Notice How Kevin Stopped Posting Pictures Once He Noticed That I Found Him! He Did That To Say, "Don't Follow ME, Weirdo! I've Moved On And Left You Behind!" Just Another Disgruntled X BF! (That Bitch Wanted Sum Dic And I Ain't Give 'im No Dicc! That's Why He MADD!)
I ONCE KNEW ALL OF THESE GUYS! I JUST NOTICED ALL OF THESE GUYS HAD INSTAGRAM PAIGES TODAY (04/15/17). WES CHEN WASN'T A DJ WHEN I KNEW HIM. HE LISTENED TO HIP HOP AND RAP, BUT THAT WAS THE EXTENT OF HIS MUSIC INVOLVEMENT. I WAS THE ONE WHO KNEW DJs AND MADE MIXTAPES AND THREW SHOWS! HE JUST TOOK WHAT I WAS DOING AND RAN WITH IT.
Boosie on Spending 3.5 Years on Death Row: I Kept Smiling, I'm a Strong Person
Another factor in determining how much you like a song or, a musical genre more generally, is how old you are when you first hear it. In 1988, the neuroscientist Robert Sapolsky did an informal experiment to look at this, contacting radio stations and asking them when most of the music that they play was first introduced and what the average age of their listeners was. He found that most people are 20 or younger when they hear the music they're going to want to listen to for the rest of their lives. If you are older than 25 when some new form of music is introduced, you are unlikely to enjoy it. As Sapolsky put it, "Not a whole lot of seventeen-year-olds are tuning in to the Andrew Sisters, not a lot of Rage Against the Machine is being played in retirement communities, and the biggest fans of sixty non-stop minutes of James Taylor are starting to wear relaxed jeans."
Why? There is a temptation to go for a simple neurological explanation here. Our brains start off all loose and flexible, and then harden up. But as Sapolsky points out, it's not as if there is a general loss of openness to new experience at this period; the window for new musical taste is open at a different period of life from those for other tastes such as food.
Levitin has a better idea. Music is social, and the locking in of musical preference is linked to the time of life where you affiliate yourself with a certain social group - where you come to a decision as to what sort of person you are. This happens late in modern Western societies: roughly in one's late teens and early twenties, which matches what Sapolsky finds. This sort of social theory might explain something else, which is that out of all the music that young people are exposed to, they prefer the styles that are most recent. This is because they want to be sure to affiliate with their contemporaries, and, as the economist Tyler Cowen puts it, "The problem with old music is simple. Somebody else already liked it. Even worse, that somebody else might have been one's parents."
(How Pleasure Works)
Steve Stewart-Williams Retweeted
.@Spotify data indicates that the #music you love is the music that was released in your early adolescence - age 13 (women) & 14 (men). #dataviz
https://www.nytimes.com/2018/02/10/opinion/sunday/favorite-songs.html …
NOW APPLY THIS TO THAT HAWAIIAN REGGAE SHIT THEY PLAY IN HAWAII. THE MAJORITY OF PEOPLE THAT WERE RAISED IN HAWAII LISTEN TO AND ENJOY THAT HAWAIIAN REGGAE SHIT. WHY? BECAUSE THAT MUSIC IS SPECIFIC TO THAT CULTURE AND THAT'S THE MUSIC THAT THEIR PEERS LISTEN TO. SO IF YOU'RE RAISED LISTENING TO THAT SHIT AND YOUR PEER GROUP LISTENS TO THAT SHIT (THE PEER GROUP THAT HEAVILY INFLUENCES YOU AND THAT YOU DON'T WANT TO BE SHUNNED FROM) YOU'RE GOING TO LISTEN TO AND ENJOY THAT SHIT AS WELL. NOW, WHY DON'T I LISTEN TO OR ENJOY THAT SHIT? BECAUSE I WASN'T RAISED IN HAWAII AND, MORE IMPORTANTLY, I NEVER ASSOCIATED (DURING MY FORMATIVE YEARS) WITH PEOPLE WHO LISTENED TO THAT SHIT (DUHHHHHH). IN SHORT, THIS TYPE OF MUSIC ISN'T WHAT MY PEER GROUP LISTENED TO. WHAT DID MY PEER GROUP LISTEN TO? RAP (GANGSTER RAP) AND HIPPIDY HIP HOP!
Boy..I'm just grateful God that u won't stop until I become what u want me 2 be.
Blaccs Evolved To Display Their Phenotypic Quality Primarily Through
Dance, Music (Playing Instruments), Warfare (Combat) And Sports (Athleticism). This Is Why You
See Them Predominate In These Fields And Readily Engage In This Type Of
Courtship Display Behavior. You Can Find The Same Scene Depicted
Above (Scantily Clad Blaccs Showing Off Their Bodies While Dancing To
Rhythmic Music) From Compton To The Congo (This Is How The Black Man
Evolved To Attract Mates).
https://www.psychologytoday.com/blog/homo-consumericus/201211/sexual-signaling-nightclub "SUMMA THAT PIMP AFRICA SHIT" - The Mac Named Andre Bands'll Make You Dance There Are More Musically And Athletically Inclined Individuals In The Black (Caribbeans, Black British, Black Americans, Etc.) Population Than There Are In All Of The East Asian Population (China, Korea, Japan, Etc.) In Spite Of The East Asian Population Being Larger. However, There Are More High IQ, Abstract Reasoning Individuals In The East Asian Population Than The Black Population. Which Group Has A Greater Impact On Society (Technology, Economy, Politics, Academics, Etc.)? East Asians. In Fact, If It Weren't For East Asians Blacks Wouldn't Benefit From Their Music And Sports Playing Ability. http://www.nature.com/nature/journal/v438/n7071/full/nature04344.html?foxtrotcallback=true  | ||
| https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3061152/ "Can You Fuck Like You Twerk?" (A Question For The Ages.) Humans Evolved To Dance To Show Off Their Phenotypic Quality (Their Symmetry, Rhythm, Timing, Coordination, Dexterity, Vigor, Stamina, Etc.) As Well As Induce Sexual Behavior! (You Can Twerk While In A Split*! If That Isn't Demonstrating Ones Rhythm, Timing, Coordination, Dexterity, Vigor, And Stamina And Inducing Sexual Behavior, I Don't Know What Is.) *Split 'Em Pimp! http://www.epjournal.net/articles/changes-in-womens-attractiveness-perception-of-masculine-mens-dances-across-the-ovulatory-cycle-preliminary-data/ http://www.medicalnewstoday.com/articles/274762.php  http://www.slate.com/blogs/the_slatest/2013/05/03/jamaican_dance_symmetry_study_a_fraud.html I DON'T THINK DANCING EVOLVED (CULTURALLY EVOLVED) SO THAT MALES AND FEMALES COULD DANCE TOGETHER. I THINK THE INITIAL, EVOLUTIONARY PURPOSE OF DANCING WAS TO ALLOW FEMALES TO GAUGE THE PHENOTYPIC QUALITY OF MALES THROUGH THEIR MOVEMENT! THIS IS WHY DANCING WITH A FEMALE TENDS TO BE SO AWKWARD! THAT'S NOT WHAT WHY DANCING EVOLVED. https://psychneuro.wordpress.com/2014/05/08/what-a-girl-wants-strategic-moves-on-the-dance-floor/
#LakeShow
I really hate dancing with white girls, they dance like they're getting electrocuted LOL!  LOOKS LIKE THEY'RE HAVING FUN! THE EXCERPTS I'LL EXCERPT WILL TELL YOU WHY THEY'RE HAVING FUN!  |
Until
the invention of the phonograph in the 1870s, people played and
listened to music live. It was almost always a highly social art form
that involved groups of people. Contemporary tribes make music and dance
as inclusive groups. Churchgoers trudge onward together through their
weekly hymns, like Christian soldiers. Troops march to stirringly
patriotic tunes from military bands. In almost any city, on any night of
the week, women and men dance in clubs, pubs and live music venues. And
the biggest crowds of all are those at rock concerts. In 1969, three
days after Brian Jones' death, the surviving Stones played a
long-planned free concert to 250,000 fans in London's Hyde Park. This
number wilts alongside the unfathomable 3.5 million people who braved
heat, humidity and fear of crowds to attend a Rod Stewart concert at
Rio's Copacabana beach on New Year's Eve 1994.
Perhaps,
then, music's role at the heart of social-group living might be
important to understanding its evolution. Might it be a good way for a
tribe to bond, dissipating petty conflicts and improving the functioning
of the group? Or might it make the group stronger, stirring bravery and
a strong sense of belonging before and even during battle with other
groups? These ideas seem intuitive; what else could explain the
invention of the bagpipe?
But
the idea of groups benefits tends to make evolutionary biologists
squirm. For a trait to evolve via the benefits it delivers to a group,
it must cause some groups to thrive or others to wither away. The
problem here is that while it is good to be on the winning side of a
conflict, it is even better to be a member of the winning side who was
slow into battle and didn't get hurt or killed. Selection in which some
individuals do better than others is usually more potent than selection
in which some groups prevail over others, so we should look very
carefully for individual-level benefits before we buy wholeheartedly
into the idea of group-level benefits.
While
selection might indeed favor music because it works wonders on groups
of people, there are many plausible benefits of being an accomplished
musician and of enjoying listening and dancing to music. Music may have
arisen from a song-like communication system that evolved for courting
mates, much like the independently evolved song systems of whales,
gibbons and birds. Ever more sophisticated and meaningful sounds, and
the ability to decipher them, gave the most articulate hominids in each
generation an advantage in snagging and seducing the best mates, leading
eventually to language. The elegant idea was first suggested in 1871 by
Charles Darwin in his second great book on evolution, The Descent of Man, and Selection in Relation to Sex.
According
to Darwin, "it appears probable that the progenitors of man, either the
males or females or both sexes, before acquiring the power of
expressing their mutual love in articulate language, endeavored to charm
each other with musical notes and rhythm." Darwin arrived at this idea
because he had been thinking about features of animals and plants that
seem unnecessarily costly, like the songs and bright plumage of many
birds, which make the bird conspicuous to predators. Darwin recognized
that these traits improve an individual's mating opportunities and he
predicted that this mating advantage causes bright and beautiful traits
to evolve via sexual selection.
Sexual
selection unleashes some of the most rapid and extreme evolutionary
change in the animal world because reproduction is the currency of
evolutionary success. Attractive signals and the preferences for those
signals influence one another's evolution, pushing both signal and
preference to outlandish extremes. The animal world teems with courtship
signals; crickets chirp by night, moths puff cocktails of irresistible
chemicals into the night air, manakins flash their brightly colored
feathers in the dappled forest light, and fishes lurking in turbid
rivers pulse electric fields to find and attract mates.
For
Darwin, music was the midwife at the birth of language, and our
capacity to speak evolved from our capacity to make musical sounds. What
we know as music and what we now know as language have since evolved
from this single origin. It may never be possible to disentangle the
chicken-and-egg problem of whether language or music came first, but it
seems that the two depend on some of the same hardware. Many of the
parts of the brain that we use to create and understand language are
also involved when we make or listen to music. But there are also
differences in how music and language stimulate our brains, suggesting
that music and language, though related, are not one and the same thing.
Despite
having been around for 140 years, Darwin's ideas on the evolution of
music and conversation via sexual selection have only received the
attention that they deserve from a small number of authors. The
evolutionary psychologist Geoffrey Miller is one of those few.
In his entertaining and erudite book The Mating Mind, Miller argues
that the human mind is at least as much an elaborate organ of courtship
as it is a tool of survival. According to Miller, some of the human
mind's most impressive features have evolved to attract and entertain
potential mates, persuade them to have sex, to settle down and to raise a
family.
These
include our human gifts for language and conversation. From
establishing first contact to the point at which they decide to have
sex, a couple are almost always in conversation when they are together.
Conversing in an interesting and engaging way with the opposite sex is
so difficult that it takes most of us years of painful trial and error
to learn - if we ever manage it at all. Even when we are confident and
competent enough to ask somebody out, the surest sign that a date is
going wrong is when the conversation dries up. Likewise in long-married
couples, a loss of interest in conversation by one or both parties can
be just as devastating to the relationship as a loss of interest in sex.
As Germaine Greer put it, "Loneliness is never more cruel than when it
is felt in close propinquity with someone who has ceased to
communicate."
SING MORE, GET MORE
If
conversation is difficult, Miller argues, the rhyme and meter of poetry
are infinitely more so - and thus poetic ability is more impressive
than mere eloquence. Singing well, which requires not only timing and
rhythm but a command of tone, melody and harmony, is an even more
impressive achievement. The ability to write songs that combine all of
these elements and that lyrically ring true is a precious miracle of
nature. Beyond the rather difficult business of playing, singing and
writing music, the music and lyrics themselves may also be forms of
courtship.
It
turns out that Brian Jones left a clue to the evolutionary problem
posed by his early death. He father four children, each by a different
mother. The other Stones who did not share Jones' misfortune did mostly
share his talent for proliferation. Stones' guitarist Keith Richards,
who to everybody's amazement is still alive and playing at 68 years old,
had five children with two different women. Vocalist Mick Jagger, twice
married and famously philandering, has been linked in five different
decades with some of the most desirable women on the planet, officially
siring seven children by four different women.
Although
drummer Charlie Watts breaks the hyper-sexualized mold, Brian, Keith,
and Mick personify the fossilized footprint of a long history of
sexually selected music-making in our species. None of these men can
count themselves among the most prolific fathers of their time, but who
knows what heights of paternity they might have scaled had not the 1960s
also ushered in history's biggest advance in contraception? The sheer
number of fertile women who got very close to the Stones, sometimes by
the most ingenious of routes, is experienced by very few men in history.
Or as Keith Richards puts it, "You stood as much chance in a fucking
river full of piranhas."
Musicians
overcome two of the biggest evolutionary problems that face people
looking for a mate: meeting or being noticed by potential mates, and
courting or seducing them. From the day a band plays its first live gig,
band members are in the business of exposing themselves to potential
mates - whether that is their intention or not. Musicians in small-time
bands enjoy a slight advantage over their non-musical brethren in
meeting and getting to know possible mates, and the more successful the
band becomes, the bigger the audience at their gigs and the larger the
pool of possible mates. If ancient musicians enjoyed even a fraction of
the mating success of modern rock stars then sexual selection on
music-making abilities would have been sensationally strong throughout
our evolutionary past.
Men
and women from a great many societies use music to privately court one
another, from young singers at Saturday-night love markets in the hill
villages of northern Vietnam to the evening serenades of
eighteenth-century Italy. Music-making, singing and dancing can also be
very public displays of prowess. According to Radiohead, "Anyone can
play guitar," but a world of pawned guitars, amps and drum kits tells a
different story. Learning to play a musical instrument is no trivial
task, and only a tiny fraction of those who begin reach any level of
proficiency. The fact that so many great rock musicians are self-taught
only shows that rock music and the instruments of choice are well suited
to let people with limited means and opportunity realize what talent
and motivation they have. When all the elements work together we have
one of the living world's greatest sexual displays.
The
notion of music as a sexual display explains much more than why we
bother making music - it also explains why music can be so sublime that
its power transcends mere description. Natural selection usually favors
sober functionality: teeth that cut and grind food, day in and day out,
lasting as long as our ancestors could have hoped to survive; bones
strong enough to support an active body but not so sturdy that they
become too heavy; and a gut that wrings every last morsel of nourishment
from every meal. But attractiveness is different - it keeps on
evolving. Genes that make an individual attractive can, in a very few
generations, come to be so common that whatever was attractive ten
generations ago might be merely ordinary today. As Geoffrey Miller puts
it:
ancestral hominid-Hendrixes could never say, "OK, our music's good enough, we can stop now," because they were competing with all the hominid-Eric-Claptons, hominid-Jerry-Garcias, and hominid-John-Lennons. The aesthetic and emotional power of music is exactly what we would expect from sexual selection's arms race to impress minds like ours.
CLOSE TO YOU
For
all the sex, music would not have as much power as it does if it were
merely a tool for the talented and inspired few to get their rocks off.
For most of our species' past, making and dancing to music involved
most, if not all, of the adults and teenagers in the group, much as it
does in contemporary villages. Social occasions gave young men and women
many opportunities to observe and enjoy one another's music-making and
dancing and to use this information to judge who might be the best
mate. Repeated chances to observe members of the opposite sex doing
something difficult are exactly the kind of assessment that is most
reliable when animals assess the genetic quality of their potential
mates.
Music becomes an even more potent part of courtship when it is coupled with dancing. For my grandparents' generation, being able to waltz and foxtrot were essential social graces. Dancing was one of the few reliable ways for men and women to get close enough to converse. Wallflowers who did not dance missed most of the opportunities on offer. Even when I was in college in the 1990s the most popular club on campus was the ballroom dancing society, which ran four back-to-back classes five nights a week. Mastering the paso doble or the tango remains an impressive and deeply romantic feat, but even informal and improvised dancing can signal the dancer's tenderness, deftness and coordination. Or lack thereof.
Recent studies have used high-speed video to capture the movements of men as they dance, and then to animate computer-generated bodies with those movements. Women asked to watch those animations prefer the dancers who move more vigorously, with more bending and twisting motions of their neck and torso and of their right knee (most of the men were right-footed). Maybe so many men are secretly terrified of dancing because they know that women are using it to assess them. Perhaps dancing is to many men what the bikini is to many women.
As twentieth-century technology made music ever more portable, so it made it possible for mortals to choose the sound track we use for dancing, courtship and seduction. Early in the rock era it became possible for young women and men to signal their taste, politics and personalities by the music they listened to on the radio, played from car stereos and bought for their beloveds. Later, the mixtape or CD allowed one to put both love and thought into a gift without spending much money or learning to play an instrument. Even though few people today are proficient and persistent enough to master an instrument, most courtships still begin within earshot of a live band, a DJ or a stereo. It is less dramatic and certainly less effective to play a song on your stereo than it is on your guitar, but it also so much easier. We contract chosen artists to play the music we use fr our own courtship, and we pay them handsomely.
Music becomes an even more potent part of courtship when it is coupled with dancing. For my grandparents' generation, being able to waltz and foxtrot were essential social graces. Dancing was one of the few reliable ways for men and women to get close enough to converse. Wallflowers who did not dance missed most of the opportunities on offer. Even when I was in college in the 1990s the most popular club on campus was the ballroom dancing society, which ran four back-to-back classes five nights a week. Mastering the paso doble or the tango remains an impressive and deeply romantic feat, but even informal and improvised dancing can signal the dancer's tenderness, deftness and coordination. Or lack thereof.
Recent studies have used high-speed video to capture the movements of men as they dance, and then to animate computer-generated bodies with those movements. Women asked to watch those animations prefer the dancers who move more vigorously, with more bending and twisting motions of their neck and torso and of their right knee (most of the men were right-footed). Maybe so many men are secretly terrified of dancing because they know that women are using it to assess them. Perhaps dancing is to many men what the bikini is to many women.
As twentieth-century technology made music ever more portable, so it made it possible for mortals to choose the sound track we use for dancing, courtship and seduction. Early in the rock era it became possible for young women and men to signal their taste, politics and personalities by the music they listened to on the radio, played from car stereos and bought for their beloveds. Later, the mixtape or CD allowed one to put both love and thought into a gift without spending much money or learning to play an instrument. Even though few people today are proficient and persistent enough to master an instrument, most courtships still begin within earshot of a live band, a DJ or a stereo. It is less dramatic and certainly less effective to play a song on your stereo than it is on your guitar, but it also so much easier. We contract chosen artists to play the music we use fr our own courtship, and we pay them handsomely.
The
technologies that gave people the power to choose their personal sound
track were the launch platforms for the major developments in
twentieth-century music, including jazz, rock 'n' roll, and hip-hop.
Phonographs (record players) made it possible for people all around the
world to listen to the same songs recorded by the same bands. As jazz
exploded in the first decades of the century, musicians could become
megastars in distant cities they had never before visited.
Radio
and television each, in turn, allowed people to choose and listen to
their own music in ways that had never before been possible. As post-war
prosperity spread through the United States and the middle class
ballooned, record players and radios became common household items, and
televisions were soon to follow. The average teenager suddenly had more
disposable income and came under less pressure than previous generations
to grow up, have babies or enter the workforce. They suddenly became a
powerful consumer group, buying 45 rpm record singles, feeding jukeboxes
and devouring radio programmed just for them.
With
hip-hop, again, technology pushed things along. Boomboxes, mixtapes and
samplers enabled a new generation to make and remake their own music.
Each of these twentieth-century technological advances made it
increasingly possible to sell different music to different members of
the household. Each generation of teenagers and young adults grabbed
hold of the new opportunities, eager to escape the stultifying and
straitlaced music of their parents.
TEEN SPIRIT
The
first album I ever bought with my own money was U2's Under a Blood Red
Sky. I was 13, and all my high school friends were playing it. Thirteen
is a typical age to start buying your own music and asserting your own
musical tastes. In early adolescence people stop becoming passive
consumers of the music their parents and older siblings are playing, and
start forming their own musical tastes. Our sexual and social
identities and our musical tastes are shaped in adolescence and early
adulthood, and it is no accident that sex and music cozily knit
themselves together at this time.
As
an interesting thought experiment, quickly think of one of your
favorite songs and try to remember when you first heard it. When I did
this exercise I immediately thought of "Losing my religion" by R.E.M.,
long one of my favorite bands. When I heard it first I was 21, on a
holiday with university friends. I was hooked by its unusual mandolin
riff and consumed by its dark unrequited longing.* Research on memory
shows that people recall more personal events from early adulthood than
from later adulthood or childhood - something psychologists call the
reminiscence bump. A recent
study by Steve Janssen at the University of Amsterdam shows that the
bands and songs people remember most clearly and fondly in middle age
are the ones they came to love between the ages of 16 and 21 - late
adolescence and early adulthood.
By contrast, when asked to name favorite books and movies, people favor more recent works. The
strong musical reminiscence bump between 16 and 21 years of age makes
sense because our relationship with music really gets going when we
enter puberty, and becomes most intense from then through early
childhood. This is no coincidence. It is the music that plays when we
fall in love, when our hearts break, when we discover sex and the
meaning of true friendship. It is the soundtrack to which we find our
way through the most important and perilous transition since the day we
left our mother's womb and entered the loud, bright, air-breathing
outside world.
...
It
is also as teenagers that we begin our tussle with questions of
identity. Who am I? What is my purpose? What do other people think of
me? And probably most important: Am I the only one who feels this way?
Fashioning a coherent identity is one of the most important issues that
we grapple with in our lifetime, and no time in our lives is more
important in resolving our identity than late adolescence and early
adulthood. The adolescent brain has finally matured enough to keep track
of what we think about large numbers of other people and what we think
they think about us. It can also begin to grasp - however imperfectly -
the differences in how the minds of others work. On top of that, we can
begin to understand the question of social status - both the status we
inherit due to the status of our parents, and the status that comes from
our own talent, industry, and hanging out with the right crowd.
"Music
hath charms to soothe the savage beast," and by savage I mean teenage.
The right tunes can greatly soothe the savage turbulence of the
adolescent years. Adolescents have probably long found music helpful as
they discover how to use their full palette of adult emotions, and how
to negotiate their increasingly complex social worlds. Despite the often
heroic efforts of teachers, teenagers have much more to learn than the
things they are taught in school. Important as Shakespeare, the Krebs
cycle and differential calculus are, teenagers are often more focused on
another, more ancient, kind of learning: about themsleves, about how
other people and society work and most of all about love, sex, and the
complicated package that comes with it. From Chuck Berry's "School Days"
to Bruce Springsteen's "No Surrender", rock and roll has long existed
at this crossroads between education and learning, school and real life.
Education
research confirms three facts that have been obvious to shrewd writers
and musicians for some time: we learn from stories, we learn best when
we are having fun, and young people learn much more readily from their
same-age or slightly older peers. By these measures, popular music is a
fantastic way to learn...
In
the rock era, teenagers certainly found in music much wisdom, as well
as comfort and companionship. Artists are often only slightly older than
their audiences, giving the artists both the credulity of youth and the
authority of a slight age advantage. When a favorite artist sings about
infatuation, rage or powerlessness, it takes little effort to identify
immediately with the musician and her message. Who has not felt that a
particular song was written only for them?...popular music's power is
its immediacy. Even if the themes are ancient, and the latest
incarnation appears inarticulate to some oldies, the important thing is
that the audience own and relate to the music...
Put
two teenagers or young adults together in a context where they need to
become acquainted, and the conversation will soon turn to music. Jason
Rentfrow and Sam Gosling did exactly this with 60 undergraduates at the
University of Texas, pairing them up on an online bulletin-board system
and asking them to get to know one another. In the first week of the
study almost 60 percent of participants spoke about music; more than
books, clothing, movies, television and sports combined. Rentfrow and
Gosling also analyzed the information people post on their Internet
dating-site profiles, and it follows the same pattern; the bands and
music that people prefer is by far the most commonly reported
information. Not only do people advertise information about their taste
in music as a way of advertising their identity, but they place great
faith in it as a way of forming judgements about others.
In
a series of studies, Rentfrow, Gosling and their colleagues show that
musical tastes powerfully predict people's personalities...By analyzing
the preferences of almost two thousand people, they found four major
dimensions along which musical tastes vary:
1 Reflective and Complex tastes for music, such as the blues, jazz, classical and folk music, tend to indicate that a person is Emotionally Stable, Open to new experiences, and has above-average intelligence and verbal ability.
2 Intense and Rebellious tastes, including a liking for rock, alternative or heavy metal, tend to be shared by people who are Open, athletic, and of above-average intelligence and verbal ability.
3 People with Upbeat and Conventional taste tend to like country, sound tracks, religious music and pop, and are usually Agreeable , Extroverted, Conscientious, politically conservative, wealthy, athletic, with low Openness, dominance and verbal ability.
4 Last, folks who like rap or hip-hop, soul, funk, and electronica are said to have Energetic and Rhythmic tastes, and they are highly Extroverted, Agreeable and athletic, tend to speak their minds, and are often politically liberal.These associations between broad musical tastes and personalities are anything but arbitrary. People with different personality types seek different types of music. Part of the reason there are so many kinds of music is likely to be found in the fact that there are so many different combinations of personality traits.
Preferring certain bands and even certain songs over others advertises even more precise information. In the 1990s there could not have been a bigger gulf in outlook and politics between politically progressive bands like Nirvana or Rage Against the Machine and the more derivative, bombastic and often antisocial music of Guns 'n' Roses or Bon Jovi, even though to outsiders or less committed rock fans they would all have sounded like hard guitar-driven rock. The identities and images that particular bands construct are all a large part of their appeal. Like tends to assort with like when it comes to personality types, and fans of a band tend to have personalities that match the personality the band constructs. We advertise our personalities by the music we play and talk about and by the band paraphernalia we wear or display.
Musical tastes are good signals because they are hard to fake, should we ever wish to. My own tastes run between Intense and Rebellious and Reflective and Complex, with a limited smattering of Energetic and Rhythmic. I could not fake my way through a conversation about modern hip-hop because any half-devoted fan would immediately sense that I can't tell Trick Daddy from Diddy, or Jay-Z from Jay Smooth. In order to learn enough to hold even a brief conversation in a convincing way, I would have to listen to their music and follow their careers. It is hard enough keeping abreast of my research group's taste for zef-rap.
People advertise those bands with which they identify by playing their records - often at improbably loud volumes in cars - talking about them, reading about them in music and gossip magazines, and wearing their merchandise. The Ramones stopped playing 1996, and the core members are dead, but Ramones T-shirts are still selling well. Apparently nothing says "I Don't Give A Fuck" more convincingly in the early twenty-first century than a freshly minted Ramones T-shirt. Some of the best-known logos in the commercial world belong to bands such as AC/DC, the Rolling Stones, KISS, Nine Inch Nails, Guns 'n' Roses and Metallica. The urge to buy T-shirts advertising our favorite bands can be overwhelming, but some fans are so committed they have a band logo tattooed on their skin. These outward signals of music preferences are possibly the single most effective and widespread way for teenagers in particular to identify like-minded peers and potential allies, and are about as reliable a conversation starter as you can get.
As well as signaling personality traits, musical tastes also signal and even confer status. Anti-school and anti-establishment subcultures, stacked with young men, often revolve either around sports or around very narrow single-genre music tastes, like heavy metal, rap and in some places country music. In the early days of rock, low-status rock subcultures like this were also common. Social alienation can be remedied by retreating into a difficult-to-penetrate world where the chief currency is a detailed and arcane knowledge of a certain kind of music. In obvious contrast, good students with happy social and family lives - the kind of teenagers likely to achieve high status as adults - are more likely to adopt a range of tastes including popular genres like pop, reflective genres like folk or blues and less youth-oriented music like classical and opera. Perhaps intelligence and the social skills that confer status come packaged together with this ability to be a musical omnivore. Or maybe the ability to be an omnivore and to fit in with many specialized groups actually confers status, in much the same way that a politician must often rely on connecting with a range of very different constituencies in order to be elected.
Sex, Genes & Rock 'N' Roll: How Evolution Has Shaped The Modern World. Brooks, p. 204-220
But here's the problem: the sexes are undeniably different in many ways, from the risk of being born autistic to the chance of being executed for murder, and these differences begin with biological differences that can't be wished away. My main reason for taking this journey into the very male world of rock 'n' roll music is to explore the unsafe and unsteady ground of sex differences, how they come about and what they mean.
One argument I will not make is that men and women differ, on average, in their ability to make great music. Girls and boys display similar musical ability in childhood; where they are free to choose, similar numbers of girls and boys take up an instrument and there are no discernible differences in musical talent at primary school. Although popular music has long been dominated by men, women's involvement rose steadily since the 1950s as societal constraints crumbled. A look at all number one records since Billboard began its charts in 1958 confirms this...In the 1960s, 15 percent of the performers were women but this number reached 34 percent in the decade ending in 2009. One in three musicians at the very peak of popular music today is a woman, and perhaps the numbers of men and women will be equal by the 2030s. Women clearly make music that is every bit as good and as popular as the music men make.
But the gains for women came in the genres of disco/dance and pop, not in rock or R&B/soul. Critics and marketing people sort music into ever more arcane taxonomies to impose order on a cacophony of styles and influences, yet for many musicians categories stultify creativity and constrain their opportunities to work. I cannot tell whether the music women make is less likely to be shoved into the rock pigeonhole because of the qualities of the music or simply because it is made by women. But there can be no denying that when rock 'n' roll exploded, the fortunes of women musicians imploded.
Between 1949 and 1953, immediately before rock 'n' roll took hold, women sang 34 percent of all hit songs, but this dropped to 12 percent between 1957 and 1960 as rock, in all its machismo, came to dominate popular music. In the 1960s women made only 1 percent of musicians on Billboard number one songs that are identified as rock recordings, and this number stuttered to only 12 percent in the past decade...Part of the spectacular gain in the number of women on number one hits in the last two decades comes through the demise of rock; where 40 to 50 percent of the music reaching number one in the 1960s, 1970s and 1980s was some form of rock, this dropped to 10 percent by the 1990s and even less in the noughties.
The story that I tell in this chapter, of music periodically being hijacked by angry young men to suit their evolved agenda, is currently playing out again in rap music, one of the chief beneficiaries of rock's mainstream demise. It is a story possibly as old as music itself. It happened at the birth of jazz, the blues, reggae, and might even be what propelled music's first great rock 'n' roller, Wolfgang Amadeus Mozart. It also applies, in parts, to sport, to literature and many other great fields of endeavor. But rock makes a fascinating case study.
...
Behavioral differences between women and men also respond to local conditions. In this book I have discussed how economic circumstances interact with evolved biology to shape domestic sex roles, marriage patterns, divorce, birth rates, obesity and even the sex ratio of children. In almost every case, the overlap between men and women is greatest and the average difference smallest when women and men are not constrained in how they can participate in workplaces, the home and society, and where men and women hav equal power to negotiate the evolved cooperative conflicts over when to have babies, how many to have, and how much to care for each of them. Economists recognize that the drivers of individual behavior add up to create the large-scale patterns they call "aggregate outcomes." Evolutionary biology, like microeconomics, explains large-scale patterns as the aggregate outcomes of individuals making the best of the circumstances into which they are born. Sex differences are aggregate outcomes of evolved responses to ecological, economic and cultural circumstances. They are neither immutable nor inevitable, but across large numbers of people they are certainly present and persistent.
...
...
INTRASEXUAL
COMPETITION VIA MUSIC (MALE-MALE COMPETITION TO ATTAIN STATUS AND
DOMINANCE THROUGH MUSIC) AND THIS COMPETITION IS REFLECTED IN THE LYRICS
AND SOUND OF THE MUSIC THAT THESE COMPETING MALES PRODUCE.
The main point of this chapter is that rock is so male biased because men - large numbers of individual men - seized on rock and exploited it to serve their own agenda, giving rock music a masculine shape and voice. That male agenda has its roots in the evolutionary challenges that men, especially young men, have always faced: winning respect and status among their peers, challenging the authority of older men, and attracting women both for long-term relationships and one-night love affairs. That is neither to say these forces are irrelevant to other musical genres nor that women have played no part in rock. Rather, I'm simply saying that men got on the rock 'n' roll tour bus faster and in bigger numbers, recognizing it as the perfect vehicle in which to fulfill their appetites.
IT CRAWLED FROM THE SOUTH
The music from which rock 'n' roll was born throbbed with more libidinous content and performance than anything coming out of white America at the time. Even the name was salacious. "Rock 'n' roll," according to the cultural historian Michael Ventura,
was a term from the juke joints of the South, long in use by the forties, when a music started being heard that had no name, wasn't jazz and wasn't simply blues and wasn't Cajun, but had all those elements and could not be ignored. In those juke joints "rock 'n' roll" hadn't meant the name of a music, it meant "to fuck."When the music crossed over to white middle-class radio, so many songs involved rocking and rolling that radio deejays - possibly naively, perhaps cunningly - called it "rock 'n' roll."
From its very birth, rock sizzled with sex. Elvis was such a sex bomb that his FBI file apparently declared him a "definite danger to the security of the United States," and it only got more dangerous from there. Great rockers have exuded every kind of sexy; the sneering raunchiness of Jagger; the blue-collar machismo of Springsteen; the brooding darkness of Nick Cave; the wit and intelligence of John Lennon; and the tantric boasts of Sting. Prince, for example, lacks the strong, masculine features and tall stature of other regular inhabitants of "World Sexiest Man" lists, but his musical prowess, smooth moves and outrageous wardrobe have made him a literal sex symbol.
Sex, drugs, and rock and roll really tend to have an affinity for each other.
http://ishe.org/human-ethology-bulletin/2017-2/heb-323/sex-drugs-and-rock-and-roll-evidence-supporting-the-storied-trilogy/ …
.jpg)
Replace ROCK With RAP In The Above Excerpt!
...
...for many sportsmen and the adolescent boys who dream of emulating them, access to and recognition from women is one of the great purposes and perquisites of stardom.
Sexual selection acts differently on men and women because of differences in what it takes to reproduce successfully. Sexual selection on men can be especially strong because some men - like Genghis Khan and his sons and grandsons - sire children with thousands of women but many men don't get to mate at all. Modern birth control blurs the relationship between the drive for promiscuous sex and the evolutionary payoffs. Unlike Muhammad Ali, who has six children by two of his wives and two others from extramarital relationships, our unfaithful megastars have not converted their extraordinary appeal into prodigious offspring. At least not as far as the public record goes. Nonetheless, effective contraception is largely a new invention. The urge to mate with large numbers of attractive and fertile women, given half a chance, evolved because men who felt that urge and managed it wisely reaped the ultimate evolutionary reward: prolific reproduction.
Not every man can be Genghis Khan, Tiger Woods or Shane Warne, but that doesn't stop them from trying. Men who marry more than one wife - simultaneously or sequentially - or who sire children through their extramarital activities, end up in the "winners" column of the evolutionary score sheet. Those men are our ancestors, and the celibate, impotent or sexually uninterested men who lived alongside them are not. The unsexy genes died along with them. Of course evolutionary success takes more than being a raging sex machine, and there are many other songs in men's reproductive repertoires. Being a good father and partner can have its evolutionary benefits, but it's like a steady job with a known income. Hitting the evolutionary jackpot is a high-risk high-reward strategy.
"PUSSY EVERYDAY MY NIGGA I LIVE IT...YUP, YUP" - NEWPORT (CUETE 2X)
Somewhere at the heart of rock 'n' roll's magic is the groupie - whether nameless fan or glamorous socialite - who converts music into the currency of orgasm and spends freely. She (it is almost invariably a woman) is the central character in the myths and legends of rock - proof to fans and observers that rock stars have found the modern holy grail of guiltless promiscuity.To Keith Richards, forming the Rolling Stones in 1962 immediately transformed his sex life: "Six months ago I couldn't get laid; I'd have to pay for it. One minute no chick in the world. No fucking way...and the next they're sniffing around."
Although rock elevated guiltless promiscuity to a high art, it is also wonderfully effective at winning over long-term partners. When asked about how he lured Anita Pallenberg - who bore Richards' first three children - away from Brian Jones, Richards professes an ineptitude that would comfort most mortal men:
I have never put the make on a girl in my life...I just don't know how to do it. My instincts are always to leave it to the woman...I'm tongue-tied. I suppose every woman I've been with, they've had to put the make on me.Easy when you're a gazillionaire.
"I'm A Hoe...Your Know I'm A Hoe...Fuck 3 0r 4 Bitches Right After My Show!" - Rucc Dawg Baby
"I GOT SHOWS TO DO. AFTER THE CONCERT I GOT HOs TWO SCREW. IF 0M ON STAGE I DON'T WANNA BE CLOSE TO U!" - F.L.I.P.
Sex, Genes & Rock 'N' Roll: How Evolution Has Shaped The Modern World. Brooks, p.222-236
yog nic noc Envious Of The Game Success.
BO Envious Of YG Success.
yog nic noc Envious Of YG Success T00! nic noc Don't Want NOBODY From The Hub Beside Him Havin' Successes!
Read The Pages Below To Understands Why!
Just
as social and economic inequity brings out aggression, risk-taking,
status-seeking and coalition-formation behavior, particularly in young
men, I predict from evolutionary theory that increasing inequality in
commercial success among musicians is exactly the kind of economic
factor that should bring out the risk-taking, highly competitive streak
in musicians, especially young male musicians. The rising inequality
throughout the history of rock coincided with the emergence of subgenres
of rock dripping with masculine antisociality including ever greater
machismo, aggression, and often misogyny.
Hard
rock and heavy metal explode with these themes, but there is an
independent strand of music with the same tendencies: gangsta rap. The
antisocial extremes inhabited by heavy metal and gangsta rap both
overdose on the male motivation for status and success, often at the
expense of other men. The hardest rock, metal and rap express the
timeless alienation and helplessness of young men with poor prospects.
Boys and men with good prospects, born into equitable societies, or
those born on the right side of the tracks in less equitable societies,
don't have to take as many chances to make it. But the young men with
less favorable prospects live risk-filled lives, with a small shot at
making the big time but a much bigger chance of dying young and being
one of evolution's many total losers.
...
ABOUT A GIRL
...
Even though rock is mostly made by men, marketed by men, and its history written by men, most rock is made just as much for women as for men.
The women who listen to the music, buy the records and attend the
concerts have been every bit as important in making rock 'n' roll what
it was and what it is today.
The machismo of rock is a good match to the faster, louder, power-chord-driven forms of hard rock. Evidence shows that as the machismo in the music and the lyrics amps up, so the number of fans of both sexes falls, but that women drop out of the audience sooner than men. This machismo alone goes some way to explaining why the harder the rock, the fewer women musicians who make it and the fewer women who listen to it. Perhaps a smaller proportion of women musicians have a taste for making hard rock because there is less often a match between the style of hard rock and the things most women musicians want to say.
But
the rock that is all about sex and male lust is also, as Camille Paglia
says, about women being aroused by male lust. And that is because without women in the audience the music would not be about sex. M is for machismo and metal, but it is also for masturbation. Outside
of the hardest forms of rock (and the most gansta forms of rap), the
badness is toned down to a more palatable and often more titillating
form. This rock begins to draw its power less from male-male competition
and more from female mate choice. In order to appeal to significant
numbers of women, music usually needs to be about more than the
musician's sexual prowess, the toughness of his homies or anything at
all to do with his car.
Notice How Chachi Has A Few Slower, Softer Almost Love Song-Like Songs Throughout This Album? That's Because He's Unconsciously Driven To Appeal To Female Fans (Make Tender Sounding Music That's More Palatable To Female Musical Taste). This Is Especially Apparent At The 22:00 Mark (Where He Baby Talks (Babbles) To The Little Girl)! Again, This Is Driven By Intersexual Selection (How Can I Appeal Directly To Female Psychology)?
Mr. Newton Does The Same With This Song! Instead Of The Intrasexual Selection Based Songs He Usually Creates (Songs Demeaning And Denigrating Rival Males), He's Decided To Lighten It Up On This One In Order To Appeal To Female Fans.
Ohhh,
What A Great Dad! All The Sistas Out There Are Gonna LOVE This Tweet
And Possibly You, Cam! I Mean, Why Else Did You Write That Tweet. Your
Conscious Reason (The Reason You Tell Yourself, The Deluded Reason) Is
Because Of Your LOVE For Your Son And The Relationship You Have With
Him, But The Non-Conscious Reason (The Unconscious, Real Reason) You
Tweeted This Is So That Females (Not Your Baby Mama) Would Find You
Attractive Since A Tweet Like That Shows Your Interest And Investment In
Your Son (And That's One Of The Qualities Females Want To See In A
Male).
Compton Magic Retweeted
My son just called me "Da-Da" my 4th of July is complete 
Some
bands achieve this by interspersing hard-rocking "boy songs" with sappy
power ballads - ostensibly for the girls. This can sometimes be
laughably incongruous.
Contrast Aerosmith's saccharine "I Don't Want To Miss A Thing"...with
the casual misogyny of "Rag Doll" or "Walk This Way" for example. The
messages are laughably inconsistent; a band can achieve the feat of
speaking in both the voice they use for their girlfriends and the one
they use with only their most masculine man-friends around. And they do
it without detectable irony and in tight leather pants. Yet despite the
layers of crotch-grabbingly hilarious incongruence it can be
commercially successful - proving that not everybody listens to lyrics.
It
is altogether more difficult to fashion a consistent musical persona in
which music and lyrics together appeal to both men and women. According
to musician Josh Homme (Queens of the Stone Age), "Rock should be heavy
enough for the boys and sweet enough for the girls. That way everyone's
happy and it's more of a party." Musicians
who accomplish this often do so by articulating complicated emotions or
interesting sexual politics. The greatest songs about love are much
more insightful than the one-dimensional power ballads of Aerosmith,
Guns 'n' Roses or Bon Jovi. Think about the Police's "Every Breath You Take" R.E.M.'s "The One I Love" or U2's "One." They
give both men and women thrilling insights into the convoluted minds of
the other sex. The bands that can do this achieve the greatest
popularity because they connect legitimately with male and female fans. This is what made The Beatles so great.
Sex, Genes & Rock 'N' Roll: How Evolution Has Shaped The Modern World. Brooks, p.243-245
I'M
NOT A FAN OF THIS NIGGER'S MUSIC. I DON'T LIKE HIS VOICE OR DELIVERY,
NOR DO I LIKE HIS RAPPING STYLE (IT'S ALL TOO SOFT FOR ME). PLUS, HE
TRIES TO COME OFF LIKE AN IMPOVERISHED INTELLECTUAL AND CITY
SOPHISTICATE (LIKE A 2 PACC POET) WHEN IN REALITY HE'S JUST A PSEUDO INTELLECTUAL AND PSEUDO SOPHISTICATE (JUST A DUMB NIGGER). ANYWAY, THERE'S A GREAT PASSAGE IN SEX, GENES, ROCK 'N' ROLL THAT
EXPLAINS WHY THE MUSIC THAT GUY'S LIKE HE MAKES HAS BIGGER SUCCESS THAN
THE MUSIC THAT GANGSTER RAPPERS LIKE PACMAN DA GUNMAN (WITH A BETTER
VOICE AND DELIVERY) MAKE. IT HAS TO DO WITH HAVING A WIDER APPEAL
(APPEALING MORE TO FEMALES) THAN ACTUALLY BEING A BETTER SOUNDING MUSIC! (HIS GREATER APPEAL IS BASED ON INTERSEXUAL SELECTION AS OPPOSED TO INTRASEXUAL SELECTION. LAMAR IS MAKING MUSIC WITH THE SOLE INTENT OF APPEALING TO FEMALES AS OPPOSED TO MAKING MUSIC THAT DENIGRATES RIVAL MALES LIKES MA GANGSTA NIGGAS DUE.)
Sexual Chocolates!
In this case, unlike that of natural selection, Darwin's thinking did not set the world alight. But his ideas were revived recently by Geoffrey Miller, an evolutionary biologist who works at the University of New Mexico. Dr Miller starts with the observations that music is a human universal, that it is costly in terms of time and energy to produce, and that it is, at least in some sense, under genetic control. About 4% of the population has “amusia” of one sort or another, and at least some types of amusia are known to be heritable. Universality, costliness and genetic control all suggest that music has a clear function in survival or reproduction, and Dr Miller plumps for reproduction.
One reason for believing this is that musical productivity—at least among the recording artists who have exploited the phonograph and its successors over the past hundred years or so—seems to match the course of an individual's reproductive life. In particular, Dr Miller studied jazz musicians. He found that their output rises rapidly after puberty, reaches its peak during young-adulthood, and then declines with age and the demands of parenthood.
As is often the case with this sort of observation, it sounds unremarkable; obvious, even. But uniquely human activities associated with survival—cooking, say—do not show this pattern. People continue to cook at about the same rate from the moment that they have mastered the art until the moment they die or are too decrepit to continue. Moreover, the anecdotal evidence linking music to sexual success is strong. Dr Miller often cites the example of Jimi Hendrix, who had sex with hundreds of groupies during his brief life and, though he was legally unmarried, maintained two long-term liaisons. The words of Robert Plant, the lead singer of Led Zeppelin, are also pertinent: “I was always on my way to love. Always. Whatever road I took, the car was heading for one of the greatest sexual encounters I've ever had.”
He Can Barely Speak English, Yet He Sings These Rock Songs As Though He
Were The Original Creator And Singer Of These Songs. Now, That's A
Unique Innate Ability And I Believe It's Called Voice Mimicry. I Also
Believe That This Ability, Along With Singing Well And Having An Ear For
High Quality Music Is More Common Among Filipinos Than Other Ethnic
Groups. As A Side Note, Filipinos Are The Kings Of Karaoke. They've
Created A Culture Of Partying Based Around Karaoke Singing."
http://adobochronicles.com/2014/04/23/stanford-university-researchers-discover-music-gene-among-filipinos/
http://adobochronicles.com/2014/04/23/stanford-university-researchers-discover-music-gene-among-filipinos/
CERTAIN FILIPINO POPULATIONS (FILIPINOS FROM CERTAIN REGIONS) HAVE ABOVE AVERAGE MUSICAL ABILITY. THEY CAN SING EXCEPTIONALLY WELL, PLAY INSTRUMENTS EXCEPTIONALLY WELL, AND HAVE A KEEN MUSICAL EAR (CAN DISTINGUISH GOOD SOUNDING MUSIC FROM POOR SOUNDING MUSIC). I'VE MET A FEW AND SOME ARE MENTIONED BELOW.(BY THE WAY, I DON'T LISTEN TO THIS TYPE OF MUSIC ANYMORE. I DON'T LISTEN TO THIS HIPPIE, HIPSTER, HIP HOP SHIT. I STOPPED LISTENING TO IT IN ABOUT 2002. WHY? BECAUSE IT DOESN'T CONFORM TO MY RIGHT WING, CONSERVATIVE OUTLOOK ON LIFE. IT'S TOO LIBERAL, LAISSE FAIRE, AND LEFT WING! I'VE NOW RETURNED TO MY ROOTS IN REGARD TO MUSIC, WHICH IS GANGSTER RAP! I'VE BEEN LISTENING TO GANGSTER RAP NON-STOP SINCE ABOUT 2002!
https://www.youtube.com/watch?v=SSnRNBXK_BQ
I WAS FRIENDS WITH THE BZERKOS (THERE WERE 5 OF THEM). THEY WERE FROM SOUTH CENTRAL (THE LEIMERT PARK AREA). I LINED UP SHOWS FOR THEM (SHOWS IN SAN DIEGO, LA, AND THE BAY) AS WELL AS SHOWS FOR OTHER RAP GROUPS.
https://www.youtube.com/watch?v=SSnRNBXK_BQ
I WAS FRIENDS WITH THE BZERKOS (THERE WERE 5 OF THEM). THEY WERE FROM SOUTH CENTRAL (THE LEIMERT PARK AREA). I LINED UP SHOWS FOR THEM (SHOWS IN SAN DIEGO, LA, AND THE BAY) AS WELL AS SHOWS FOR OTHER RAP GROUPS.
I RELEASED A MIXTAPE IN 1998 THAT HAD EXCLUSIVE SONGS BY EMINEM, KEN
KANIFF, ETC. AND DROPS BY TALIB KWELI, RAS KASS, ETC. (I DIDN'T PUT THEM
OUT TO MAKE MONEY. I PUT THEM OUT TO PROMOTE ARTISTS, DJS, AND TO DO
SHOWS TO MAKE MONEY.)
I NO LONGER ASSOCIATE
WITH ANY OF THE PEOPLE I MENTION BELOW. I
HAVEN'T SEEN THE MAJORITY OF THE FILIPINO DJs BELOW IN OVER A DECADE.
Brandon
Givens And His Brother Bryan Givens Helped ME Sell The First Critical
Beatdown Mixtape (Darwinism) And The Second One (Strategic Savagery
Later Named MONOTHEISM With A New Cover). Bryan And Brandon Are From
Cerritos. I Played On A Traveling Basketball Team With Them As A Youth
(They're The Cousins Of Kenny Brunner). Bryan Went To SDSU.
DJ EROK https://twitter.com/#!/dj_erok
DJ ICEWATER (Pharcyde And Many Others He's Affiliated With) https://twitter.com/djicewater/ http://www.youtube.com/watch?v=34sZgNkpULY Icewater's Part Owner Of This Joint. I'd Often Stop By When It First Opened.
DJ SHOTGUN (Goodie Mob And Many Others He's Affiliated With) https://twitter.com/TheeDjshotgun
GLEN BRIEVA (Roslynn Cobarrubias'S Blog Mentions It. http://itsjustright.org/2011/07/videos-just-another-girl-and-heres-what-really-happened-wjhy-i-stopped-djing/ People All Over California Had A Copy Of It.) Glen Went To SDSU. https://twitter.com/roslynnc
I Believe Roslynn Went To Walnut High School And I Believe I Impressed
She And Much Of Their Student Body When Los Altos Played Against Them. I
Dunked During Warmups And Had Several High Flying Acrobatic Rebounds
And Layups That Excited The Crowd.
DJ JAY P https://twitter.com/#!/DJJAYP
DEREK DAI
TYSON DAI
DJ CELLSKII (FEMALE DJ FROM VALLEJO). She Went To UCSD For Awhile. https://twitter.com/DJCelskiii
So Many Other DJs Involved In It.
I HAD ALL THE UNDERGROUND WEST COAST MESSAGE BOARDS CRACKIN' CONCERNING THESE MIXTAPES IN THE LATE 90S AND EARLY 00s. http://www.la2thebay.com/index2.htm
Was One Of Them. (JOE DUB MOVED TO HAWAII IN THE EARLY 00s. I WITNESSED
HIS NETWORKING AND MANIPULATING TO MAKE THAT HAPPEN ON VARIOUS
WEBSITES.) ALL DAMN DAY!
BRYAN
GIVENS AND I WENT TO SDSU. WE WERE SELLING THESE MIXTAPES AND CDs LIKE
HOTCAKES. I HAD EVERYONE SELLING THEM FROM SAN DIEGO TO SACRAMENTO. I
PUT CRITICAL BEATDOWN ON THE MAP. WE HAD SO MANY FEATURES AND UNRELEASED
SONGS FROM SO MANY DIFFERENT HIP HOP ARTISTS IT WAS RIDICULOUS. I WAS
RESPONSIBLE FOR ALL OF IT (I WAS THE MASTERMIND BEHIND ALL OF IT).
DARWINISM FEATURED UNRELEASED FREESTYLES AND SONGS FROM:
KEN KANIFF (ARISTOTLE)
RAS KASS
TALIB KWELI
ETC.,
ETC. This Came Out In 1998. A Couple Of Magazines Wrote Reviews About
This Mixtape In 1999. I NEED TO FIND COPIES OF THE COVER. IT HAD PHOTO
OF A CAPUCHIN MONKEY AS ITS COVER.
MONOTHEISM FEATURED UNRELEASED FREESTYLES AND SONGS FROM:
BZERKOS (I HELPED BOOK SHOWS FOR THEM THROUGHOUT CALIFORNIA) http://www.youtube.com/watch?v=NUsD8t-QyG8
GLOBAL PHLOWTATION ARTIST COMMITTEE
KIRBY DOMINANT
AND THE REST OF THE ARTISTS FEATURED BELOW (This Came Out In 2001)
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| Unreleased Aloe Blacc! |
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