this song makes me want to hurl.thunderloops wrote:this is huge though:
What? That makes even less sense than me, man.Yooch wrote:I've signed up solely to tell Cyrusfx that your rejecting popular music so intensely that its gone full circle and you look like a narrow minded fool.
You clearly care too much about the image of music when really its just a collection of sounds and melodies that you either like or dislike. Why don't you actually boil down what kind of sound your brain gets 'tickled' by and stop this instant tribal dislike for stuff that has even the slightest bit of mainstream popularity.
There is a reason why we have a fairly eclectic national radio over here and ironically you have just highlighted why you do not.
The collection of sounds and melodies in current Top 40 songs are bland, familiar and rehashed ad nauseum and they heavily depend on image and marketing. That's why its not real music to me and has no artistic merit. That was the point I was trying to make. Real music should be good by itself - just you and a couple speakers - and not depend on image, attitude or what your friends think in order for you to get the full effect.
I swear, arguing with some of you about whether or not corporate radio has your best interests in mind is like trying to convince a rightwinger that Rush Limbaugh isn't always 100% truthful.
this sentiment I concur with 100%.-boring wrote:at least shes trying something different, chris browns new shit is fucking awful.
"There is just this awful, insidious way that the mainstream just consumes you, and I love the people who push against the tide of that – because it's a huge undertaking to do that." - Mary Anne Hobbs in Joe Muggs' new interview.
word fucking up!"There is just this awful, insidious way that the mainstream just consumes you, and I love the people who push against the tide of that – because it's a huge undertaking to do that." - Mary Anne Hobbs in Joe Muggs' new interview.
i dont think anyone was ever arguing as to wether or not commercial radio in america has our best interest in mind. We were simply stating that not everything that hits the radio is terrible, some of that stuff actually made it there by just being good. Not that it makes any dif, but how old are you cyrusfx? maybe timbo was just before your time?
epochalypso wrote:man dun no bout da 'nuum
Joker's beats are far more rhythmically complicated and novel than Timbaland's. The sounds he uses are being put together in different ways and they are not nearly as kitschy or cutesy. Plus, it helps that there's not some annoying ego shouting generic rap lyrics over every Joker track.fractal wrote:i just love hearing someone say joker sounds "fresh and innovative" out of one sound of his mouth, and timba is "mainstream and bland" out of the other... i hope joker reads this!
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i was actually thinking about creating a timbaland appreciation thread recently, after having been turned on to his early, recognized production work.
check out "beep me 911" or "pass da blunt" off of missy elliot's supa dupa fly album or the intro to aaliyah's one in a million album. the aaliyah track is fairly reminiscent of garage to me, and it was released in '96?? and the beatbox sequencing in the missy tracks is a timbaland trademark echoed in hud mo (the last track on the polyfolk dance ep). i was too young when he broke through, so i can't place what kinda stuff was being played over the air at the time, but i would infer that nothing was as innovative as those timbaland beats.
that being said, i think his later and present tunes are garbage, the icing to the cake being that he seems like an arrogant motherfucker.
Does that warrants a dismissal of his early contributions, though?
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