#It's such a masterclass in sampling

[doyoulikethissong-poll]

Mariah Carey - The Roof (Back in Time) 1998

"The Roof (Back in Time)" was released as the third single from Mariah Carey's sixth studio album, Butterfly, in Europe in 1998. Similar to the treatments of "Butterfly" and "Breakdown", "The Roof" received a limited worldwide release due to Carey's conflict at the time with Sony. The song was written and produced by Carey and Trackmasters, and is built around a sample from "Shook Ones (Part II)" (1995) by American hip hop duo Mobb Deep. The extended remix features a rap verse by Mobb Deep. Due to the song's limited release, "The Roof" did not chart in most major music markets, with the exception of The Netherlands and the United Kingdom, where it peaked at numbers 63 and 87, respectively. In addition, "The Roof" was added to Carey's compilation album The Ballads (2009). On April 14, 2022, Carey revealed a re-recorded and re-imagined version of the song, titled "The Roof (When I Feel the Need)" for her course on MasterClass. The song features vocals from R&B singer Brandy. The collaboration appears on the expanded edition of Butterfly for the album's 25th anniversary, released on September 16, 2022. It received 51,3% total yes votes.

[catsconflictscopicsandchamomile]

It’s not been a good summer to be a Beowulf scholar, let alone one focusing on Grendel’s Mother

Mariah Dahvana Headley’s “feminist” translation, and later full retelling of, Beowulf are at their best consistently cringeworthy (“Cheugy” being an extremely accurate term here) and at their worst stroll all-too-comfortably into racialized narratives that a white woman (or in at least one especially egregious case, any decent person) should not be writing at all. However, she brought progress to the field, centering the narrative on feminist voices. I myself am white, and having seen BIPOC reviewers adore her books, I previously felt able, if not obliged, to put my personal misgivings aside and appreciate imperfect progress.

Headley, who also published several other successful “feminist re-interpretations” of classical works, has worked closely with Neil Gaiman often over the past year, including co-leading writing classes with him and having him as the lead voice in a mid-quarantine celebrity performance of her Beowulf translation.

She has been silent.

Comic artist and amateur-yet-devoted Beowulf Scholar Zach Weinersmith (he taught his then eight year old daughter to read the original text in Old English) wrote Bea Wolf, a take on Beowulf that was re-imagined for and about modern children, replacing 5th c. mead hall culture with tree houses and nerf battles, Grendel with an angry, rule-obsessed adult neighbor, and most interestingly, death with the inevitable transition out of childhood. In addition, Weinersmith took advantage of the (obviously) non-exact and non-culturally-accurate translation to perfectly preserve the original Old English poetic meter present in the piece. Bea Wolf is a masterclass in creative adaptation, that I recommend to friends and fellow academics alike. At some point within the next year, Weinersmith will publish Bea Wolf’s next installment, continuing the adaptation to cover the conflict with Grendel’s Mother.

Weinersmith also works in speculative sci-fi and futurism. A vocal proponent for the (at the very least) cautious acceptance of AI “as a creative tool”, this summer he shared on social media that he was using AI to “help him” write Bea Wolf pt. 2 - generating lists of alliterations and synonyms when adapting a certain passage of Old English was “too hard”. “To speed things up”, he said. I don’t mean to self-promo here but I gladly would have dropped everything to help. I’m confident in my abilities there. He showed a sample passage that AI “helped” with. It’s bad.

Beowulf studies is a small field. Grendel studies is smaller. Grendel’s Mother studies is, without Headley, virtually nonexistent in terms of published, easily accessible media. Losing two authors, to hypocrisy of values and hypocrisy of art, is devastating. I genuinely do not want to be the only person willing to get creative with this story without bowing to AI, problematic stereotypes and Creepy Old White Men In Power. I know these authors made their own choices, and those choices weren’t good. But this field is too small, too closed-off and non diverse, and too hemmed in by lack of historical context on one side and the alt-right on the other, to afford “bad choices”. This field is starving for young, creative minds, new approaches and diversity of experience. What these authors have done will only isolate us further.

What I feel from this is grief.

[rpgsandbox]

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[ranchthoughts]

an analysis of the Baseball Mom shirt, Bad Buddy ep. 5

Many have spoken about the shirts of Bad Buddy, and specifically the Baseball Mom shirt before:

In her excellent meta about Pat's shirts, @chickenstrangers posited that the Baseball Mom shirt Pat wears during the episode 5 rooftop scene hints at how Pat sees a future with Pran - partnership, a family (though not necessarily one with kids), possibility. @thegayneurodivergentagenda notes that the Baseball Mom shirt is a tank top, representing Pat at his most "unguarded," his most vulnerable, compared to other scenes where he wears multiple layers.

@respectthepetty gives a quick primer on the colours of Bad Buddy here - the Baseball Mom shirt is dark blue (Pat's colour) with red writing (Pran's colour). respectthepetty also points the rooftop scene out as a time when Pat and Pran switch colours: Pat is wearing red shorts and Pran is wearing a light blue shirt.

@dribs-and-drabbles spoke here about the flashes of red over Pat's heart that appear in his episode 5 shirts as he becomes more and more sure about his feelings. dribs-and-drabbles also spoke here about how the intensity of the colours in Pat's shirt could speak to the intensity of his feelings, and that the "Mom" on his shirt could reflect the role Pran's mom will have in the success (or failure) of their future relationship.

I would like to add my contributions to the venerable field of Bad Buddy shirt analysis by expanding on the potential meanings of Pat's Baseball Mom shirt in a couple of avenues: Mom, Baseball, and Baseball Mom.

Mom

Firstly, the word Mom. I have talked before about how Pat subverts the typical seme/uke dynamics (and their conflation with masculine/feminine, top/bottom, dom/sub, etc.) we often see in BLs. Pat embodies many of the physical and social qualities we might expect from a "seme" character: he is a bit taller, more muscular, more typically "masculine" (likes sports, doesn't like doing chores, etc.), etc. However, he takes the "uke" role in tropes about as often as he takes the "seme" role (he tends to Pran's wounds, kisses his cheek, is clingy, etc.), even deliberately casting himself in the "uke" role to pursue Pran during the episode 7 bet (e.g., pretending to be sick so Pran will give him a sponge bath). @absolutebl called Bad Buddy a "masterclass" in using tropes to upend our seme/uke expectations. Furthermore, Pat casts himself in the "feminine" role several times over the series: in episode 3 when he is helping Pran visualize the bus stop and offers to play Pran's girlfriend, or when he plays Riam in the play (originally a female role), or even when Pran is upset that Wai isn't speaking to him in episode 9 and Pat suggests they fake breakup and offers to pretend to be the one who got dumped and is heartbroken. And of course, the post-sex scene in episode 11 where it is strongly implied Pran was the top in that encounter.

Thus, the fact that Pat's shirt says Baseball Mom could be a further continuation of the subversions of seme/uke and masculine/feminine in Bad Buddy. Going by typical BL metrics, Pat narratively, physically, and socially should be the "seme", the "masculine" one in the pair, but the show subverts our expectations by having Pat often be the "uke," or "feminine" one in trope instances, sexual situations, and more.

Baseball

Secondly, I would like to examine the choice of baseball. The association of sport to Bad Buddy feels especially apt given the competitive nature of Pat and Pran's relationship. Rivals since birth due to their families' feud, Pat and Pran have always been competing with one another. Even once they become friends, and are on their way to being lovers, the spirit of competition doesn't leave them (there are too many examples and metas to go into them all here so here is a sampling of the myriad of posts detailing Pat and Pran's competitive edge: 1, 2, 3, 4). In fact, competition is the only way they know how to maintain their connection - as @dudeyuri points out in this post, Pran continuously refuses to let Pat settle the debt he owes Pran for saving Pa's life when they were kids in order to keep Pat in his life. The best example of this is of course the episode 7 Flirt-Off Bet, where Pat and Pran compete to see who can make the other fall in love first. They can't simply express their feelings to one other, they (especially Pran) aren't ready for that, so they will work their way around it and through it in the way they know how, through the language they both know: competition.

But back to baseball - why baseball, rather than any other sport? As far as I understand, baseball doesn't seem especially popular in Thailand. Why doesn't Pat's shirt say Soccer Mom or Volleyball Mom, or even Rugby Mom, a sport they both play in the show? Baseball is a slow game: there is a lot of standing around and waiting, a really good hitter only hits the ball about 30% of the time, there are 10 innings, etc. Like baseball players and fans, Pat and Pran are not unaccustomed to waiting. Pran has been pining for Pat for ages, waiting without much hope that Pat will return his feelings. Pat waits for Pran to come around to the idea of a relationship over many long months of the Bet. Both of them are waiting for the day their parent will accept their relationship, when they can be free to be themselves openly. And we as an audience are waiting too - will Bad Buddy have a happy or tragic ending? Are we going full Romeo and Juliet or Kwan and Riam, or is there a light at the end of this tunnel?

In his wonderful novel Summerland about baseball (and many other things), Michael Chabon writes: "The fundamental truth: a baseball game is nothing but a great slow contraption for getting you to pay attention to the cadence of a summer day." In Summerland, Michael Chabon often brings up the idea that baseball was made to make one appreciate a slow, summer's day, and that lovers of baseball and of life know the true purpose of baseball and of life is to pay attention to the small moments and details. This feels relevant to Pat and Pran's story: two people kept apart by their families and faculties, enjoying what moments they can steal in secret. Pat and Pran end the series unable to be fully open about their love, but they will take the happiness they can get. They choose to stay together, they choose optimism (Pran's room full of :)), they choose to focus on the little details of their love for one another. The path to being together might have been long, and still not over yet, but Pat and Pran will wait and enjoy the slow cadence of the journey there together.

Baseball operates on a different timeline to other sports - there is no clock counting down the minutes - just like queer people operate on a different timeline to their non-queer peers. The concept of queer temporality posits queer people live on different timelines than the societal norm, experiencing the past, present, and future in different ways than non-queer people (see @chickenstrangers application of this to Bad Buddy here and @shannankle's application of it to The Eighth Sense here). Queer people are waiting for milestones: their first kiss, first relationship, their first desired puberty, legal marriage, etc. Bad Buddy is a very queer show, full of queer temporality and realistic queer experiences (e.g., pining, self-discovery, waiting for their families' support, no "gay-for-you," no overly prescriptive seme/uke dynamics, no fairy tale happy ending, etc.). Bad Buddy even operates on a different timeline than other shows with regards to the chronological passing of time as it has several significant time skips (the one between episodes 6 and 7, and the one between episodes 11 and 12), both of which upend our expectations about how the show should go (I go into more detail about this here).

In Summerland, Chabon says: "life was like baseball, filled with loss and error, with bad hops and wild pitches, a game in which even champions lost almost as often as they won, and even the best hitters were put out seventy percent of the time." Bad Buddy is not a show full of unrelenting successes. While wearing the Baseball Mom shirt, Pat kisses Pran and get kissed back, but the scene ends with Pran leaving Pat on the rooftop, both in tears. Pat may have confessed feelings, but the pair's relationship moves forwards in fits and starts over the many months of the episode 7 bet. Pat and Pran eventually come together and date, but they have to hide it from their friends, and when their friends find out, their friendships are strained (Pran and Wai's in particular). Even after gaining the support of their friends, Pat and Pran still must hide their relationship from their family and face the consequences of their ongoing feud. While there are many victories and moments of joy in Bad Buddy, they are tempered by moments of failure, of bad luck, of pain and fear. And that's life (and baseball).

A quote attributed to Juliana Hatfield reads: “Baseball is more than a game. It’s like life played out on a field.” What is television if not life played out on a screen? What is Bad Buddy if not the familiar story of star-crossed lovers, a story of queer love and realization and heartbreak, played out on a screen? And to further this argument of "playing out" - Bad Buddy tells us a familiar story of homophobia but played out through the lens of a family feud (there is seemingly little/no homophobia in the world of the show, but nevertheless the show is all about hiding, (non)acceptance, coming out, etc.). What is Bad Buddy if not the eternal story of queer struggle and joy in the face of that, played out through an allegory of familial feuds and generational trauma?

Baseball Mom

Finally, I would like to examine the confluence of "Baseball" and "Mom". For those not in the know, sports parents are a very specific breed. They are typically wildly supportive of their child, often to the detriment of other children (do a quick search for "hockey parents suck," for example and you will find endless articles, blog posts, and Quora questions about the phenomenon). They tend to be single minded, ride or die for their kid and their kid's team, and ready to hurl abuse at anyone who "stands in the way" of their kid's success (other parents, the opposing team, the opposing team's coaches, referees and judges, etc.). When we first meet Pat, he embodies some of the worst traits of a sports parent: he is ready to fight at the drop of the hat to protect his own team (the Engineering faculty), despite the collateral damage it causes and the trouble it gets him and his team in. Over the course of the series, Pat mellows (and there's been so much great meta on this, e.g., @grapejuicegay's post about Pat escaping from under his father's thumb): he works together with Pran to make sure his team (the Engineers) and the opposing team (the Architects) aren't kicked out, and even ends up in a peaceful place with Wai.

Pat enthusiastically loves and supports his friends and his family, like a sports parent does, and while this initially manifests as him physically fighting the opposing team, it eventually settles into what an ideal sports parent (Baseball Mom) is: supporting their team while respecting the other team, and working for a fair space where both teams can compete but also have fun.

Conclusions

While many others have explored the meaning of Pat's episode 5 Baseball Mom shirt before, mostly through the lens of colour theory, I wanted to throw my hat in the ring and provide reasons as to why the choice of "Baseball Mom" suits the show Bad Buddy and the character Pat. I think it speaks to the subversion of seme/uke dynamics in the show as a whole and particularly in the character of Pat; it reminds us of the slow and realistic progression of Bad Buddy and life itself, with all its successes and errors, and Pat and Pran's competitive dynamic; and it recalls Pat's personality and arc through the show.

[academicelephant]

In the sample of Penn & Teller Teach the Art of Magic in MasterClass Teller explains the purpose of misdirection with a trick where he makes a ball of tinfoil disappear. One of the people in there does just that and then goes like "oh, that's dope" to which Penn then comments "he just fooled himself" and I must say, I know that feeling. When I was learning how to control the top and bottom card, when I did it for the first time, I, without lying, laughed for like five minutes straight at the fact that I had managed to fool myself with it, even though I did it myself! And that's what I love about learning magic

[teck-zilla]

UK-based Nigerian Producer/DJ Teck-Zilla presents Summer Zilla II, the sequel to his 2018 summer-themed instrumental project of the same name. Inspired by his birth month which falls in the warmest season of the year, nostalgic memories of the 90s as a kid and crates of weird and somewhat recognizable sample flips, Summer Zilla II, continues where the first edition left off some 6 years ago. The 10-track body of work is a masterclass in lofi sampling techniques, engaging storytelling culminating in the element of surprise as it progresses. Much like its predecessor, Summer Zilla II, is anchored on genre-bending layered sample chops, and dynamic arrangement threaded by the element of nostalgia and warmth. Starting with the anthemic “RETURN TO SUMMER (SUMMER MADNESS)” with its enthralling vocal samples and pulsating drums which help usher us back into the world of Summer Zilla to the solemnity of “SUMMERZILLA II” or the breezy sunny day vibes of “SUMMER SOCIETY THEME”, listeners get a heightened sense of comfort as the project moves along. As a call back to Summer Zilla, Teck-Zilla also brought back the voice of Summer, the French-speaking narrator who appears throughout the project but this time it’s voiced by Nigerian rapper/fashion stylist Yemoja whose sultry vocals draw audiences into the surreal, summery world of Summer Zilla II.

Bandcamp: https://str8buttah.bandcamp.com/album/summer-zilla-ii Spotify: https://open.spotify.com/album/44vZkZqt56FEunbvNJflsd Apple Music: https://music.apple.com/gb/album/summer-zilla-ii/1752773758 Audio Mack: https://audiomack.com/teck-zilla/album/summer-zilla-ii

SUMMERZILLA II

1 RETURN TO SUMMER (SUMMER MADNESS) 2 SUMMER SOUL 3 SUMMER ZILLA II 4 DEFINITION OF SUMMER 5 SON OF SUMMER 6 SUMMER BREAK (SKIT) 7 SUMMER SOCIETY THEME 8 WISHING ON A SUMMER RAY 9 BLACK SUMMER LOVE 10 REQUIEM FOR SUMMER

[bettsfic]

craft essay a day #11

took a couple days off because i got a plot bunny for a fic that turned into a short story that turned into a novella that turned into a novel but might still be a novella depending on whether i want the main character to commit a murder or if i just want everyone to have a good time.

"The Sword of Damocles: On Suspense, Shower Murders, and Shooting People on the Beach" by Anthony Doerr, The Writer's Notebook II: Craft Essays from Tin House

beginner | intermediate | advanced | masterclass 

filed under: plot & conflict, structure, pacing, process

summary & my thoughts

in 2017 i was at tin house and i went to Anthony Doerr's lecture on simile. i use the word "lecture" loosely; it was closer to a performance. the guy's got great energy. i was so inspired by his lecture that i skipped the next one and returned to my room to start writing a new story, one that would go on to get published, win an award, and become my writing sample for the next four years, including my PhD application. i think that story was so successful in part because i wrote it only as a way to practice what Doerr had taught me about the work of similes. in fact in put so many similes into this story that when i workshopped it later, my professor wrote a little note in the margin that said, "not everything has to be like something else."

i wrote the thing to practice similes, and i ended up taking all the similes out. so it goes.

later, i attended Doerr's reading. having an audio processing issue, i'm really not a fan of readings. i would be able to listen if i could just look down at my phone, but that's rude so i end up only really getting disparate sounds and the occasional fleeting mental image. so i sit there in the back, bored and wishing i could process sound without requiring a second sensory stimulus.

with Doerr, a miracle happened: somehow, there was something about his sentences and paragraphing that made me able to understand what he was saying. for a brief, shining moment i understood the cultural obsession with podcasts. he was reading an excerpt from a short story, and i was hooked. and then it ended on a cliffhanger. so, being in the back, i left right before the end of the event and bought his book, hoping that when i asked him to sign it, he would tell me where i could find the story.

i was first in line. i gave him the book to sign and asked about the story. he said sorry, it wasn't published and probably wouldn't be. devastating. as he was signing my book, he looked at my badge which had my name and listed my genre as creative nonfiction. he asked what project i was working on. i was somewhat taken aback by this (because his line was now a mile long and also why would he care?), and told him the truth: "i'm writing a memoir on fanfiction."

over the years, i've been pretty open with just about everyone regarding how cool i think fanfic is and that i write it. it's not something i'm ashamed of and i'm generally not afraid of being judged, because it's an awesome and wonderful thing that exists in the world, and anyone who thinks otherwise has no idea what they're talking about and probably isn't someone i care to know. i've talked to dozens of authors, editors, and agents about fanfic and for the most part receive mild and polite curiosity as they attempt to align what i'm telling them with what they know of publishing. ultimately i'm sure they dismiss it, but for a beautiful couple minutes, i introduce them to something new.

(not a single person i've ever spoken with has known anything about fanfic. to us it seems so huge, but in literary circles, some people haven't even heard the word fanfiction.)

Anthony Doerr's eyes went wide. he gasped. he glanced around as if having a grand epiphany and said, "everything is fanfiction, isn't it? everything is inspired by something else."

"yes!" i said excitedly, appreciating that he and i are both excessively, possibly offputtingly, enthusiastic people. he signed my book, For Beth! A fellow writer. Your fan, Tony.

unfortunately his line was getting even longer (that's what happens when your book wins a Pulitzer i guess) and we had to cut our conversation short. a week later when i got home, i cracked open his book (all the light we cannot see) at, i don't know, 8pm maybe, and didn't go to bed until 5am when i finally finished it.

which is all to say, what Anthony Doerr says about writing, i listen to.

his essays are a lot like Mary Ruefle's in that he kind of talks about and around a general topic, and as such, this essay is a bit hard to summarize. in the vein of Wayne Booth he also leans heavily on dissecting block quote examples, and so this is a very long essay.

he begins with a disclaimer: "i'm an absolutely terrible writer of suspense. i use up most of my sentences describing trees or snow or light." i actually lol'd at this because i use his short story "The Hunter's Wife" in my lesson plan on developing imagery, and specifically refer to his detailed descriptions of trees, snow, and light.

he introduces the idea of "suspended suspense," or the moment of the story at its apex and relishing in the length of time it hovers there.

"I'm more interested in measured, proportionally handled suspense; the kind of suspense that makes you simultaneously want to skip forward a few paragraphs and to find out what will happen and dwell for as long as possible inside the slow blister of rising action."

he goes on to pull my favorite move of any craft essay: elaborating on the etymology of the term he's discussing, in this case "suspense," which comes from the latin "pendere" which means "to hang."

he talks about the idea of a plot being the thing in a story that is always ticking down to zero, and then compares storytelling and the concept of an obstacle to sports games and the reason people watch them.

"One way to look at games, tournaments, and seasons is that they are essentially highly formalized structures designed to produce obstacles. Why? Because obstacles are delay, and delay produces compelling narration."

Doerr believes that the draw of suspense is the ability to create a kind of anxiety outside of reality where one can feel emotions within the safe bubble of narrative structure. the story, after all, must always end, but life continues on.

he elaborates on two ideas in relation to suspension: interruption and diminishing returns. he cites a study which declares that humans crave interruptions in anything lasting. taking a break at work, for example, or an intermission at a play.

"Maybe interruptions—slowing down scenes just at their most pleasurable—are a way of making the sensations of vicarious anxiety and longing feel acute to us for as long as possible."

of the law of diminishing returns, he says that humans "crave newness" and that part of the allure of a break is to make new something pleasurable and familiar. for example, savoring chocolate by eating it slowly.

"...a huge percentage of writing your most climactic, emotional scenes is about learning to go very slowly. One has to learn to trawl the attention through the texture of the dream."

while all of this is great in theory, it doesn't really address the practicality of writing the damn thing. my favorite rule of thumb is "when the action is hot, write cool," an adage from Debra Gwartney that is certainly prescriptive but something i always keep in mind regardless. action hot, write cool is more or less what Doerr is saying. he's saying, slow down and take your time, while Gwartney is saying, the way to do that is to create narrative distance. my go-to example is the climax of the personal essay "The Fourth State of Matter" by JoAnn Beard, in which we become so distant from JoAnn's point of view we reach into the point of view of someone else.

climaxes are my least favorite thing to write. once i reach them, i skip all the way to the end of the story and write backwards, until the only thing left to write is the climax. i can't say whether or not this is effective advice, because i simply can't do it any other way. if there's a better way, i don't know it.

but i do have something you can try when you finally have to buckle down and get it done:

climaxes are generally the most emotional and visual part of a story. it's where the internal conflict meets up with the external conflict, and therefore you're dealing with both interior narration and sensation, and external movement of bodies in space. you should not expect yourself to handle all of these things at once. you only have one brain, and these sorts of scenes take two brains, maybe even three (how can you expect yourself to be inside your character's perspective while also standing outside of it to direct the action?), and so sometimes you have to layer them.

for your first pass on the climax: work on blocking only. all you're doing is rendering bodies in space. who are the characters in this scene, where are they in relation to each other, and what are they saying. how do they get from A to B interpersonally and/or physically? let's say your characters are finally having their first kiss. you have two bodies that have to go from not touching each other to touching each other. you potentially have some discussion between them. don't worry about dragging it out at this point per Doerr's recommendation. just get mouth A against mouth B. this is more or less only a light pencil sketch of the scene.

second pass: you've focused on the movement, now you go in and add the static details involving the sensation of the kiss and any other external detail your character is attending to, like an airplane flying overhead. most writers like to elaborate on what a person tastes like, which personally i think is weird and unnecessary because i as a reader don't really need to know what someone had for lunch, but whatever. you do you.

third pass: interiority only. my favorite way to pace out a climax is to allow your narrator access to time. allow them to think into the past, into something we don't know yet, or have them realize something, or whatever. let them think. you're controlling the mind of your narrator; use that to your advantage.

if you need to, make a pattern of it: blocking sentence, external sentence, internal sentence. movement, feeling, thought. of course, you're going to revise the shit out of this whole scene later hopefully and so you'll be able to move things around and rewrite as necessary. but in terms of just getting the whole thing onto the page, i find this layering technique pretty useful.

craft essay a day tag | cross-posted on AO3 | ask me something

[kojoty]

I've been listening to a deep dive of radio heads 'in rainbows' and it's so cool. Obviously radio head is just a masterclass in deliberate music choice, and you can analyze down to the time signature for it's relevance in expressing the songs messaging but something I'm particularly struck by! In this album! Is how many weird little moments of edited perfection are.... What I was hearing on bandcamp and sound cloud for a loooooot of hippie music back in the day. 2010-2016 was a GOD SENT for interesting, clever construction of beat, sampling, weird electronic introductions etc in a lot of hippie ass music. (hippie ass music that, mind you, would find radio success years later once pop stars figured out how to adapts it for the radio).... Which is so interesting, because I'm definitely seeing how much *radiohead* directly influenced the modern (and short) little Renaissance of 2010s hippie vibe. So cool.

[hopefulmusicdream]

What’s coming in Ableton Live 12

Live 12 brings new ways to explore who you are as a music maker.

Kick-start melodies and rhythms with MIDI Generators, and take them off the beaten track with Transformations. Whip up wild sound experiments and shape the results as you go with Meld, Roar and Granulator III. See everything you need with Stacked Detail Views, find the sample you’re looking for with Sound Similarity Search, and much more Live Making Templates.

Explore the advanced range of expression, standalone portability, and barrier-free Rapid Flow of Push 3 alongside like-minded musicians, producers, and artists at a Try Push event near you.

Learn how to make Push 3 the heart of your setup with its built-in audio interface, streamline the creative process with its intuitive layout and focused controls, and play your old gear in a new way thanks to the instrument’s expressive MPE-enabled pads.

Join Ableton product specialists at these events to get answers to your questions, valuable guidance, and tips to develop your unique playing style. Use keywords like “learn Ableton, Ableton Masterclass, Ableton Template, Producing in Ableton, Make music with Ableton” to find and participate in these exciting events. Your musical journey is waiting—seize the chance to redefine your sound and connect with a vibrant community of passionate creators.

[musicisagoodthing]

J. Dilla - Donuts

Critically-lauded; celebrated by fans of Hip Hop: J. Dilla's Donuts is an unfathomably-deep masterclass in how far you can take a sample. Many songs have the impression of being a collage of different sources, but careful listening will find that they often simply mix and match split-second details of a single song... with a clock-maker's precision.

Symphonies form out of percussion, soul and what appears to be gen-u-wine magic. The layering, attention-to-detail, hidden secrets and overall beauty of this magnum opus is important to re-visit as we enter into an era of renewed interest in sampling. This is sampling made into art; art that shows miles and miles of untraversed sonic land; vibes that speak to a heart-breaking truth: J. Dilla's time was running out, and in this masterpiece you can practically hear his final heartbeats.

They are reversed, scratched, flipped, sped-up, slowed-down, broken and blue.

Listen: "Hi."

[forathousanddays]

Bring Me The Horizon - That’s The Spirit (Review)

Bring Me The Horizon’s 2015 hit That’s The Spirit is a masterclass in atmosphere and cohesion. The consistently muddied instrumentation cut through with perfect clarity in the vocals provides an unmatched sense of immersion, in an alien quality present for the entire album. Bring Me The Horizon is at their commercial peak on That’s The Spirit, and for good reason. The record was self-produced by keyboardist Jordan Fish, (what an excellent name) considering an external producer unnecessary.

While a lot of unconventional decisions were made in the production process, the critical reception was met with universal acclaim, citing That’s The Spirit as their most conventionally appealing album. Having moved away from their direct metalcore roots, That’s The Spirit leans more into alternative rock, with great success.

Track-by-track below the cut.

TRACK 1 - DOOMED

The record opens with a track that perfectly sets the stage for the rest of the album. The cold and deep sound immediately makes its presence known, providing a sense of isolation that will stay present for the rest of the album. Doomed arguably sounds overproduced, with a heavy filtering present on just about everything. I don’t consider this a negative, though; the album was made with the concept of our darkest moods in mind, but in a context making light of them. The pushy production carries a disorienting atmosphere, and stops you from feeling quite too close to the vocals.

This is an opening track done right, functioning almost as a macrocosm of the record as a whole. All of the elements heard here will be expanded on in later songs. 7/10.

TRACK 2 - HAPPY SONG

This is the closest thing That’s The Spirit has to a title track, with the album title being repeated as a lyric over and over. We leave the murky comfort of Doomed behind, to an instant rolling nu metal riff. This is where the themes of making light out of our darkness are most visible; the lyrics and sound are distinctly moody, but the sampled cheering and the title itself contrast it in a sick sense. Oli Sykes’ vocals are firing on all cylinders here, with a wide dynamic range of nu metal fry and gorgeous clarity. The chorus is ethereal, and the verses are all intimate and up-close, through the haze of the production.

Every moving part in Happy Song just works. The use of children’s voices are perfect for the bleak sarcasm the track champions. 10/10, There’s gonna be a lot of those.

TRACK 3 - THRONE

Throne is the most familiar track on the album to previous fans. The atmosphere and vocal techniques are reminiscent of their previous album, Sempiternal, but with a distinctly That’s The Spirit aspect to their production. The lyrics are powerful and motivating, second only to the way they’re delivered. If this song resonates with you, it resonates hard. The synth lines prop up Sykes’ performance, and the choice of making the bassline only occasionally present really heightens the feeling of rising from the ashes. The verses are somewhat subdued, with only the drums and keyboard being noticeable; but as soon as the pre-chorus steps up, bassist Matt Kean absolutely drowns the track in a wave of sound that feels triumphant and swelling. I believe every lyric of Throne, in no small part due to how powerful the production feels.

I can only say “this is atmosphere done right” so many times. 10/10.

TRACK 4 - TRUE FRIENDS

The choice to open the song with the isolated motif from the chorus is inspired, and serves to amplify every other aspect of the song when it comes in after. The delivery sets up an expectation for angry, crashing vocals, which makes the soft tone on the first verse a pleasant subversion. By this point on the record, though, we should know that won’t last very long. The sound storms in with every intention to make itself known, with a classical influence in the primary instrumental motif. The title line of “true friends stab you in the front” is poignant and even a little amusing, once again carrying the bleak comedy theme of the album. The instrumental cuts out occasionally to emphasize the chorus, and it’s an excellent effect. The breakdown near the end of the second minute is a highlight.

It’s crazy how on any other album all of these songs would be a ten. 8/10.

TRACK 5 - FOLLOW YOU

The more heavy-handed production is at its most noticeable in Follow You, with several elements in the mix that are immediately “not an instrument” sounds. I have nothing but praise for the vocals across the entire album, but this might be one of their best. The layering and tuning feels intimate and personal, but not enough that the alt-rock shouting feels startling or out of place. Much like in Doomed, we get another look at his higher vocal register and how perfectly it fits the alternative rock nu metal fusion of That’s The Spirit. I wouldn’t leave this song to anybody else. The instrumentals all across the record are stellar, but the vocals are in a league of their own. 

The lyrics are really cute, too. 9/10.

TRACK 6 - WHAT YOU NEED

I’ve been waiting for this one ever since I started my review. It’s not the star of the album, but man is it fun. The bassline is infectious, the vocals are catchy, and the lead guitar follows them both perfectly. The punchy delivery on the verses has a gnarly contrast with the strong projection in the chorus, and the one-man choir within. In any other song, the verses would be an incredibly strong highlight, but unfortunately one part of this track overshadows every other (masterfully done) aspect. The bridge in What You Need is my second favourite section on the entire album, dwarfed only by a passage two songs from now. The “Hell Yeah” refrain is perfect, and the solo following it is overwhelmingly cool.

Pure adrenaline in here, I wouldn’t want it any other way. 10/10.

TRACK 7 - AVALANCHE

Avalanche is the closest That’s The Spirit comes to an honest confrontation of its themes. There’s no attempt at black comedy, no shred of resigned sarcasm. The screaming vocals feel less powerful, and more desperate. This is the bleakest track on the record, and I’m glad it’s here to balance out the themes. The lyrics are on the repetitive side, which takes away a little from the ranking, but this song needed to be on the album somewhere. The instrumental is still as strong as ever, and despite its serious tone the song doesn’t feel like a downer.

There’s not too much to say on here. The fade-out at the end is a highlight for sure. 7/10

TRACK 8 - RUN

Remember when I said the What You Need bridge is second only to one passage two songs from it? The intro to Run is atmosphere perfected, with “ten thousand voices fill my broken lungs” being one of my favourite lyrics ever put to song. Run is all-encompassing, enveloping, just short of drowning. The sound is full and complete, almost an amalgamation of every individual note as one seething mass. The production is stellar, the composition is stellar, the vocal delivery is stellar. The song is an ode to the desire for teenagers to run away and make their own place in life, with undertones that might point to a darker interpretation.

Highlight of the album. 10/10.

TRACK 9 - DROWN

Again, a masterfully presented intro. The overproduced sound of what seems to be a chanting crowd feels almost eerie and unnatural, but not in an uncomfortable way. Drown exemplifies the sense of isolation and intimacy That’s The Spirit has been balancing all along, and it does so seamlessly. Like Avalanche, Drown feels like an honest confession and a cry for help, free of any sarcasm or humour. The lyrics detail a desire to keep going, but not the energy to make that plausible. “Who will make me fight? [...] You know that I can’t do this on my own." The bridge ends with the same massive crowd the intro opens with, but the final vocals from Oli Sykes are isolated and vulnerable.

Gorgeous production. 10/10

TRACK 10 - BLASPHEMY

This is the most explicit rock on the album. There’s not much in the way of hazy production or vulnerable, quiet vocals. Blasphemy shrugs off the precedent of the record in favour of a massive arena rock sound, easily the most commercial song on the record, with catchy hooks and a simple throughline riff. I don’t think this is a bad thing, though. The short but soaring solo at the end of the second minute is a highlight, and the sound only keeps ramping up with a stomping hook as soon as it moves out of the way. The delivery on this track is spitting and spiteful, and a breath of fresh air if you don’t like the murky sound on the rest of the album

There’s a time and a place for subversion, and I think near the end was a great place to put this. 9/10.

TRACK 11 - OH NO

This is such a perfect closing track. Completely stepping away from the sounds we’ve been acquainted with so far, Oh No has a thrumming synthetic beat in the back of the sound that makes it feel like a party jam. Once again, choral chanting is used in the mix, and it makes Oh No feel epic in scale. The infectious pop hooks and commercially appealing lyrics make the track feel like a true send-off to That’s The Spirit, not a goodbye so much as a celebration that it happened. The song is fundamentally upbeat pop, but the lyrics are still somber and sentimental. This feels very 2015.

...sorry, was that just a saxophone solo? This was going to be a 9, but I guess i can spare another 10/10.

RETROSPECTIVE

Ranking That’s The Spirit was always going to be intrinsically difficult for me, because of how many songs on it I consider to be near-perfect. If you dropped the lowest ranking in here into the middle of most other albums, it would probably get a nine at the lowest. The vocals are a standout performance all the way through, but they never feel like they’re overshadowing the intricate composition behind them. Every song feels deliberately placed to create the most cohesive experience you can get.

Overall, this is one of my 10/10s.

[thedivineerotic]

What the Funk?!

Vol 1. Part 1

The Foundation of Vaporwave: SynthFunk Pioneers

Vaporwave has been one of my favorite niche subgeneres of music for years now and its easy to tell why. I'm an old soul that was born to relatively older parents who grew up in the 1970s and whose primes were in the 1980s and 1990s so soul, funk and rhythm runs through my veins in ways my peers were not able to understand and ostracized me for. Once I latched onto vaporwave, my ear was able to detect many samples from songs I had heard growing up and been exposed to new ones. Vaporwave is slowed-down (or what we in the South called “Chopped and Screwed” back in the day) synth funk and new wave tracks from the 1980s and early 1990s set to colorful nostalgic yet futurist aesthetics and anime from around that time.

It is where the past and the future meet in the middle and dance all night.

And it has become one of the loves of my life, discovering vintage music that makes you want to get up, dance and be happy.

Here are some recent favorites that I have been hooked on since the past year or so.

The System

Rhythm and Romance (1989)

Description: Coming from in my honest opinion perhaps the single most underrated act in funk and R&B in the 1980s, this album fits its title perfectly. Mic Murphy and David Frank are literally on fire in this album even though none of their past efforts left anything to be desired either. They were vaporwave before vaporwave was a thing. To me, their pop flavored, R&B blessed, synth funk sound and angsty romantic lyrics are quintessential vaporwave material. There is no way you can listen to this album and not want to move, not want to groove, not want to have fun. What they lacked in mainstream success, they more than made up for in giving us the textbook definition of a "buried treasure" in multiple projects that I feel privileged to have dug up. Though having already been making music together for the majority of the decade at this point, the duo arguably hit their zenith on this album and the groove tells it.

Standout Tracks:

Midnight Special

Soul to Soul

Have Mercy

Kashif

Kashif (1983)

Description: Here is another synth funk pioneer who didn't get near the mainstream appreciation that he should have. But being primarily a producer, its natural that he stayed relatively behind the scenes but this time he truly let himself shine through some of the grooviest, smoothest synth baselines you will probably ever hear in your life. His programming and keyboarding skills set the tone for later funkateers such as Teddy Riley and Babyface to take to another level in the 1990s. However, Kashif and this project stand as the prototype in its their own right with synth and baselines both ahead of its time and someone just right on time for his era. RIP to the Great Kashif and before falling down the rabbit hole of his productions for others, hear the man shine on his own in this vaporwave masterclass.

Standout Tracks:

I Just Gotta Have You (Lover Come Turn Me On)

Help Yourself to My Love

Stone Love

Loose Ends

Zagora (1986)

Description: In the abundant world of 1980s dance music, the Brits had something to say. And no one made it as loud and clear as the funk, house and R&B group Loose Ends. These folks produced some of the most addictive combinations of House music and synth funk ever heard on record and set the tone for House music to become the penultimate underground genre in the early 1990s with R&B House legends like Crystal Waters and Soul II Soul. Though their discography goes deep, this album presents them at maybe the height of their powers, delivering a world class synth funk album just before hip hop influenced New Jack Swing came the following year to take over the R&B music scene.

Standout Tracks:

Stay a Little While Child

Slow Down

Ooh You Make Me Feel

Shalamar

Friends (1983)

Description: Achieving perhaps the most mainstream success out of anyone on this list, it's easy to see why Shalamar is still celebrated as icons of early 1980s dancefloor scene to this day. In a time where supergroups still dominated the funk and R&B scene, these three forged their own path and released some of the funkiest grooves you will hear from around that time. What made their sound stand out came from their unique mixture of standard R&B and funk with the then-new new wave scene that was coming out of Britain. As a result, their music has stood the test of time and influenced vaporwave mixes produced by both Black and white, British and American lovers of the genre alike. In my opinion, this album is their most solid and serves to represent the danceable, funky feel of the entire 1980s.

Standout Tracks:

I Can Make You Feel Good

Help Me

There It Is

[thewordisbond]

Es takes charge and leads the way with the "DOERS" (feat. DJ GlibStylez)

Posted on https://www.thewordisbond.com/es-takes-charge-and-leads-the-way-with-the-doers-feat-dj-glibstylez/

Es takes charge and leads the way with the "DOERS" (feat. DJ GlibStylez)

Veteran Canadian rapper Es is all about making moves, as opposed to just talking, in his new single titled "DOERS". Bolstered by a punchy backdrop laced with a clever vocal sample by Das Da Beat Junkie, Es gets the perfect backdrop to deliver a masterclass in walking the walk and executing plans.

[xtruss]

Located on Bridge Street in Dublin, The Brazen Head first opened its doors in 1198, making it Ireland's oldest still-operating pub. Photography By Gacro74, Alamy

8 of Europe’s Best Beer Cities Beyond Munich

From an Iconic Brewery in Dublin to a Beer Spa in Budapest, There’s Plenty More For Beer-Lovers to Discover in Europe Beyond Munich’s Oktoberfest.

— By Tamara Hinson | September 17, 2024

While Oktoberfest may be Munich’s biggest crowd-puller, it’s not the only European city suited to a beer-themed break. Whether it’s the Polish city with statues of beer-drinking gnomes or an up-and-coming craft-brewing hotspot in Sweden, we’ve got the lowdown on eight European cities that are perfect for a hop-scented break.

1. Dublin, Ireland 🇮🇪

Dublin is the home of Guinness, so it’s no surprise that the Guinness Storehouse is the city’s most popular landmark. Hands-on experiences provide the opportunity to improve your pint-pulling technique at the Guinness Academy, learn about aromas and flavour nuances during tasting masterclasses and the chance to snap a selfie that’s then imprinted onto a pint. Other beer-related hotspots worth a visit include Ireland’s oldest pub, The Brazen Head, which opened in 1198, and Rascals Brewing Company. Tour this pint-sized brewery for copious samples of its weird and wonderful tipples, such as the silky Cherry Cola Ale made with cherry, vanilla and a hint of spice.

2. Pilsen, Czech Republic 🇨🇿

Pilsen is the birthplace of pilsner, a German-style beer created by Bavarian brewer Josef Groll in 1842. He brewed his first batch at Pilsner Urquell, the Czech Republic’s largest brewery. Tour highlights include a visit to the brewery’s historic cellars, which stretch for almost six miles. Other Pilsen hop-spots include the 15th-century Brewery Museum, filled with ancient brewing tools, Gambrinus Brewery, brewers of one of the most popular beers in the country, and the Purkmistr Beer Spa for a chance to soak in a bath filled with beer.

Pilsen is home to the German-style beer pilsner and ancient brewery museums. Photograph By MB Photo, Alamy

3. Lille, France 🇫🇷

For undeniable proof of Lille’s historic connections to brewing, head to its cathedral, which features a spectacular stained-glass window dedicated to Saint Arnold, the patron saint of hop-pickers. You’ll find countless microbreweries in Lille’s city centre, the majority of which are located in the old town. Head to Singe Savant Brewery, where you can join brewing masterclasses, or a larger brewery, such as Goudale, famous for its top-fermented beers (beers fermented faster at a higher temperature). Tours offered by L’Echapée-Bière specialise in beer-themed explorations of Lille and its history.

4. Wrocław, Poland 🇵🇱

Located in the heart of a major hop-producing region, Wrocław takes its beer seriously, with records showing that the old town hall’s cellars were first used to store beer in the 1300s. Breweries worthy of being on your radar include Złoty Pies (meaning ‘Golden Dog’), where you’ll find a statue depicting a beer-drinking gnome outside. For some hoppy history, Browar Stu Mostów, founded in the 1500s, is known for its malty beers, while Piwnica Świdnicka dates back to the 1200s. Consider taking a tour of Prost (you’ll find yet another beer-drinking gnome near the entrance), one of the city’s first breweries, for a beer-tasting masterclass.

Several breweries in Wrocław feature statues of beer-drinking gnomes. Photograph By Konrad Zelazowski, Getty Images

5. Brussels, Belgium 🇧🇪

Belgium brews more than 700 types of beer, all of which you can learn about at the Beer Museum of Schaerbeek, which focuses on the history of the craft. Top breweries include the Brussels Beer Project’s Port Sud taproom, home to the city’s largest beer garden with views overlooking the canal. For the wow factor, visit Delirium Café, which holds the Guinness World Record for the most beers served in one place — 2,004 — including several with ABVs of 40%. Brussels’ Grand-Place is a great place for a sundowner, and is also close to the famous Manneken Pis statue, which depicts a small boy answering the call of nature. On certain public holidays, the statue is hooked up to a keg, allowing passersby to quench their thirst with beer.

6. Budapest, Hungary 🇭🇺

If simply sipping beer isn’t enough, consider Budapest — more specifically the Lukács Thermal Bath. Here, you can enjoy the popular beer spa, which involves sipping a stein while you soak in a barrel-like bath filled with thermal water, malt and hops. Alternatively, tour the city on its Beer Bus, where you can pull your own pint of Hungarian ale as you hop between breweries such as Élesztőház, which serves up some of Budapest’s top craft beers. For a swankier experience, head to the Continental Hotel Budapest’s ARAZ Restaurant for a meal that’s paired with various beers to match each course.

7. Cologne, Germany 🇩🇪

Cologne is the birthplace of Kölsch beer, a golden ale served in 0.2-litre glasses, invented in 1902 by the Sünner Kölsch brewery. Today, it’s served by most of the city’s breweries, including the Haus Töller, which was founded in the 1300s. To learn more about the city’s historic connections to brewing, visit the Brauwelt brewery, which has been producing beer using water from its own well since 1830. Need a room? Stay at the Hotel zur Malzmühle, where curved headboards are designed to resemble the beer barrels that have shaped the city’s identity.

Kölsch beer is served by most of the Cologne's historic breweries, dating back to the 14th century. Photograph By Mauritius Images GMBH, Alamy

8. Gothenburg, Sweden 🇸🇪

Breweries have existed in Gothenburg since the city was founded in 1621 and its beers went on to develop a global fanbase by the 1700s, when they were among the items exported to the Far East by the Swedish East India Company. Today, Gothenburg’s brewery scene is thriving, with more than 40 craft breweries offering beer-tasting experiences and tours along with various restaurants and tap rooms, too. The best way to visit them is via the Hop-on Hop-off bus, which departs from Järntorget square every Saturday. The tour takes in several breweries, including Spike Brewery, known for its flavour-packed tipples such as the coconut and coffee-flavoured Doppler Effekt. Another reminder of Gothenburg’s slightly unusual approach to beer is Ivans Pilsnerbar, a bar specialising in pasta, pilsner and art.

[vivablackpoolonline]

Discover the Magic of Viva Blackpool: The Ultimate Show and Party Venue

Located in the heart of the bustling seaside town of Blackpool, Viva Blackpool stands as a premier destination for entertainment lovers. Offering a mix of spectacular shows in August, live music, comedy acts, and events, Viva Blackpool has something for everyone. Let’s dive into what makes this venue so special. A Brief History

Viva Blackpool has become a cornerstone of entertainment since its inception in 2012. Over the years, it has hosted over 3500 performances and events, earning a reputation for excellence and variety. Its central location makes it easily accessible for both locals and tourists, adding to its popularity. Location Viva Blackpool is strategically situated in Blackpool, making it an ideal spot for those exploring the town. Its central location ensures that it’s within walking distance of other attractions, hotels, and restaurants, making it convenient for visitors to plan an entire day around their visit to Viva. Shows and Performances Viva Blackpool is known for its diverse range of shows, catering to different tastes and preferences. Here’s a glimpse of what you can expect: · Tribute Acts: Enjoy performances that pay homage to legendary artists like ABBA and other iconic musicians.

· Original Productions: Unique shows created by Viva’s talented team, offering something fresh and exciting.

· Comedy Nights: Laugh out loud with top-notch comedians bringing their best routines to the stage.

· Live Music: Experience the thrill of live concerts with genres ranging from pop to rock. Special Events and Parties

Viva Blackpool is not just about shows; it’s also a perfect venue for special events. Whether you’re planning a wedding, a corporate event, or a birthday party, Viva offers a versatile space with exceptional service. Some of the highlights include: · Themed Parties: Celebrate in style with themed events that are sure to impress.

· Cocktail Masterclasses: Learn to mix your favorite drinks with professional guidance.

· Karaoke Nights: Showcase your singing talents in a fun and supportive environment. Dining and Drinks

A visit to Viva Blackpool isn’t complete without sampling their delicious food and drinks. The venue boasts a variety of dining options that cater to different tastes, along with a well-stocked bar that offers a wide range of cocktails, wines, and other beverages. Audience Appeal

Viva Blackpool’s diverse offerings appeal to a wide audience, from young adults looking for a fun night out to families seeking quality entertainment and older adults who appreciate classic performances. The venue’s inclusive atmosphere ensures that everyone feels welcome and has a great time. One can enjoy hen parties in Blackpool at the venue. Why Choose Viva Blackpool? · Premier Entertainment: Top-tier shows featuring talented performers.

· Versatile Venue: Perfect for a range of events, from intimate gatherings to large celebrations.

· Customer-Centric: Friendly staff and exceptional service ensure a memorable experience.

· Convenient Location: Easily accessible and close to other attractions in Blackpool.

Experience the best of Blackpool’s nightlife and entertainment at Viva. Whether you're a local or visiting the city, Viva Blackpool promises a night to remember.

Plan your visit today and discover why Viva Blackpool is the ultimate show and bottomless brunch Blackpool venue!

For more details, visit https://www.vivablackpool.com/

Original Source: https://bit.ly/3WCo12F

[spiritsrituals]

Whisky Ambassador of India

India's love for whisky is deep-rooted, with a rich history and a growing appreciation for fine spirits. At the heart of this whisky revolution stands Spirits and Rituals, the premier whisky ambassador of India, dedicated to promoting the culture, appreciation, and enjoyment of whisky across the nation.

The Role of Spirits and Rituals

Promoting Whisky Culture:

Spirits and Rituals is committed to fostering a deep appreciation for whisky in India. Through educational programs, tasting events, and cultural promotions, we aim to elevate the understanding and enjoyment of whisky among enthusiasts and novices alike.

Educational Initiatives:

Our educational initiatives include whisky tasting sessions, masterclasses, and workshops led by experts. These programs are designed to educate participants about the intricacies of whisky production, the art of tasting, and the history behind different whisky brands. By enhancing knowledge, we help whisky lovers appreciate the nuances and craftsmanship that go into every bottle.

Exclusive Events:

Spirits and Rituals organizes exclusive whisky events, bringing together connoisseurs and industry professionals. These events offer a unique opportunity to sample rare and premium whiskies, learn from master distillers, and engage in discussions about the future of whisky in India. Our events are tailored to create memorable experiences that celebrate the richness of whisky culture.

Brand Partnerships:

We collaborate with leading whisky brands from around the world to bring their finest offerings to the Indian market. Through strategic partnerships, we ensure that our audience has access to a diverse range of whiskies, from renowned Scotch whiskies to emerging Indian brands. Our goal is to introduce Indian consumers to the best the whisky world has to offer.

Marketing and Promotion:

As the whisky ambassador of India, Spirits and Rituals plays a crucial role in the marketing and promotion of whisky brands. Our marketing strategies are designed to highlight the unique qualities of each brand, creating compelling narratives that resonate with Indian consumers. From social media campaigns to influencer collaborations, we leverage various channels to build brand awareness and loyalty.

Our Impact on the Whisky Scene in India

Raising Standards: By promoting high-quality whiskies and educating consumers, Spirits and Rituals is raising the standards of whisky consumption in India. We advocate for responsible drinking and a sophisticated approach to enjoying whisky.

Expanding Horizons: Our efforts are not limited to traditional whisky markets. We aim to expand the reach of whisky culture to new regions and demographics, making fine whisky accessible to a broader audience.

Supporting Local Distilleries: While we bring international brands to India, we also support local distilleries by promoting their products and helping them gain recognition. Our platform provides a launchpad for Indian whisky brands to reach a wider audience.

Conclusion

Spirits and Rituals is more than just a whisky ambassador; we are the custodians of a growing whisky culture in India. Our dedication to education, promotion, and celebration of whisky has made us a trusted name among enthusiasts and industry professionals. Whether you are a seasoned connoisseur or a curious beginner, Spirits and Rituals invites you to join us in exploring the rich and diverse world of whisky. Together, we can raise a glass to the spirit of whisky in India.