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It’s Kali Uchis describing falling in love like melting like ice cream. It’s St. Teresa’s ecstasy. It’s why 18th-century German poet Ludwig Uhland said that waking up buried in his lover’s arms is like dying from love’s bliss because he “saw Heaven in her eyes.” Heaven is commonly used to describe this feeling because falling in love is like dying: Both death and falling in love are about losing a grip on reality, leaving this world and entering the ethereal. Like death, we describe a soul in love as being escorted away by angels to a better place. It’s why Cupid has wings—so he can take us from over here to over there.

Yet, when you try to articulate the deepest of your desires, you can’t find a name for it. It’s like that marvellous ache you feel when you see the Milky Way spilled across the sky—it draws you in and makes you long for more of it. This longing has the shape of the infinite. I know a love song is good when I don’t know if they’re singing about a lover or God.

Love, in its purest form, feels like mysticism, like being absorbed into something that wants you to be part of it as much as you want to join it. Some might call it a longing for happiness, but it is so much deeper. Here’s what I mean by mysticism: it’s something that grows your wonder instead of trying to solve it. “Life is not a problem to be solved, but a reality to be experienced.”

It’s like watching fire—something that constantly moves without going anywhere. It’s “alive” in its own way. Like how God speaks through a bush that burns but is not consumed, something ineffable about music—the way it decorates time like art decorates space—speaks to us.

Guadagnino brought them Challengers, which will be released this month. Reznor said, “He started us down a path, saying, ‘What if it was very loud techno music through the whole film?’ ” (This is exactly what it turned out to be.)“I wish I had his notes,” Ross said of Guadagnino. “His notes were so fucking funny on what each piece was meant to do.”“Oh, yeah,” Reznor said. “ ‘Unending homoerotic desire.’ It was all a variation on those three words.”

From the start, Beyoncé preaches her desire to create a “safe space.” “Renaissance means a new beginning,” she says; it’s a balm “after all we’ve been through in the world.” But what exactly is she referring to? The onslaught of death and illness brought on by the continuing pandemic? The laws aimed at criminalizing trans children and adults? The rising misogyny, homophobia, and anti-Blackness that leads to grave violence? The various, ongoing genocides? Beyoncé gives us no context for what she’s referring to or how it touches the shores of a life dominated and driven by the kind of wealth that insulates her from harm. Her words reflect broadly liberal pablum meant to give the appearance of care and mean just enough that her fans can project radicalness upon her but not so much that she would ruffle anyone enough for her to lose money or be forced to stand for something.

there is no star of such magnitude who more cunningly positions themselves as apolitical than Beyoncé. Her performance as an icon is meant to connect with the broadest number of people possible. To do that, her refusal to stand for anything specific beyond the watered-down treatises on Black excellence must be maintained.

More than anything, Renaissance is a testament that Beyoncé is a brand that stands for absolutely nothing beyond its own greatness

The full wording of the ruling follows: The GRAMMY Award recognizes creative excellence. Only human creators are eligible to be submitted for consideration for, nominated for, or win a GRAMMY Award. A work that contains no human authorship is not eligible in any Categories. A work that features elements of A.I. material (i.e., material generated by the use of artificial intelligence technology) is eligible in applicable Categories; however: (1) the human authorship component of the work submitted must be meaningful and more than de minimis; (2) such human authorship component must be relevant to the Category in which such work is entered (e.g., if the work is submitted in a songwriting Category, there must be meaningful and more than de minimis human authorship in respect of the music and/or lyrics; if the work is submitted in a performance Category, there must be meaningful and more than de minimis human authorship in respect of the performance); and (3) the author(s) of any A.I. material incorporated into the work are not eligible to be nominees or GRAMMY recipients insofar as their contribution to the portion of the work that consists of such A.I material is concerned. De minimis is defined as lacking significance or importance; so minor as to merit disregard.

the human portion of the of the composition, or the performance, is the only portion that can be awarded or considered for a Grammy Award. So if an AI modeling system or app built a track — ‘wrote’ lyrics and a melody — that would not be eligible for a composition award. But if a human writes a track and AI is used to voice-model, or create a new voice, or use somebody else’s voice, the performance would not be eligible, but the writing of the track and the lyric or top line would be absolutely eligible for an award.”

"The industrial revolution made the production of an instrument like [the piano] possible. Several planks of wood - six I think in this case - are overlaid and pressed into shape by tremendous force for six months. Nature is molded into shape. Many tons of force and pressure are applied, making the strings what they are. Matter taken from nature is molded by human industry, by the sum strength of civilization. Nature is forced into shape. Interestingly, the piano requires re-tuning. We humans say, 'It falls out of tune', but that's not exactly accurate - matter is struggling to return to a natural state. The tsunami, in one moment, became a force of restoration. The [tsunami-damaged] piano re-tuned by nature actually sounds good to me now. In short, the piano is tuned by force to please our ears or ideals; it's a condition that feels natural to us humans. But from nature's perspective, it's very unnatural. I think deep inside me somewhere, I have a strong aversion to that."

The whole nature vs civilization narrative, is a story told by happy regressors, who want to return to a ilusionary before time, were all things were harmony and civilization was not. It is of course, a call for mass murder on billions of humans with the rumbling instincts from the brain stem and guts as justification. Were it justified with any other argument, civilized society would tear them to shreds, but in the robe of the shaman, they are exempt from the duty of reasoning.None the less, his music is great and can be enjoyed, like any other artists, without listening to the political and culture drivel that artists sadly often produce. They are easily captured and swayed by instinct tautological ideologies.Just because it feels right does not mean it to be true.My favorite rendition of his "My love wears forbidden colors"