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Old 01-08-2010, 09:27 PM   #61
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Summary: Normalcy = 808’s & Heartbreak + Intelligence + Lots of Sampling

After a seeming conspiracy by the music industry against him, Charles Hamilton released a new mixtape. In an attempt to salvage his career by expanding his fanbase and impressing record label execs, Charles Hamilton calls in a full assault with Normalcy. Employing sample-heavy, abstract beats and (pseudo-)intelligent lyrics in order to appear as a deep-thinking rapper. But, disappointingly enough, it only slightly works. Normalcy is the intellectual rap faux-hawk, it’s not as good as the real thing, but it’s a whole lot better than most.

As always, Charles relies heavily on sampling, and he aces it everytime with weird, but fun, samples (Ozark Mountain Daredevil’s “Jackie Blue”, Gloria Gaynor’s “I Will Survive”, that Halloween song “Monster Mash”) that thrive as the spine of his beats, using only the simplest means to enhance them, such as throwing in some kicks, some sci-fi/pop synths, big bass, and/or an impressive drum show undertone. So with lyrics to match, Charles takes the route of intellectual lyricism (with detours of arrogance.) But he often overcomplicates things resulting in lengthy, sub-par punchlines (“…sucks, like your car getting keyed,”) which makes no sense because when he keeps things simple he gets a pretty good line in (“John Elway couldn’t overthrow a n**ga.”) Throw in this with his Sonic the Hedgehog references and it muddles the listener’s biographical portrait of Charles Hamilton, with the question ‘Is he faking being smart?’ arising.

In addition, his cocky delivery and often-awkward, amateur flow don’t coincide well together, further enforcing the fact that Charles Hamilton the producer is better than Charles Hamilton the rapper. But unlike other prestigious great-producer-meh-rappers such as Dr. Dre or MF Doom, Charles Hamilton doesn’t achieve greatness, falling short of it. Normalcy is worth a few spins, and should generate a solid record deal for Hamilton, but doesn’t provoke mentions of greatness.

Last edited by Bulldog; 01-08-2010 at 09:45 PM. Reason: Made edits that hydeyomoney suggested.
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Old 01-08-2010, 09:47 PM   #62
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flip the equation
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Old 01-08-2010, 10:08 PM   #63
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flip the equation
why?
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Old 01-08-2010, 10:41 PM   #64
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anybody else please?
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Old 01-09-2010, 01:51 PM   #65
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Some of your "sentences" aren't sentences. Need me to point em out or can you find 'em?

Also, try to not start sentences with "but."
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Old 01-09-2010, 07:02 PM   #66
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Need me to point em out or can you find 'em?
please.
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Old 01-09-2010, 07:56 PM   #67
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r u kidding doom is 1of thebest rpprs

808s was intelligent also
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Old 01-09-2010, 09:39 PM   #68
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Originally Posted by kingsoby1 View Post
r u kidding doom is 1of thebest rpprs

808s was intelligent also
Yea, but if something = 2, can't you add two to it again?

and yea, doom has awesome lyrics, but hes not like the delivery wizard or flowing master.
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Old 01-09-2010, 09:49 PM   #69
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what i'm saying is that the whole equation thing in summaries is played.

and seriously, doom is probably top 10 rappers all time. how is his delivery and flow not good that makes no sense at all. you really think his lyrics are awesome? they're awesome because of his creative delivery and unique flow...
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Old 01-09-2010, 10:35 PM   #70
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Originally Posted by kingsoby1 View Post
what i'm saying is that the whole equation thing in summaries is played.

and seriously, doom is probably top 10 rappers all time. how is his delivery and flow not good that makes no sense at all. you really think his lyrics are awesome? they're awesome because of his creative delivery and unique flow...
Either way, my intention was to indicate that his production is better then his rapping. Arrow Root is my favorite instrumental of all time.

http://www.youtube.com/watch?v=weFIJEn5lqY
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Old 01-11-2010, 11:39 AM   #71
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For your review Bulldog:

The sentence you start with "employing..." is not grammatically correct sentence structure.

Try to avoid starting sentences with "but."

Your closing for the 1st para. is a run-on, try adding a "-" or ";" to make it NOT one.

Your first sentence of the next para. is WAY too long. Try breaking it up into like 3 sentences, since it incorporates a few separate ideas.

If you make aforementioned edits the review will be MUCH easier to read and your message will be clearer. Other than that, I think it looks good, considering I know nothing of rap really.
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Old 01-14-2010, 11:08 PM   #72
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Summary: Despite a parasitic DJ and a tag-along (practically non-existent) MC, Cam kills this tape. Boss of All Bosses 2 is a musical garden with quotables ripe for the picking.

Review
Cam’ron is regarded by many (including his fans) as a self parody. He popularized “no homo,” was one of the first rappers to start the now-corrupted swagger movement, defeated Bill Reilly in a debate about the corruptive ability of rap on youth, and makes up words just because he can. Cam’ron is the funny man’s kind of rapper, and easily retains the listener’s interest on Boss of All Bosses 2 with his blizzardous, boastful rapping.

Silly Cam’ron gets an A+ in the lyrical department, giving you your pick of goofy coke musings (“Like Sylvester, I’m bird chasin,”) or hilarious boasts (“They tell me I’m the one like Neo on the first Matrix,”) and he hits the nail on the head seemingly every time. To further enhance the comicality of [u]Boss of All Bosses 2[u/] Cam’s arrogant delivery; fun, at times intricate, flow; and somewhat deep, cocky, and (at times) rough voice send the funny level through the roof, as they perfectly compliment Cam’s lyrics.

Killa Cam tries his hand at all different sorts of beats, succeeding with each beat. While there’s nothing absolutely epic that will top your favorite beats of all time list, there’s definitely some really cool stuff. The rapid Nintendo keyboard-and-synth assault of Point the Finger is great, as is the slowed down Tetris theme song beat (with enhancements) of Whistle or the orchestra’s symphony on Intro.

But, for some odd reason, this mixtape is lesser than the sum of its parts. The skits certainly don’t help the cohesiveness of the album; the back one-third of the album falls off, resulting in the mixtape going out in a quiet whimper (despite Whistle); and the entire mixtape, though entertaining and great for several dozen chuckles, fails to send the listener into a deeper train of thought or mindset. Not to mention a seeming ghost MC (Vado, only appearing on choruses) and an idiot DJ (curse you, Drama) sort of raise some questions about one’s feelings about the album after a complete listen. So, while it still wouldn’t be a classic, Boss of All Bosses 2 fails to be superb because of a few minor setbacks that cumulate to a mid-major one. [u]Boss of All Bosses 2[u/] is an excellent mixtape, equivalent to a final draft of an A paper – pretty darn good, but ends up a B+ because of the lack of revisions.

-------------------------------------------------------------------------------------
Rough draft of my Cam review, could someone please proof and/or offer suggestions? Would be much appreciated. Thanks.

Last edited by Bulldog; 01-14-2010 at 11:09 PM. Reason: paragraph spacing was wrong, needed to distinguish the summary from the review.
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Old 01-20-2010, 06:54 PM   #73
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High priority - this is for a school assignment due tomorrow, I would like a second opinion/proof it before I give it to my professor.

Requirements - it has to describe how I feel about the album. MLA FORMAT!
-------------------------------------------------------------------------------------

When it comes to rap in pop culture, there are two types of people – those who generalize rap as a bad form of music that’s “just talking [over a beat] about drugs, sex, money, and violence,” and those who like the terrible, simple(ton), monotonous garbage that infiltrates the radio. But, since 1999, there has been a man who defies the stereotypes all the while re-setting the standard. A real street poet who lives the gospel he preaches, One Be Lo. After having robbed a pizza parlor in his hometown of Pontiac, Michigan early 1994, he and Senim Silla (his former partner that he formed Binary Star with) were sentenced to 3-20 years in prison for armed robbery. After being released, One Be Lo formed Binary Star with Senim Silla, but after two albums, they broke apart. His third album, S.O.N.O.G.R.A.M. is indicative of the higher intelligence present in hip-hop – a musical oilfield just waiting to be found.

As seen in the atypical underground rap album there is minimalistic, alternative lo-fi production is present, but for a different reason. Rather than it being present because of the lack of good producers willing to create beats for the album, it’s to set up a thinking atmosphere. Rather than what most rap attempts (a one-two punch of bass and synths) the production is comprised heavily of percussion, old school DJ techniques such as scratching, some acoustic elements, and old movie sampling. The production on S.O.N.O.G.R.A.M. deflects interest from itself, putting emphasis upon One Be Lo.

Further, One Be Lo’s smooth delivery, laidback voice, and uptempo, but somehow relaxing, flow only further allow me to sink into the easy listening environment, which highlights One Be Lo’s philosophical, deep lyrics. One Be Lo flips topics and provides converse to typical rap subjects, rather than talk about sex, money, bullheaded violence, and drugs. He speaks about religion; love; poverty, peace, senseless violence, flaws in our society, and human flaws in a creative way with metaphors, analogies, and wordplay. Just like shallow rappers, whom put emphasis on material things, remind me of what I one day hope to have (beautiful women, tons of money, nice cars, and a big house) S.O.N.O.G.R.A.M. reminds me of how lucky I am to live the privileged life I do.

S.O.N.O.G.R.A.M. is tip-top political, religious and philosophical rap. It sets the standard for what rap should be, and shatters the ever-present stereotype that rap is shallow, materialistic, and violent. One Be Lo is a real philosopher on the microphone and, and, dare I say it, a learning experience created in the form of rap. And unlike the kids who “can’t do homework ‘cause they homes don’t work,” I was able to, and I actually appreciate it this time. There’s good rap out there, and despite what you may think it's not as hard as finding an oilfield.

Last edited by Bulldog; 01-20-2010 at 07:00 PM.
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Old 01-20-2010, 06:56 PM   #74
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*due tomorrow

does that help
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Old 02-02-2010, 04:22 PM   #75
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How do you bold/ italicize/ etc. stuff?
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Old 02-02-2010, 04:39 PM   #76
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How do you bold/ italicize/ etc. stuff?
http://www.musicianforums.com/forums/misc.php?do=bbcode
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Old 03-24-2010, 12:55 AM   #77
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Need some help.

I wrote my first review, but when I look at it in my profile, the picture doesn't show up and the band name says "Other." I tried to edit it and it says it was successful, but it doesn't change. Any ideas?
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Old 03-24-2010, 01:59 AM   #78
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If you mean this review: http://www.sputnikmusic.com/review_35691 it looks like it has been sorted
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Old 04-15-2010, 11:01 PM   #79
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Messed up my review. I guess I accidentally chose mewithoutYou's "Catch For Us the Foxes" instead of "It's All Crazy!" Tried editing, but it's not exactly working. Any way to fix this?

http://www.sputnikmusic.com/review_36221
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Old 04-24-2010, 01:26 PM   #80
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[...]

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Old 04-24-2010, 01:35 PM   #81
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Predominantly, Madlib is recognized because his collaboration with MF Doom, that is, Hip-Hopís quintessential album, Madvillainy.

Change this, it's awkward. Maybe to something like 'Predominantly, Madlib is recognized because of his collaboration with MF Doom on Madvillainy - one of Hip-Hopís quintessential albums.'

Also, I'd suggest using speech marks or apostrophes to highlight track names.

Other then it looks good to me on first scan, and sounds good too!

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Old 04-24-2010, 01:42 PM   #82
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Thanks! I'll change that, it'll read much better.
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Old 05-14-2010, 12:12 AM   #83
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Ghastly City Sleep - Moondrifts

4.0

When the dust settled after the dissolution of screamo heavyweights,City of Caterpillar, Majority Rule, and pg. 99 a colossal amount of energy and creativity was displaced. In the wake of their collapse, former members strived to find new creative outlets. Ghastly City Sleep was born out of the displaced elements of these genre-defining bands. The emotional outbursts that seemed to erupt so passionately from City of Caterpillar or so aggressively from pg. 99 became “influences” rather than the “next big thing,” and who would have thought that the members of these fallen greats would continue in a band so mellifluous, relaxing, and with an uncanny knack for melody? Ghastly City Sleep remains a group that demands an intense emotional engagement from the listener, even if the means to this end differs so greatly from what the members were used to. Relying on atmosphere, whispery vocals, and creative melodies, Ghastly City Sleep produces somber post-rock pieces that add up to a mesmerizing and fulfilling whole- in this case, Moondrifts.

With their self-titled 2007 EP, Ghastly City Sleep crafted four songs that successfully lured the listener in with intrigue. Wave after wave of atmospheric synths and drums were perfectly calculated to erupt into a tidal-wave sized climax. Yet, Ghastly City Sleep differs from members’ past projects in their ability to construct a comprehensive experience that relies much more on the overall feeling being portrayed rather than singular moments, as it was with pg. 99 or City of Caterpillar. This style is very indicative of the sharp transition to post-rock, and only little tastes of it were given on Ghastly City Sleep. Impressive as it was, 4 songs can only go so far. In 2010, we can see the full extent of Ghastly City Sleep’s transformation. Promising signs have morphed into products, and optimistic indications are now results. Moondrifts, at its crux, is an exciting expansion of everything that made their debut EP so spectacular.

Moondrifts doesn’t feel incredibly innovative when compared to Ghastly City Sleep, yet it feels undoubtedly better. The airy vocals and haunting atmosphere still serve to beautify the album in every way possible, as before; though Moondrifts succeeds by triumphing on a larger scale- a 10-song album. Shocking with splendor and grandiosity seems to be a trend in post-rock these days. Instead, Ghastly City Sleep plan to lull you to sleep, abduct you into Moondrifts, and subject you to some spellbinding ****. You come out on the other side muttering to yourself, “Did that just happen?” My case in point is “No No No No.” With a slowly building intro with vocals, soft and light as can be, Ghastly City Sleep lure the listener in- only to subdue him with the dissonant and weird sounds of some other planet. The effect can only (and I mean only, because this is obviously a comparison to stay far away from) be compared to the mesmerizing and sometimes terrifying effect of Kid A. Ending the song with more straightforward talking, “This is just a dream, this is just a no no no no...” the lyrics and manner of speech couldn’t better complement the song.

The emotional effects of Moondrifts are clear and precise, and Ghastly City Sleep are scarily efficient and consistent at tugging on your nerves. On the other hand, the band displays their ability to perfectly craft songs that leave your mouth agape in wonder. “Billowing” is perhaps the group’s single best song to date. More conventional in the sense that it relies heavily on the vocal melody, “Billowing” takes a free-flowing approach to achieve, once again, a haunting effect. “Pent up black clouds... billowing again...” is repeated over a weary piano until the song builds to an echoing, crashing crescendo. Not every song is satisfying though, as seen in the valley in the middle, “1994 (it’s a weird world)” and “I Suppose.” Here, Ghastly City Sleep get a bit lazy and the effects, ambience, and wandering doesn’t result in much productivity. Instead of meandering aimlessly, like on these tracks, Ghastly City Sleep perform best when they seek out a clear objective.

A much different side of Ghastly City Sleep can be seen on Moondrifts too, especially with the lively “Farewell My Friend.” Comparisons seem useless, as they carve a path all their own. Vocals are a larger facet of the mixture, and “Just holding on...” provides a nice lyrical backbone to the song, in a more “loudly talked” tone. From the promising 4-song EP produced a few years ago, the band has definitely incorporated some impressive aspects that only further their already-perfected haunting melodies- visible in songs like “Farewell My Friend” and “No No No No.” To claim that every melody on here is ingeniously crafted to the point of perfection is obviously hyperbole; but the waves of melancholy, of climactic beauty, of poignant simplicity serve to make me feel this is the case at times on Moondrifts.

Approaching Moondrifts, you'd best be careful to remember that the band doesn’t derive from straightforward post-rock roots, and therefore expect anything but your run-of-the-mill post-rock record. In this sense, Moondrifts has the potential to be divisive, but those who pass up the spectacular release due to misguided expectations will be missing out... not only on Ghastly City Sleep realizing their potential, but what has the potential to be one of the most solid albums of the year.

___________

criticism appreciated!

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Old 05-14-2010, 11:44 AM   #84
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I would rearrange some of the parts of the first three sentences
Quote:
When the dust settled after the dissolution of screamo heavyweights City of Caterpillar, Majority Rule, and pg. 99...
then the next sentence should be
Quote:
In the wake of their collapse, their former members had to find new creative outlets.
and then
Quote:
Ghastly City Sleep was born out of the displaced elements of these genre-defining bands.
Change this part of the one sentence
Quote:
the outcome of these fallen greats would result in a band
to
Quote:
the members of these fallen greats would combine to form a band
"mellifluous"...wow, even I had to look that one up. Awesome word. also, maybe go with this with reference to the "demand"
Quote:
an intense emotional engagement
change "Reliant" to "Relying"

"such as with pg. 99 or City of Caterpillar" ------> "as it was with pg. 99 or City of Caterpillar"

change "we’re made privy to" (it's a public release, I'm guessing...this only makes sense if it's a sort of exclusive thing) to "we can witness"

I will look this over more later but that's a start
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Old 05-14-2010, 11:57 AM   #85
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yeah I agree, thanks for the help on those first sentences... I tried a few ways but they still sound awkward.
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Old 05-14-2010, 12:13 PM   #86
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"you best be careful

i think "you'd" would be better

...lull you to sleep, abduct you into Moondrifts

that reads awkwardly to me

"Ghastly City Sleep get a bit lazy and the effects.."|

I think "Here, Ghastly City...." would read better, also in the next few sentences you seem to keep mentioning the band name, it just seems like you overuse it, maybe substitute it and use "they" or "the band" or whatever

just my two cents
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Old 05-14-2010, 12:19 PM   #87
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all good suggestions! thanks!
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Old 05-14-2010, 02:15 PM   #88
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written for school magazine really fast


Bloody Panda's Summon was released to almost unanimously positive reviews last year, and it's easy to see why: would anyone except the most fervent admirers of the underground doom metal scene bother listening to a band called "Bloody Panda"? Okay, maybe that's giving the band less credit than they deserve: to be fair, Summon is a pretty consistently engaging and delectably bleak metal release--one that managed to sway a skeptical listener like me. Though I wouldn't consider myself a "doom metal aficionado", I leaped up at the chance to listen to this album (presented to me by good friend and school librarian Benjamin Moss), more out of pure curiosity than anything else.

And, you guessed it, I was indeed pleasantly surprised. It's not as if the album presented something radically different than what I expected. Crushing riffs and tortured vocals had, after all, been a staple of what little doom metal I had listened to prior. Still, in spite of all the ridiculous aspects--the band name, the juxtaposition of a petite female vocalist with a bunch of dudes in robes, the deliberately "avant-garde" album cover, etc.--that surrounded it, it simply worked. For a band that seems to want you to not take it seriously, these New Yorkers have done a pretty great job of convincing you that this music was the result of total involvement in their own dark world.

This great strength, however, also acts as Summon's greatest flaw--it doesn't let up on a concept and aesthetic that will only appeal to a small group. This is why Bloody Panda may never reach a larger audience than their underground fanbase; only a small percentage of people will bother listening to the thing, and even those who do may find it difficult to listen to the whole thing. Especially with tracks like the 21-minute "Miserere", Summon can be a little too unrelenting and is best listened to in small segments--anything else might cause sudden antisocial or grim behavior.

thnx

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Old 05-14-2010, 04:09 PM   #89
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replace the second colon with a period and make the second part a new sentence. Colons should be used sparingly. plus, that would make your second sentence really "punchy" (I hate that term but it's true).

I don't know how important it is to say that the school librarian presented you this opportunity, either. Even if it is appropriate, I don't think it's necessary to say he's your friend.

this sentence is unmanageably long:
Quote:
It's not as if the album presented something radically different than what I expected--crushing riffs and tortured vocals had been a staple of what little doom metal I had listened to prior--but, in spite of all the ridiculous aspects (the band name, the juxtaposition of a petite female vocalist with a bunch of dudes in robes, the deliberately "avant-garde" album cover, et al.) that surrounded it, it simply worked.
make it this:
Quote:
It's not as if the album presented something radically different than what I expected. Crushing riffs and tortured vocals had, after all, been a staple of what little doom metal I had listened to prior. Still, in spite of all the ridiculous aspects--the band name, the juxtaposition of a petite female vocalist with a bunch of dudes in robes, the deliberately "avant-garde" album cover, etc.--that surrounded it, it simply worked.
the reason I would put "etc." instead of "et al." (et alia/and others) is that et al. is usually reserved for listing a series of proper nouns, like saying that certain authors wrote about this (X, Y, Z, et al.)

"NYC-ians" ---------> "New Yorkers"

Quote:
This great strength, however, is simultaneously Summon's greatest flaw
otherwise very good
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Old 05-14-2010, 05:59 PM   #90
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Quote:
I don't know how important it is to say that the school librarian presented you this opportunity, either. Even if it is appropriate, I don't think it's necessary to say he's your friend.
half-joke, anyone who reads the paper will probably get a small chuckle. 'need to be there', i guess?

otherwise thanks so much. the fact that i said 'NYC-ians' is kind of bothering me right now.

edit: just to clarify, this was written for a school paper (i said that in the earlier post but im not sure you caught that--that's why i mentioned the librarian, yea?)

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