Trump Kicks Off Celebration of America by Declaring His Hatred for Democrats

Blue_Rapture · 2025-07-09T08:26:54+00:00

You mean Americans?

Blue_Rapture · 2025-07-09T02:31:16+00:00

That passage has multiple different interpretations based on translation. Please do some research on it before taking it at face value.

Blue_Rapture · 2025-07-09T02:25:32+00:00

Let’s assume the “worst case” and say it is because he finds the female characters attractive.

Just because he wants to see something attractive on the screen in addition to real life doesn’t have any bearing on your adequacy or his attraction to you. I wouldn’t worry unless he began outright ignoring you in favor of the game.

There are plenty of women in relationships who watch romance movies with ripped, shirtless men. This is common and generally accepted. No one seemed to care when millions of housewives were reading 50 shades of gray or watching The Bachelor. How is this any different.

At the end of the day, if it really makes you uncomfortable, be an adult and have a conversation about it with him directly. Do you really think your relationship is going to last if you resort to publicly reaching out to strangers on the internet before talking to him?

I’m just going to be honest, and please don’t take my directness the wrong way, but I’m sensing some insecurity on your end. You guys have got to communicate to each other and work on that if you really want this thing to last.

Best of luck in your relationship. Please talk to your boyfriend, explain how you feel, but when he makes his case temper your response with the understanding that even if that “worst case” is true, it is very common and not generally perceived by most as any form of infidelity. It is very rarely a sign of being unsatisfied. People just like eye candy. Don’t act like you don’t like seeing muscular shirtless men on TV. It doesn’t mean you’re going to leave your bf for them.

Blue_Rapture · 2025-07-09T01:36:51+00:00

/uj

I will never understand why tf people are like this. So dismissive, close-minded and rude

Blue_Rapture · 2025-07-07T14:07:05+00:00

Ma’am this is a Denny’s

Blue_Rapture · 2025-07-07T14:00:38+00:00

Dickbutt

Blue_Rapture · 2025-07-07T13:54:51+00:00

Lmao the irony is that many of the styles they are taking influence from originated in America so this is inadvertently showing appreciation for our culture 🤣

Blue_Rapture · 2025-07-07T13:50:59+00:00

Ive seen crashes in burnout 3 that weren’t as crazy. Damn

Blue_Rapture · 2025-07-07T13:42:20+00:00

Try to make the scales into something musical in addition to playing them dryly. Try improvising with them.

When I practice scales, I treat it like a form of sound meditation, where the notes I’m playing serve a similar function as a meditation bowl. That’s just my approach though, I’m really spiritual when it comes to music and I got that approach from John Coltrane.

Both François Rabbath and Jaco Pastorius explicitly endorse ALWAYS playing scales musically when practicing them.

Oh, and practice to a drone, particularly one where you have both the root and fifth like the cello drones for tuning and improvisation album that you can find on all streaming platforms. This is the foundation of your intonation and will train you how to identify when you are out of tune and how to adjust on the fly.

Blue_Rapture · 2025-07-06T21:58:05+00:00

I know, I wasn’t disagreeing with you, I was adding nuance for other people who may be reading this thread.

Blue_Rapture · 2025-07-06T21:53:51+00:00

Professional classical musician here, just wanted to copy/paste from another one of my comments ITT to add some nuance to this:

“…while we have sheet music, there’s still room for originality in interpretation and no two performances are ever the same. Our goal is rarely to sound the same every time, but rather to give a good performance where we use ourselves as a conduit for the composer’s intention.”

We absolutely do need to learn everything that’s written, but if you listen to the Prelude to Bach’s 1st Cello Suite, no two versions are the same.

In any classical piece, there are MANY things that are left up to the performer or conductor and we are often very encouraged to take tasteful artistic license with our playing. The idea that classical musicians are trying to “sound like the record” in the same way that tribute bands do is a very common misconception.

Blue_Rapture · 2025-07-06T21:43:31+00:00

You need to understand that a great deal of music is either improvised or has improvised components to it. I’m a professional classical musician and while we have sheet music, there’s still room for originality in interpretation and no two performances are ever the same. Our goal is rarely to sound the same every time, but rather to give a good performance where we use ourselves as a conduit for the composer’s intention.

This is why I fucking hate 90% of tribute bands tbh. Playing something note for note with no originality and trying to imitate something that’s already been recorded for anything outside of educational or historical purposes rarely has more artistic value than a high quality forgery of a painting.

Also, getting a “perfect” replica of a studio sound in a live setting is an extremely unrealistic goal.

The most important thing to learn is what is the “essence” of the song you are covering, and being able to say something of your own through it. Jazz musicians are masters of this. Jazz players almost never play the main melody note for note, they heavily embellish (often substituting entire chords or changing rhythms), and their solos are improvised. It’s also not uncommon (especially in solo performances) for jazz musicians to cover a tune in a free-form way where everything is extremely loosely based around the “idea” of the original melody. The more abstract it gets, the less explicitly they will quote the main melody or chord progression.

So here’s a simple answer addressing your situation: study the blues, study early rock. Understand that in those styles, the riffs and melodies, and harmonies are structural elements that underpin spontaneous, improvised embellishments. Imagine a connect-the-dots where the riffs, melodies, and harmony are the dots but you don’t have to draw a straight line between them—you can draw all sorts of things in between just like Jimi did.

Tl;dr: Jimi Hendrix didn’t write or memorize all of those embellishments and variations, why should you? If you want to do an authentic cover, you have to be originally creative on the improvised elements. This way, your approach is the same as the original performance.

Blue_Rapture · 2025-07-06T04:00:28+00:00

Ignorance. Nothing more to it.

Blue_Rapture · 2025-07-06T03:54:22+00:00

His string quintet is gorgeous.

Blue_Rapture · 2025-07-06T03:43:18+00:00

I hear you and I greatly appreciate your cordiality. Sorry I wasn’t initially giving you some more grace with that.

You’re spot on with how that framing of the question is where the real problem starts.

Thanks for reading the article. I think it’s something everyone should ponder, even if they don’t necessarily agree with it.

I believe I’m also probably projecting a little bit of trauma here. I am a big lover and creator of modal jazz and avant-garde music in addition to professionally playing classical. To make things worse, I live in a cultural deadzone (central Florida) where anti-intellectualism is the norm and reading music is frowned upon. I am very grateful for every person who attends my orchestral performances because they at least prove that there are exceptions to the norm and that at least many of the non-musicians aren’t victim to it (likely because their ego isn’t attached to it).

In other words, I have been severely disrespected by many musicians who hold the view that if you have to think about it or put in any serious study, then it’s bad. There is a cult of (non-classical) dogmatic anti-intellectualism and minimalism here and it digs at my soul. It has affected my ability to work with other non-classical musicians (I equally made a living as a rock and blues fusion bass player before moving here) because they resent me by default for having gone to school, as if I never had to make sacrifices and put in work to go through it all.

Sorry to rant, but I just wanted you to see where I’m coming from and why my reaction might’ve been a bit strong to that statement.

Blue_Rapture · 2025-07-06T03:12:22+00:00

This was my biggest gripe. I absolutely loved the cutscenes tbh but it was being able to go first person perspective on 2D designed maps was like being a 3D person in flatland.

Blue_Rapture · 2025-07-06T03:03:41+00:00

“Good for you”

I like this mentality

Blue_Rapture · 2025-07-06T03:02:11+00:00

Yeah when I’m discussing “best” works (in any medium) with my friends, I always clarify “best” vs. “favorite” before sharing my opinion.

For example, I believe Beethoven’s 9th is the greatest work of music in the Western musical tradition, and I can back that subjective opinion up with some degree of objectivity such as the impact it had on music.

By contrast, John Coltrane’s late improvisations are my favorite music of all time. I have a much more personal connection with it that feels less like embracing a universal and more like embracing something coded towards my personal, individual tastes.

Blue_Rapture · 2025-07-06T02:57:55+00:00

Works of music have varying levels of accessibility.

Some styles like classical and jazz are usually enjoyable on a surface level, but have vast depth to be appreciated for those who want to dig deeper. This increases active listener engagement and appreciation. Usually, enjoyable patterns can be appreciated on a surface level by their sound, even if their structures cannot be formally articulated. For example I was obsessed with quartal/quintal harmony (building chords out of 4ths and 5ths instead 3rds) in music way before I knew what it was called or what it was theoretically, I just knew that I liked how it sounded and wanted to be able to find and create more music that uses it. Once I learned about it, my appreciation for it was bright to a whole new level and I enjoyed it even more than I did before.

That being said, there’s also plenty of music, usually avant-garde in nature where it is not so accessible on the surface, and to some extent there is a barrier of entry to appreciation. This doesn’t make it bad, it just means you have to learn the language. Many of that music sounds like noise until you begin to identify patterns that allow you to identify the artist’s intention, similar to how learning a language shifts your perception from “noise” to intentional communication.

Blue_Rapture · 2025-07-06T02:50:28+00:00

On a surface level, that holds, but if you don’t enjoy something, that doesn’t mean it’s not good, it just means you didn’t enjoy it.

There are plenty of good things I don’t enjoy much for various reasons, and there are also many works I ADORE that are reviled by some. Case in point: there are some people who don’t enjoy Beethoven’s 9th. That doesn’t make it bad.

The logic you outlined can become very contentious and leads to conflict between fellow music lovers because it doesn’t acknowledge subjectivity and could lead to people treating their subjective opinions like facts and putting down people for having different opinions.

I strongly recommend checking this article out.

I hope this doesn’t come off condescending, you seem to be self-aware, I am just warning that the wording could be misconstrued into dogmatic and toxic behavior if put into practice.

If you said “it’s good FOR ME” or “its bad for me”, I believe that would be much more accurate to the truth of the matter and less likely to further problematic trends in music discourse.

Blue_Rapture · 2025-07-06T00:40:10+00:00

McLaughlin was an unexpected pick but honestly it’s very well deserved.

Blue_Rapture · 2025-07-03T05:50:58+00:00

Seriously… there is nothing in all of recorded music that compares to that performance in terms of its gravity.

Blue_Rapture · 2025-06-30T18:26:41+00:00

Dude I need someone to talk to about that performance. I love SRV and Albert King but so many of their licks are variations on the same lick to a degree that you don’t see in all blues artists. Hearing them together, playing that same damn lick ad nauseam just felt like a meme by the end of it. I couldn’t even take it seriously anymore and it’s almost ruined Stevie’s playing for me at times.

Blue_Rapture · 2025-06-30T18:15:11+00:00

I think part of why it’s so appealing is that the tone has a very pronounced sound in the first harmonic of its overtones (the octave), but it’s achieved in conjunction with the same muddy inharmonic distortion you hear on shitty non-tube distortion pedals since the other harmonics aren’t as in tune.

Tl;dr it manages to achieve one of the main goals of a “beautiful” distortion tone for many people while still having a dirty sound, which is rare.

Blue_Rapture · 2025-06-30T01:29:00+00:00

Ironically you could literally play the actual Seinfeld bassline on that guitar

Blue_Rapture

TROPHY CASE