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pistoletgauche · 1 year
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rideoutmusicgroup · 4 days
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deidrefromthenorth · 1 year
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PERFECT MAN EVER😍
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nosamyrag · 7 months
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julnites · 4 months
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Red riding hood comic collab with the wonderful @yeehawpim (go check out their blog for loads of great comics!) 🌷 See the layouts he did here!
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ste3zie · 12 days
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Every Thursday we shut Richmond down with the broad street bullies, this was today 3-2-24.
Someone wiped out cause of the e-board
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anjanahalo · 17 days
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Potential DPxDC Prompt
Danny survived high school with his identity intact. It wasn't easy, and it involved "Phantom" making a deal with his parents to help fight the ghosts in return for their amnesty if permanent banishment back to the ghost zone, but no one was getting zapped or gooped or vivisected, so it's all great! Meanwhile Danny Fenton, though his life, has perfected a near universal stain remover that's not just effective even post-washing, but is also environmentally friendly (thanks ghost zone chemists for working even after death on your craft). He decides to submit it to the Wayne Foundation's Innovations of the Future contest for a potential scholarship (Jazz was already teleprompting him from her college in sending out at least ten essays a week for scholarships from other sources). He gets a full ride to the University of Gotham, along with a hefty contract for exclusive rights to his stain remover formula. The issue? Danny knows the product includes a short-lived form of ectoplasm to work, and he is very, very hesitant to allow something as big as Wayne Corp to learn about that. His parents and their zeal caused so much harm just wanting to learn about the Ghost Zone. How dangerous would it be for an Entire Corporation, whose business is to exploit for gain, to learn about it? He didn't think this scholarship application through, did he? Meanwhile Batco is horrified and aghast that a civilian not only sent in something with Lazarus water in it for a fuckin' scholarship, it is actually useful for something besides raising the dead!
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solardrake · 6 months
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Delivering mail to the furthest corners of the server ✉✈
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The Artifice of Singing Off-Key in Hip-Hop/R&B Music Explained
​Though art is subjective, we can seemingly identify a “bad” song instantly. A “bad” song; is mostly identified by its defiance to sonic conformities and cultural conformities amongst others. So, for the same reasons a Billy Joel fan may not appreciate Death Grips; a Metallica fan may very well dislike them too! They’re awfully different! Throughout the evolution of Hip-Hop and R&B music, there have been technological advancements that impacted the sonic landscape of the two genres. What remains constant through Hip-Hop transitioning to Rap; is the artist’s unique choice to sing.
The earliest form of an MC or Rap Artist like we know today; is identified as a Griot; a kind of bard or itinerant minstrel found in western African societies, who usually sings of local legends, histories, genealogies, or heroic deeds. (Oxford) Griot was later used to identify verbal messengers in American Slave Communities who’d indirectly and openly speak to their contemporaries in a chatter that their over-seer could not understand. That is why there is such emphasis on slang and rhythm in these genre’s today. (Dozier) The genre’s identity is founded on non-conformity. Auto-Tune: paved the way for rude and funny offkey rhymes sung by 80’s Hip-Hop legend Slick Rick the Ruler, to evolve to the candid lyrics that 2000’s Rap & R&B Legend, T-Pain, belts into the digital analog; vocal enhancer. Melodies are constant in music. However, Rap & R&B culture is infatuated with off-key singing. From Biz-Markie’s “He’s Just a Friend” to Lil Yachty’s “One Night;” we hear artists in this same space conjure unique singing-hooks with wild notes that do not theoretically conform to a classical musician’s standard for staying “on-key.” The trend is reasoned purely by artistic expression and the flowing river of new artistic-capabilities enabled by Auto-Tune amongst other vocal synthesizers and note-decoders.
Following the ground-breaking release of “808’s and Heartbreak” Kanye West admitted "I get a lot of backlash for using [Auto-Tune] because it's a tool people use when they can't sing... What it does for me, if I sing off-key, it really points that out. It points out the bad notes. So, what I have to do is sing more perfect.” Ben Rogerson insightfully explains that rather than a rap artist generically employing auto-tune solely for pitch correction, Ye used it as a clearly audible effect throughout the album. In a rap landscape which some artists might have hidden the fact that they implement it, Ye’s choice to double down on his use of vocal synthesizers shifted the sonic standards for the genre.
Auto-Tune turns rappers into singers or a unique combination of both. It enhances the musicality present in the rhythmically cadenced speech, and pushes rapping towards crooning and adlibbing, encouraging rappers to emit trills and melodic flourishes that would otherwise be outside their reach. The introductory song to Yachty’s fifth studio album: “Let’s Start Here,” titled ‘pRETTy,’ is characterized by the magical instrumentations that seemingly grant the listener euphoria, and the trippy chorus that is capitalized by auto-tune. (Banerjee) Future, another artist branded by his uniquely textured auto-tuned vocals “reinvented blues for the 21 century,” curating a style of delivery (somewhere between speech and singing) as a mode of feeling, and outlook. “My music—that’s pain,” Future has said. Paradoxically, Auto-Tune’s most flagrantly artificial effects have come to signify authenticity at its most raw and exposed. (Reynolds)
To further discuss the identifiable reason for rap artists to sing off-key or improper and present it as high-valued talent, we can look closely at the prolific Mixtape Rapper, Max B. Max, whose given name is Charley Wingate, was most musically active in the years, 2006-2008. From more than 20 mixtapes, one full-length on a small independent label and a substantial number of hooks and verses with New York City’s Dipset/ByrdGang crews; the body of work that Max B recorded vary wildly in tone and sound quality from release to release: referencing the stark contrast between the hallucinatory grime of the Coke Wave tapes with French Montana and the crisp G-funk of Vigilante Season. Lyrically, Max explores the depths of inebriation, crime and incarceration, misogyny, money as a means and a motivator, and these lyrics evoke an aggressive stance toward anyone with doubt in his status as the greatest gift to New York City, if not the world. (Cohen) Max B’s delivery exudes confidence, intentionality, and purpose all while singing off-key without the use of auto-tune.
In a recent interview with Complex led by Grant Rindner, Wingate states: “I Don’t Need Auto-Tune. My Voice Is Beautiful.” Max B, renowned as an influential figure whose melodic style predated the current wave of singing rap artists, explains his ear-catching delivery by admitting: “I’m not trying to sing, I’m just trying to be vulnerable... I’m trying to put my soul on there for you. I’m trying to give you me... I’m not getting respected for my musical gifts, so now I’ve got to do the unthinkable, and come with [something else].” (Rindner) Max B. Very early into his contract with Koch Records, Max told his contemporary Jim Jones, that they needed a new sound, one that moved away from the hard-hitting drums and choir samples and horns we’d typically hear in popular New York rap music at that time. Max referred to this sound being a soulful flavor that best resembles the musical roots of Harlem. Considering the cultural significance of the Harlem Renaissance, and the cultural significance of a Grigot and slave chatter in Hip-Hop and Rap music; rap artists who choose to sing off-key tap into a vulnerability and creative consciousness that is inspired by captivity, longing, non-conformity, and revolution.
Future hits it on the head when he describes his music to be simply “Pain.” T-Pain glamorously wears his moniker with the same notion in mind. Though there are many upbeat songs which feature rap artists singing; the creative consciousness inspired by slavery is inherent. Therefore, the artists vulnerability that off-key singing conveys, is most attributed to pain and suffering. It takes painful history from the genre’s lineage and sculpts it into modern chat toward people who feel painfully oppressed in their circumstances. Max B’s intentional vulnerability in his creativity comes from his own painful experiences as a child and the painful lessons that he struggled to learn in his adulthood: when he sings about being incarcerated, his adaptable keys for attaining success, and ways that he is persecuted from the Music Industry and the public. Max was trapped in a non-lucrative record deal, while facing criminal charges that loomed a 35-year sentence over his head and he directed his stress and his pain into his music and rapid productivity; amassing a cult following that awaits his eventual release this coming Autumn. This artist-model or artistic approach works with any rap artist who is confident enough to make the great, powerful choice to be vulnerable and sing honestly instead of correctly and uniformly.
O. Daley
Work Cited
Banerjee, Rhys. “Lil Yachty Made a Psychedelic Rock Album and It’s Pretty Good.” The Chronicle, 13 Feb. 2023, www.dukechronicle.com/article/2023/02/lil-yachty-lets-start-here-psychedelic-rock.
Cohen, Finn. “Lord Is Tryna Tell You Something: How Charly Wingate Became Max B.” Complex, Complex, 4 Feb. 2023, www.complex.com/music/a/finn-cohen/max-b-jail-interview1.
Dozier, Barbra. “The History of Slavery and Its Impact on Contemporary Hip-Hop Music.” Barbra Dozier’s Blog, 24 Apr. 2018, barbradozier.wordpress.com/2018/04/24/the-history-of-slavery-and-its-impact-on-contemporary-hip-hop-music/.
Mahadevan, Tara. “Kid Cudi Says Lil Yachty Is ‘What I Hoped for in the next Generation.’” Complex, Complex, 19 Jan. 2024, www.complex.com/music/a/cmplxtara-mahadevan/kid-cudi-praises-lil-yachty-what-i-hoped-for-next-generation.
The Miscellany News. “The Impact of ‘808s & Heartbreak’ on Modern-Day Rap.” The Miscellany News, 29 Apr. 2021, miscellanynews.org/2021/04/28/arts/the-impact-of-808s-heartbreak-on-modern-day-rap/.
Reynolds, Simon. “How Auto-Tune Revolutionized the Sound of Popular Music.” Pitchfork, 17 Sept. 2018, pitchfork.com/features/article/how-auto-tune-revolutionized-the-sound-of-popular-music/.
Rindner, Grant. “‘I Don’t Need Auto-Tune. My Voice Is Beautiful’: An Interview with Max B.” Complex, Complex, 23 May 2023, www.complex.com/music/a/grant-rindner/max-b-interview.
Rogerson, Ben. “Kanye West Says Auto-Tune Makes Him a Better Singer.” MusicRadar, MusicRadar, 2 Dec. 2008, www.musicradar.com/news/tech/kanye-west-says-auto-tune-makes-him-a-better-singer-185278.
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deidrefromthenorth · 2 years
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Ride out
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Chris Fulton with Ben Cura and Bert Seymour (AKA Lord Fife in Bridgerton)
Nice legs, hottie ❤️😜
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wombywoo · 7 months
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on call
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goryhorroor · 13 days
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horror sub-genres: cults
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lastweekgifs · 3 months
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canisalbus · 8 months
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Ok ok hear me out: it could end in tragedy,, AND have a happy ending. The attempt(s) on Machete’s life force him to flee, he doesn’t even have the chance to find Vasco. Cue gay longing for at least a few years while Machete despairs over the loss of his love, his life, his status. He and Vasco only reunite (again) in their later years. Their relationship is forever flavored with loss and loneliness, but that only means they savor every moment that much more
I also I would like to see them as old men. Vasco would be so droopy :)
You gave me such old dog brainworms.
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teedathegreat · 1 year
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calocreek · 6 months
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Putting Skizz's art in the proper context...so it can be appreciated...
(my minecraft + mcyt tag)
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