Somebody To Love mp3 download

Steam Soundtrack Flac files are STILL not fixed (upscaled from the mp3s).

2020.08.31 07:17 tasty_bass Steam Soundtrack Flac files are STILL not fixed (upscaled from the mp3s).

Steam Soundtrack Flac files are STILL not fixed (upscaled from the mp3s).
Update: New files are now uploaded. Post
Update: A dev has posted in the steam discussion forum link saying they will update the files, thanks very much! I will post back with another update once it happens.
I posted this a few months back on the Steam discussions forum. I hope I can get the attention of somebody here that can fix this, since it doesn't seem to work over there.
As the title says, the Flac files on Steam's store are still not fixed, whilst according to GOG reviews, they are completely fixed and not upscaled from the mp3s, as a reviewer shows proof of the spectrum being as it should for Flac files, and it was fixed over there since last August!
Above I have compared Steam's version of both Flac and mp3 files in a program called 'Spek' which shows the Spectrogram of the files. I have re-downloaded the files today just to make sure they updated properly and are the most recent, and as you can see, they are both clearly identical and the Flac files have an obvious 16kHz cutoff line which should not be there.
I love this music a lot and listen to it all the time, and it really bothers me to think that I am not getting the full sound quality as one should when listening to a Flac OST. It's a real shame because it's been over a year and nothing has been fixed, and I don't want to have to purchase it again. Please fix this.
submitted by tasty_bass to Bloodstained [link] [comments]

2020.06.11 23:26 shooter1129 Musical Criminology: A Comparative Analysis of Jihadist Nasheeds and Narco Corridos part 1

Jihadists have their nasheeds, and the Islamic State (IS) became popular for its nasheed compositions used in propaganda videos. Nasheed is an a cappella song praising the Prophet Muhammad and reciting Quranic verses glorifying jihad. Similarly, drug cartels have bands that compose and sing narco corridos, or “drug ballads,” based on Mexican folk music, which glorify cartel leaders as modern-day “Robin Hood” figures and announce executions of enemies. Both nasheeds and narco corridos have much in common: glorifying historical victories over enemies in wars and revolutions; using lyrics to warn their enemies about their invincibility and strength and bravery; calling out specific enemies as targets; and using their respective ideologies to justify their acts, behaviors, and beliefs. This study examines and comparatively analyzes the two musical genres in the context of terrorism and narco-terrorism, and how these musical traditions affect their respective followers, admirers, and devotees. The analysis also highlights how these musical genres popularize crime and violence, and desensitize audiences to the extreme brutality praised and glorified in their songs. There are some contextual distinctions that separate the two genres as well, and these entail part of the comparative analysis. The use of social media in both contexts is an essential tool to popularize nasheeds and narco corridos; they use YouTube videos, Twitter and Facebook, and other Internet resources to spread their music and messages. In particular, Western democracies provide freedom of expression, which further facilitates the proliferation of nasheeds and narco corridos. Specifically, the nasheeds are sung with religious references, verses, and lyrics, which endow them with greater allure and legitimacy in the eyes of the religious public. However, even some drug cartels and their leaders and followers embrace religious cult-like ideologies related to their narco-paradigms. They come complete with cults of personality attributed to specific drug lords and folkloric heroes from Mexican and Latin American history. An entire industry in entertainment, jewelry, amulets, shrines, icons, and spiritual “saints” and shaman-like figures flourishes in advancing what is called the “narco-culture.”
Moreover, law enforcement faces substantial hindrances to monitor and control online materials. How have governments responded to these social and religious musical media that glorify violent crimes? What are the implications of these for counterterrorism and counternarcotics strategies, bearing in mind that drug cartels often resort to narco-terrorism in much of the same ways as religious terrorist organizations operate, and, in fact, in many cases, the narco-terrorists are even more brutal and heinous in their tactics, shock value, and impacts. Yet, each type of terrorist—religious and narco-terrorists—still secures a loyal following. Their audiovisual tools for glorifying their respective causes, leaders, ideologies, and roles in society have made them extremely popular, especially among the youth. Each type of terrorist claims to fight against corrupt political elites and to stand for and support the masses, especially the poor, disenfranchised, and oppressed in society. In their propaganda, they use words like “oppression,” “persecution,” the “corrupt officials,” and the like, and they present themselves as the heroic warriors rising from among the masses to fight against oppression and injustice, but never mind the drug production, drug and human trafficking, and senseless violence that they perpetrate. And, in the case of ISIS and al-Qaeda, their violent repression and brutality against anyone who fails to accept their creed, leadership, and way of life are clearly paradoxical to their claims of serving as fighters against oppression and injustice. Thus, we see that both narco corridos and nasheeds have much in common, while at the same time they are contextually different.
The fact that narco-terrorists and religious terrorist groups like ISIS and al-Qaeda use songs at all is rather surprising. For the world of narcos, traditional Mexican and other Latino folk music and songs in Spanish provide an historical backdrop for their narco corridos. However, in more contemporary times, narco-corrido singers and composers have been increasingly inspired by American hip-hop and rap music and what has evolved into the “gangster-rap,” or “gangsta rap” genre. This is easily correlated to drug cartels and dealers, because many gangs engage in the buying, processing, and selling of illegal drugs, mostly in urban streets, but now the target market is also expanding into the more suburban and rural areas of the United States.
Groups like ISIS and al-Qaeda present nasheeds without music, hence a nasheed is a religious hymn sung a cappella, mainly in Arabic. According to their extremist interpretations of Islam, instrumental music and female voices are not allowed. Therefore, only male voices are heard in nasheeds, which are sung and chanted without any instrumental accompaniment, especially when it comes to jihadist nasheeds. This is conducive to the traditional oral traditions of poetry and storytelling in Arab culture and history.
In order to understand the modern usage of nasheeds and narco-corridos, one must first understand each genre’s history, concepts, and cultural contexts. Then, it is imperative to analyze each genre’s messaging, propensity for glorifying grotesque violence, and tools of dissemination. Finally, it is essential to assess the effectiveness of each genre’s lyrics, strategic use of propaganda, profiteering, and growth of the cult-like cultures and industries associated with them, which could not happen without their music increasing in popularity among the masses, despite their criminality.
Nasheeds: The Hymns of Jihad
In the Muslim world, the nasheed (plural, anasheed) is a song without musical instruments with lyrics that resemble hymns that praise God (Allah). The person who sings a nasheed is called a munshid. According to the Islamic Board website, in Islam “what is meant by Nasheed is a song that carries with it an Islamic belief, practice, etiquette, lesson, etc. They do take many forms. Some are just pure simple praises of Allah, some have very specific lessons related to Qur’anic passages, some are lessons of life stated in an Islamic manner; . . . a Nasheed should be voice only with no use of musical instruments.”1 Sometimes a simple percussion is used in the background to accompany the a cappella singing. Most nasheeds are sung in Arabic, but they are contextually known in comparable terminology in other languages, for example, as Islami nazam in Urdu.2
According to some music scholars, nasheeds evolved from seventh century Arabia, similar to Christian hymns or psalms, which were sung as “tributes to the spiritual life.”3 With the worldwide spread of Islam, “worshippers began using elements from their own musical traditions, including instruments, to sing their own songs of praise. This led to the growth of several new subgenres of Islamic music stretching across continents. Today’s youth have also incorporated the latest styles, such as hip-hop and pop music, to craft their own modern odes to Islam.”4 In his article, “Music of the Arab World,” Saeed Saeed explains the nasheed’s traditional contents, rules, evolution, and iterations:
Islamic music was originally defined by what it didn’t contain: no strings, brass, or wind instruments and no female vocals. The only instrument initially allowed was minimal percussion by an Arabic drum called the daf. This minimal form remains widely practiced in the Gulf and some other parts of the Arab world.
However, in places such as Turkey and Southeast Asia, several new styles of spiritual songs have developed. In Turkey, Sufi adherents incorporate music into worship. The most popular are services undertaken by Mevlevi Sufis, which include chanting and the famous whirling dervishes.
In Pakistan and Southeast Asia, the most recognized form of devotional music is qawwali. Performed by up to nine men, a qawwali group would often use instruments such as the harmonium (a type of keyboard) and percussion instruments including a tabla and dholak. The songs often run from 15 to 30 minutes and include instrumental preludes, repeated refrains and vocal improvisation. In recent times, nasheed artists from the Gulf have found innovative ways to overcome the no-instrument rule.
Albums by Sharjah’s Ahmed Bukhatir and Kuwait’s Mishary Rashid Al Afasy use studio trickery and manipulate backing vocals to sound like a synth piano or string section. In the West, groups such as America’s Native Deen and Australia’s The Brothahood use hip-hop music to get their spiritual message across to a new generation of young Muslims. The nasheeds in English by South Africa’s Zain Bhikha secured him a large following in Europe and the Middle East.5
Global jihadists have composed their own brand of hymns derived from this tradition of nasheeds, and they have been using the nasheed genre in their propaganda videos, audio recordings, and recruitment tactics. These chants “are now the soundtrack of jihad.”6 In his Euronews article, Thomas Seymat says that, “Nasheeds were not always so significant in the jihadi culture, their rise has been only recent. ‘There was an increase of songs after the outbreak of the Arab Spring and the diversification of the jihadi scene which was no longer represented by al-Qaeda alone’,” quoting Behnam T. Said, a doctoral candidate at the University of Jena; “’But an even stronger increase of new nasheeds could be observed during the last years within the context of the war in Syria and Iraq’.”7
Two scholars have focused on jihadi nasheeds: Behnam Said, whose 2012 journal article in Studies in Conflict and Terrorism explains how nasheeds constitute a significant “Contribution to the Study of Jihadist Culture.” Also, Aymenn Jawad Al-Tamimi has been translating jihadi nasheeds from Arabic to English for many years and has posted his work on his website.8 Behnam Said makes a startling discovery in his article, stating that the songs represent an inspiration for many modern jihadists, for instance Anwar al-Awlaqi, whom the United States killed in an airstrike in Yemen in September 2011, made an “interesting statement [in] his pamphlet ‘44 Ways to Support Jihad’,” saying:
In the time of Rasulullah (i.e., The Prophet Muhammad) he had poets who would use their poetry to inspire the Muslims and demoralize the disbelievers. Today Nasheed can play that role. A good Nasheed can spread so widely it can reach to an audience that you could not reach through a lecture or a book. Nasheeds are especially inspiring to the youth, who are the foundation of Jihad in every age and time. Nasheeds are an important element in creating a ‘Jihad culture.’ Nasheeds are abundant in Arabic but scarce in English. Hence it is important for talented poets and talented singers to take up this responsibility. The nasheeds can cover topics such as: Martyrdom, Jihad is our only solution, support of the present-day leaders of Jihad (to connect the youth to them), the situation of the Ummah (global Muslim community) the responsibility of the youth, the victory of Islam and defending the religion. The nasheeds should focus on Justice rather than peace and strength rather than weakness. The nasheeds should be strong and uplifting and not apologetic and feminine.9
Hence, we see that jihadists have used nasheeds strategically in a concerted effort to spread their propaganda, legitimize their ideologies in the façade of religion, and popularize their genre to gain recruits and loyal followers. Nasheeds are “used by different Islamic groups who are engaged in battle, Sunni or Shia. But many new songs are produced by one of the most powerful actors on the battlefield: the Islamic State”10 (IS, also known as the Islamic State in Iraq and Syria, or ISIS; and the Islamic State in Iraq and the Levant, or ISIL). During the peak of the IS’s power and ubiquitous presence on the Internet, especially Twitter, newly composed nasheeds would be announced with great fanfare. The IS has produced Hollywood-quality propaganda videos that play nasheeds in the background, sometimes providing the lyrics in subtexts on the screen. In addition, al-Qaeda has used nasheeds for its own propaganda purposes as well.
According to Behnam Said, “There are more nasheeds, which are not subsumed under one special category due to the reasons that they are less common in jihadi publications than other ones. These nasheeds are related to Palestine, prisoners, or current political situations.”11 He goes on, providing an example for a Palestine nasheed:
‘Sahm al-Ams’ (The arrow of yesterday) . . . by Abu Ali. This song has been used by Al Qaeda in its video ‘al-Quds lan tuhawwada’ (Jerusalem will not be judaized) from 19 July 2010 as well as in the ‘Al Qaeda in the Islamic Maghrib’ (AQIM) film ‘Adkhulu al-bab aleihim’ (Enter through the door against them), which was released in July 2011. The song’s text is about the loss of Jerusalem and Palestine and the loss of dignity, which can be restored only by means of fighting for the land. The text itself is not militant but is apparently attractive for the militant scene as we can conclude from the fact that core Al Qaeda and its branches used this song for their videos.12
In addition to finding Jihadi nasheeds in propaganda videos, you can also hear them on the Internet, and prior to the technology of today, there was “already a distribution [before the Internet] via song books, cassettes and videos but the Internet worked as a catalyst.”13 The Internet also provides forums containing audios (sautiyat) and sections for discussions “about the permissibility of nasheeds, [and] they are asking for specific songs they come across in videos, etc.”14 Seymat reports in Euronews:
​In a few clicks, euronews found similar forums, web portals and even a subreddit, that host hundreds of MP3s of nasheeds, available to stream or download.
On YouTube, a search for “nasheed” returns 1.3 million results (and more than 80,400 for ‘jihad nasheed’), large parts of which use military imagery and claim geographical origins from Chechnya to Bosnia.
Militant Islamist groups have no qualms using Western inventions like the Internet to circulate their hymns: ‘Jihadists are very pragmatic,’ [Behnam Said] tells euronews. ‘You will find that skepticism more amongst purist Salafis, like Nasir al-Din al-Albani and many Wahhabi scholars from Saudi Arabia.’
Peter Neumann, a professor of Security Studies at the Department of War Studies at King’s College, London, sees irony in the situation. ‘There has never been an objection to using Western technology, for example, as long as its use is for a religiously permitted purpose,’ Neumann explained during an interview on NPR.
‘That’s always been the sort of irony and contradiction of this movement – that they are essentially trying to establish states that are following medieval rules, but they are taking advantage of the Internet’ and other cutting-edge technologies, according to Neumann, who is the director of The International Center for the Study of Radicalization (ICSR).15
Nasheeds have been attached to jihadi videos, which often contain graphic, grotesque, and morbid imagery from battlefields, terrorist attacks, and executions that include beheadings. Sometimes nasheed music attributed to particular Jjihadi videos are banned “from video-hosting platforms, but in most cases not because of the nasheeds but because of the footage.”16 “But you can still access nasheed videos on internet platforms quite easily. The songs have spread so far and there are so many that it is not possible to control their spread via internet. Also, in many cases you need experts telling you whether the song is a radical one or not and why it should be banned or not. So this is a quite complex task.”17 Jihadi nasheeds convey a range of messaging, some specific, and some more ambiguous. Often, the “pictures or footage which illustrate the videos leave no doubt of its support for violent jihadist groups, at times the symbols used, such as lions, or scimitars, are ambiguous. Other propaganda videos do not contain violence but are posted by accounts claiming to be linked to ISIL.”18
The IS “has used nasheeds to spread its message since its founding, disseminating battle hymns online through its own media unit and other affiliated propaganda outlets.”19 Most IS nasheeds “are in Arabic, but the language of delivery can be as diverse as the foreign fighters who have joined its ranks.”20 In 2017, the IS released a new nasheed, entitled, “Dawlati Baqia,” or “My State Is Remaining,” which was “professionally recorded and has an Auto Tune quality to it.”21 The song begins:
My state is remaining, firing at the enemy.
Its soldiers shout that it is remaining.
Its path will not be eliminated; its light seeks to expand.
Like other ISIS nasheeds, this one was disseminated across the Internet, on encrypted messaging applications, and likely on the organization’s radio station—still broadcasting in areas under its control. The verses are a defiant reply to those who believe IS’s battlefield setbacks signal the group‘s demise.22
Law enforcement finds it difficult to monitor and police Internet content. However, YouTube, which is owned by Google, “has ‘clear policies prohibiting content intended to incite violence, and [we] remove videos violating these policies when flagged by our users. We also terminate any account registered by a member of a designated Foreign Terrorist Organization and used in an official capacity to further its interests,’ a YouTube spokesperson told Euronews. ‘We allow videos posted with a clear news or documentary purpose to remain on YouTube, applying warnings and age-restrictions as appropriate’.”23 Furthermore, YouTube has “given a number of government agencies ‘trusted’ flagger status to prioritize their reporting of dangerous or illegal material.”24 However, that might not suffice, since the Internet is global and the sheer capacity and capability to police it around the clock for each platform is impossible. Moreover, as Seymat indicates, “For video-hosting platform YouTube, it is a case of finding the right balance between freedom of expression and removing violent videos.”25
From the 1970s until the present, nasheeds have evolved in three contexts and purposes: (1) the “Islamic Resurgence” period as a means to counter cultural changes in Muslim societies and against various governments; (2) the anti-occupation context and causes, such as Hamas’s nasheeds against Israeli occupation, and militant groups fighting against Western forces in Iraq and Afghanistan—the precursor to this has been the much glorified jihad against the Soviets in Afghanistan; and (3) the “singing” or chanting of nasheeds as battle hymns, which include mourning for special martyrs and praising hymns that invoke jihadist and ideological leaders like Osama bin Laden, Abu Musab al-Zarqawi, Sayyid Qutb, and Samir Salih Abdallah al-Suwailam (aka “Saif al-Islam Khattab”), a highly-respected foreign commander in the Chechnya War (1994–1996).26
According to Behnam Said, the prominence of nasheeds grew in modern history based on the preaching of Sayyid Qutb, an Egyptian author, educator, Islamic theorist, poet, and a leading member of the Muslim Brotherhood (MB) in the 1950s and 1960s, which means that the MB embraced nasheeds, within certain parameters, to invoke Qutb and praise him and his “martyrdom.”27 This phenomenon has mainly targeted internal changes within Muslim societies to repel secular Western cultures and ideas because they threaten Islamic principles and ways of life, as the MB interprets them. In general, most Salafists and Wahhabis do not find nasheeds incompatible with Islam, as long as musical instruments are not used. Salafism and Wahhabism are ultra-orthodox ideologies that usually inspire global jihadists and jihadist movements. Therefore, they use nasheeds to promote Islamism and Islamic principles and teachings and as morale boosters on the battlefield. The IS, which claims to follow Wahhabism, in particular, has popularized nasheeds in their videos and audios, and their videos frequently have extremely violent and graphic images.
The global jihadist movements use nasheeds strategically to connect “between the global jihadist scene to which [nasheeds] are helpful in creating a common narrative and building up a collective historical mind.”28 Jihadist nasheeds pose significant problems for counterterrorism—specifically countering terrorist ideologies—because they are “very widespread throughout the Internet, so that not only adherents of the jihadist movements but also their sympathizers can get in touch with this material easily, because you will find many hard-core nasheeds not exclusively on jihadist websites but also on sites that claim to provide ‘Islamic nasheeds’.”29 Scholar Behnam Said warns that, “by those websites people can come in touch with this material, which can, in combination with other factors, radicalize individuals on a rational and emotional level.”30 Hence, the lines are increasingly blurred between the legal dissemination of nasheeds that are used in peaceful worship and those promoting violent extremism and jihadism.
Aymenn Jawad Al-Tamimi translates IS documents and nasheeds for counterterrorism purposes. He provided the English translation from Arabic for an IS nasheed in November 2017 intended to boost morale following the loss of territories of the Caliphate, as mentioned above. According to Al-Tamimi,
The Islamic State’s Ajnad Media, which produces nasheeds in Arabic, has released a new production entitled Dawlati la tuqharu ("My state will not be vanquished"). As with the other nasheeds produced in recent months by Ajnad Media, this nasheed follows the same theme of the endurance of the Islamic State despite the loss of its core territories in Iraq and Syria. Below is my translation of it:
Cry the takbir [Allahu Akbar] and rejoice: my state will not be vanquished.
My state, for we have continued supporting it.
My state’s edifice is built from our blood.
My state’s banners proudly fly in Excellence.
On the day of the tumult, our soldiers’ horse does not slacken.
Their determination does not bend, their spear is not broken.
What noble men they are! For loftiness they have embarked.
In their efforts, our soldiers have bewildered mere men.
Oh our enemies, come forth, mobilize and issue the summoning call.
Gather your soldiers, in hellfire they will be burnt.
You will either be killed or taken prisoner.
Our swords have not ceased to drip with your blood.31
Thus, we see that nasheeds remain as paramount strategic tools for the global jihadist movement that includes al-Qaeda, the IS, and a host of other militant groups and cells. The nasheeds have penetrated the spirit and psyche of thousands, if not millions, of admirers and sympathizers who have taken the nasheed as bait. Counterterrorism efforts must consider tackling nasheeds without violating freedoms and rights and without offending religious sensitivities. These are not only challenging goals and aspirations, but given the nasheeds’ religious legacy, legitimacy, and history, they might be nearly impossible to achieve, especially since the Internet provides the ultimate platform for global reach and individual exposure to the “Islamic hymns.”
Similarly, drug cartels have been using narco ballads called narco corridos to promote narco culture, beliefs, messages, and paradigms. The next section examines narco corridos and their impact on what can be described as “adoring fans,” despite the narco stigma of criminality and reputation for excessive violence.
Narco Corridos: The Drug Ballads of Narco-Culture and Narco-Terrorism
In 2013, Netflix aired a shocking documentary entitled Narco Cultura, or “Narco Culture.” The film depicts the contrasting circumstances of drug cartels, or narcos, and a law enforcement forensics team (SEMEFO, a crime scene investigation service) in Ciudad Juárez, Mexico, which is located at a mere stone’s throw to the border town of El Paso, Texas. The film provides homicide statistics, stating that in 2007 Juárez suffered 320 murders; in 2008, 1,623 murders; in 2009, 2,754 murders, and in 2010, 3,622 murders; whereas, El Paso, Texas had less than eight murders per year.
The film opens with scenes and narrations about pistols, AK-47 and R15 machine guns, 9 mm handguns, beheaded and dismembered bodies, and, the narrator points out that, “sometimes the heads have messages” attached to them. These are the crimes of the narco cells in Juárez, and obviously, by looking at the statistics for homicides, these terrorists have increased their presence and bloody operations in the city. The local civilians suffer terribly from the narco gangs’ extortion, bullying, kidnappings, and grotesque violence. The locals yearn for peace, security, and stability, and some desire to cross the border to safer ground in El Paso. The film also profiles Edgar Quintero, a popular narco corrido singer who is married and has two small children.32 Quintero breaks into song on camera:
I was walking in peace around Guadalajara
The damn government started a battle
With an AK-47 but no bulletproof vest,
I cruised in my white truck
I hit one, my rifle never fails
With a good eye and a good pulse, my school fights back33
Edgar Quintero then talks on the phone with “El Ghost,” his narco benefactor. Quintero asks his employer what he wants in the next song. He gets paid a bundle of US dollars. He informs the viewers that he was approached in prison to be in a band called Buknas de Culiacan. In another scene, Quintero’s wife says on camera, “I like narco-corridos. People like hip-hop . . . There’s nothing better than narco-corridos, you know.”34
If you go to “Narco-Corridos” in, you will see the following:
Audio CD (2001)
Editorial Review
The corrido, or ballad, is one of Mexico’s oldest and most respected song styles, and also one of its most contemporary and controversial. The classic corridos are Mexico’s equivalent of the Spanish romances, the British broadside ballads, and the cowboy songs of the old West. Today, the form has been reborn as one of the most popular musics in Mexico and the U.S., but most of the corrido protagonists now are drug traffickers, and in Los Angeles or the border towns these narcocorridos are regarded by many people as a sort of Mexican equivalent of gangsta rap. While narco songs dominate the field, groups like Los Tigres del Norte also use corridos to tell eloquent stories of immigrant life, and to deal with the twists and turns of contemporary politics.
This album, designed to accompany the book ‘Narcocorrido: A Journey into the Music of Drugs, Guns, and Guerrillas’ (Rayo/HarperCollins) is the first to survey the modern corrido boom. It focuses on the work of the genre’s defining band, Los Tigres del Norte, with examples of other styles and artists showing the breadth and variety of the current scene. Like the book, it gives particular attention to the great corridistas, the writers who have made this medievaly-rooted form into one of the most exciting and relevant musics of our time. It has full notes on all the songs and artists by author Elijah Wald, in both English and Spanish.
This music is far more popular than most English-speakers can imagine. In the year 2000, Mexican regional music accounted for over half of all Latin and Spanish-language record sales in the United States—selling almost four times as many records as all the ‘tropical’ styles (salsa, merengue, cumbia) put together. It is hard to say what proportion of those records are corridos, but one of the five top stations in Los Angeles is playing corridos and narcocorridos virtually all day long, and corrido stars appear regularly on the Billboard Latin charts.35 [emphasis added]
In the aforementioned documentary, viewers see extremely disturbing scenes, including Quintero riding a bicycle with his child in tow, singing, “We’re bloodthirsty, crazy, and we like to kill,” and then he turns to his child and says, “Sing it!” The scene brings home the fact that narcos often use children to kill; some are as young as 14 and 15 years old.36 This is similar to the IS and various other militias and terrorist organizations, who increasingly see value in indoctrinating children and getting them to carry out their operations.
In his book Narco-Cults, Tony Kail describes the Mexican drug cartels as “a sophisticated breed of criminal enterprise,” adding that, “The growth of the cartel networks and their expansion throughout the world also produced extreme acts of violence in a campaign to spread drug distribution routes.”37 He cites the statistics that since 2006, “more than 60,000 people have been killed in cartel-related violence and more than 26,000 have gone missing”38 in Mexico. He adds,
Acts of violence, including public hangings, beheadings, and torture, have become trademarks of the cartel culture. Cartels publicly claim ownership of communities by flying ‘narco banners’ (narcomantas) or signs that display the cartel’s name and challenges to rivals in the area. Internet postings, including videos of beheadings and shootings, are used to intimidate communities and rivals. Bodies of victims are displayed as warnings to rivals and threats to local communities. There are increasing acts of violence toward innocent civilians as well as journalists covering the drug war. . . . Once small-time drug trafficking rings, many of these groups have evolved into international terrorist groups.39
Along with beheadings, hangings, and shootings, cartels are known for training recruits in disemboweling, filleting, boiling victims in vats (referred to as a “stew”), torturing, and flaying. Drug cartels have left rows of decapitated heads on public streets long before the IS began indulging in this grossly violent crime. Yet, despite these atrocities, narco corridos are extremely popular throughout Latin America and even in the United States.
Narco corridos–singing bands engage in concert tours in major US cities. Their concerts are packed with screaming audiences, who know all the lyrics by heart and sing along with the chorus. Often, the band members carry machine gun and bazooka props on stage while they sing and interact with the audience. The documentary shows a number of such scenes, one in which Buknas performs in El Paso, Texas, and gets the audience to sing along to these lyrics:
With an AK-47 and a bazooka on my shoulder
Cross my path and I’ll chop your head off
We’re bloodthirsty, crazy, and we like to kill
[The audience repeats]
We are the best at kidnapping; our gang always travels in a caravan, with bulletproof vests, ready to execute!
I’m number one, code name ‘M1’ . . . I’m backed up by El Chapo
My name is Manuel Torres Felix, sending greetings from Culiacan (Sinaloa)40
Performing in Los Angeles, lyrics by Los Twiins, Culiacan, who founded the Movimiento Alterado bands, include the following:
Sending reinforcements to decapitate
El Macho leads wearing a bulletproof vest
Bazooka in hand with experience
Wearing grenades, death is within
The girls take off their clothes
A private party like you can’t imagine! 41
On camera, one of the founders of Los Twiins says, “Hundreds of clubs play this kind of music in the United States;” people go to the clubs and “feel narco for that night. It’s an anti-system rebellion that makes a hero out of somebody that operates outside of the law.”42 Many people respect Joaquín “El Chapo” Guzmán—who is currently in a federal prison in the United States—because of his “Robin Hood”–like reputation for helping the poor in Sinaloa.43 People get drunk and take drugs at these concerts, and they get into fights. Young kids really like the corridos, and the bands that perform them, and they are practically giddy for singers starring in Mexican narco films.44 In one scene of Narco Cultura, a young schoolgirl interviewed on camera says in Spanish, “I would like to be the girlfriend of a Narco, because it’s a way of life, not anything bad. . . . Well, okay, it’s something bad, but it’s a way of life. It’s something that’s a culture for us.”45 Walmart, Target, and all the major chain stores sell music CDs of narco corridos. The music “is becoming more professional,” says Adolfo Valenzuela of Twiins Enterprises.46
The top-selling narco corrido singer is El Komander, whose logo is an AK-47. He aspires to enter Hollywood. In addition, Mexico has an entire film industry that caters to narco soap operas and action films, but many narco singers and actors want to make it big in the United States, particularly in Hollywood films. Narco corridos are enormously popular throughout the Western hemisphere, particularly in the United States, and the drug cartels even use them to taunt law enforcement personnel. For example, in Juárez you always hear narco corridos playing on police radio frequencies, signifying that there has been an execution.47 The documentary Narco Cultura points out that the, now defunct, website provided songwriters with ideas; it was loaded with extremely violent images, including real dead bodies.48 The website contained videos and audios, including videos of cartels interrogating rival cartel members, as well as executions, all taking place to narco corridos playing in the background. They also make direct threats to the Juárez forensics personnel, SEMEFO, a number of whom have already been killed.49
Narco culture encompasses more than just drug production and smuggling and excessive violence; it also incorporates religious and cult-like beliefs, including the deification of some saints and drug lords, diverse iconography, spiritual roles of shaman figures, tattoo symbols, secret hand codes, and some even practice animal sacrifices and voodoo-like rituals. At least two Mexican cartels, La Familia Michoacana and Caballeros Templarios (Knights Templars), base their ideologies on Christian beliefs, symbols, and rituals. According to Tony Kail, “approximately 83 percent of Mexico identifies itself as Catholic (U.S. Department of State). Various forms and denominations of Christianity are widely accepted and embraced among the Mexican population. Drug traffickers who appropriate Christian elements into their practices may find that potential recruits feel as if they can identify with the religious aspects of the group if they are predisposed to this culture.”50 Consequently, the convictions of the recruits are deeply entrenched, which are reinforced by fear tactics through excessive violence that the narcos utilize to deter operatives from disobeying orders, snitching on the drug lords, betraying the narcos, and/or withdrawing from cartel membership.
Mexico is locked in a drug war that appears unwinnable. The security forces and police have to hide their faces in public, or else they risk getting threats, or worse, from the narcos. Also, corruption and co-optation of government officials, the police, and a host of other figures and business people throughout the social spectrum pose significant challenges and obstacles to effective law enforcement efforts to rein in the narcos. Moreover, the drug gangs, leaders, and operatives who are in prison are capable of continuing their narco-related operations even behind bars. Therefore, if physical containment of the narcos is so difficult in the real world, one can only imagine how incredibly challenging control of their messaging in the virtual world/cyberspace becomes for law enforcement.
Furthermore, the drug cartels are meeting the high demands for consuming narcotics north of the border in the United States. The top drugs of choice over the last several years in the United States have been marijuana, methamphetamine (Meth), heroin, cocaine, and most recently fentanyl, which has emerged with the opioid abuse epidemic. The drug cartels in Mexico and Central and South America are very savvy in adjusting the drug supplies to meet the contemporary demand trends. Thus, it is important to note that if the demand for illicit drugs is so high and the volume of consumption and addictive traits only reinforce the needs for the supplies, then there remains very few ways and means—if any—to tackle the popularity of narco corridos and narco culture. In other words, the drug consumption culture, statistics, and demographics have skyrocketed in the United States. These trends provide immensely lucrative profits to the narcos, who then use the revenue to push and market the narco culture in the form of narco corridos and narco films. The narco world and its culture, messages, violence, and criminal behavior are proliferating not only in the real world but also in cyberspace, and until now, there is practically nothing that law enforcement can do about it—especially for long-term impacts against these variables and forces. In turn, the public seems to love narco corridos, the bands that sing them, and the drugs that the cartels produce and traffic particularly to consumers in the United States.
In many ways, the narco culture, organizational structures, methods of operations, ideologies and beliefs, use of narco corridos to popularize the culture, use of excessive violence, and taking advantage of cybertools bear striking similarities to the IS. In the same vein, both the narco corridos and culture and the IS also have distinct differences. The next section comparatively analyzes the similarities and differences between the narco culture/narcoterrorism and the IS. In particular, the comparative analysis focuses on the similarities and differences between narco corridos and jihadist nasheeds.
submitted by shooter1129 to NarcoFootage [link] [comments]

2020.03.22 14:37 Random_Stranger69 Does a digital Fallout 3 HQ Lossless Soundtrack version exist?

I love the FO3 Soundtrack so much. It is one of my favorite soundtracks. But what always bugged me is that the soundtrack is only available in that MP3 CBR 192 version. Even the digital version you can buy from Bethesda only has the ingame sound files, with slightly highered dB volume.
So far I havent found a truly lossless and properly mastered version. I know there are vinyl versions and maybe they actually are lossless and specifically mastered for vinyl but they are nowhere available digitally or as CD. Those vinyls dont even come with a download code. Then again maybe the vinyl sound files are also only the MP3s... I cannot tell.
I remember contacting Inon Zur about that years ago but sadly never got an answer. :(
Does anybody here know more about this? Is there maybe a lossless non MP3 version somewhere that I dont know of?
So that is what I learned.
So yeah. It seems like they exist but arent available for purchase. Oh yeah btw, if you think about buying it in FLAC on 7Digital, think again. These FLAC files are upconverted MP3 192 ingame files, lol... Shouldn't be legal to sell this.
submitted by Random_Stranger69 to Fallout [link] [comments]

2020.02.21 02:03 Kayolamusicdotcom How Asap Yams created Asap Rocky from scratch

An interview with Nicolas Pellion aka Pure Baking Soda, most likely to be the best french-speaking rap storyteller and part of this story that went everywhere on the web: the quite spontaneous boom of young harlemite A$AP Rocky, his machiavellian manager and a series of dirty tricks. Kind of an insight amongst cannibal piranhas and food for thought regarding the illusion of Internet as a development tool for music artists.
First time you hear about A$AP Rocky ?
First time I hear a song from A$AP Rocky, I believe it was January, 2011, Been Around The World. To be honest, I don’t remember what I thought about it back then at all. Today I think it’s a good tune but at that time I didn’t especially dig it. It came to me as a guy named Eastsidestevie had posted it on his blog Realniggatumblr.
Loading video That Tumblr is a true monument of Internet-Rap history. This guy used to scan his old Rap magazines, like XXL and more, brightening it up with stories you couldn’t read anywhere else. This concept was already really dope, but in addition to that, he had a great taste, made no compromise and had a strong sense of humor… It was thrilling, funny, harsh… Now the blog has been deleted and I hope that someone comes out someday saying he printed it all, as I believe it’s one of the best rap blog ever, if not THE best.
4 months later, between some Max B & Cam’Ron’s stories, some rare Prodigy’s freestyles and vintage footages of Puff Daddy, EastSideStevie brings out a new A$AP Rocky joint: Purple Swag. It sounds like an MP3 rip, the song being uploaded on YouTube, with the guy’s picture as scenery.
Today everyone knows it… But at that time, hearing this out of nowhere, I was kind of stucked. Maybe it’d be good to re-establish the context: right now, in 2013, 90% of weak rappers with a lack of personality look after those stuff and try to do that kind of music. Yet back then it wasn’t « cool » again to rap as they do in Houston… and Houston was honestly kind of lifeless. People hadn’t heard neither of Lex Luger yet, nor those stuff that were going to be everywhere for the next 2 years, so running into Purple Swag was like being 2 years in the future of rap music… even though this track could totally be an unreleased from 2005 or 2006…
So it motivated me to dig into A$AP Rocky… I see he has nothing on datpiff, nothing on livemixtapes, in short he’s a no name. So I look into the hidden depths of the Internet… I eventually find some verses of him here and there and even a video. I rip the whole thing and make a little compilation out of it. For the record, I didn’t know how to rip audio from YouTube… and the one who helped me is « a_nos_mousse »… who’d be known as Soufien 3000 a few weeks later…
I ended up making a cover with Paint, uploading the compilation on the Internet and putting it on my blog.
So when is this compilation getting out of control ?
Once I put it online, the compilation spreads a bit… But it gets wider when Andrew Noz posts it on his Tumblr. He actually had run into Purple Swag on YouTube too, did the same thing I did, except he came across my compilation. At that time, it’s not that it gets « out of control » – as it doesn’t spread that much yet – something like 3 or 4 000 downloads, maybe less… But we’re now 2 or 3 talking about A$AP Rocky on the web, including Noz, a journalist who’s writing kind of everywhere… Enough to bring the attention of the artist himself, who probably begins to wonder « Damn, nobody knows me, I haven’t officially released anything yet but they’re talking about me on the web »… And that’s when EastSideStevie, with whom I had chatted sometimes in the past – sends me an email « to clarify the whole story around ASAP » he says.
What is it saying ? Are you the only one he talks about it with?
In this moment yeah, I believe I’m the only one he talks about it with. Roughly, he starts by telling me that Rocky is really touched by this compilation coming out of nowhere, punctuating every sentence like « no homo ». Even though there are some tracks he hates and he’d rather forget, like the one with Seth Narley. Then he tells me A$AP is a crew, him and Rocky kind of driving the whole thing. I remember he compared the both of ’em with Jim Jones & Cam’Ron in order to make me get it right.
Then, still in that same email, April, 2011, he tells me Rocky’s currently working on his album. That he’s been signed (a management deal I guess) on the company which manages Big KRIT and which is also in charge of Curren$y’s booking. He goes on saying they hope to drop the mixtape by summer, coming along with many videos, and that so far the project is being produced by The Olympicks, Big KRIT and their in-house producer… He says it will come out via clothing brand Supreme, which was about to sponsor them.
He eventually encloses a 11-track full A$AP Rocky project entitled « Mouth Full Of Gold », kind of a preview of what his 1st release would have been like. With some DJ Burn One, Olympicks & Ty Beats produced joints.
Then begins a long series of emails in which he explains to me the kind of strategy he has in mind.
A strategy consisting in what ?
Consisting in making Rocky blow up thanks to blog support, but not just any random blogs. In big letters, their manager is trying to model them to fit in with 2Dopeboyz/Nahright… The Get High video with Ferg, to me it was about that… And him, Stevie, he’s not into that, I mean not at all. So he tries to connect some other rappers and producers to reach a different audience. He starts namedropping all the folks with whom he plans to collaborate; it sounds like an All Star Game of what was critically acclaimed by all the « specialised » rap blogs at that time: Young L, Droop-E, Clams Casino producing… Main Attrakionz as well.
No more than a few days later, he manages to get Squadda B on a beat from a Norwegian, Cash Flow I think. This is the track which will become Underground King, a tribute to Pimp C in which he says he fucks the majors. I think it eventually came out on no project.
May/Jun 2011, except for the compilation I uploaded and which is still not spreading that much, you can’t find any of the songs online… But already some majors look for signing him. Such as Atlantic Records… These guys already offer them a fine contract – which I don’t know no detail about – but they refuse it. They won’t go in as Rocky’s album would have been directed by Wiz Kalifah’s A&R (Rolling Paper period) who wants to make them a pop product with an « overdose of wild homo guitars ».
Still aiming at seducing a certain audience, which I personally would consider as Realniggatumblr’s audience after all, Stevie tells me he wants to shoot a Purple Swag video… kind of a remake of Prodigy’s Mack 10 Handle.
In the meantime, he sends me over two new Clams Casino produced tracks: Palace & Wassup. As I begin to have a few tracks at hand, he says I can spread some of ’em, even make another compilation if I want to. So I put one or two more on my blog… And the rest of it I ask some Internet guys to listen to, some folks from the Music Industry as well, so I know how they feel about it.
Loading video So what do Internet and Industry people say ?
I bring the attention of something like 10 guys around those tracks, French and Belgian people only… All of ’em are really into it at first. ‘Must say the guy blows in with productions from all the current freshmen, period; it was gold at that time. Amongst them are some « behind the scenes » guys like Amaury Feron or Guillaume Berg, convinced that he has a bright future. Guillaume even reaches out Stevie and starts getting along with them, working a bit with them… On organising a European tour in particular, to make them come to Paris. I think early July, 2011, while the Purple Swag video hadn’t dropped yet and nobody had heard about them except for 15 Parisians and 2 Belgians, it’s already decided that Main Attrakionz & A$AP Rocky would do a gig in Paris in October.
So do they and you meet ’em for real this time ?
Not really… Even though everything had been planned, or nearly planned, with such things as Young Jeezy opening in Scandinavia if I remember well, this tour would actually never be. Because a lot of things happened between this early July and October.
Let me just go back, to Jun, 2011. First of all, Soufien enters the loop. One morning I receive a message from Stevie saying that I must listen to this beat from a French producer that Rocky will probably use… When I find out this French producer is… Soufien, whom I already knew, I’m laughing my ass off, as he hadn’t tell anyone. I think everybody knows how it happened, he sent over some beats on Facebook, etc, etc.
As they didn’t have that much contact with Soufien anymore, that’s me who recovers Acid Drip for him and I send it over via Twitter. If I remember well, we didn’t have Get Lit at that time and we weren’t sure whether those tracks would be on the tape or not, so we kept our mouths shut.
Then we meet SpaceGhostPurpp… The rest of Green Ova, etc… which leads the mixtape to be delayed again and again, ending up not looking at all like the original project (Mouth Full Of Gold).
End of May/early Jun, the Purple Swag video is already shot and they start making a new one for each track of the tape. Their idea is to do like Lil B in a way, having a new video each week during summer. And then, I don’t know what happens, they give up the video. Stevie asks me to remove all the songs I put online (Wassup, Peso, Diamonds), to delete quite a few other stuff and not to communicate anymore. I understand that things are happening faster for them. They go back and shoot another video for Purple Swag… they launch it early July on Realniggatumblr, my blog and a couple of more such as Yayodancing.
From now on, everybody knows what’s up, as they are « officially » out. First vid works very well but the one that will really be a hit is Peso. And as Deep Purple – the small compilation made of YouTube rips – is still the only Rocky project available out there, it’s being more and more downloaded, easily going over 100 000.
So now the majors start to quiver I guess…
I guess they do… As they were already in touch with labels before, plus the way things happened, I think their record deal with Sony was almost signed even before the new Purple Swag video came out. And that they just didn’t tell anyone. There were probably some details to be fixed, and the viral success those vids encountered probably helped in exaggerating some figures in the end… but to me it was already almost done before they went really « famous ».
About that, the so-called $3-million deal is not exactly the one that has been given to the general public, do you have some details ?
No I don’t. What I know, or what I believe I know, is that it was about 1,5M$ for A$AP Rocky as a solo artist, and 1,5M$ for A$AP Mob. Without even knowing what it exactly means. But I really don’t think they currently have 3M$ in their wallet…. Once again I don’t know the details as I never had to see this contract, but regarding this deal so many talked about… I’m not convinced that’s the best idea they had.
If their success is indeed « viral », which everything seems to demonstrate – hold by social networks, Tumblr, YouTube, etc. Roughly if they were as supported as indie artists as they seemed to be… It meant they already had a large audience and so they didn’t need that deal. By remaining independent, they would have got 100% of everything their music generates, from MP3 sales to YouTube ads, live tours or clothing brands in their case… When you have millions of views, in less than a month, on several of your videos… If you’re smart and if you’re able to handle it, a lot more money can go INTO YOUR POCKET rather than signing such a deal… Furthermore… your masters still belong to you. Now I’d bet everything you want that the music those guys are dropping, legally doesn’t belong to them no more.
Go ask Mac Miller or Macklemore what kind of money comes into their pocket at the end of the year. I’m 300% sure it’s ten times what the whole A$AP Mob crew is making all together. And they remain owners of their masters.
I think what made them sign is the promise of a relative « artistic freedom », roughly your albums will be just as you want it to be… Yeah, just the same as being indie right ?!
We get to this theory according which ain’t no such thing as a spontaneous boom in this new worldwide musical industry driven by the Internet, is that it ?
I personally hardly believe in some spontaneous boom happening on the web, yeah. Some folks – with just a video on YouTube, without having approached anyone first, without having a manager, etc… who’d sign a contract for several millions with a major label 5 weeks afterward, I believe that’s part of the stories that feed into marketing, also allowing musical journalists enabled to speak a word about music to have something to say.
But that’s not exactly what I wanted to highlight here. Thing is, for the US market, when you have a thrilled audience already existing, I doubt signing with a major is the best option. I believe Macklemore is now a role model in this field.
A$AP Rocky had everything under control so he could handle his career the same way, I’m sure he would have sold the same amount of albums and would have make more money… But that’s true they couldn’t have fronted like « Yo, we got a $3-million deal »… When it’s actually « Yo, I’m paying that percentage of what I earn to Mr. so-and so and my masters don’t belong to me no more »
By the way the guy who built that A$AP Rocky buzz – Stevie/Yams – has now been put aside, hasn’t he ?
Stevie became A$AP Yams indeed. He’s credited on both the album and mixtape as executive producer, so I think he’s still involved in the artistic choices. I guess he will also on the next A$AP Ferg album to be released.
I don’t know if he plays another role but this one today. He’s still with them, touring and shit. But for a few months he seems to be busier with some West Coast rappers. He manages them, advises them and helps them; thanks to the connections he developed during the A$AP Mob adventures. Like Joey Fatts for instance. But I don’t know more precisely.
Nowadays the few interactions I got with him go through a Facebook group we have, involving a bunch of guys who’ve been part of this story or close enough for the last 2/3 years.
From your point of view – as an industry insider – what is your feeling on this ? Bitterness ? Amusement ? Proud ? The three combined/none of that ?
No bitterness, I got no reason to feel this way. It was amusing on many aspects for sure. Especially when people here in France said I had « discovered » A$AP Rocky, based on some newspaper articles and these kinds of stupid stuff, when it was absolutely not true. Me being part of the equation or not wouldn’t change anything to the story I think. I used to receive dozens of emails as people thought I was their manager or something… It was funny.
In addition, the fact that I was there allowed me to meet people and connect. And this is always cool.
Do you believe that « Influential blogs » in rap music are necessarily manipulated by Stevielike guys?
Sometimes it’s not completely conscious or as well thought out as Stevie did, so I don’t know if we can talk about manipulation, but there are definitely some artists that are being helped by some blogs. It can be explained by friendliness. As artists eventually get closer with bloggers/journalists for instance. There is this one blog of a skating clothing brand, talking a lot about rap music; this is exactly what I’m saying… Rappers they highlight always have a small success thanks to their support… And after chatting here and there, I realised that it’s just a huge friendliness network. Neither the rappers nor the bloggers are completely aware of it.
And there’s also some quite vicious stuff. Here’s a funny one. I’m part of a Facebook group gathering almost all the American bloggers, something like 10 rappers and a bunch of producers… One day we asked ourselves, if we all started to praise somebody at the same time on our different websites, wrapping up the whole thing well, like taking a beat from that well-known producer, a featuring with this hot cat and shit… Would we succeed in making believe he’s dope ?
We took someone from the group who didn’t know how to rap, someone ghostwrited his lyrics and we made him rap on some beat from a producer everyone would know… One after the other, every blogger from the group wrote some stuff to explain why it was dope… It worked. But even more than everything we could have imagined. As this artist went highly praised by all the « tastemaker » blogs, for real. We found him in some year-end blog lists from bone-headed hipsters websites nearly interested in rap, some articles saying it was revolutionary, including some big players like Complex, Fader, Spin, Pitchfork… And now… well this artist has a career. Not amongst the rap audience, but amongst kind of retarded hipsters who love to believe that they listen to rap music, it’s a hit. This artist is touring now, hanging around with stars and shit… I think I won’t reveal his identity for now, but someday someone will, for sure.
Anyway, I don’t know if it’s a proof that these kinds of practices do exist, but it’s a proof it definitely works.
More on a RNT model, there are the Baller’s Eve guys, responsible for launching Yelawof, Trinidad James and a few other careers. The boss of this radio/blog seems to hang out and find new talents pretty much everywhere, then manages them a bit undercover before pretending he discovers them when posting on his blog.
It’s been really nice of you to take some time and energy to tell us the hidden agenda of this story, one last word to add ?
Only that as far as I’m concerned, I don’t write articles on « the next big thing » no more, or new talents, in fact I don’t do really fresh news topics… Not to fall into that kind of stuff, even without noticing.
Because I don’t want to hand on no plates to people no more.
I’ve always been writing what I think, but when you start doing this too much, you become this snooper website, running after the last news and the next thing to blow up… maybe for lack of a real high quality content.
submitted by Kayolamusicdotcom to TheRapCoach [link] [comments]

2019.12.15 06:53 Ifwecanhelp 'The knowledge' MP3 List

The Collection (329 of 364) is updated every Sunday… Some of this media can be found here:
MP3 / Video-Collection:
V = In Collection, W = Movie, -- = Missing
submitted by Ifwecanhelp to humandesign [link] [comments]

2019.11.18 03:40 OrdinaryFallenAngel Did Music Help You Through It? It Surely Did Me.

I honestly wasn't sure how else to title this post, but this is actually something that I've bottled up for a while in terms of my past, and what has caused me to deal with C-PTSD now. I honestly want to banter about this, because it still infuriates me to this day.
I'm heavily a music listener. I have always drowned out the yelling, the fits at home, the unnessassary family banter with my music and headphones since 2008. Music has genuinely helped me get through a lot of what I've dealt with in the past, and yet, because of that being the case, listening back to the same songs I've listened to years ago haunt me about the trauma. I'm certain it happens to everyone.
Back in 2013, there was a song that played a lot on the radio called Remember Everything, and it was by Five Finger Death Punch. I eventually downloaded it to my mp3 player at the time, because I really enjoyed it, for multiple reasons. I was not allowed to have a phone for ya know, overprotective-parent "Autistic people shouldn't be allowed on the internet ever" reasons, so I had a trashy half-broken mp3 I used, but I got to listen to my music regardless, which was good enough.
The reason I loved this song so much was because I felt it, a lot. The song's lyrics really hit home for me, and even though the story in the song itself isn't targeted towards my situation, I felt every word in it. This song talked about constantly being sorry for being this burden of a person to your family, apologizing to everyone for not being what they wanted, forced to be alone because your parents hate you, etc. Every single word got to me so hard, especially in the times where the abuse happened, that I cried listening to it. At the time, and even so nowadays, this song is still very emotional and powerful to me. During car rides, if I heard the song on the radio or in my playlist, I would cry and not let them or anyone else see it out of fear they'd make fun of me or bug me.
Something that really just pisses me off, and what's pissed me off since the day I've heard this song, was the heartlessness my disgusting family had for this song and how much it did hurt me. While I felt like I wasn't alone whenever I listened to it, my mom, my dad, my stepmom, my brother, all sat and made fun of it. They mocked it and claimed the singer was "Being A Baby", that the song is for Crybabies, that they lost respect for the band since they've turned into wussies. And they'd say these things right in front of me, as I can feel my goddamn heart in this song that helped me through it all because I didn't feel alone anymore.
It still infuriates me that they genuinely had this mindset that everybody was supposed to be happy, or else they were "Crybabies". That song helped me through the abuse, the self harm, the gaslighting, the manipulation, the humiliation, the lies that they told to everyone about me, for YEARS.
At the time I felt like it was because I was genuinely not wanted nor loved where I was. I felt like I was a burden to them, and all the times they laughed about how they were gonna set up a shock collar on me in order to scare me into "acting normal", and how they were gonna tell everyone that I beat up animals for fun (a blantant goddamn lie my dad made up), even when I was a toddler and my dad had told everyone he wanted a boy, and that he wouldn't be surprised if "I became a serial killer one day", dehumanizing me as much as he possibly could've. Making me sound like a sociopathic monster to therapists, counselors, families, teachers, everybody who associated with me.
It angers me that they had this mindset that as long as somebody isn't happy and producing happy joyful music, and instead creating emotional music for people who feel that same pain, that those people needed to "Grow up", "Stop being babies", "Get over it"; Trying to crush something of mine that they had no idea, because of THEM, was the SOLE reason I was depressed, was self harming, was contemplating suicide at 13 constantly, that I was hiding from everyone every single and crying every night. And it's sad they probably still do have this mindset, that the song is trash because to them, us humans aren't supposed to be hurting, or upset, especially from abuse. It's an "inconvenience" to them, therefore they don't want to hear it. But that's fine… because I have not spoken to my abusers in a long time, and I'm happier because of it now.
Well, that was my rant ... If you have any kind of music or song that has printed onto you over the years and helped aid you through what you went through and you want to share it, go ahead. I'd be intruiged to hear.
submitted by OrdinaryFallenAngel to CPTSD [link] [comments]

2019.10.31 12:08 alexcowles 3000-4000 Monthly listens on Spotify, a bit of cash coming in from streaming revenue and performed in places like Greenland & Puerto Rico - HOW?

I want to share as much as I can with this community in the hope that someone may feel inspired or learn from my path so far (or from the mistakes I made even!)
I figure I'd share where I am right now, and where I've been, so you can see how certain things impacted my growth.
Sorry this is also so long - hopefully it's not boring or tedious for you - it's more about prompting you to ask questions so I can help others wanting to build an audience etc.
Before I got into producing music I was an avid listener - I consumed music all the time, and was into everything from nu-metal to drum & bass, from classical to blues. I was fortunate enough to have access to things like Napster as it grew and it helped me discover loads of music that I could put onto my tiny mp3 player and listen to all the time.
I also played piano to grade 3, and brass instruments to grade 5 which gave me some understanding of things like scales, chords, melody etc - but I don't think I could go back and read music now, nor do I have much of an idea of anything past the basics. We're talking high-school days here.
At Uni I discovered "mashups" and the scene surrounding them - started putting together my own mashups with Sony (Sonic Foundry at the time) Acid - instrumentals with acapellas and learned a bit about beatmatching and sequencing - but very little else. Most were messy, one or two did OK, but I was just posting them in a forum called GYBO (Get Your Bootleg On) which was pretty much THE home of mashups at the time.
I knew one of the Saturday night DJs at the student union in Dundee and managed to convince him to play a couple of my mashups and that was the first time I head something I had put together in a club environment - I won't forget that!
I also got together with a friend who wanted to DJ and he was friends with Mylo at the time - we managed to convince the students union to book Mylo but only if we could do the warm-up DJing (our first proper DJing slot) so we pre-prepared a good set including mashups and remixes and stuff that people would know - and that helped us secure a fortnightly slot in the student union which led to a couple of other small DJ gigs while I was at uni.
Mashups took off, and I lost interest as I slowly started introducing my own elements - trying to do unofficial remixes with bits from sample packs and drum sounds etc. This also didn't go anywhere, but gave me more of an insight into how to make things work a bit better.
Eventually I got to the stage where I tried FruityLoops and didn't like it, then looked at Ableton (version 4 at the time) and thought - yes, this is more my sort of thing. I followed the simple tutorials involved and got to grips with it - any time I didn't know how to do something I'd google, find a tutorial and follow it.
The stuff I was making back then (this will have been about 2005) was a bit like Boards of Canada, but absolute garbage since I didn't know how to use any synths, and was just messing about really.
I randomly picked up a compilation which had 3 CDs - one bass, one breaks and one dubstep - I expected to love the "breaks" one, but got hooked on the dubstep CD - it was the likes of early Skream, Benga etc - the pioneers of dubstep. This was about 2006.
I felt like I had found a sound that I wanted to make - and I tried to get involved in online forums for dubstep. Dubstepforum was the most obvious at the time, so I jumped on there and started finding out about the genre and how it was growing. I started to make stuff that fitted into the template of dubstep - trying to make wobbly bass and big sounds - my first tracks were terrible, but I decided to try an unofficial remix of Dead Prez's Hip Hop (It's Bigger Than).
I ended up quite happy with the remix - it didn't need much since the bass was there from the original anyway!
Because I was familiar with some of the... Less legal... ways of getting music, I decided to put this remix out and fake a "scene release" - so I made one of those "nfo" documents with it - named it like it had been released via a team of people and tried to float the torrent in as many places as I could. I also posted it on dubstepforum. Hard to tell how far it got, but I think based on the popularity of the original, it did OK - nothing spectacular, but somebody had said to me once that Skream was playing it in his DJ sets - not sure I believe that.
I managed to get a track sounding alright that I sent to a few tiny labels, and a small label called Insectmind liked the track I sent and stuck it on a compilation called Fixations in 2008/2009. I was also putting out free music via the forum, my MySpace page and on my small website that I'd made - the free music was much more chilled, and I started to realise that I was making stuff in the dubstep template but at the much deeper end of the spectrum.
First EP
After my track was picked up by Insectmind, I managed to convince them to release my first EP - which was a handful of tracks that I had finished that I was relatively happy with. They put that out - it was a small, digital release only, with a few bonus remixes and stuff that I'd put together.
I don't think much happened with the EP if I'm honest - but I think it showed me that what Insectmind had done was quite possible for me to do, so why would I have somebody else do it if I had the means to do it myself?
That was the point I decided I'd try things on my own.
My first label
I put together a small EP of new tracks I had been working on (I was always working on something on the side - just sort of crunching away at tracks, and feeling like each was better than the last).
I had started enjoying the sounds of Echospace/Deepchord and lots of dub-techno sounds - and I think that started filtering through into my music.
I decided to call my label Echodub and figured I'd try to release my own EP.
I needed to open accounts with Junodownload, Digital-tunes and a few other retailers and hope that this was enough - Bandcamp wasn't a thing, and digital distribution was hard to find back then - I couldn't afford to pay someone to do that bit for me, so I had to fill out all these horrible release forms and stuff on each site to schedule the release for when I wanted - then i had to try and mention it in as many places as I could to drum up some interest.
The EP went out and I don't think much noise was made about it if I'm honest - another one under the radar.
The Collective
I thought if I could do this for myself - why couldn't I do this for other people? So I found a bunch of people who were on dubstepforum at the time, making deeper sounding dubstep and suchlike - and it took me ages, but I tried my hardest to pull together a compilation (we called it Anechoic Ccamber) - I curated and mastered it myself (I'm no mastering engineer so it was probably rough as hell) but we managed to get it up and give it away for free.
I think because it was a huge compilation and it was free, that actually ended up going pretty far - netlabels were a big thing back then and free music was great for spreading the word - people seemed to really get onboard with the compilation. I actually found out years later that it had really inspired a bunch of people and speaking to Praveen (Braille) and Travis (Machinedrum) after a Sepulcure gig in Glasgow they said that was what had prompted Praveen to jump back into making electronic music - so that was a pretty serious moment for me!
We ended up releasing a bunch more EPs and stuff on the label over the next few years - but after our first 2 EPs, I was reaching out to a few companies about trying to get a P&D deal where I could send the tracks, and they'd handle pressing vinyl and distributing it. I was foolish to think that we were good enough for that - but still. I had sent a bunch of my tracks and other people's to Z-Audio, who were doing P&D things down in London.
I got a call from Zac, and he was more interested in my music than in helping the label - and he offered me over the phone, an album deal where we'd do a 2 CD thing, with some vinyl EPs ahead of the release and that we could try and get remixes onboard and all sorts.
The first album
This album project was way more than I could find on my own, and he seemed to want to throw some money at it - and amazingly we figured it out. Metafiction was a 2xCD release. We contacted a few artists he knew, a few I just hit up on MySpace and with a bit of budget for remixes, we were fairly successful at getting artists I wanted on the release. They were all artists who had inspired me int he first place, so to get them to agree to a remix was amazing.
We used some of the remixes and a few originals to put out a run of vinyl EPs ahead of the CD release, and the whole project really boosted my profile bigtime.
The fact that we were getting remixes from artists who were better known than me, meant there was immediately an association there with those producers and DJs - so I think in people's minds, they put you at a similar level - I'd say those remixes were some of the best uses of the money we had available. No question the amount of good they did out-weighed the cost.
because Z-audio handled the distribution, it was also in plenty stores and I even found it in the HMV on Oxford Street in London when I was down, which was another big moment for me!
I think the album also helped boost some of the label stuff I was doing, since I was still plugging away with Echodub.
I was also trying to get a few DJ gigs in Edinburgh playing dubstep where I could - but it wasn't until my album landed that I got a wee bit of interest from promoters. Problem is they all expected me to play super deep stuff so wouldn't book me since people wanted to party, not sleep. haha
I was away on holiday in winter 2010/2011 and was playing with some logo designs - one of which I really wanted to use, and being the self-starter I figured I'd start a net-label. Free music, packaged properly.
I realised that some artists I respected were giving away free music, but just throwing untagged, badly named zip files on any old hosting place and letting them go - I figured I could approach people doing that before they did it - and release the free stuff on my new netlabel called Cut. I thought maybe there was room for a netlabel, and it felt like a nice new project to get involved with.
We launched with Cut Volume 1 - another compilation of free music which I thought might do wonders for our profile - although not as big as the Anechoic Chamber release from Echodub, it did well and got our name out.
By this time I'd figured out the "download it for a tweet" mechanism, so was asking people to tweet about it in exchange for the free download - and that helped boost our social media a bit.
With each release, we collected people's emails in exchange for the downloads - and over the first 12 or so releases we built about 1000 new subscribers with every release. I had a big email list of people wanting to know when the next free release was. The problem is that emailing 12,000 or so people was costing me about $100 in Mailchimp at the time, and we weren't making enough money from people donating via Bandcamp (which was now a thing) to cover those costs.
A friend (who now runs ADSR) suggested a subscription model where if everybody paid a small monthly fee for the releases, that would cover the costs involved.
We switched over and a small percentage of the audience took up the offer - it was enough to get going and keep releasing, covering email costs and mastering costs - and for some releases I was even able to get enough to pay for some small-time promotion and to pay some of the artists a fee up front for their music.
We chugged over at about 400 members for a while, before I got frustrated that we couldn't seem to push the audience bigger than that - the music was completely exclusive, and it was only 1-2 dollars a month, but for whatever reason it wasn't growing and I could get the marketing right.
I was also feeling the pressure of releasing a new EP or album each month, so we switched to a low-pressure regular label set up where I now do digital releases, and they go out to all platforms - finding a distributor that would allow me to upload and back-date 50 releases from almost 70 different artists was a tough call though - despite the variety of digital distribution available today most wouldn't allow all the things I wanted but i managed to find a nice one in Germany called Feiyr, who give me a good cut, let me self-manage it and get the music out to as many places as I can expect - all with infinite amount of artists available to add, and low costs to release something via them.
Cut is still going today.
More solo albums
As I was growing Cut and Echodub - I decided to do some more albums.
In 2012 I released my second album and I did that as a crowdfunding campaign - I raised enough from followers, family, colleagues and friends to get the album pressed to CD and to do an amazing picture-disc vinyl release of 3 tracks too - this was a super nice project although the hidden costs of a crowdfunding campaign hit me, and I was over-optimistic on ordering things like promo CDs and albums. I should have ordered 100-200 CDs, but I thought 1000 was a good number, PLUS 50-100 promo CDs - so I still have boxes of that album lying about the house. Don't assume you'll sell loads - order small, and re-press if it's popular.
I managed to get a deal with ST Holdings to do distribution and I pressed the CDs with a company down south, and the vinyl with Mobineko. There were all manner of ins and outs but it got down eventually - I even tought myself how to make 50 different versions of a business card file, with all differend download codes, so I could print them via moo and insert them into each vinyl manually - since the pressing plant didn't offer download-codes as standard.
That was a big project but it was fun.
In 2013, I released my third album Patience - also on Echodub - it was a digital only release, and didn't do particularly well. Strangely forgettable for most I think. Maybe I rushed it, maybe the lack of physical impacted things. Who knows.
More EPs
I was also putting out EPs wherever I could in between albums - I was speaking to other labels about releases and just trying to get my stuff out there as much as I could. The reality was, between 2009 and 2014, I was making music and pushing it to labels in the hope of getting signed all the time - my quality control was all over the place, and any offer of a release was met with "yes, sure" and I'd throw tracks that way to get them out there and build my profile.
I was indeed building a following there, but at the detriment of my quality control, which started to really bug me.
I had a few bad experiences with labels - some involving typos on artwork, some involving un-sanctioned remixes, some involving wrong names going to distribution and needing recalled - the more labels I dealt with the more I discovered could go wrong!
That said, I was also getting a few more bookings for DJing.
After my first album, I started dating a girl from the USA - this meant I was going to be travelling over there for the first time and spending 3 months there. I decided I'd try to organise some gigs while I was there so I reached out (on Facebook by this point) to promoters who were running parties all over the states. I explained that if they could get me to their town, and put me up - I'd DJ for free.
This meant I was able to visit all over the states, and DJ - it build my audience pretty well, and I still to this day have a good following in the USA under that name - I was able to DJ ing Boston, Burlington, New Haven (CT), New York (a few times - including a slot at the famous Club Love) Philly, Baltimore, DC, Orlando, San Francisco and Portland.
I also managed to score a gig with Rob Sparx. I had come into contact with Rob a few times through the On The Edge label (part of Z-audio) who put out our first albums - so we were in touch via email. He said his agent (he was more well known than I was) had scored him a gig in New York, and also a weekend in Puerto Rico, and when he discovered i was also in the states, he got his agent to amend the booking for both of us to go out and play in San Juan and a couple of other places. it was all very last minute, but such a good wee trip!
I wasn't pulling in crowds, I wasn't playing big rooms, but the name was getting out there and I was meeting some lovely people, from other DJs on the bill, to promoters and club owners - I built a few great relationships over there so when I went back a few times over the course fo 3 years I was able to do a few repeat gigs at places, which was really nice to see.
Smaller places pulled bigger crowds, since smaller towns had less option, and trusted their promoters more - Burlington is still one of my favourite places to play and I made a good friend up there.
I was also able to get a few more gigs over in Europe and the UK - it was easy to travel in the UK to gigs, and in Europe, despite not being great with flying, I was able to get a bunch of gigs there too - various nights and events from festivals in Belgium to castles in Italy! For whatever reason people were open to booking me and generally if I approached they would be receptive.
I got to a point where I was charging for my DJ work, and was able to make some money from it - but at the height it was only really one or two a month (aside from the more intense periods in the USA) so it wasn't a living wage.
I also had an agent at MN2S for a year (introduced via Urulu, who runs Amadeus Records that I had an EP on), but I wasn't one of their "star players" so didn't see much from that sadly. Nice guys - but too big an agency for me. no other agencies seemed interested.
Alias Change
After all the mess-ups with labels and EPs, and not feeling my music anymore, I decided to put out a compilation of all the unreleased and leftover tracks I had called "Forget Everything" and move on. I picked a new alias and decided to make some changes.
I wanted to spend more time crafting my music and less time pushing it out there.
The switch was a big change - I lost lots of my audience. Most likely because they didn't realise - but i tried to make it as clear as I could. I did press releases, I did announcements on all my sites, on social media, on places where people would go - but the reality is that people don't care - and anybody following me on stores will just not get release notifications - there's nothing to let them know unless they're following me elsewhere or on my email list.
That was a tough lesson, but I'm not looking back - in late 2013 I made the switch and put out the last DFRNT release.
In January 2014 I put out a new EP under my new alias, and pressed vinyl. I also started a new label to handle it all. I closed the doors on Echodub and opened them on a new label which I decided would be more highly curated :D - Cut was still running alongside.
The first EP did OK, and after a few years I went back and made it freely available through my site - I still love the tracks from that first EP now, so I feel like I'm doing things right this time.
Funnily enough - my old alias still gets more listens, more followers and more streams on Spotify than my new one. The gap is slowly closing, but it's a long road to build myself back up to that level sadly.
People still tell me about their appreciation for the old name too - it's hard to shake the whole thing.
My Second First Album
So my first album under my new alias was planned to be a large affair - I had found a label who wanted to invest in CD and vinyl - I had worked with them on a remix for a band I liked (I did that for free, since I was so keen for it) - and they handled everything well. I was impressed with how well it was handled, so I approached them about my album.
They were super keen, and really got excited about it all - and after seeing how good a job they did with the compilation I'd got the remix on - I was keen to work with them.
The project went alright - but I didn't realise the investment wasn't coming from the label it was coming from Ingrooves - meaning they pulled the plug on the CD part and just stuck with the vinyl - and I ended up paying for promotion myself, since I didn't feel the promotion had gone so well via the label.
The music itself was something I was happy with though, so it's still an album I'm proud of.
I released another EP, digitaly this time (we had done 2 vinyl runs with the new label before it became too expensive to do) it took me to 2017 to get that second EP out. Followed shortly by my second album under this alias.
The Second Second album
This time I felt like going back to the crowdfunding thing. I had done a successful run for the second album before - and between then and now, I'd also run a campaign to fund a 4-CD compilation for Cut Records which went well too - so I figured this would be worth a shot.
I had completed the album by the time the campaign started, so the release was always going to go ahead - and I treated the crowdfunding more like a pre-order system this time, which meant a slightly different approach. I think people trusted in my ability to run it and produce something - and I was able to press a short run of CDs (100-200 this time!) which also got used for promo - we're almost at the point where I'm completely out of them, so if things take off now, I'd need to repress.
I put a few more digital EPs out on the label, and that brings me up to date with that particular run of releases.
Other stuff...
Balance Series inclusion
Over the years I've built up a strong list of people's email addresses for people more famous than me, and a handful of them usually reply to me when I send stuff. I'm careful not to bombard them, but about 2 years ago, I emailed Nick Warren about a track I'd put out - and he commented that he liked my production style, so on the back of that I replied and offered to do a remix for him (for free, just to get a foot in the door) - he agreed, and I was able to finish a remix for a track he had coming out soon on his label The Soundgarden.
Off the back of this, I had finished another track I thought he'd like and sent it over - he replied really quickly and agreed to sign it to the same label, and after sending him the parts too, he had passed it to Hernan Cattaneo to remix - and low and behold it ended up on his recent Balance Mix series on both the CD AND the unmixed vinyl.
Now that was a case of luck, and having the right contacts to email - but it's also a relationship I've been building for years, so that now if I email Nick he knows me, and will check what I send. I'd never have been able to email him from scratch and get any sort of deal like that.
Med School compilation
I was at Tallinn Music Week a few years back and I happened to meet the managers of Hospital Records and Med School Records - ended up spending most of the weekend hanging out with them at various events, as well as the one I was DJing - and kept in touch with them. That led to them playing my stuff on the Hospital Records podcast, putting a track or two on their Spotify playlist and then after a year or so, putting one of my tracks on a Med School compilation.
So from applying to play a free gig in Tallinn as part of a showcase festival to being released on a Med School compilation and being able to go to London to do a guest-slot on Rinse FM as part of their show is another series of fortunate events -but again, it was about building that relationship - I didn't meet the label managers and immediately sell them on my tunes - I just hung out, and we got talking about various things, which developed - so when I did (and do) send them stuff now, they're way more likely to listen to it.

So yeah - that's my journey - I've probably missed loads of stuff, and skipped bits - but hopefully it gives you an opportunity to see how it all works out.
I'd love to answer any questions you have about any of this!!
submitted by alexcowles to WeAreTheMusicMakers [link] [comments]

2019.07.16 11:33 zivilars666 Apple Script / Automator program: copy link from inside of m3u file – paste it into JDownloader

Hello everybody,

as the unavoidable transition to "64-bit apps only" with Catalina comes nearer and nearer, I currently try to phase out all my last 32-bit programs and helpers. Found good alternatives for almost everything – however, as I download a lot of WFMU archived radio shows as mp3s to my hard drive (from their m3u files), I need to find a new solution instead of my current workflow with a little discontinued helper called "m3u2mp3". I tried "4K Video Downloader", but it messes up the tags (seem to do some converting although it should just fetch the original mp3 file from the server untouched).

I'd love a small Apple script / Automator program which does the following:

  1. Opening the M3U with TextEdit and copy the URL inside into clipboard (there's no other text in there – sample M3U file of a WFMU radio show here:
  2. Pasting the link into "jDownloader 2" – which will then download the MP3
  3. (optional: putting the M3U into trash, adding the downloaded mp3 to iTunes, deleting the mp3 from Downloads folder – but I could also configure Hazel for that, I guess)

I guess such a script should be very easy to create for somebody who knows what he's doing – unfortunately I'm not the one in this case, even after googling a lot about it. If this really is only a work of two or three minutes to create, I would be very, very grateful if somebody here could help me out. I'd really like to use the opportunity of (forced) change of my workflow to get everything automated – I'll instruct Hazel to automatically open the downloaded M3U files with this Automator program and everything else – downloading mp3, deleting M3U file, adding mp3 to iTunes) is done automatically.

Thanks so much in advance!!!
submitted by zivilars666 to osx [link] [comments]

2019.01.07 02:37 WestVirginiaPARadio West Virginia Public Access: A Fallout 76 Themed Streaming Radio!

Hello, West Virginia!
Here's a project I've been working on for a couple of weeks, and I've decided to launch it on fo76FilthyCasuals and TalesfromAppalachia (because I think people here will appreciate it more).
West Virginia Public Access!
One of my favorite subtle multiplayer features in 76 was the syncronized radio stations. My group and I discovered it when we started humming the same song on Discord. As somebody who loves playing Fallout with the radio on (hearing Bing Crosby crooning whilst I run away from a deathclaw screaming and spraying bullets just feels... right) I thought it was the bees knees.
Unfortunately, the shallowness of the playlist became obvious really quickly. And I found I ended up missing Mr. New Vegas and his news injections in the playlist.
What I wanted was a More Where That Came From, but syncronized with my friends...
...and West Virginia Public Access was born!
What does West Virginia Public Access provide that a YouTube playlist or some random Spotify channel provide?
Glad you asked! First off, WVPA plays licensed music via Live365, which means you won't have to worry about copyright strikes removing your favorite songs.
Second off, if this station takes off and we can get some donations, I can keep the station advertisement free. Don't need a commercial for Quip toothbrushes interrupting the rockin' tunes.
Third, I picked "West Virginia Public Access" for a reason... I want to collect content from the community to broadcast TO the community. I'm currently working on a News segment. I'd like to get a set of Public Service Announcements, in-universe podcasts, wasteland stories all broadcasting on the station.
Finally, it doesn't matter which platform you explore West Virginia with, as this station is broadcast over the internet, so every platform gets to listen to the same music everywhere, syncronized with all your friends.
So you want to make content?
FANTASTIC! I could use the help! I've seen a lot of people talk about wanting to make podcasts, do science experiments, provide voice acting... all of this sounds amazing. I wanted to build a way for people to discover all this content in one location... hence WVPA.
If you're interested in doing so, please follow up on this thread, or send me a PM. I'm currently looking for somebody interested in doing a set of Public Service Announcements from "West Virginia Civil Defense and the Responders". For example, I saw a neat PSA today about a water fountain in Whitespring that serves as a disease cure and provides no rads. That'd be an amazing thing to play on the radio station for people who may not have seen the post but would still find it helpful. There's a lot of other PSA style posts that could be collected. Where to stash stuff you don't need and where people can find said stuff without paper bags dissolving. Where to find Ultracite. The best mods for fighting scorchbeasts. You get the drift.
In addition, there's a ton of cool wasteland stories I've seen all over Reddit, and I think it'd be amazing to have a series that tells these stories over the radio, either voiced by the people who experienced them or voiced by voice actors.
Inspired by "The Rest Of The Story" by Paul Harvey, I see a possible series of shorts that dig into Fallout's lore from an in-universe perspective. The war is over and the vault is opened, so all the cool stuff that happened previous is open for broadcast. Backstory about the Brotherhood, about the Responders, where Protectrons come from, why we have mole miners, etc, would all be fantastic! We've got Vault Tec university and the Overseer, so technically we could have access to the list of social experiments, we could talk about those too.
I've pitched the station as "ad-free," but I mean no modern ads. It's be amazing to have a series of advertisements from the West Virginia area, for Slocum Joes, Red Rocket, Vault-Tec University... I'm still brainstorming ideas. I would love to get submissions of advertisement text (read on the mic by ZAX Musicnet (myself)), or produced MP3 files from people more creative than I.
Don't want to produce content but want to participate?
That's fantastic as well!
First off, tune in! I've got the station running for the next 3 weeks, and if it's something people enjoy I'm going to do my best to keep it running... but that's only if people are actually listening and enjoying the content. And if you know people who might enjoy it, spread the word.
Beta testing is nice. The platform by Live365 is pretty solid, but I've got a lot of tracks queued up (AutoDJ is software on Live365 that helps sort and play music, but while I've auditioned all the music I could have totally missed a tone deaf song or not payed attention to a really low quality track), and I'd appreciate knowing if any of the tracks is too low quality, don't really fit the playlist, badly edited, mumbled station identifications, etc.
There's a whole genre of music produced about atomic war, from "Crawl Out Through The Fallout" to "We Will All Go Together When We Go". I'm actively searching for these, but a buddy of mine was the one who found Tom Lehrer's songs, so I'm looking to crowdsource this.
Because the music is licensed, I can't just download the music from Bittorrent or use MP3 bundles from Nexus. I have to actually purchase the music. I'm thinking of setting up a PO Box where people can send CDs if they have old CDs of appropriate music if they have them gathering dust. I'm also looking into perhaps some crowdfunding of some sort to help pay for the station and buy music for the station. I'm looking for a way to have it so people can perhaps buy some music via Amazon and send it my way. I still have a lot of research to do here and would appreciate any pointers anyone has.
Another caveat because the station is licensed, the station only has a limited amount of "Total Listener Hours." The current station has 1,500 TLH; that means 1,500 people can listen to one hour, or one person can listen to 1,500 hours... or the numbers in the middle. If the station does get popular and needs more TLH, I'll need to have some sort of crowdfunding to afford keeping the radio on the air without people running into dead air because the TLH has run out. Again, though, that kinda depends on if anyone wants to listen anyway.
OK, so all the above is nice, but what kind of music are you playing?
My rules for what to broadcast:
  1. Music which has played on canon radio stations in Fallout is OK.
  2. Music from the 20s thru the 50s are the best.
    1. Remixes of Country Roads is an exception, those are all more modern, but Bethesda made that song canon.
  3. Community produced content of a period appropriate music style would be fantastic.
    1. So we're talking Rockabilly, Showtunes, Rock N Roll, Gospel, Blues, Boogie Woogie, Country... the music genres popular in the 20s thru 50s.
    2. Unfortunately, this means that all those fantastic Fallout raps I've found don't really fit; it'd be a pretty jarring tone transition.
However, I'm also taking suggestions on what the community would want to hear. That's what the Public Access in WVPA means, after all.
Thanks for listening to me ramble!
Running a radio station has been a dream of mine for years, I just never found a good reason to do so. Seeing the amazing community in Filthy Casuals, the great stories in Tales from Appalachia, and just the fantastic interactions I've had in-game has inspired me.
Please let me know if you have any ideas or any interest in producing content.
submitted by WestVirginiaPARadio to fo76FilthyCasuals [link] [comments]

2018.11.16 00:11 osxurce My history with piracy spurred by the post that made its way to the front page

I expect about 3 people to read this and their response to be nothing except the words "Ok cool story" but maybe it will prompt some people to share their history with this hobby or crime or whatever. Somebody posted the Netflix debt thread to subreddit drama and reading through it made me think to myself about why I pirate and don't have strong moral feelings about it, it's just something I do. Maybe this will spur some more interesting conversation or maybe I'm a huge jackass

I was about 9 years old when I was at my cousins' house and they showed me Napster. Whatever morals there are about piracy now among your average citizen, I don't remember anybody thinking twice about it back then except the record companies. Maybe that aspect was still there and it was frowned upon and my age was a factor in not even thinking about it, but regardless, all I remember is excitement. Any song you wanted could be downloaded and listened to over and over for free. Sure it took a half hour to download the mp3, and sure the tags were wrong half the time, and sure you might get a virus if you didn't know to not download Metallica songs, but none of that mattered. I'm pretty sure the first song I downloaded myself when I got back from my cousins' house was Kid Rock's Bawitaba haha, but give me a break, kids don't have great taste.

I remember getting a CD burner and that changing the game again. Now you can take that music with you wherever you go. I got so excited I got software to let me print custom CD covers on special paper, peel them off, and stick them on the disc. They looked like shit and generally weren't even well centered but I fuckin loved it. I used to make the dumbest mixed CDs, and a few years later when CD walkmen came out I'd roller blade around my neighborhood listening to my punk pop offspring/sum41/green day mixes.

Piracy always helped find a way to keep me interested in technology when I may have otherwise stopped pursuing it. Prior to learning about Napster I had an AOL kids account my dad set up for me, and that was fun for a bit, but there wasn't much to do other than talk in chat rooms and type in the "keywords" that Nickelodeon told me to type in. Napster gave me that excitement again. Napster eventually went away and Limewire took its place. Everybody knew the first thing you did when you had Limewire was just download Limewire Pro using free Limewire lol. That got me interested in trying software that I never would've even considered purchasing. I downloaded whatever program was used to make Flash animation just because I knew it was hundreds of dollars and I could. Sites like newgrounds and ebaums came out and I became obsessed with learning how to make my own site. Coded by hand and had a cool flash animation intro where the letters all bounced around each other and fell into place. Stole all of the content from those sites, but I never added ads and never made a dime off of it, and nobody ever even visted it, but at that point I was a 15 year old kid that spent years on the computer dicking around and came out the other side knowing a bit about audio formats, birate, HTML/CSS/PHP/SQL. Nobody get me wrong, I know this isn't super advanced stuff, but it's still a skill.

Needless to say, using Limewire all the time gave me viruses. At some point you have to re-install the OS. Back then, Windows keys weren't baked into the mobo. What then? Pirate Windows, of course. I pirated every piece of software I could just to fuck around. Google Earth Pro used to be something stupid like $500. Pirating software was much more of a pain than just a song, and eventually I just moved completely open source and never pirated software again. Might sound weird but open source is a passion of mine now, and I only discovered it after my software piracy phase.

Junior year of high school I learned about torrents and that blew my mind. Way more convenient to download an album, or an entire discography, than single songs at a time. In college I learned I found an open source program that let me rip DVDs. I would go to dollar video and rent DVDs and make my own copy. I'd buy DVD covers from walmart and had a huge library of shit I never watched. I spent more money on movies between renting them and buying covers then I ever would have from just buying the few actual DVDs that I wanted to watch more than once legally. All those physical DVDs took up too much space though, and I eventually just moved to dropping the files on an external hard drive, then finding whatever device I could to play them on my TV from the hard drive.

One of the most magic moments in my life happend when I finally learned more about computer networks. Post college I got sick of downloading a movie, moving it to a hard drive, then moving that hard drive to my TV. I had a hacked Wii at this point that I was using to play pirated Wii games. One program on that was a video player that I learned I could point to a network address. The first time I was able to download a movie on my desktop and saw it pop up as an available file on my Wii in the living room was that magic moment. It was insane to me that I could do that without a wire directly connecting those two things.

The year after that moment might be the year that I learned the most about technology. I was hooked more than ever. I studied networking, I learned how to build a NAS, I learned what an NFS share is, I learned about file permissions. I switched from torrents to usenet, from manual to automated. As a side-effect to my enthusiasm for piracy, I got a job for a small tech consulting firm. Worked hard, got a couple of employee-of-the-months (not hard, there were about 8 people in the company) and used that to my advantage to get a much better job in a major market.

I've been with this new company for 5 years now. Piracy is still a driving force for me to learn new technology. Within the past five years I've learned how to build VMs with KVM/Qemu/libvirt so I can host each application on a different VM. I've learned how to manage them with Ansible. I don't really think about the moral aspect of it at all. I do think that the argument that most people pirate what they wouldn't have paid for is very true for me. I never would've paid for the wii games or the movies that I pirated, I would've found another hobby. If I didn't pirate now I still wouldn't pay for Netflix or Spotify. For one, Netflix didn't work for the longest time on Linux browsers because of their fuked DRM, so I've hated them from day one. I hate Spotify's integration with social media, even if you can avoid it. I hate how a 4K Netflix title is arguably worse than a true 1080p uncompressed bluray file. Right or wrong, I honestly wouldn't pay for these services even if I didn't pirate. Unlike the guy in the post that inspired this, I don't give a shit about them being in debt, but I do see his point with the future of all of the future competing (disney, whatever else) streaming services being a huge drag for people who are legit.

On top of everything, I like being in a terminal and being able to manage my own library. Something as stupid as being able to run a rename command on hundreds of movies on my Freenas share is nice to me, and not being in control of it would bug the hell out of me. Piracy taught me to teach myself technology and I'm honestly grateful for it. I still love the magic of technology and learning that new skill. Piracy was always the motivation for me, the carrot at the end of the stick.

I'm not justifying anything, I'm not 'right'. I would argue with some about how 'wrong' I am, but I'm not going to argue here. Just reflecting on what role piracy has had in my life.
submitted by osxurce to Piracy [link] [comments]

2018.11.08 11:10 TutsieRolls (08/11/2018) Banned Styrofoam

Well, over the course of time you will discover me. This platform is created for individuals to discover themselves through retrospection and looking back at past actions, which subconsciously help us to determine positive operations in the future.

I was banned from a more popular sub-reddit for some odd reason I still don't have knowledge of. I had written some incredible diary entries in it and was devastated to realised I was banned from reddit. I have sent the mod-mail, but I am yet to receive any answer. I had an incredible momentum flowing and had even received a comment on of the diary entries saying how somebody enjoyed reading them.
Looking back at it now, I should probably try to get in touch with that person and tell me that if they wish to read more, I will now be posting on this sub-reddit I created. I hope they will be delighted to know that. I really hope.

How I discovered I was banned?

Well, I had written a 2-hour diary entry about yesterday and went to the event I had written about. I came back, fixed up some delicious custard to savour while I wrote down every detail I then found necessary. I opened Reddit, and went to my profile to update the post I made earlier, didn't want to bombard that relatively quiet sub-reddit with two posts a day, and found out that an error had occurred. So I went to another Reddit-ID which is my more public ID to find out what happened only to realise that my user was banned. I could feel the ground underneath my feet shift. I had finally found out one way to relieve myself of the burden of emotions I carried around with myself but now that too was taken away.

How I thought of creating this sub-reddit?

I then proceeded to go to bed with a heavy-heart. I realised that every-time I put in effort in rectifying myself, life was to come at me with a problem making it almost impossible for me to become a better person.
I browse Reddit Offline before sleeping because I find the normal Reddit too distracting keeping me away from sleep. Reddit Offline keeps it short and handy. Now I am limited to communities I want to look at and not wander into longer threads. LilPeep is a subreddit I absolutely love, whenever I am feeling low, I download this subreddit and it always manages to drastically improve my mood. Since I was obviously extremely sad I opened the sub-reddit to find out "Life Is Beautiful" an official smokesacc remake of one of my favorite Lil Peep's songs "Life" had been released for his upcoming album COWYS2. I was elated.
I ran to my desk and grabbed my earphone because I didn't want to disturb my younger sister. I watched the official lyric video and was immediately brought to tears. It usually takes time for Peep's song to be uploaded to his soundcloud and there was no way in hell I could wait to listen to it on repeat for days at a stretch. I downloaded SnapTube to convert the song to mp3 and have it saved in my phone and put it or repeat for the next 2 hours while I read all the threads about this song on the LilPeep subreddit.
After going through all of the posts, I closed my eyes to let the song sink in. Thinking about the diary positing situation I was currently I had almost given up on writing this diary thinking it as one of those things you do for three days then forget about for a couple of years.
One the lines in the songs - "Once you feel unstoppable, you run into an obstacle" stuck with me. As much as I related to the other lines, I felt like this was directed straight at me. That was the moment when I decided to create my own subreddit.
I was not going to let some random mods of a subreddit control my writing habits and ban me from the reddit community. I can do it on my own. Trust, me I will do it on my own. Well, I am here doing in it on my own.

submitted by TutsieRolls to YourDailyDiary [link] [comments]

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  1. Go Hard
  2. Love Me Again
  3. Excuses
  4. You Know I Know (feat. Shaggy)
  5. Feel the Same
  6. Somebody New
  7. Mark On My Heart
  8. Take Your Love
  9. Maria
  10. Talking to Myself
  11. Younger
  12. Love You Better
  13. Footsteps
  14. Dance with Me Tonight
  15. Troublemaker (feat. Flo Rida)
  16. Up (feat. Demi Lovato)
  17. Heart Skips a Beat (feat. Rizzle Kicks)
  18. Dear Darlin'
  19. Wrapped Up (feat. Travie McCoy)
  20. You Don't Know Love

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Track List: ​ 1.20th Century Fox Fanfare
  1. Somebody To Love (2011 Remaster)
  2. Doing All Right (…revisited)
  3. Keep Yourself Alive (Live at The Rainbow)
  4. Killer Queen (2011 Remaster)
  5. Fat Bottomed Girls (Live in Paris)
  6. Bohemian Rhapsody (2011 Remaster)
  7. Now I'm Here (Live at The Hammersmith Odeon)
  8. Crazy Little Thing Called Love (2011 Remaster)
  9. Love Of My Life (Live at Rock in Rio Festival)
  10. We Will Rock You (Movie Mix)
  11. Another One Bites The Dust (2011 Remaster)
  12. I Want To Break Free
  13. Under Pressure (feat. David Bowie)
  14. Who Wants To Live Forever (2011 Remaster)
  15. Bohemian Rhapsody (Live Aid)
  16. Radio Ga Ga (Live Aid)
  17. Ay-Oh (Live Aid)
  18. Hammer To Fall (Live Aid)
  19. We Are The Champions (Live Aid)
  20. Don't Stop Me Now (…revisited)

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Track List: ​ 1.Moves (feat. Snoop Dogg)
  1. Go Hard
  2. Love Me Again
  3. Excuses
  4. You Know I Know (feat. Shaggy)
  5. Feel the Same
  6. Somebody New
  7. Mark On My Heart
  8. Take Your Love
  9. Maria
  10. Talking to Myself
  11. Younger
  12. Love You Better
  13. Footsteps
  14. Dance with Me Tonight
  15. Troublemaker (feat. Flo Rida)
  16. Up (feat. Demi Lovato)
  17. Heart Skips a Beat (feat. Rizzle Kicks)
  18. Dear Darlin'
  19. Wrapped Up (feat. Travie McCoy)
  20. You Don't Know Love

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  1. Go Hard
  2. Love Me Again
  3. Excuses
  4. You Know I Know (feat. Shaggy)
  5. Feel the Same
  6. Somebody New
  7. Mark On My Heart
  8. Take Your Love
  9. Maria
  10. Talking to Myself
  11. Younger
  12. Love You Better
  13. Footsteps
  14. Dance with Me Tonight
  15. Troublemaker (feat. Flo Rida)
  16. Up (feat. Demi Lovato)
  17. Heart Skips a Beat (feat. Rizzle Kicks)
  18. Dear Darlin'
  19. Wrapped Up (feat. Travie McCoy)
  20. You Don't Know Love

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Track List: ​ 1.20th Century Fox Fanfare
  1. Somebody To Love (2011 Remaster)
  2. Doing All Right (…revisited)
  3. Keep Yourself Alive (Live at The Rainbow)
  4. Killer Queen (2011 Remaster)
  5. Fat Bottomed Girls (Live in Paris)
  6. Bohemian Rhapsody (2011 Remaster)
  7. Now I'm Here (Live at The Hammersmith Odeon)
  8. Crazy Little Thing Called Love (2011 Remaster)
  9. Love Of My Life (Live at Rock in Rio Festival)
  10. We Will Rock You (Movie Mix)
  11. Another One Bites The Dust (2011 Remaster)
  12. I Want To Break Free
  13. Under Pressure (feat. David Bowie)
  14. Who Wants To Live Forever (2011 Remaster)
  15. Bohemian Rhapsody (Live Aid)
  16. Radio Ga Ga (Live Aid)
  17. Ay-Oh (Live Aid)
  18. Hammer To Fall (Live Aid)
  19. We Are The Champions (Live Aid)
  20. Don't Stop Me Now (…revisited)

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(Zip Mp3) Queen Bohemian Rhapsody (The Original Soundtrack) Album zip Download
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Full Album REVIEW Download Queen \) free\) Bohemian Rhapsody (The Original Soundtrack) 2018 download
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2018.08.12 10:46 kirabryant001 Complete Album: Cole Swindell – All of It Zippyshare Mp3 Lagu


Complete Album: Cole Swindell – All of It Zippyshare Mp3 Lagu Download

Cole Swindell‏ I’ve put everything into this album for y’all. And I can’t wait for you to finally hear #AllofIt.
  1. Love You Too Late
  2. All of It
  3. Somebody’s Been Drinkin'
  4. Sounded Good Last NIght
  5. Break Up in the End
  6. I’ll Be Your Small Town
  7. The Ones Who Got Me Here
  8. 20 In a Chevy
  9. Reason to Drink
  10. Her
  11. Both Sides of Mississippi
  12. Dad’s Old Number

Download Below !!![Download Complete Album: Cole Swindell – All of It Zippyshare Mp3 Lagu](

submitted by kirabryant001 to u/kirabryant001 [link] [comments]

2018.05.27 00:47 HenryDorsetCase Coldcut meets The Orb - 24th or 31st December 1991

In '91 Coldcut were struggling to get their fledgling Ninja Tune label off the ground after enjoying immense success in the late 80's with international No.1's, award winning remixes and hot producer status. After label problems they went back to their roots and kept a low profile whilst maintaining their weekly 2 hour radio show on London's KISS FM. In '91 The Orb were just taking off into the big time, their own label problems a few years ahead of them. Their 'Adventures Beyond the Ultraworld' album and its satelitte singles had gathered underground kudos and they were recording the follow up: 'U.F.Orb'. Most people would agree that '92 was the peak year for the Orb, in terms of success, with the second album touching down at No.1 after the first week of release and sold out shows everywhere. On the cusp of the new year - no one can quite remember whether it was Xmas or New Year's Eve - the two met and this glorious offspring was the result.
I have particularly fond memories of this show as it was the first Solid Steel I actually recorded, mainly because of the Orb connection at the time. I had discovered 'Little Fluffy Clouds' the year before on the CND compilation 'Give Peace A Dance' and eagerly hoovered up everything I could find. Now the prospect of this great 'new' group coupled with old favourites Coldcut was too good to be true. A radio trail with a female voice whispering 'Coldcut versus the Orb' had alerted me to it and I set up the tape machine, lay back and blew my mind.
A couple of years later I was put in touch with Matt Black by Mixmaster Morris and invited him to VJ at one of my Telepathic Fish parties. Having listened to the aforemention mix many times by now, I had always wondered what the opening track was, having never heard or found any details about it anywhere else. I asked him about it and straight away he said "it's by me but the others at Ninja aren't sure about it so it hasn't come out". I told him it was totally relevant right now (this was just as the whole 'trip hop' fad was about to kick off) and that he should push for it to come out. It ended up being included on the Ninja Tune version of Coldcut's 'Philosophy' LP and on the bonus disc on the first Ninja Cuts compilation.
This collection of tracks is unique in that there are some early versions of 'U.F.Orb' tracks included that, to the best of my knowledge, still haven't appeared anywhere else apart from the 14 minute segment that turned up on a lot of Orb bootlegs in the early 90's. The show also unknowingly turned me on to loads of material I later recognised as having heard here first such as Eno & Byrne's 'My Life in The Bush of Ghosts' and The Tape Beatles' work. Pieces of spoken word like Jesse Jackson's 'I Am Somebody' and the Brother Ahh 'Love Piece' preacher sermon were first encountered here and subsequently included on our 'Now, Listen' mix CD in 2001.There are still pieces of the puzzle I'd like to find too: for instance, the incredible acid tracks that play from nine minutes in in part 3- anyone know what the hell they are? I love the slapdashness of it as well with Coldcut's tight mixing contrasting with Alex's throw-everything-in-and-see-what-sticks approach.
For the first time, I've attempted to piece together a tracklist for this monster mix; including spoken word tracks slurped over the top of the music to try and make it all easier to understand. If anyone knows any of the missing tracks I'd be very grateful to fill in the blanks. We've assembled the complete 2 hours, uncut (including no tape turnover breaks), from the best quality sources we could find. There is no master recording for this show in the Coldcut archives so, unless the good Dr Alex Paterson has a copy or someone is holding one with pristine reception, then this is the best we can do. A couple of sections pop up on the Coldcut DAT archive (Kiss Mix 14 & 15A) but we chose to keep a copy straight from the radio because KISS FM had particularly good compression when shows were broadcast and the DAT recordings sounded very flat in comparison.
Part 1:
Part 2:
Part 3:
Part 4:
Strictly Kev
Part 1 Download Link
Part 2 Download Link
ps. Each file is 2-parts of the mix
EDIT: The files and blurb/tracklist above were originally posted on the Solid Steel website back in 2008 alongside the release of the Solid Steel 1988-2008: 20 Years Of The Broadest Beats audio DVD. All of the tracks on the DVD were also released as free downloads on the Solid Steel site at the time.
submitted by HenryDorsetCase to theorb [link] [comments]

2018.03.24 18:45 Jom-Fru Kurdtbada compilations

**here is a huge fucking list over the mixes i managed to download that night, just so we have them somewhere.
I also have the mp3 and mp4 to some of them but idk if i'll get in trouble for sharing them**
A taste of sadness: 1- Vector graphics - surfing 0:00 2- Yung bae - when you love somebody 1:36 3- Infinite Quazar - Palmtree 3:32 4-Capo blanco - So far so long 5:12 5- George Clanton - Never late again 8:30 6- X3SR-_Melancholia 12:36 7- ?????THOUGHTS - Sunrise 15:43 8- Shag - my mind 18:47 9- MadColour - Forever 20:54 10- Scruffnuk Dust - Sunrise 23:27 11- PIER.POINT - What Can You Do 24:54 12- Yuni wa - you are a star 27:15 13- Sz?Ak - ??? THIS IS THE FUTURE 29:46 14- ?????THOUGHTS-Kimochi 32:41 15- AnTgry-DANCE! 36:07 16- ??? ANDROID - APARTMENT¶ - I'll Fly A Thousand Airplanes Only To See You ? 37:50 17- ???????????PC86-OPEN_UP_YOUR_HEART 41:00 18- WALKIE TALKIE FEAT. SHYWOLVE- YESTERDAY 45:43 19- HOME- SUNSHOWER 49:08 20- CUMEO PROJECT- SIGNAL WAVES 51:53 21- Golden_Donna-_Remember 55:30 22- luxury elite - 20 express (golden donna's trainsick redux) 1:00:51
Beach walk 0:00 bl00dwave - youaresodistant 2:14 waterfront dining - violet 5:09 ?????? [LIFE TURNS] - DO ME RIGHT 7:55 Y E V R S - ???? 9:46 Mélonade - Lights Through Rain 12:30 Guggenz - This Love I've Met 16:31 ConsciousThoughts - Don't Take Your Love (Feat. Tokyo Wanderer) 19:32 Groovy Godzilla - Thanks For Everything 22:06 Skylar Spence - Bounce Is Back 25:30 Night Tempo - Turn Off 29:17 YUNG BAE - You're Love 31:10 cash wednesday - Ajax 34:00 JD senuTi - REMEMBER 37:20 whitewoods - beach walk 41:22 Hong Kong Express - This 44:05 Blue Hydrangea - Morning 45:45 Hong Kong Express - Dreaming 51:02 Actress - Rule
breezes 0.00 VHS LOGOS VERANO 1:36 Vector Graphics - Surfing 3:31 the system - don't disturb this groove 6:59 RXN - foundu 9:13 The Vapor Room - High ?? 11:30 Yumi Rose - I Will (Remember) 15:07 Shag - Cyan 18:45 CVLTVRS - Before Rush Hour 21:08 Mélonade - Old But Gold 22:53 android52 - stardust 26:56 ?????Thoughts - ?????? Flying high 30:02 Yuni Wa - No Time To Stop 33:00 Saint Pepsi - Better 36:25 Mr Oizo - Jo 39:02 ? Harrison ? - Every Little Bit 40:54 RobClemz - Limitations 43:43 [email protected] - trash v3 48:40 S u e i s f i n e - Altered candy 49:57 Saint Pepsi - Private Caller 53:26 Dante Mars Ajeto!- EM Dreams 56:02 dropbassline. - BREEZES 57:34 gh0stwerk - ??? ? ??? ? ??? ? ??? ? ?????? 1:00:53 Blank Banshee - Ammonia Clouds 1:03:30 Vektroid - Neo Miami 1:07:32 Vektroid Over U 1:10:56 ECO VIRTUAL - Fiji Waterfalls 1:13:44 Mouse on Mars - Stereomission 1:17:35 VHS Head - Enter The Devil 1:22:14 PULSUM - Lost 1:27:18 Teengirl Fantasy - Motif 1:33:43 Com Truise - Karova 1:39:25 Curb Cobain - °º¤ø¸¸ø¤º°`°º¤ø¸ø¤°º¤ø¸¸ø¤º
by my side 0:00 Axian x Guru Griff - 40s 1:52 Zadig The Jasp - Dormir 3:46 90sFlav -inner 4:42 b o d y l i n e - nautic channel 3 7:57 b o d y l i n e - s-vhs scuba girl 12:14 ??? Android - Apartment - Brand New Day 15:29 android52 - watermelon 17:30 Zane Alexander - We Were Kids 22:05 Zane Alexander -Elementary 25:50 Telan Devik - Hardships 30:02 blank body - Bleed 33:54 Kirk Markarian - E P I L E P T I C H A Z E
Chance of rain 0:00 Oneohtrix Point Never - Sleep dealer 3:04 Vektroid - Sushi plaza 8:40 Actress - Ascending 11:53 Vaperror - ultrafunk fantasy 13:40 Vaperror - krystal gb 16:29 Blank Banshee - Eco zones 18:54 Com Truise - ...of your fake dimension 22:20 VHS head - dead to morrow 25:23 Vessel - images of bodies 29:24 Electric Specter ??? - Icicle Electrode
Class of 1986 0:00 Pax x datfootdive - My Way 2:30 waterfront dining - lost & found 7:23 Phoenix #2772 - Crush 8:39 CVLTVRS - ???? 11:56 Night Tempo - ?????? Can't Live Without You 14:21 Ken - Movin' To Malibu! 17:32 ????nanidato - Loving In This Moonlight 19:37 YUNG BAE - don't say yes 21:15 CAPE CORAL - Malibu Club 24:40 ConsciousThoughts x Aritus - Chatham 28:16 ????MACROSS 82-99 - ??????? Kitty-Rye 30:50 ??? ANDROID - APARTMENT¶ X YUNG ABE - Friends 33:59 ???? k a z z e t t e - Strobe Galaxy Sailors 36:47 Eliot The French Kid x AnTgry - Disco Waves 40:00 Telan Devik - Exit to system 44:44 midnighthappy - class of 1986 49:45 EZVH x galaxyboys - YOUNG 51:35 2nervous2be - don't look at me
Continuous love 0:00 Leisure Centre - ????? 4:33 Plastique - Sincere 6:03 La Trace - Side by Side 9:31 DeLorean.88. - continuous love 13:15 DeLorean.88. - cruise control 15:54 BLUNTSIDE - ????? 17:58 Bluntside - ??????? 20:52 Dante Mars Ajeto!- REAL 23:53 Dante Mars Ajeto! - MELT 27:03 ?? v e n o - ?????? - ? Y O U & I ? 29:33 chris††† - he's dead inside 34:09 COLA????NECROMANCY & Confusician - COLA????NECROMANCY - Confusicia - ......,,,-'''-,,,...,,-'''-,,,......
Crystal Tokyo 0:00 CRÆTION - memory 2:02 eery - Her 3:57 Phase - Miss Wonderful 6:55 Vanilla - Fuji 12:20 Desired - Crystal Tokyo 14:58 ?????THOUGHTS - Closer 17:25 Sweet valley - Bros beyond 19:46 Telan Devik - Miami boats 23:47 Riverwave ??? - VHSailing Rally 26:54 nano?? (???) - Can't Stop 30:40 Telan Devik - Meninos da rua 34:30 LAGUNE - ?Funkadelic 37:33 aests - moods 39:53 Fibre - SSM2044 42:53 TENDENCIES - Filterhouse6 46:10 Lucy in Disguise - Bristol nights 50:41 Lord RAJA - Sheep 54:17 YUNG $WANK - .45 $OFTXGLOCK 58:11 Sweet Valley - Sentimental trash
Dying to tell 1- ????MACROSS 82-99 - Dying To Tell You This 0:00 2- ASHITAKA???? - P A R A D I S E ? ¤(??)1:35 3- Flamingosis - Macintosh Plus Is Playing At My House 4:48 4- Shag - Overflow 7:24 5- ESPRIT ??- EMERALD HILL ZONE 2 10:13 6- 18 Carat Affair - Imagination 11:53 7- Monster Rally - Lava Flows 13:00 8- KVZE - pHear nothing 14:54 9- Eggglub - Poing pame 15:52 10- luviaa - zero option 18:00 11- bl00dwave - only you (??????) 20:14 12- MAITRO - East City ??? 23:17 13- ????MACROSS 82-99 - ???·???·??? 26:17 14- Vaperror - golf 28:35 15- Blank Banshee - anxiety online 31:50 16- Tenngirl fantasy - cavescape 32:53 17- ????? - ????? (MV)36:20 18- chuck person - END OF LIFE ENTERTAINMENT SCENARIO #1 46:54 19- ????MACROSS 82-99 - Meet Me At Farhampton Station 54:57
Ecstasy 0:00 Zadig The Jasp - Sound Market - ? ?? ? 1:22 Flamingosis - Ecstasy (Pay the Price) 3:33 HUM?NIGHTM?RE - Happy I'm Sad 6:40 ll nøthing ll - te quiero tanto 8:30 S U P E R F L A T ???????? - The Sound Of The Beat 11:43 S U P E R F L A T ???????? - You Better Stay Closed 13:52 ??? Android - Apartment - Let Me Stay Close To You 16:44 Telan Devik - Japanese exchange program 21:02 Zadig The Jasp - ¦¦¦Mont Fuji Moon¦¦¦ 24:04 admo A.L.I.S.O.N - Channel 707 27:31 Zadig The Jasp - INTSRNS?.exploration 29:51 Jamie Bathgate - Let's pretend that we like each other
Evening shadows 0:00 Caleb Belkin - Water 2:07 Sensi - dazed x [sir] 3:40 Vanilla - Swept Away 7:30 Under Two Palms - Turquoise 8:55 waterfront dining - bottles on the wall 13:44 Lapti - Story 16:35 m ai t r o - Flying Nimbus ??? 18:22 SAINT PEPSI - tell me 20:31 ???????????PC'86 - ???? VISIONS????? 24:22 Hibiki - ????FOREVER 27:10 Saint Pepsi - Strawberry Lemonade 30:55 FRIS - forcast '86 33:08 Under Two Palms - Turquoise 34:34 Jamie Bathgate - T H I R D S 39:19 d.k.-eveningshadows 42:45 haircuts for men - Sorrow is Bitter ???????? 47:28 COCAINEJESUS - ILLBEWITHYOUSOON 51:07 President NetscapeYahoo™ - 8-3- C?????????????????????????????????????`?annel 03 53:40 18 Carat Affair - Pretty girls I dont know anymore
Far Away 0:00 SAINT PEPSI - REVUE 1:56 18 carat affair - modern love 2:37 b o d y l i n e - S VHS Scuba Girl 6:53 Bilo 503 - Bayybe 10 8:33 SPACE MAGIC ???? ???? - Ninety two 10:26 SPACE MAGIC ???? ???? - POLICE WORK 12:30 Decovan - A Nymph Calls to Me from the Dark Backward and Abysm of Time 14:56 Delorean.88. - FALLIN (LIKE A FOOL) 16:41 S u e i s f i n e - Super dope 20:39 S u e i s f i n e - Altered candy 22:18 JD Senuti - Totality 25:20 ESPRIT ?? - Purity1 30:30 St. Markus Mezarius III - Composure
Feeling unreal 2 1- Lustt - Pillow talk 2- Vhs logos - Verano 3- Maitro - Kid Goku 4- Esprit - I will be 5- Capo blanco - cold song 6- VECTOR GRAPHICS - DESTINE 7- 18 carat affair - bobby fischer kinetics 8- New dreams ltd. - timecop 9- Harrison - midnight dance 10- Vektroid - featherskull (feat. betamaxx) 11- Harrison - dreamer 12- Architecture in Tokyo - enjoy 13- Coryayo - It's a Blue World 14- Harrison - you 15- Harrison - Comfort cruise 16- Phase - temperature's lowering 17- Yuni wa - この曲はミーガンためのものでだ18- Com truise - Cyanide sisters 19- GRiMM Doza - Three Eyes 20- Esprit - ???? 21- Macross 82-99 - æˆ¦å ´ 22- Vhs head - don't look in the closet 23- Betamaxx - chrominance 24- Actress - Senorita 25- Aphex twin - Xtal 26- Teengirl fantasy - vector spray 27 tnght - goooo 28- Juju and Jordash - Clean cut 29- Vektroid - motions feel 30- Luxury elite- sdoom
highclass 0:00 saint pepsi - miss you 4:09 b o d y l i n e - Gleam 8:24 ConsciousThoughts - Lazy 10:10 Eggglub x Kaydeeteaskay - Tn brxtn 12:39 3D BLAST ?? - SPOTLIGHT SUITE ?????? 16:23 VANTAGE - Happiness Deluxe Pt.2 20:31 [email protected] - Universal Beat - 04 Cut A Rug 24:40 R-ODD ???? - Letting Go 28:20 Telan Devik - Ki 2 32:14 midnighthappy - Starkiller 36.25 Satin Sheets - Superstar 39:49 Satin Sheets - Fashion 42:35 Neuro No Neuro RAIN IS PASSING
it'll be ok 0:00 ConsciousThoughts - Mirage 3:16 Flamingosis - Sunset Park 6:39 Funkmammoth - It'll Be Ok 9:10 saib. - Sunflowers 12:41 SwuM. - gwop 14:31 Dai Numo - ()()() 16:22 Groovy Godzilla - Till Next Year 19:01 SAINT PEPSI - STELLA 21:19 Yuni Wa - Pretty Lady 23:45 Beerlover - Turnin' Back 26:27 Yumi Rose - Tired 27:52 Sage Nebulous - Nebulous Liquid Tiger 31:21 Fla.mingo - U Melt Me 34:30 Spazzkid - Loving Free (Saint Pepsi Remix) 38:34 Capo Blanco - Hatchback 40:26 LAY BAC - KASUMI (??) 43:36 Reverso Cosmic - Hypothetical
keep a secret 1- Esprit - summer nights 2- Surfing - moonlight 3- Esprit - persuasion 4- George Clanton - Keep a secret 5- ???????????PC'86 - ????SECRET 6- ï½- aï½- t ï½- o - INDIGO PLATEAU! 7- flamingosis - brazillian haircut 8- Wink - special to me 9- Tanuki - ??Goin' On 10- Flamingosis - feels 11- Com truise - feat_joel_ford-declination 12- Casting - mustang 13- ????MACROSS 82-99 - Lynn Minmay 14- Yung Bae - selfish high heels (w- harrison & macross 82-99) 15- ID Ch?eƒ - ?????? SOME DAYS (SUPERSEX420 Remix) 16- Cvlture - Asphalt Paradise 17- Ford and Lopatin - world of regret 18- Lipstick Elite - Dangerous love 2 19- George Clanton - It Makes The Babies Want To Cry 20- Noizz Factor - Summer 1989 21- La Vampires go to Ital - tons of love 22- James Ferraro - jumpshot earth 23- Ital - first wave 24- Vektroid - sushi plaza 25- Esprit - gameover
last night 0:00 otxhello - depression 3:18 Vanilla - Traveller 8:30 Saito - ???????? 12:18 Flamingosis - Snacks On Snacks 15:27 FL?KODI?BLO - Amatista 18:12 Riverwave ??? - Set me Free 20:24 Phoenix 2772 - Cresta 21:28 92 - ENTRUST 23:52 Yumi Rose - Wildflowers 27:18 DIGITAL?? - ?? 30:00 Phoenix 2772 - Beauty Exchange 32:08 Harris Cole - Midnight 34:08 18 Carat Affair - Mirror Mirror 35:35 Luxury Elite S. W. A. K. (World Class) 39:06 ? ? Corp. - ???????? 42:45 IACON - ?R?·E?T??U?R?N? 49:45 Darth Joom - While U Wait 51:20 ? jetson - Dylan Rieder 53:10 18 Carat Affair - Last Night
lost 0:00 trngrsk - tome 1:15 kawfee - it's been nice 4:40 Zadig The Jasp - ??? 6:50 The Vapor Room - Escape ? ? ? ? ? 9:50 Ukiyo - Home (feat. herbi) 12:53 Luviia. - Rose Spirit 15:05 Eli Way - Wave.wav 18:31 Myrone - Champagne Fire 21:39 Mélonade - Sensational (w-Funktimizer) 24:33 Escape - Kiss 27:33 Mr.Oizo - Jo ( Zadig The Jasp Vaporwave Remix ) 30:41 Fatal Friction - Mindless Consumption 36:10 T e l e p a t h ???????? and VAPERROR ?? 47:59 PULSUM - Lost
lust 0:00 Dokuta Slump - Arales Airport 85 1:31 old booth - Grey Eyes 5:14 Limousine - Stairwell 2 Hell 7:15 glaciære - Ready 10:05 glaciære - Summer Memories 13:36 Krosia - Visions 17:41 Expo Breaks 92 - Good match 22:35 Expo Breaks 92 - When will this stop 26:54 bl00dwave - Nothing Lasts Forever 30:20 Jamie Bathgate - JESUS HERO HONDA Splendor+
lying to ourselves 0:00 DARKSLEEP -- PIXEL 4:37 squid ethics x jhfly 6:14 Lanea - Tonight Forever 8:40 Saint Pepsi -- For You 13:08 POCARI ?????? - Try My Love 15:24 waterfront dining - please 19:20 ESPRIT ?? -- bumnote 21:05 SOUDIERE - WASSUP WITH U- 24:22 Vektroid - No Laugh 26:00 chris††† -- i can't remember his voice 28:25 Telan Devik - Breakwater dance 33:18 chris††† -- lying to ourselves 35:50 D?RKPYR?MID -- L?ST SUMMER 38:37 DARKSLEEP -- Left on the Curb 43:21 VEKTROID - CALM 48:47 death’s dynamic shroud.wmv -- STARLIGHT???
magical funk 0:00 Flamingosis - Never Felt a Feeling Like This 3:37 Kendall x Mukashi - Bell Peppers & Beef 6:35 Flamingosis - I'll Be There (Feat. Tendencies) 9:30 Dai Numo - Synths Then 12:04 Digital Waves - Feelings 14:49 MAITRO - ASPEN SKI LODGE 18:04 ????Rhodes - Horizon 21:28 PROUX - JUST FOR ME 23:54 Future Girlfriend ?? & ????BIGWAVE - Magical Funk ???? 26:46 Pop Up! - Seriously 29:35 NxxxxxS - Subprime Mortgages 32:37 Body-san- Live at Carol's Fiber (Snippet) 34:20 Wanderer - Moving On 38:43 Horizon Fire - Turning Machines 43:37 Gaussian Curve - Impossible Island
missing love (fuck man this one got me into vaporwave and future funk) 0:00 jinsang - herewego 2:10 Aritus - Darling, You. (Feat. ConsciousThoughts) 5:06 Desired - Secret Senshi 7:07 Yumi Rose - One Next To You 10:54 jpn - Begun 12:46 MAITRO - ANGELS 16:18 FarragoL - celeBrate_ 19:40 Proux - Missing Love (Original Mix) 22:37 D41N - Night Groove 25:43 sasac - remote warehouse district 28:31 Windows?96 - Lonely Afternoon 31:57 Polygrim - Trails of Clouds 33:07 Capo Blanco - Calibri 36:03 Saffari - 1984 39:06 Telan Devik - Bakersfield (The running man theme tribute) 44:48 BALENTS???? - ????? 49:36 falls - Touch Without Cold
more jaxx 0:00 t e l e p a t h ???????? - ????????????? 1:54 DeKobe - More Jazz 5:01 FarragoL - Ca†alog 7:14 oceanspy - magnolia 11:13 Myrone - Safe 14:11 Onra - No Question (Feat. Pomrad) 16:24 SPACE MAGIC ???? ???? - ???????! 18:58 ? MACROSS 82-99 ? - Tokyo City Nightlife (feat. Aritus) 21:30 ??? Android - Apartment - Il mondo non è come lo vuoi tu 25:01 jarradcleofé - en avance 27:00 Future Girlfriend - Small City 29:18 FM-84 - Breathe 33:54 Telan Devik - Ki
nakedness of need 0:00 Pharmakon - nakedness of need 6:18 Aaron Dilloway - Born in a maze 10:54 Aaron Dilloway - switch 15:57 Aaron Dilloway - eight cut scars (for robert turman) 26:52 Pharmakon - No natural order
new life 0:00 Adryiano Feel Like 7:24 Pender Street Steppers Openin 13:50 Pender Street Steppers Bubble World 20:40 Fresh u0026 Low New Life 27:40 Hinode Preliminal Session 35:32 Manhattan Project Vol 1 Let It Come 41:00 Theo Parrish Command Your Soul 48:50 St Etienne Only Love Can Break Your Heart (Masters at Work Dub)
new mood 0:00 Dan Mason ??·???? - Late Night Television 3:47 Color Television - Have Fun 5:02 COLA????NECROMANCY - YOU?LIED?TO?ME? 8:51 DeLorean.88. - love's not for you 11:16 ev.exi - Transition 13:54 AESTHETICS PLEASE - Righteous Groove 17:58 David Love Not War - Teddy 19:41 delorean.88. - PEARL 21:32 Zane Alexander - D a y 23:42 DEIPHIX - Bahama Travel Services 27:45 KING QUARTZ - VIRTUALLYALONE 20XX 35:37 Windows?96 - Another day
No rest for the obssed 1- Toetensen - Martina 0:00 2- Marquinch Mogule - Much Love 1:37 3- Shungu - The.Creator 2:33 4- phase - Sudden Affection 4:10 5- Flamingosis x YUNG BAE - Wanna Be There 6:27 6- TANUKI - BABYBABY?? 10:19 7- bansheebeat & yung bae - Summer VI 12:57 8- Skylar Spence - Practice 15:26 9- YUNG BAE - Honey 18:03 10- Anri - Remember Summer Days (????MACROSS 82-99 Bootleg) 20:39 11- Mouse on mars - Stereomission 24:52 12- Pictureplane - I need you Antartica 29:08 13-Model 500 - the chase (smooth mix) 31:48 14- Vhs head - body magic 35:20 15- Mouse on mars - Twift Shoeblade 40:30 16- Vhs head - enter the devil 44:50 17- Model 500 - no ufos (remix) 49:08 18- Vektroid - motions feel 55:57 19- Pictureplane - thee power hand 1:03:27
no time to stop 0:00 TV Blonde - Ocarina 2:51 s t a c k ? n e - . i l l y u w n - - 3:54 Lost Son - Kairi 4:57 CVLTVRS - Before Rush Hour 7:38 CVLTVRS - Upscale 10:04 Dreamcaster -??????????5280? 12:40 Yuni Wa - No Time To Stop 15:25 Tendencies - Untitled 19:01 Asphalt - Vice 21:27 Lancaster__ - Serious 24:07 Cresylic - Romance 29:45 Reverso Cosmic - Moonlighter 33:58 Duce - Reflective 36:07 Cyberlust - shade 37:47 t e l e p a t h ???????? - ??????
Ocean breeze 0:00 ak-ultra - yyzarrival071816memorybank 5:37 HUM?NIGHTM?RE - Satisfy Me 9:12 TRANSPORTER ROOM B - 24bitHEARTBREAK 12:20 Silver Richards - Ocean Breeze 14:35 Mere - Interlewd 16:19 Mere - Fluff 19:01 Future Girlfriend ?? - Remember What Makes You Happy 22:38 ev.exi - Mode 26:07 Cobalt Road - Blue Skies 29:30 Cobalt Road - Mirrors 32:13 J P J - Hypergiant 35:36 Ursula's Cartridges - Retro Futuristic Desires
passing breeze 0:00 luxury elite - clear 2:44 BLUNTSIDE - PNV 4:13 Blvc Svnd - Lament 5:26 lowranger x nghtgrv - light (tomorrow) 7:17 ??? ANDROID - APARTMENT¶ - Pastel Horizons 9:50 Aritus x ConsciousThoughts - Piña Colada 13:28 Night Tempo - Lovely 16:07 Mr. Wax - Love U (VIP MIX) 19:39 AnTgry - The Phantom's Revenge Is Playing At My House 22:26 The System - This is For You (VHS Dreams™ Vapor Edit) 26:08 Home Visions™ - Poolside 28:54 J Sanders - Down To Bizzniss 31:52 Telan Devik - Aun ( From Attack of the synthians EP ) 36:27 VAPERROR - Crystal Body 38:11 Karate King ??? - Your Number One 41:47 Turboway - ???? TRADE BALANCE 44:44 Ursula's Cartridges - ????????, ?????? 49:21 DJ Smokey - Robbery Mix 53:50 mak - 2 at 9
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submitted by Jom-Fru to futurefunk [link] [comments]

2018.03.07 01:48 crenzate Xbox 360 Live Gold Free Trial Codes (100% Free)

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submitted by crenzate to u/crenzate [link] [comments]

2018.02.28 07:19 FamiliarKangaroo Get Free Xbox Live Trial Codes & Xbox Gold 12 Month Membership [No Survey/No Download]

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2017.03.28 23:11 SRBoom Does anybody have a remastered version of some of Eminem's old unreleased music? (List of some music I would like in the post)

I know a long time ago I saw somebody post a remastered version of biterphobia and it sounded so optimized and clean it was amazing. However, the download link he provided has since expired and downloading it from YouTube is downgrading the audio for me. I would love to put some more Eminem music onto my phone but I of course need the mp3 and I can do the rest.
Does anybody have some unreleased music that has been cleaned up to sound better such as the Infinite Mixtape, Biterphobia, etc.?
submitted by SRBoom to Eminem [link] [comments]