IdleRich
IdleRich
Is this is a list of programmes you watched and fake laughed at to get laid? Or are they ones you pretended to like but didn't fake laugh at? In order to get laid obviously.Terry and June? Juliet Bravo? Bergerac? On the Buses?
Is this is a list of programmes you watched and fake laughed at to get laid? Or are they ones you pretended to like but didn't fake laugh at? In order to get laid obviously.Terry and June? Juliet Bravo? Bergerac? On the Buses?
And then, as a direct result, those adult ballpits and playgrounds open up in East London and the march of progress has stopped and, as a civilisation, we are basically fucked
Do you own four wigs?Maybe it's just nostalgic bullshit, or an indication of how alienated I feel in 2021, but I kind of miss those Hoxton/Shoreditch "five electroclash acts in the back of a pub" nights.
Me too now you say it.Maybe it's just nostalgic bullshit, or an indication of how alienated I feel in 2021, but I kind of miss those Hoxton/Shoreditch "five electroclash acts in the back of a pub" nights.
Maybe it's just nostalgic bullshit, or an indication of how alienated I feel in 2021, but I kind of miss those Hoxton/Shoreditch "five electroclash acts in the back of a pub" nights.
My electrician has just informed me that Job in Christianity is Shoaib in Islam. Actually he got it wrong, i looked it up just now. Job is Ayub. And Shoaib grafts onto Jethro, sometimes.Ilyas = Elias?
Jibrail = Gabriel
Yacub = Jacob
That's all I can think of without looking it up.
I mean I like abstract bleeps and bloops as much as the next person, but I have no insight at all into the thought process that goes "after precisely this bleep, let's have precisely that bloop, and then a sort of swooshy, smushy sound made by mixing the spectral signatures of the two sounds together, only just for a twentieth of a second before we introduce the next blorp". I can't distinguish it from randomness. I made a short piece a week or so ago which actually was entirely random, and found it pleasing, but it also felt like I was cheating somehow.
For instance the drum sounds you use in your drum circle track are absolutely diabolical! Even if the rest of the track is very nice indeed. in such a tune you must never use the constructed rock drum kit but use loads of synthesised timbales, kongas, pitched voice samples, harsh discordant claps, reverbed, darbuka samples, echo-ing cymbals. You must treat your entire track as percussion, even its melodic context must exist heterophonically. I would recommend you listen to some ottoman classical music to see this, but in the electronic sense this track I made with @bassnation should induct you into the sufi brotherhood.
write about this on blog plsin college i had a professor who was insistent upon anonymous grading (where the grader doesn't know who wrote the essay until after they give it a score). his thinking was that, in writing, ambiguities or "gaps" inevitably arise--and how the reader/grader fills in those gaps often depends on their assumptions about the writer. professors make different interpretive and evaluative assumptions about a passage depending on whether they think the student who wrote it generally is a bit slow or is brilliant. personally, i always had the suspicion that my essay grades depended as much on the teacher's idea of me as on what i actually wrote.
essentially the same observation is brought up in that borges story "Pierre Menard, Author of Don Quixote". he talks about how the same sentence reads differently depending on what era and aesthetic context we think the author worked in.
so if you look at a bunch of wild brushstrokes or paint splatters you'll interpret them differently depending on whether you think the artist was a highly skilled yet boundary pushing iconoclast... or a chimp eating bananas. returning to picasso, "It took me four years to paint like Raphael, but a lifetime to paint like a child." is easily the best self promotional statement of all time in light of this dynamic.