Actually, the traditional Jogo da Bolacha is also a thing. If you’re in Portugal and someone asks for you to join, YOU JOIN. It’s extremely rude for foreigners to refuse the Jogo da Bolacha. Specially if the inviter winks at you. It’s also good manners to announce you’ll loose the first few times, while you learn. If people are surprised by this just smile, lick your lips and say you’re the Cookie Monster. You’ll be accepted among us very quickly.
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Oh, you’re a feisty one, aren’t you!
In their defense, you’d have to be insane to open a gay club in Pakistan.
No chance. An open military attack would be the end of Israel. Spain is a EU and NATO member. Article 5 would be called and accepted by most NATO members. If not the alliance would be over immediately.
Lets assume the US noped out (which they would never do if Israel dared to attack Spain). That would be the end of NATO but Israel would have to deal with the EU. Even Spain by itself could cause some serious damage to Israel. And they wouldn’t be by themselves.
I’m Portuguese, and my country is the historical rival of Spain. An attack on Spain would be like a direct attack on us and most EU members feel the same.
This, of course, is hypothetical. There’s no way Netanyahu would pull such a dumb and unthinkable move.
Oh, I recognize their legal human rights. I just don’t morally consider them human when they act…inhuman.
Have you talked with your Palestinian friends too and asked them how they feel? Or have they been offline lately, Harold?
Watch again. You can clearly see a scuffle and the racist tirade. The major assault and spitting happened before. That’s when they started filming. Read the news piece. The police came and there were multiple witnesses, including people not part of the demonstration.
What’s up with all the posts about this porn site?
It depends. Do they feel as bad about what their countrymen are doing to Palestinians? If not, fuck them, they are not people.
PS: F you, Harold.
It’s translated by Google from “racializado” I think. I think it’s being singled out because of your race…or something…
Not as sexy as ours, evidently.
The audacity of entering someone’s country, trying to control what they do and say and then tell them to go somewhere else “where they came from”. Who would’ve expected an Israeli of being capable of such a thing.
The “go to Africa” made me confused because all the people seemed to be white Portuguese. I saw nobody of African descent (and it still wouldn’t be OK).
Maybe our nice tans were to offensive for those snow flakes.
Coimbra is traditionally an academic city. The demonstrators were very peaceful. Had they done this in Porto, for example, it could’ve earn them a beating.
Portuguese peope are very good hosts, but you don’t enter someone’s “home” and tell them what to do. It’s one of the most insulting things you can do as a visitor. And you don’t tell us to “go to Africa”. Honestly I’m surprised some old lady didn’t came with a broom and sweep their asses into next week.
Video and pictures of the incident
I’m a Satriani fan and, while I totally disagree with you calling him a mediocre song writer, I can’t help but understand your point about Searching and Made of Tears. If that’s your sample of his music I totally understand your view.
Searching is just a catchy Whammy trick followed by an unending jam/solo. It’s very uncharacteristic of him. Made of Tears is not a bad song (one of the best on Super Colossal and it’s not a good thing) but is definitely off what I was used to hear from him when that album came out.
The thing is, if you want to know what Satch is about you have to hear what he did before Super Colossal. I like Super Colossal. But for me it’s when his fire died. Sure, you can still hear his genius there but only on the occasional song. For me Ten Words is the last song where you find that. One of his most simple songs. It’s an appropriate farewell. What came after is still good…but it’s not mind-blowing.
Super Colossal came out in 2006, you should hear what he did before if you want to know why he’s considered one of the most melodic guitar players ever. Is There Love in Space already has some signs of his “downfall” but you have to be Searching them (wink, wink).
Before that everything is genius and everything is different. I’d say, in my opinion, he hit his peak on the 2 albums before that (Crystal Planet and Strange Beautiful Music). But even before those two you have lots of material showing what he used to be about.
Steve Vai is maybe more original. It’s a matter of preference. But I’ve only felt about him the same way as old Satch on 2 albums. The rest is nice but meh. I am looking forward to their collaboration though, it gave me good vibes.
Blackmore, Yngwie, Satch, Petrucci, Vai, Johnson, and other neoclassical players strove for technical perfection
Assumptions. All of them? You know that how?
The bits and bobs of music that are generally lumped into the idea of “soul” are the mistakes, the imperfections, the unintended, the miniscule fuckups
That’s your opinion. I’ve heard that one a thousand times. I respect it even if I totally disagree.
I agree that an “imperfection” doesn’t ruin a song, necessarily. Yes, sometimes it makes it even more special. But that doesn’t mean ANY imperfection will improve ANY song and certainly doesn’t mean the lack of “imperfections” will make one sterile. An orchestra playing Mozart or Stravinsky is as “perfect” as it gets. But one wouldn’t call it soulless. Some actually feel that way but they wouldn’t admit it for fear of being seen as unsophisticated. I’d respect them a bit more if they actually owned it.
It’s imperfect, it’s unrepeatable, and it’s amazing.
I don’t mean to antagonize you, but I’ve heard this argument a thousand times and it bothers me because it shows how you assume stuff like Satriani is by definition mechanic and that is somehow obvious for everybody. You arbitrarily define what you consider an universal truth, stopping any kind of argument. It passes off as arrogance from somebody who doesn’t know what they’re talking about (how other people perceive the music from technical players).
All the virtuosos you mention have those so-called “imperfections”. A song like Satriani’s Starry Night in the studio version is simply magic that cannot ever be reproduced. Other songs, like Flying in a Blue Dream are totally different beasts in the album and live. Some are actually played differently. Steve Vai’s Whispering a Prayer is something so beautiful live I don’t think he ever bothered to try to reproduce it in an album.
What you call imperfections are not imperfections. They’re perfect. But perfection is something very subjective in music. I liked the way you described Merry Clayton’s performance. But it was not imperfection. Clearly you saw that perfection much clearer than me. When I hear Satriani I hear that perfection. It’s not the perfection of his technical precision. Other styles, like some types of electronic music, also have that perfection in its own way. I fail to see it because it doesn’t touch me. But it’s my “failing” not the music. It feels mechanic to me because I fail to see what’s under the surface due to my own limitations. But those limitations can be stretched or even beaten on all styles.
Contrast that with what the technical shredders were intending to do: they wanted to hit every note with exacting precision every time they played.
More assumptions. You know this how?
It’s no less impressive than those one-off moments like Gimme Shelter, but it’s markedly different.
If your previous assumption is correct, I would disagree. They would definitely be less impressive because it would not be about the music. But I don’t think your assumption is correct.
Listeners who don’t identify with the sound sometimes perceive a sort of sterility in the style, whether deserved or not. The degree of technicality alone can almost come across as machine-like
And it’s not my place to tell them their taste and perception is wrong. If they feel it’s machine-like it’s because it feels like that to them. I totally get it. And most people stop there, but other people can’t accept it’s just their perception and attack the music itself and its fans for “liking machine-like music” and “they themselves prefer something with soul”. Can’t you see how that kind of statement puts other people’s tastes down while elevating their own?
How would you feel if a Satriani fan asked what music you like and, after hearing your response, they’d smile condescendingly and say “well, that music has its merits…sure…but it’s too simple. I myself prefer music with more complexity and instead of basic jingles”. We could agree he would sound like a stuck-up pompous ass, right? That’s how people with the “soul” argument come off, intentionally or not.
Enjoy what you enjoy, groove to what grooves you, and above all else, be secure enough in your own taste that a bit of banter about a genre doesn’t seem like a personal attack.
I hear you. But I should point out that me disagreeing with you and trying to make my point concisely also came off to you as a personal attack (which it wasn’t). So, something to consider.
I have a Timex Computer 2068, a ZX Spectrum clone made my Timex Portugal. My dad bought it sometime in the 80s. I still turn it on from time to time, mostly out of nostalgia. That one is the oldest in my house. I was too young to remember it being bought but it had to be some time between 1985 or 1987.
I also have the first model of the European Sega Master System made in 86 or 87 but I bought it second hand less than a year ago.