Words rhyme with look

Double and triple rhymes (two or even three words rhyme in each line)

In place of scum, all on sheets on shelves
You know this, so put in columns
There is a black box, like Pakistan in box

OBLADAET feat. I1 KOSMONAVT

Full-line rhymes (almost all the words in each line rhyme)

Years like an Odyssey in suburbs
City of London vs. all part two, man

Oxxxymiron “London against everyone. Part 2"

Only nouns rhyme in the track "Illusion of Freedom" by Dendy:

Beats

The basis of music in rap is the beat - the rhythm of the song.

The question “what comes first: bits or text” is like the chicken and egg problem. Someone starts from the fact that rap is primarily music, and writes lines over the finished beat. In this case, the beat can guide the creative thought of the artist and influence the text that has yet to be composed. But if you pay attention to the text first, the track will turn out to be no less solid. Some performers are sure that the finished beat only distracts and prevents them from concentrating on the lyrics.

For example, rapper Guerilla Black believes that "the purest flow comes when you don't write to the beat - you just hear everything that's going on in your head and take the first solid thought from there."

Some artists write beats themselves, others buy ready-made ones or even rent them (in this case, there are restrictions on replication of the beat).

Sometimes a successful beat makes a track with the most ordinary lyrics a hit, and its artist a star.

The 19-year-old rapper Big Baby Tape has been writing beats for other artists for a long time, but later became an artist himself: his track Gimme the Loot in November 2018 took first place in terms of the number of hits on the international Genius platform, overtaking the hits of Lady Gaga and Ariana Grande. Not the last role in its success was played by the original beat with a sample from the track Gimme the Loot by the American rapper The Notorious B. I.G.

Recording and additional techniques

Hardly anyone will come to an artist's concert without first listening to his tracks. Of course, poor recording quality can ruin a song that is brilliant in all respects. But in order to record something cool, it is not necessary to spend money on an expensive studio - many famous artists at the beginning of their journey made do with home equipment and their own sound engineer skills.

It is equally important to rehearse the reading before recording, to think in advance at what moments it will be appropriate to take a breath.

Some rappers record only two or three lines and then glue them together to avoid mistakes or add additional vocal effects.

Usually performers try to mask cuts, but if the quality of the mix was not perfect, attentive listeners may notice them. Other rappers record everything in one go, and, as a rule, the live performances of such artists sound much more harmonious.

You can diversify the recording with the help of an additional body kit: backs and ad-libs.

Backing is a track with vocals recorded over another track; thanks to the backing, the vocals become more “fat”, and the lyrics sound more powerful. Adlibs are improvised phrases or words that are placed in the background to make the track sound more interesting.

Some artists record skits - small sketches, the purpose of which is to create the feeling of being inside the track in the listener or to additionally reveal the script of the album. It is noteworthy that skits are used less and less in modern rap: the popularity of digital audio formats allowed them to be skipped and made their inclusion in the album almost useless.

Scryptonite track “Intro. Time to go back" begins with a skit that lasts almost a minute and a half:

We hope we managed to show that rap is more complicated than it seems at first glance.

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A look at Soviet art from space

December 3, 2021ArtNeomodernism: pro et contra

7813

Evgenia Dudnikova's nomadic dreamersA look from space at Soviet artA hardly noticeable package of teleologyA text about how baroque moves under the fabric of the worldSoap colossus, gender cage and nostalgiaConceptualism reception and primary processing shop"Programming is a material where words turn into form"Light as a blueprint, light as a conflict, light as a memory“The time has come to transcode the images of the surrounding world”Arseniev, Klyushnikov, Suslova, Kurtov, Goryainov about escaping from institutions, the search for knowledge and educationDream in bad 3D and the frame of the celestial sphereIs there painting after Ceausescu

At the end of July, we met with Kaykhan in the center of Moscow and walked in a light summer rain. He said that he was preparing an exhibition dedicated to his grandfather Tair Salakhov and had almost completed its project, but the power of his home computers was not enough to complete the three-dimensional models. I was very surprised, because I myself also work in architectural programs and make exhibitions, but I have never encountered such a problem, for any kind of rendering, a regular laptop is usually enough for me. "What kind of exhibition is this?" I thought.

A few months later, messages began to appear on social networks announcing the exhibition on behalf of a certain fictional character - a neural network robot T.A.H.I.R.A 108. The robot claimed that it was named after Tahir Salakhov. Hoax in the tradition of Maximilian Voloshin and Alexei Tolstoy? From the few images that accompanied the publications, it seemed that Kaihan had come up with some kind of fantasy universe or computer game. We are used to the fact that posthumous retrospectives are not a place for experimentation, they are usually kept in the style of a traditional museum exhibition. Therefore, at that time it was completely incomprehensible why Kaykhan chose such an unusual way to talk about the classic Soviet painter.

© Courtesy of the Ekaterina Cultural Foundation

In order to explain my impressions of the exhibition itself, let me turn to some theory. Since the term contemporary art appeared in the English language and gradually almost merged in meaning with the designation of postmodernist trends in contemporary art, some terminological or even spatio-temporal anomaly has arisen in art theory. As if since then, not all contemporary art has become modern, as if some kind of “non-modern contemporary art” has arisen, which sounds like an obvious logical error, but is nevertheless taken for granted by many. This is important in order to understand in what context we should perceive the creative heritage of Tahir Teymurovich.

Let me explain with an example. In 2015, many people greeted with great joy the release in Russian of a well-known voluminous book of New York origin, declared as a kind of generalizing encyclopedia on the history of world art of the past century. For me, this book, since I first opened it in the English version of 2004, has become a trigger and a challenge. The history of art of the twentieth century, which does not mention any of the classics of art of the late Soviet era, including Tahir Salakhov, was perceived by me with indignation. But this is not a problem of one publication, and not even so much someone's malicious intent, but a systemic failure in the modern science of art. It is not the place to analyze it in detail here, but it is necessary to remember it for the further development of thought.

© Provided by the Ekaterina Cultural Foundation

For many years, Russian art and art criticism have faced a difficult problem: how to talk about the Soviet and early post-Soviet periods in order to restore the broken link between the genetically unified space of Russian and world art? Is "severe style" painting a variant of neomodernism? Is it correct to rhyme the sixties with the neo-expressionists? Does Soviet art meet the tasks set by Marcuse and Grinberg? And most importantly, does the search for terminological consensus really lead to a correct reading of this art?

Exhibition “Tair Salakhov. Infinity” takes off above this art history fuss and gives a different answer. To see Russian art of the 20th century, one must go beyond this 20th century. This is exactly what Kaykhan does in his curatorial work - no comparisons and usual contextualization, no compromises. The exhibition says: “To understand the scale of Tair Salakhov, look at him not through the eyes of individual auctioneers and editors, but through the eyes of aliens. Look at it not on the scale of the 20th century, but on the scale of human history, and everything will fall into place.”

© Courtesy of the Ekaterina Cultural Foundation

You enter the first room and a 3D holographic android with a digital female voice tells you about a "metagalactic museum of art". Next, two floors of the exposition await you, consisting of video projections with stories about the artist, his biography and works: computerized excerpts from interviews, memories read by a neural network, hundreds of paintings, sketches and photographs from the family archive. You wander as if through the compartments and cabins of some spaceship, neon light, dozens of monitors, glitch animation in cold blue tones, intersecting monotonous voices - the aesthetics of a sci-fi blockbuster contrasts strongly with the usual image of Tahir Salakhov's art. And now, almost exhausted, you climb to the third floor and suddenly fall back into the 20th century. On the third floor, the sounds of synthesized speech are not heard - there is silence, the usual warm museum light, the original works of the painter and his lifetime videos are presented. Having experienced the cleansing of the aesthetics of the distant future, you look at the life and work of Tair Salakhov, as if for the first time in your life. This is reminiscent of the effect produced by the sudden switch to color at the end of Andrei Tarkovsky's Andrei Rublev.

© Provided by the Ekaterina Cultural Foundation

Some of the critics wrote that this exhibition represented the art of Kaykhan more than Taira Salakhova, but I would not agree with this. We are dealing with a very precise curatorial move and meaningful exposition design. Kaykhan created an effective way to rethink the art of the Soviet period. In essence, this method is built on the principle of estrangement, formulated by Viktor Shklovsky as a mechanism for removing the reader or viewer from the automaticity of perception. Similar finds are found in Bertolt Brecht and Jacques Derrida. In order to break the stereotypical perception of an object and make it see it with a clear look, it makes sense to present it in an unexpected and strange perspective or through the eyes of another subject, or place it in an unusual context. This technique has been used since antiquity in literature and other forms of art, but I have never seen it in such a pure form in my curatorial work and exhibition practice.

© Provided by the Ekaterina Cultural Foundation

The exposition core of the exhibition was a huge projection NFT -animation based on Tahir Salakhov's painting "To You, Humanity". This was perhaps the first time in my life when the introduction of animation into a digitized classical painting seemed justified to me. The futurological theme of the ancestral work, first presented on the day of the first manned flight into space, encourages the transfer of work to a more innovative medium. And the truly mythological scale of its symbolism elevates the personality of the author, his entire creative path and this very exhibition-remembrance of a great man to such a height where nothing momentary acts, but only the eternal laws of the universe matter. An amazingly beautiful example of how posthumanism and cosmic cybernetism can be more humane and fairer than traditional museum approaches and methods of art history.

Exhibition “Tair Salakhov. Infinity" at the Ekaterina Foundation has already passed, but until January 24 you can go to the exhibition "Tair Salakhov. To the artist's birthday" at the Tretyakov Gallery.

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