Scott Joplin draws and opens new doors on-, and to the heart, by delivering brilliantly presented musical transmissions that truly have no other agenda than to entertain the listener as swiftly and efficiently as possible. Notice this : once heart itself masturbates, transhumanism is : imminent.
Whereas the everyday average normal music composer - who should be beaten to death with the severed head of a lousy Cthulhu imitator, (as a start) - usually needs a tremendous amount of musical space to express (synonyme : waste) his ineptly distorted spiritual constructs in, Scott Joplin always takes music AND the listener very seriously, and, therefore, his musical language simply is free of wasted spaces, free of lies, and refrains from robbing the listener out of the most precious commodity, called : time. (Cheapest commodity is called : hope.)
WHAT then, is a wasted space of music? That is the space you wish you could warp through instead, as a wasted musical space - synonyme : violation of silence - truly can offer nothing but pure hypocrisy, that which worships the masks of factual cluelessness, that which is fueled by the desperate urge to conceal the underlying, evident lack of musical ideas worth presenting to a proper set of ears.
Scott Joplin left a mark that timelessly affects the collective psyche not as result as his aspiration to do so. Instead, he did that as result of being honest to himself, as result of not negotiating with anything less or else than pure idea and perfected honesty. These invaluable and extremely rare tools are utilized to define an inner vision of music characterized by sublime intricacy and the precious aspiration to entertain, as stated before, as swiftly and efficiently as possible. Scott Joplin's brilliantly realized desire is to seek, to define, to present, and even shape the forms of playfulness, rampant. If you lost me here, then hear my words : you fill a much needed gap.
On an additional note : though the origins of the term "ragtime" is not one aficionados seem to agree upon, one particular explanation claims that it became associated with the genre during the days ladies of the red light districts were undergoing their periods by. Unable to render their services as result of the "ragtime" they were having, they joined the patrons in the guest hall, while the local musicians entertained these social gatherings with the energetic audible intricacies this style of music is cultivated for. Quit reading this and watch the green balls of magic, monkey!
It seems safe to state that Fedor WITH a legit loss remains as interesting as Fedor WITHOUT a legit loss.
Now the world had the chance to see what Fedor himself has never denied, nor mythicized the opposite of: he indeed IS human. People theorizing otherwise probably should start refining their realities, fans/haters alike.
Fedor himself had / has / probably will have nothing to do with the demigod persona surrounding him, that is more of a result of how the audience deciphers him as. Now that the aura of false* invincibility is gone, it turns out that it will be a necessarily new kind of Fedor you will witness the next time, and that new kind is none other than Fedor with a Vengeance.
*there are loads of matches in which he receives a decent amount of punishment, then comes back to administer the hurt real bad.
Surely, haters have an almost-utterly satisfied sequence of existence now, and there is nothing wrong it, quite the contrary: they will sitting on the edge of their chairs to witness the After All Human Fedor Fall One More Time, as utter satisfaction forms in the hater's perspective when Fedor receives his second loss in a row. What happened to the general consensus-platitude of how emencely important how a fighter comes back after a loss is?
Fedor falling for the first time altered my personal perception of him in no way, though I admit I think he looked baaaaaaaaadass even while getting caught and shut down. Werdum had a MONSTER halted in two submissions, all my respect for the Brazilian.
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