I'm student teaching with an amazing high school director, however part of the student teaching placement is that I have to work with the middle school bands... of which the middle school director is extremely poor. Their 8th grade band struggles to play even grade 1.5 music if that gives you any insight. Anyway, the middle school bands struggle the most with steady tempo. They always ignore the conductor and almost always have their own tempo in their head. One of the pieces has the 8 percussionists playing 8th notes, and every single percussionist plays it at their own tempo, it's literally madness. Even using the metronome doesn't work because they drown it out and ignore it. Any suggestions or advice? This issue has gone unaddressed for so many years under this director, and it has become a bad habit of ignoring the conductor and not listening around them. I am at odds about how to fix this in a semester.
Few terms in the history of popular music are as amorphous as the term “Rhythm and Blues,” or “R&B” for short. Since its inception the term has been used to label everyone from Louis Jordan, to the Rolling Stones, to Drake, and yet few people in the general public actually question the true meaning of the term, if it even has one at this point. Some may tell you that “Rhythm and Blues” used to have a clearer meaning and that the truth behind the term has simply become corrupted over time through overuse and saturation. I’m here to claim, however, that this is not the case and that the overly general nature of “Rhythm and Blues” as a category is an inherent aspect of the term itself. To understand this, let’s take a step back into the origins of the term itself.
The Beginning of R&B
73 years ago, starting with their June 25th issue, Billboard Magazine officially changed the name of their “Race Records” chart to the “Rhythm & Blues” chart. This was not Billboard starting a change so much as it was them reacting to one. This was not the first time the term had been used in the magazine and the term “Rhythm & Blues” (and its variations) had been steadily growing in popularity following the end of World War II. Still, this did mark a major turning point in the mainstream usage of the term, and other magazines and media outlets, such as Cashbox Magazine, would quickly adopt the new term. At this point it’s important to note what the name “Rhythm & Blues” was and wasn’t during this period. The term was largely a general marketing term meant to replace the equally general term of “Race Music,” which had beem broadly applied to the vast majority of black music artists in America. “R&B” was NOT imagined as referring to any specific message or a collection of specific musical characteristics in the way terms like “Trap,” “Math Rock,” or “Speed Metal” might be used today. It was a broad term, and black artists who were around when it was first being used largely acknowledged it as such. BB King illustrated this perfectly in a 1978 interview where he said:
> I remember that Dinah Washington was considered R&B or ‘race’ but Dinah sang anything that anybody else sang. She just sang it her own way. Sh
... keep reading on reddit ➡The ones not shown here are 049-J, 079, 294, 610, 1471, 3000, and 4975, and many more not yet revealed.
Aokana is officially the first ever game that I finished on the Switch. It might be a stupid reason, but one of my biggest motivations to get it was the fact that Sony is a dick company lately and rejected it. I have read that they might try again to get it on the system since it is under TBA for 2022 on the PS4 on gamefaqs but after playing it I am pretty sure that it's not going to happen (at least not with current Sony).
At the beginning I didn't even know what that game was about. When I read "Four Rhythm Across the Blue" I expected something like an idol story. I got a physical copy with the softcover artbook and it's really nice. About the game itself: It was good and fun playing through the four story routes and witness each girl's development. Except for Mashiro I thought that the romance route for every girl made sense. I only have problems with japanese names. Masaya, Mashiro, Misaki, Madoka... Shindou, Shidou, Shitou. The only boring part were the in-depth FC parts, where they talk a lot about tactics. It could have been fun, if you could actually really play those parts or at least decide tactics. But I guess that would be too much and was just for the plot and make it feel more real and serious.
One thing that confused me was the end. >!Would the ending scene between Masaya and Aoi play out the same regardless which route was your last? Because it didn't really make much sense. The last route I played was Misaki. So Masaya trains her, falls in love with her, makes her win the tournament and then decided to make a comeback to FC and they again confess their love and help each other in their career. Then I get the Misaki ending screen and after that Masaya talks with Aoi and remembers that he actually loves Aoi. He talks about the other girls how they are as players right now and how they future in FC might look like. He didn't say anything special about Misaki, just that she is good but she still has a lot to learn etc. It didn't really feel like it fit into the route. Instead he remembers that he loves his teacher, which is just weird after the romance a few moments ago. And I wonder, if anouncing his comeback and that same scene would have happened as well if for example Rika would be the last route. I am pretty sure it would!<
>!I enjoyed Asuka's and Misaki's route the most, I think. I just wished there was a Madoka romance or even Satouin!<
Anyway, sorry for the long post but it's a VN group, you guys are used to read a lot
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I am a bassist, producer, and singer putting together an originals band in Philly to gig and record, inspired by artists like Howlin' Wolf & Muddy Waters, as well as 60’s bands like the Doors, Janis Joplin/Big Brother, & the Yardbirds. Also willing to experiment with other genres. Looking to practice once a week once safety levels are higher.
Looking for a keyboardist, pianist, or organist, and a guitarist to play along with myself, a drummer, and another guitarist. Once COVID levels are back to a reasonable level, the plan is to practice and start recording covers and original material, as well as get to know each other, before actively seeking gigs within a few months around Philadelphia. I will also rent a rehearsal space and can provide recording equipment.
If you are interested, please message me with a little bit about yourself, what music you are into, and what you would hope to get out of this.
I could not find more info on any wiki.
You can see it at 4:39 in https://www.youtube.com/watch?v=RUnpLJh3taQ
EDIT I oviously meant cartoon not carton.
What the heck is the first thing Jon says at the very end ? (I noticed the rest changes from performance to performance) but the first line always sounds like “Hey! You’re turning your head to the rhino (maybe right? Lol)’ll catch!” Please help. Google doesn’t. I’ve lived with it since 2016/2017 ish but I must be exceptionally bored today.
I'm student teaching with an amazing high school director, however part of the student teaching placement is that I have to work with the middle school bands... of which the middle school director is extremely poor. Their 8th grade band struggles to play even grade 1.5 music if that gives you any insight. Anyway, the middle school bands struggle the most with steady tempo. They always ignore the conductor and almost always have their own tempo in their head. One of the pieces has the 8 percussionists playing 8th notes, and every single percussionist plays it at their own tempo. Even using the metronome doesn't work because they drown it out and ignore it. Any suggestions or advice? This issue has gone unaddressed for so many years under this director, and it has become a bad habit of ignoring the conductor and not listening around them. I am at odds about how to fix this in a semester.
