Barracuda
Today, I learned that you can eat the peel on mangoes.
True story, didn't know that.
Actually, I feel like I've learned a lot in the past week and some. A lot about properly using Python (which just keeps on getting more fun!), some about dancing and form (dancing buzzed at a party for 4 hours can do that to you) and some about political systems and civic responsibility (thanks to my new best friend, Alexis de Tocqueville.)
BUT... I'm also running at two events next week, supposedly giving a lecture on Python and completing work for a couple of new products, so dissections of the above just might have to wait.
I do want to add that I feel like I had a dancing epiphany while moving to some dubstep. A lot of dubstep, from what I've heard, features many parts that get ALL CRAZY. By this, I mean weird time signatures, weird syncopation, weird...everything!... taking place within a 4-count beat. I don't know how to describe it, though I enjoy the top quote on Wikipedia, " "tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals""
overwhelming bass lines. This.
Anyways, I realized that I really enjoy listening to this music in the car or at home (it gets me pumped!) but I despised dancing to it. Because the music wasn't setting anything up. It wasn't looking for people to interpret it, or play off of it. It only had one unambiguous purpose: to be loud, and to be fucking powerful. And it threw me off since, having been getting back into Swing dancing a bit, I've grown accustomed to a certain consistency (or at least musical integrity?) in my music, that's looking for people to listen to what's going on and to accent it. This is really hard to do in dubstep when the breaks sometimes change spot from verse to verse to verse, when the lead-up to the end of the phrase just fucking EXPLODES in continuous sound and samples. I found it pretty interesting and made me appreciate trance and some other electronic I listen to a bit more.
True story, didn't know that.
Actually, I feel like I've learned a lot in the past week and some. A lot about properly using Python (which just keeps on getting more fun!), some about dancing and form (dancing buzzed at a party for 4 hours can do that to you) and some about political systems and civic responsibility (thanks to my new best friend, Alexis de Tocqueville.)
BUT... I'm also running at two events next week, supposedly giving a lecture on Python and completing work for a couple of new products, so dissections of the above just might have to wait.
I do want to add that I feel like I had a dancing epiphany while moving to some dubstep. A lot of dubstep, from what I've heard, features many parts that get ALL CRAZY. By this, I mean weird time signatures, weird syncopation, weird...everything!... taking place within a 4-count beat. I don't know how to describe it, though I enjoy the top quote on Wikipedia, " "tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals""
overwhelming bass lines. This.
Anyways, I realized that I really enjoy listening to this music in the car or at home (it gets me pumped!) but I despised dancing to it. Because the music wasn't setting anything up. It wasn't looking for people to interpret it, or play off of it. It only had one unambiguous purpose: to be loud, and to be fucking powerful. And it threw me off since, having been getting back into Swing dancing a bit, I've grown accustomed to a certain consistency (or at least musical integrity?) in my music, that's looking for people to listen to what's going on and to accent it. This is really hard to do in dubstep when the breaks sometimes change spot from verse to verse to verse, when the lead-up to the end of the phrase just fucking EXPLODES in continuous sound and samples. I found it pretty interesting and made me appreciate trance and some other electronic I listen to a bit more.