Meek Mill said Drake’s name and accused him of betraying authentic rap rules, forcing Drake’s hand, since this accusation would no doubt force some sort of answer or reply from Drake. Yet, Meek Mill did not understand what he did by doing that, because when the responses from Drake came, he was not ready, folded under pressure, and got destroyed on social media and the media in general, as the clear loser. 

Meek Mill is not as good of a rapper or an artist as Kendrick Lamar. J.Cole and Drake’s relationship is probably not going to ever see them clash, for the fact that they pretty much came out at the same time, even though they had to face different paths. J.Cole seems to be a genuine dude, who would not “attack” Drake - even though they now have similar relevant power after Cole built his own fan base - simply because Drake helped him out a little in the beginning. The only reason that Kendrick Lamar cannot be ridiculed for doing the opposite from J.Cole is because he told Drake that he was not for being second on “Buried Alive,” way before GOOD Kid Maad City or the “Control” verse, which started the beginning of their friction.

Therefore, Drake and Kendrick already have unfinished business with each other, lyrically, because Kendrick is not going to allow Drake to be #1, because he’s a competitor. Drake does not want to relinquish the #1 spot though, which is why he went to do “#WATTBA” with Future, once Future caught extreme fire last year. It’s the same reason Drake remixes up & comer’s hit songs, from Migos’ “Versace” to Fetty Wap’s “My Way”. Kendrick plays the game differently, and does collaborations and albums focused on more quality. Nevertheless, this is what differentiates Kendrick Lamar from a Meek Mill, or even J. Cole, when it comes to having a battle with Drake. K.Dot is a better rapper than Meek, who got Drake to battle him, while Dot has a mutual relationship with J.Cole, that he no longer has with Drake.

anonymous asked:

Why don't you like WTNY

Y’all are making me do that thing again. Here we go. I have nothing aga- nope sorry i’m lying i can’t stand the song….at all. I love Taylor so much and I have forgiven her for this song but….goodness. 

I have not been able to get through the first 43 seconds of the song since the album’s release. It is the only song by Taylor that actually makes me cringe and shiver. Sonically, it doesn’t satisfy me. It sounds like generic pop. There is nothing significant about this song (in my opinion) I feel like it’s far too easy to replicate.

I guess that’s the thing about art though, it’s not about “I CAN DO THAT!” it’s about “You could’ve done that but you didn’t because i thought of it first which is what makes me the artist”

But the thing about this songs ability to be replicated is the fact that it’s extremely basic in it’s texture and vocals. It is unsatisfying in it’s harmonic qualities too….practically exhausting. 

The lyrics are important musically, emotionally, and socially. Of course you have the significant “Boys and boys and girls and girls” and a few others that have somewhat grown on me such as “Kaleidoscope of loud heartbeats undercoats” and…….well that’s it. 

I think this song is successful in including everyone and excluding everyone at the same time. When i first heard it, as a person who is NOT from New York, I could’t relate to it at all. I instantly felt detached. Usually Taylor has a gift of making her story watered down enough to make the song itself inclusive of anyone who has ever felt the same emotion but this time around, it was very direct and unsettling.

I guess this issue is a bit of a juxtaposition when you think about it. She’s talking about all of these feelings she has, starting over, clearing her head of the past, being excited about this new beginning (exactly what i felt when i moved here to LA) then suddenly she starts screaming WELCOME TO NEW YORK WELCOME TO NEW YORK IT’S BEEN WAITING ON YOU and I’m like

Originally posted by totheskyirise

like she was about to make me believe we were talking about the same thing and then she just dropped me off the edge. It was one of those instances where it was just far too specific for me. 

Also maybe this is just me being a picky bitch but I’ve visited New York a few times and personally I don’t feel the song actually does a good job of sonically capturing the city’s atmosphere. But that’s all interpretation which is when the artist’s license comes in handy because i may not see or feel the same thing as her. I may not translate feeling into words like she does and i may not interpret something musically the way she does.

i would probably find it more appealing if it were acoustic

but we all have that one song.