What does tf and tp mean?

What does tf and tp mean?

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factorysunburst.wordpress.com/2014/08/31/piero-scaruffi-and-truth/
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That fork
That poop

>that gender
>that post

Too fast too poor

be serious please

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that pussy
that fap

that face
this penis

I UNDERSTOOD
THAT FLAG THAT POST
FUCK YOU WITH YOUR JOKES

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>that flag
>that post

The fuck
The piss

'Toilet flush' and 'toilet paper'

hope this helps :)

that feel
this pain

The fuck
That penis

>french intellectualism

>The Fact that so many books still name the Beatles as "the greatest or most significant or most influential" rock band ever only tells you how far rock music still is from becoming a serious art. Jazz critics have long recognized that the greatest jazz musicians of all times are Duke Ellington and John Coltrane, who were not the most famous or richest or best sellers of their times, let alone of all times. Classical critics rank the highly controversial Beethoven over classical musicians who were highly popular in courts around Europe. Rock critics are still blinded by commercial success. The Beatles sold more than anyone else (not true, by the way), therefore they must have been the greatest. Jazz critics grow up listening to a lot of jazz music of the past, classical critics grow up listening to a lot of classical music of the past. Rock critics are often totally ignorant of the rock music of
>The Past, they barely know the best sellers. No wonder they will think that the Beatles did anything worthy of being saved.

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those feet
they're pungent

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In passing, let’s take a look at Scaruffi’s list of the greatest pieces of classical music you’ll ever hear:

• Ludwig Van Beethoven: Symphony 9 (1824)

• Franz Schubert: Symphony 9 in C Major “Great” (1828)

• Wolfgang Mozart: Concerto 21 in C K467 (1785)

• Johann Sebastian Bach: Mass in B Minor (1749)

• Dmitri Shostakovich: Symphony 15 (1971)

• Gustav Mahler: Symphony 9 (1910)

• Richard Wagner: Tristan und Isolde (1859)

• Giuseppe Verdi: Requiem (1874)

• Johann Sebastian Bach: Brandenburger Concertos (1721)

• Bela Bartok: Concerto for Orchestra (1943)

• Johannes Brahms: Symphony 4...

What’s striking about this list is how amazingly conservative it is. There is nothing earlier than Bach, and nothing later than Bartok. Everything on it could be programmed by the least ambitious director of the least adventurous provincial symphony orchestra, with no fear that subscribers would be frightened away. (If that Vivaldi looks unfamiliar to you, he means the Four Seasons — he’s just using the title of the larger set to which they belong to make himself look like he knows about classical music.)

Scaruffi professes to despise the Beatles for being ‘mainstream’, but this list is mainstream with a vengeance: no Gesualdo, no Schoenberg, no Webern, no Stockhausen, no Babbitt, no Ligeti; but more interestingly, not a single Bach cantata, when the general consensus these days is that Bach’s cantatas are far more central to his achievement and career than something like the Brandenburgs, which, great as they are, are nowadays most often heard as pre-flight music on Ryanair planes. Only one work by Mozart, and that not an opera; nothing by Haydn, Sibelius, Handel, Palestrina, Gabrieli, Victoria, Tallis, Byrd or anyone else from before the 17th century; no Britten, no Berg, no Henze, no Birtwistle, no Partch, Cage, Feldman or even Glass or Reich.

Beatles are overrated

Freesheet reviewers might do this when explaining the success of the most recent Beatles compilation, but serious rock criticism, which was invented partly in order to deal with the Beatles, has never made a simple equation of popularity with merit. The Beatles’ popularity is, if anything, something that serious rock criticism has had to explain away. More to the point, if the popularity of popular music has nothing at all to do with its merit, then it doesn’t matter how many records the Beatles sold.

Leaving aside the eye-popping racism and unforgivable inanity of this characterisation of ‘black music’, insofar as it tries to describe what the Beatles did with the styles of black music that the band knew, it’s the reverse of the truth. The Beatles married Western harmonies and melodic techniques to rhythmic foundations learned in part from rock & roll and in part from black American pop music — not ‘african rhythm’, of which they, like most of the black American musicians they admired, knew nothing at all. No British pop musicians before the Beatles had such a grounding in black American pop, and not many white bands since have been able to match the Beatles’ groove — e.g., ‘The Word’, ‘Drive My Car’, ‘She’s A Woman’, ‘Got To Get You Into My Life’.

The Rolling Stones disliked the Beatles so much that they begged Lennon and McCartney to write a song for them; went to the Beatles’ parties; attended the Beatles’ recording sessions; appeared on the Beatles’ records and got the Beatles to appear on their own. Eric Clapton, a principled hero of rock, showed his loathing for everything the Beatles stood for by becoming one of Harrison’s best friends and jumping at the chance of playing on a Beatles session. Jimi Hendrix despised the Beatles so much that he was playing the title track of Sgt Pepper within a couple of days of the album being released.

In short, the contempt with which the Beatles were regarded by their peers is familiar to nobody who knows anything at all about the history of popular music.

>They could not figure out why the Beatles’ songs should be regarded more highly than their own.

Yeah, the stupid ones probably couldn’t.

>They knew that the Beatles were simply lucky to become a folk phenomenon (thanks to “Beatlemania”, which had nothing to do with their musical merits). That phenomenon kept alive interest in their (mediocre) musical endeavours to this day.

The meaning isn’t clear, but he seems to be suggesting that people only go on listening to the Beatles because they are historically interested in the phenomenon of Beatlemania. Which is the same reason why Charles Manson’s album continues to sit at the top of the album charts, all these years later.

>Not to mention the American musicians who created what the Beatles later sold to the masses.

You can’t accuse the Beatles of selling other people’s music and simultaneously accuse them of changing the same music before they sold it. If they changed the music, then they transformed it into their own music; if they didn’t change it, then in selling it to the masses, they can’t have wrecked it.

>The Beatles sold a lot of records not because they were the greatest musicians but simply because their music was easy to sell to the masses: it had no difficult content, it had no technical innovations, it had no creative depth.

While it’s true that difficult (i.e, non-catchy) music is seldom very popular, there is no reason to suppose that the ‘masses’ automatically reject technical innovation; if a record is hot enough, people will buy it, no matter how innovative it is or isn’t, and the truth is that most listeners neither know nor care about the level of technical innovation in a record. In any case, it is demonstrably untrue that the Beatles’ music was not technically innovative. Among the techniques that they pioneered in popular music were: controlled feedback, automatic double-tracking, use of tape loops, use of Indian musical techniques, use of chance techniques, creative use of studio technology (feeding Lennon’s voice through a Leslie speaker on Tomorrow Never Knows), etc. And those are just their innovations in recording technique; their innovations in musical style and songwriting are too numerous to go into.

Among the Beatles’ songs to have no ‘creative depth’ are: Eleanor Rigby, Strawberry Fields Forever, A Day In The Life, Hey Jude, Blackbird, I Am The Walrus, Happiness Is A Warm Gun, Something, Help!, Ticket To Ride, Long Long Long . . .

>They wrote a bunch of catchy 3-minute ditties and they were photogenic. If somebody had not invented “beatlemania” in 1963, you would not have wasted five minutes of your time to read a page about such a trivial band.

Beatlemania was not an invention, but the name given by the media to a real historical phenomenon.

>all these newfag retards ITT
The t stands for this, not that

>For most of their career the Beatles were four mediocre musicians who sang melodic three-minute tunes at a time when rock music was trying to push itself beyond that format (a format originally confined by the technical limitations of 78 rpm record). They were the quintessence of “mainstream”, assimilating the innovations proposed by rock music, within the format of the melodic song.

You say that like it’s a bad thing.

To be serious, once again Scaruffi has it backwards: later rock music picked up on what the Beatles were doing (unusual harmonies, studio experimentation, serious lyrics, emotional intensity) and continued to do it, but no other band did all of what they did. Prog-rock bands extended the musical range, largely at the expense of emotional intensity; hard rock ramped up the intensity, but at the expense of melody and concision. As Joe Carducci put it, the Beatles were simultaneously the biggest pop group in the world, and the world’s first rock band.

>The Beatles were the quintessence of instrumental mediocrity. George Harrison was a pathetic guitarist, compared with the London guitarists of those days (Townshend of the Who, Richards of the Rolling Stones, Davies of the Kinks, Clapton and Beck and Page of the Yardbirds, and many others who were less famous but no less original).

There are no instances in the Beatles’ official recordings of Harrison not being up to the task before him; he wasn’t a virtuoso because he wasn’t required to be one. He understood that his role was to serve the song, something which all of the above, with the possible exception of Richards, forgot from time to time. A guitar hero of the Clapton sort would have had no place in the band. What Dave Davies, of all people, is doing in this company, is anyone’s guess.

factorysunburst.wordpress.com/2014/08/31/piero-scaruffi-and-truth/

I'm done read it yourself faggots

I literally left Yea Forums to get away from intellectually dishonest Scaruffi posters how (and more importantly why) are they on Yea Forums

>tf
>tp
kek what a bitch

Lurk more faggot.

>anyone that doesn't suck the dick of some gay Italian that rates his own poem as one of the best of all time is intellectually dishonest
Imagine

You misunderstand me
Scaruffi and those who post his trash unironically and agree with his opinions are the intellectually dishonest ones

Sorry, you're alright. Carry on

Toilet Fun
Toilet Panic

/thread

vivaldis not on the list tho

i like this thread a lot

sad but true

Don't you know how to use a BandiCam?

>The Beatles sold more than anyone else (not true by the way)
So isn't this just completely undermining his own point? If the Beatles are recognised as the greatest despite not being the best selling, his entire premise is wrong.

>no Dvorak's New World Symphony
It's a trash list automatically.

The canon of classical music is generally correct and a product of necessary corrective action taken as required (e.g., Mozart to a minor extent and later Mendelssohn re-establishing Bach's position).

I've been through different phases for the most part, the famous stuff is the best.

George is still under-rated there as a lead guitarist by an earlier definition. His accompaniment work is top notch and in some cases, far more technical than blasting out a pentatonic solo.

WTF with my thread

tyou fneed
tolurk pmore

Poor women, i wish i was her hubby to give her a love

The Beatles were really good though, they made really great music.

no spoonfeeding faggot

>jazz niggers