Stormbringer

Isilda Moreira Overall Look: 4/10 Alannah Walton Overall Look: 6.5/10 ------------ Estelle Chen Overall Look: 3/10 Zuri Tibby Overall Look: 5/10

Another new one! This is Epic by Faith No More

Iesha Hodges Overall Look: 5/10 Melia Tiacoh Overall Look: 6/10

Maia Cotton Overall Look: 7/10 Kelsey Merritt Overall Look: 8/10

The snake, sure... The spider... HELL NO!!!!

^ NO!!!!

Grace Elizabeth Overall Look: 7.5/10 Josie Canseco Overall Look: 7.5/10

Back at Hard Rock with my clones! This is 18 And Life by Skid Row

I'm more than interested

Cindy Bruna Wings: 3/10 Overall Look: 7/10 Sui He Wings: 4/10 Overall Look: 6/10 Adriana Lima Wings: 4/10 Overall Look: 6/10

Concerning the last 2 pics,... Edit: actually... concerning most pics on this page

Alice In Chains

I hope HQ versions will appear

Grace Bol Wings: 4/10 Overall Look: 7.5/10 Sara Sampaio Wings: 7.5/10 Overall Look: 9.5/10

Where The River Goes - Stone Temple Pilots Maybe my favorite STP song

She looks really good as a brunette

^

Jourdana Phillips Overall Look: 7.5/10 Kendall Jenner Wings: 6/10 Overall Look: 8.5/10

Dear Prudence - The Beatles

Thanks @lampro! I've never seen many of those before

Cats In The Cradle - Ugly Kid Joe @Prettyphile

The God That Failed - Metallica

Music can be defined (and since you're bringing in maths... music is filled with it), and while there's indeed works where it can be argued wether if it's music or not (4'33'' is probably the best example), the pieces I posted are far from that ambiguity. No one is forcing anyone to enjoy this stuff, which IS weird music to say the least. But liking or disliking something has nothing to do as to wether it's music or not. Or if it's art or not. Are there pieces where the line between being music (art) or not becomes blurry and be debatable? Of course. There's plenty of them. Those I posted above which you are dissing as "noise" and not made by "real musicians" are far from that line. The one by Boulez being the only one that goes closer to it (and which I personally don't like, but I still find very interesting). And the tritone wasn't considered noise. The thing with the tritone is that it's a difficult to sing interval, in which it's easy to go out of tune. Medieval composers whose music has reached us wrote mostly for vocal ensembles, and as such they avoided the use of the tritone in melodies. But the interval would always appear here and there as part of a chord (when there was some accompaniment instrument, or later when they began writing polyphonic stuff). The "Diabolus in Musica" association thing came after and mostly to further stress the trying to avoid the interval in melodic lines. The tritone btw is pretty much the basis of the tonal system. As I said, there's an obvious snobbish side to the academic art, in all it's disciplines. And I'm not getting into that painting, but focusing in the music: that still doesn't stop those pieces I posted from being actual music, even if unpleasant to most ears. Neither it's disproved by you not wanting to believe it or hear it. The music proves it itself. It's as easy as listening to it. And it may not be that easy to do, but analyzing the written music makes it even more clear. Nah, only skills, and lots of study, a deep knowledge on harmony, counterpoint, etc. and plenty of works and pieces of more traditional sounding stuff before actually experimenting and using such skill and knowledge for pushing barriers. And plenty of highly skilled musicians who respect and even admire them. So what's the point? There's a variety of points of view among skilled musicians as in everything else. And what's the point in linking me a site in French when I don't speak French?? You may not think so, but it is. The "commercial" niche for atonal music is in movies and video games soundtracks. It's used as a resource and it's used quite often. Ennio Morricone is not the only guy writing music for movies, and his style is far from being the only one there is. And you may no find them because you don't want to: John Williams or Hans Zimmer, or Howard Shore they do use atonal resources for some passages here and there. And they do it quite often. Phillip Glass having no link with the atonal stuff? He was influenced by the likes of John Cage! Who was much weirder and extreme in his experimentations that Schoenberg, or Boulez... Getting semantics now? No, I'm not confusing beauty with sweetness. You clearly pointed out that "all 'real musicians' (as in opposition to those who dare experimenting I guess) are looking for beauty in their music". And if it's by taking your now so convenient concept of "beauty" it can be argued that these guys - say Schoenberg, Boulez, Stockhausen, etc- are actually looking for beauty in their work, but in their own particular way. Because Beauty can be "tough, violent, wild, aggressive, etc" And they may get intense pleasure or deep satisfaction to their minds with what they craft. But music has not the need nor the obligation to seek for beauty. Even using such a broad and convenient concept of it.