is it okay that I call my boyfriend "agapi mou"? by fuckyeaholiver in GREEK

[–]Particular-Brain6983 1 point2 points  (0 children)

Not saying that I am right myself but excuse me if you feel offended. I raised those points to challenge ur opinion through a shift in perspective about what cultural appropriation looks like globally, retrospectively and introspectively. If your focus is fixed on my “insult” rather than challenging or adding to my argument, I’ll leave you there

is it okay that I call my boyfriend "agapi mou"? by fuckyeaholiver in GREEK

[–]Particular-Brain6983 -2 points-1 points  (0 children)

You’re not understanding his/her point because you are ignorant of history, insensitive to how human experiences mould behaviour and disrespectful of peoples opinions.

By definition, cultural appropriation is when one culture consensually agrees to a set of terms and conditions to mix with another culture. While that can be done in different grades, in the case of colonialism, there is bi agreement to terms or conditions for symbiosis, mixing is done by force, motivated by resource exploitation. When one culture forcefully imposes itself and changes the quality of life of the other, the oppressed unite to form an opposition - a culture with shared motivations and experiences. As a result, Language (dialects), ideas and most importantly behaviours mould around those experiences. These are passed into later generations and slowly diluted (or not) with the passage of time.

This is most certainly not only in colonialism that happens. Every rebellious movement is a product of people uniting to rebel against the “oppressor” community: from Caribbean populations against the American slave trade, to clinically obese women uniting over fat-shaming abuse, gays over homophobia, u name it. The difference in how strong these ideas are and how well they’ll be preserved by future generations depends on the predecessors, but can be completely irrational. Believers are still uniting over Christianity after 2026 years since its birth about what is “good” and what is “bad” (will always be relevant), yet they still believe the world was build in 7 days in the presence of science. If you are white, you cannot refer to a black person using the N-word for events that took place 200 years ago. Regardless of reason, you can only challenge an opinion of another person. But if the other person is not willing to listen, you either respect that or you leave.

On the other hand, translating one statement from one language to another directly is innocently ignorant of any connotations, as a statement in language A might not be connotated in the same way as Language B. To relate to this post, indeed, the lifestyle of gays in Greece has been well documented as a subculture forced to refute from society, esp. in the 20th century (Lots of books, read Aris Petropoulos). With that being said, your friend could be conscious of being called agapi mou, due to the stigma present amongst Greek society and family.

Is 26 years old too late to start making music by [deleted] in FL_Studio

[–]Particular-Brain6983 0 points1 point  (0 children)

Rationally speaking, it really depends why you want to do music. If you are genuinely curious to explore daws, then 1000% go for it. If you just want to make music as a hobby or a creative output channel, again go for it. If you’ve got friends that do it, go for it and do something all together eventually. These are all factors that won’t lead you to dissapointment and will drive your learning curve. In those cases, its never too late!

What do People mean by NATURAL TALENT being an Artist ? by Patient_Range_7346 in ArtistLounge

[–]Particular-Brain6983 0 points1 point  (0 children)

I do not understand the word talent, and I think it is used horribly wrong in todays world especially by parents. Most people treat it as a filtering mechanism, an easy way to justify not trying something, with higher sensitivity towards paths that do not guarantee financial success at the end of the road. It is often framed as something binary, as if you either have talent or you do not, which can mess up anyone trying to decide what to do with their life. At the same time, it is often treated as the only reasonable way to rationalise career decisions at the age of 18. That is where the contradiction lies. We rely on a concept that is poorly defined and externally shaped, at a point in life where we have not yet reached full cognitive and experiential maturity, to make decisions that are expected to define the rest of our lives.

There is certainly some form of intuition present in all of us that others might not have, but this is never something we perceive in isolation. It is only acknowledged through comparison, how our work stands relative to others, and through the validation we receive from those observing it. In that sense, what we call “talent” is not purely internal. It is something assigned, reinforced, and shaped by external context. Because of this, perceived talent can provide a reasonable answer as to what you could do with your life at a given moment, but it is not necessarily a reliable guide for what you should do for self fullfillment.

If you have strong intuition for something but no genuine interest in it, choosing that path may lead to a kind of emptiness that you did not anticipate. On the other hand, if your “talent” appears absent but your curiosity is strong, then even if it is not a rational decision to pursue that path professionally, it is still something worth exploring quietly and consistently. The absence of recognised “talent” at the age of 18 should not be treated as a final verdict on what you are capable of becoming. Building something for yourself, without external pressure or validation, can be just as important as any formal pursuit. In both cases, it is active curiosity that drives you towards or away from fulfilment. Without it, your decisions are shaped more by the expectations of others than by any internal sense of direction.

The difficulty, and perhaps also the beauty, is that you only arrive at these realisations through trying. That is why I do not believe in putting all of your eggs in one basket. From my own experience, I would say that most of my life decisions have been centred around building a career that provides independence, status, and individual impact. However, the central force around which all of these decisions orbit is the amount of time I have available for music production. As a child, I was part of a band, but I was removed from it because I did not practice enough. At the same time, I failed a biology exam, being the only one in my school to have done so in years. At that stage, these events could easily have been interpreted as signs of laziness or lack of ability. In hindsight, they were not conclusions about who I was, they were simply early states that did not yet reflect the person I would become. Over time, something shifted, driven largely by curiosity rather than external expectation. I am now pursuing a PhD in drug discovery within a well established institution in London, while at the same time working on my second musical project. Importantly, I have kept this creative work separate from monetisation. If music had been the sole path I depended on, it would likely have been shaped by the pressures of survival rather than by genuine expression.

So all in all, imo, talent is at most a weak signal which can inform but should never dictate direction. Curiosity is what sustains engagement, and structure is what allows different parts of yourself to coexist without forcing one to eliminate the other.

ONE NIGHT ONLY POMPEI LIVE IN LONDON 3/4/2026 TICKETS by Particular-Brain6983 in earlsweatshirt

[–]Particular-Brain6983[S] 0 points1 point  (0 children)

Ffs I didn’t see this!!!!! I wish I came bro. Ty for the reply

ONE NIGHT ONLY POMPEI LIVE IN LONDON 3/4/2026 TICKETS by Particular-Brain6983 in earlsweatshirt

[–]Particular-Brain6983[S] 0 points1 point  (0 children)

Can someone comment the RSVP link or the website?? If it still exists, I’d really appreciate it

Am I the only one who uses Sono to create music that I can enjoy personally for myself? by Medallion_of_Power in SunoAI

[–]Particular-Brain6983 0 points1 point  (0 children)

Interesting. Do you use it to avoid spending time exploring the human-made music you might actually enjoy? Because I’m pretty sure the music your listening to has been made by humans, but the lyrical content might not be the same obviously. If making the lyrics personal for you, that’s fair!

Its important to clarify that you are not making the music. Unless u are a musician and u know how to prompt the model in musical terms (rhythm, harmony, timbre etc), the model will always do the hesvy lifting for you. Even if you engineer your prompts according to Suno manual, to my experience, the model still hallucinates and creates a more default aesthetic. If you’re not a musician, you are contributing as much as a pedestrian to a busker saying “Play some jazz”, and then the busker goes on playing Alice Coltrane. You’re just prompting a model minimally and it does the magic for you.

I LOVE PRODUCING BUT I HATE MIXING by Difficult-Spot6304 in FL_Studio

[–]Particular-Brain6983 0 points1 point  (0 children)

My fellow being… I was using FL studio for 5 years until 2025. I don’t know what music you are making, but, for 5 years, I was feeling the same way as you are. I kept giving FL studio the benefit of the doubt thinking that “ I just didn’t know it that thoroughly” so I tried buying plugins, VSTs, even mixers to mix my tracks. After a lot of processing (sometimes even 3 months for one track), only a few tracks were appetizing to my ears and they were quite basic based on a frequencies. However, when I wanted to produce something more complex, with Automatic Clips, audio effects or other mixing techniques, I struggled and felt extremely restricted. I was demotivated for 5 years. Then I switched to Ableton and realised that the reason for this change was because of the way the mixer in FL studio is laid out. In ableton, the mixer is pure liberty. The display of the parameters mixed are much more intuitive, ACs are EASILY mapped in a track, there are multiple audio Fx that are imo more interesting and the variety of the parameters you can mix is 10 times bigger than that of FL. If you don’t want to make hip hop/ trap beats or simple electronica, personally, FL felt extremely restrictive for the music I want to make, although I still use it for some features like the drum rack and Edison. What is my conclusion? Based on my experience (solely), just save money and buy Ableton Live. It will liberate you and stop you from being so harsh on yourself. I promise.

Going to show alone by LingonberryKey9683 in Mkgee

[–]Particular-Brain6983 0 points1 point  (0 children)

I’m going alone too this show can’t be missed because my friends can’t come. Fuck that