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Tino Livramento


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Just now, Conjo said:

 

I don't think so either. I just don't see him getting the playing time he needs with Howe being reluctant to rotate the defence and with three other right backs knocking on his door to get some time on the field too unless we manage to shift or loan out at least two of them.

 

Ashby is surely loaned out and Manq/Krafth are probably just players we would like to move on from now. Maybe keep the other for really bad emergencies.

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1 hour ago, GeordieDazzler said:


I think a big thing with signing some of these younger players is Ashworth’s involvement in sculpting of the current England set up. I wouldn’t be surprised if there’s many similarities to how we operate and the play style especially in the younger age groups. 

Maybe, but the way we play is Eddie and his team and Ashworth wasn't around then.  Maybe he told them to hire Eddie or Unai but they set up teams differently.

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12 minutes ago, Willow said:

This guy has all the tools needed to become an absolutely stellar signing. Really, really hoping we can get this done as I think he's fantastic and at only 20 years old, he's only going to get immeasurably better. Super impressed with our business so far, especially with the ffp restraints.


People also worrying about his injury. Let the club do the worrying, they do the analysis and pay the money after all and they’ve done pretty well so far. If he costs 30m and that’s what they’re prepared to pay then fine. Every signing comes with risk anywya.

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52 minutes ago, Mountain said:

 

FALSE!

 

The study analysed hundreds of thousands of songs and goes back to 1965.

 

https://www.nature.com/arti

52 minutes ago, Mountain said:

 

FALSE!

 

The study analysed hundreds of thousands of songs and goes back to 1965.

 

https://www.nature.com/articles/srep00521

 

"After peaking in the 1960s, timbral variety has been in steady decline to the present day, the researchers found. That implies a homogenization of the overall timbral palette, which could point to less diversity in instrumentation and recording techniques. Similarly, the pitch content of music has shriveled somewhat. The basic pitch vocabulary has remained unchanged—the same notes and chords that were popular in decades past are popular today—but the syntax has become more restricted. Musicians today seem to be less adventurous in moving from one chord or note to another, instead following the paths well-trod by their predecessors and contemporaries."

 

 

cles/srep00521

 

"After peaking in the 1960s, timbral variety has been in steady decline to the present day, the researchers found. That implies a homogenization of the overall timbral palette, which could point to less diversity in instrumentation and recording techniques. Similarly, the pitch content of music has shriveled somewhat. The basic pitch vocabulary has remained unchanged—the same notes and chords that were popular in decades past are popular today—but the syntax has become more restricted. Musicians today seem to be less adventurous in moving from one chord or note to another, instead following the paths well-trod by their predecessors and contemporaries."

 

 

Abstract

Popular music is a key cultural expression that has captured listeners' attention for ages. Many of the structural regularities underlying musical discourse are yet to be discovered and, accordingly, their historical evolution remains formally unknown. Here we unveil a number of patterns and metrics characterizing the generic usage of primary musical facets such as pitch, timbre and loudness in contemporary western popular music. Many of these patterns and metrics have been consistently stable for a period of more than fifty years...

 

Beyond the specific outcomes discussed above, we now focus on the evolution of musical discourse. Much of the gathered evidence points towards an important degree of conventionalism, in the sense of blockage or no-evolution, in the creation and production of contemporary western popular music.  

 

This doesn't focus nearly as much on what is occurring in some other music genres not listed, but is overall looking at general patterns of western music in pop, rap, country, and metal. And since it was done in 2012, it obviously hasn't picked up on some new interesting patterns. This is an exception, but IDLES are very popular, but utilize a lot of chords and tones that are absolutely discordant and wouldn't exactly fit in. Saharan blues, as an example of a hybrid genre of western and sahel music, has only really been around since the early 90's, but has gained serious steam in invention in the last 10-15 years.

 

Other studies have suggested that many if not most people get locked into the music that they listened to in high school, and arrogantly complain about all modern music being shit. Your initial statement about "dipshits" appears to lodge you in this camp. Especially now, we have access to so much music that even if the study is pretty sound (which I have no reason to think otherwise), there are more than enough exceptions to this even in contemporary western music.

 

and finally it might be more accurate to look within smaller fragments of time. What you’ll likely find is that there are years of repetition in between quick spurts of invention. We’ve been stuck in the 4:4 pattern paradigm in the west for the most part for 100’s of years. Nothing wrong with it, but our minds are wired to find it pleasing. 

 

 

Edited by Vinny Green Balls

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3 hours ago, Shak said:

If we're signing him instead of a LB it shows serious committment to thinking about the players we bring in as long term assets rather than filling needs.

 

Might not improve us as much in the upcoming season but if he develops into a genuinely top class RB it'll look great in a few years.

Think we’ll play give him minutes at LB anyway. 

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1 hour ago, Lazarus said:

Tripps is our new LB isnt he

Potentially, I think this is a goer. Covered LB a lot for England. Wouldn't be surprised if he moved over and helped the full backs develop

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We were linked with him before the injury when Wan Bissaka was playing dogshit and the fee touted was £35-40m. Chelsea were interested too and apparently had a buy back clause of £38m.

 

£30m is only expensive because of the potential injury effects IMO. 

 

Similar break out season to Wan Bissaka and we paid £47m for him although Palace didn't get relegated. 

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9 minutes ago, Dokko said:

This mean Edwards got one right? 

He only broke it if we failed to sign him. If he signs then N-O automatically assigns it to the other bloke from the Telegraph who co-wrote the initial story.

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Have no doubt he will turn into a top talent for us, but a good thing about signing young players is that whilst £30million may seem steep, in 4/5 years time he will still be a good age and we could probably recoup £20+ if it doesn’t work out, and that would all be profit pretty much at that point. 
 

With FFP it’s important to keep having players to trade like Maxi, he is almost pure profit and a big boost. One of them every year or 2 will help us. 
 

again not saying this guy will be that, in fact I highly doubt it, but worst case scenario would still benefit us

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3 hours ago, jack j said:

Pope

Trippier

Lascelles

Burn

Targett

Livramento

Longstaff

Willock

Gordon

Barnes

Wilson

 

Eddie's dream English 11

 

Howe would have mostly worked with English players coming up through the lower leagues.

 

He seems to appreciate them and knows how to get the best of them. They also seem to be well suited to his high intensity and hard running style.

 

Said it before, Howe is going to be a heck of an England manager at some point.

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