clean up <ul>'s in the rest of the data!

i ran across a single <ol> and that got left as the existing format
because i didnt think to implement <ol> in the transformer. worth doing
in the future but not a priority right now!

1 files changed, 11 insertions, 3 deletions

diff --git a/album/homestuck-vol-9.txt b/album/homestuck-vol-9.txt
index 5d2a326..98af8e2 100644
--- a/album/homestuck-vol-9.txt
+++ b/album/homestuck-vol-9.txt
@@ -200,7 +200,11 @@ Commentary:
     <i>Michael Guy Bowman:</i>
     Originally we’d planned on doing a Homestuck album that was devoted entirely to the Sburb Alpha kids and their session, all of us doing tracks that would parallel earlier tracks in a same-but-different fashion. While this album became Homestuck Vol. 9, a lot of analogous tracks remained from the original concept, including this track as an alternative to “GameBro (Original 1990 Mix)” from Homestuck Vol. 6: Heir Transparent.
     While we can only imagine what the set-decorating GameGrl magazine from Jane Crocker’s bedroom might actually be like, it’s pretty easy for me as a child of the 90’s to imagine how the magazine might have looked in the era of the Burger King Kid’s Club and Lisa Frank. With GameGrl I attempted to capture a lot of the basic messages perpetuated to girls by children’s advertising in the 90’s:
-    <ul><li>Boys are gross and need to have their butts kicked</li> <li>Girls are cool and should pretend to understand pop culture</li> <li>Clubs must be started in tree-houses and couch forts to keep boys out</li> <li>Parents suck and will never understand</li> <li>You can trust corporate America</li></ul>
+    - Boys are gross and need to have their butts kicked
+    - Girls are cool and should pretend to understand pop culture
+    - Clubs must be started in tree-houses and couch forts to keep boys out
+    - Parents suck and will never understand
+    - You can trust corporate America
     The music was a hodge-podge of a lot of things - the production style of early 90’s house music (Deee-Lite and Cathy Dennis were my main references) was coupled with the intentionally insipid rap vocals in a time in which many game commercials <a href="https://www.youtube.com/watch?v=BkWYP95WbbY">had</a> <a href="https://www.youtube.com/watch?v=m__j99flW9w">awful</a> <a href="http://www.youtube.com/watch?v=Z7FN5B02YEo">raps</a>. The lead vocals are performed by Tavia Morra, whose voice I discovered sounds scarily childlike when sped up slightly. We played the backup track at about 75% speed and had her rap over it to create the vocal comp before speeding it back up to create the cringe-worthy little girl voice. I did a digital process to lower my voice to create the <a href="https://www.youtube.com/watch?v=C0LoHA_FPAs">Pokérap</a>-style breakdown towards the middle of the track and then asked Erik Scheele to play a painfully retro midi guitar solo.
     For the track art (lovingly created and posed for by Tavia) among our many references were Alex Mack and The Olson Twins. The big deal-breaker for us was getting a pair of overalls, a garment seemingly synonymous with the 90’s. We spent nearly three hours hunting for a pair in Austin coming up short at Wal-Mart, Academy, Sheplers, Cavender’s Boot City, Goodwill, a costume store, a paint store, and a plumbing store before finally finding a wearable piece 17 miles out of town at a farm supply store. Apparently humanity had the good sense to wipe that fucking hideous fashion travesty off the face of the earth at the end of the decade (I knew the y2k bug must have done something!) and now only people who actually need them wear them.
     We took our pictures at the Japanese-style game center Arcade UFO. Outtakes can be found <a href="https://seeyoutmorra.tumblr.com/post/24983253249/some-of-the-other-photos-from-the-gamegrl">here</a>.
@@ -306,9 +310,13 @@ Commentary:
     art by P-RO at <a href="https://nomorepros.tumblr.com">nomorepros.tumblr.com</a>. P-RO always does a maximally amazing job so why I asked her to draw the art is a non-question.
     Stress is actually a pretty faithful arrangement of an original track by Buzinkai. Buzinkai has been responsible for several HS-important melodies like Doctor, Endless Climb, and Explore and [her] work, for me, has always established a certain “essence” of what Homestuck is. My goal for this piece was actually to create a classic strife theme for Dirk with the core feeling of earlier pieces like Showtime or Doctor, so basing the piece off of something with that “essence” was important.*
     I can’t say why Buzinkai wrote this piece the way she did, so I’ll instead highlight the differences between the original and my arrangement.
-    <ul><li><p>Updated the instrumentation. Buzinkai’s usage of PXTONE is indeed charming and nostalgic-sounding, but I wanted to push things bit further. One major difference is the arrangement of the strings - Buzinkai’s PXTONE strings have an sharp attack to them, while mine come on a bit softer but are thicker. My strings then sound more “lush” but less “urgent.”</p></li> <li><p>I added a section between the original A section and B section with lower intensity. This was because the song got a bit too repetitive and static simply repeating like Buzinkai’s. Oddly, the repeats didn’t bother me in his track. I think this is partially because MY loop point, unlike Buzinkai’s, lowers the intensity a LOT more by removing a bunch of instruments where his simply flows into a repeat. I need to think about that more.</p></li> <li><p>Added an introduction and a true ending to make it more of a proper start-to-finish song.</p></li></ul>
+    - <p>Updated the instrumentation. Buzinkai’s usage of PXTONE is indeed charming and nostalgic-sounding, but I wanted to push things bit further. One major difference is the arrangement of the strings - Buzinkai’s PXTONE strings have an sharp attack to them, while mine come on a bit softer but are thicker. My strings then sound more “lush” but less “urgent.”</p>
+    - <p>I added a section between the original A section and B section with lower intensity. This was because the song got a bit too repetitive and static simply repeating like Buzinkai’s. Oddly, the repeats didn’t bother me in his track. I think this is partially because MY loop point, unlike Buzinkai’s, lowers the intensity a LOT more by removing a bunch of instruments where his simply flows into a repeat. I need to think about that more.</p>
+    - <p>Added an introduction and a true ending to make it more of a proper start-to-finish song.</p>
     About the similarity to Teal Hunter and a fun syncopation lesson:
-    <ul><li>This was unintentional - I not only started my arrangement of this song before the contest was conceived, Buzinkai made the original song back in 2010. THOUGH as soon as I heard Teal Hunter I KNEW people would call out the similarities because, surprise, there are plenty of them! Here’s the big one:</li> <li><p>Both pieces are in 5/4 (5 beats per measure, try counting to 5 over and over on the beat) and use the SAME syncopation (syncopation = the division of notes into smaller off-beat rhythms within the measure) throughout the track. Actually, many many many pieces in 5/4 use this syncopation. See: <a href="https://www.youtube.com/watch?v=4nlCNVewMjA">Hollow Bastion</a>. Why do composers keep doing this? Two reasons: One, because it sounds awesome. Second, because the main way to compose in odd time signatures like 5/4 or 13/4** is actually to cut things into smaller units of 3, 2, or 4. Though each measure is comprised of 5 total beats, each measure in these songs is cut into 10 notes of half the length going 123-123-12-12. 3! 3! 2! 2!</p> <p>Wow, that was a very poor explanation. But please go to that Hollow Bastion video I linked and count “one-two-three-one-two-three-one-two-one-two” very quickly along with each note the harp plays. You’ll get it. (And I’m just making things more confusing, but isn’t it awesome how the syncopation switches at the end of the  4-measure phrase to “1234 12 12 12?” The little bit of contrast makes it feel complete.)</p> <p>So, why don’t people just cut things up differently? like 3 2 2 3? it’s definitely possible! Here’s my theory about why people favor the syncopation they do: It seems like ending a measure with a shorter note ON the beat leads into the next measure more naturally. It even sounds like a leadin: dun-DUN! This is supported by the fact that one of the most popular syncopations in existence is the one in 4/4 that goes 3 3 2. This is probably the same principle.</p> <p>3 3 2: ON OFF ON<br>3 3 2 2: ON OFF ON ON</p></li> <li><p>Besides the fact that the syncopation is identical, the chords and melody are similar and the way the strings are used are basically the same. I have no explanation for this other than… great minds think alike???</p> <p>RANDOM FUN FACT: Awakening is also in 5/4, go to 1:40 and sing the melody to Stress. Hell, <a href="media/misc/stresscombo.mp3">I’ll do it for you.</a> It fits!!! The main melody of awakening also starts with a similar rhythm as Stress. it’s the curse of the 123 123 12 12’s.</p></li></ul>
+    - <p>This was unintentional - I not only started my arrangement of this song before the contest was conceived, Buzinkai made the original song back in 2010. THOUGH as soon as I heard Teal Hunter I KNEW people would call out the similarities because, surprise, there are plenty of them! Here’s the big one:
+    - <p>Both pieces are in 5/4 (5 beats per measure, try counting to 5 over and over on the beat) and use the SAME syncopation (syncopation = the division of notes into smaller off-beat rhythms within the measure) throughout the track. Actually, many many many pieces in 5/4 use this syncopation. See: <a href="https://www.youtube.com/watch?v=4nlCNVewMjA">Hollow Bastion</a>. Why do composers keep doing this? Two reasons: One, because it sounds awesome. Second, because the main way to compose in odd time signatures like 5/4 or 13/4** is actually to cut things into smaller units of 3, 2, or 4. Though each measure is comprised of 5 total beats, each measure in these songs is cut into 10 notes of half the length going 123-123-12-12. 3! 3! 2! 2!</p> <p>Wow, that was a very poor explanation. But please go to that Hollow Bastion video I linked and count “one-two-three-one-two-three-one-two-one-two” very quickly along with each note the harp plays. You’ll get it. (And I’m just making things more confusing, but isn’t it awesome how the syncopation switches at the end of the  4-measure phrase to “1234 12 12 12?” The little bit of contrast makes it feel complete.)</p> <p>So, why don’t people just cut things up differently? like 3 2 2 3? it’s definitely possible! Here’s my theory about why people favor the syncopation they do: It seems like ending a measure with a shorter note ON the beat leads into the next measure more naturally. It even sounds like a leadin: dun-DUN! This is supported by the fact that one of the most popular syncopations in existence is the one in 4/4 that goes 3 3 2. This is probably the same principle.</p> <p>3 3 2: ON OFF ON<br>3 3 2 2: ON OFF ON ON</p>
+    - <p>Besides the fact that the syncopation is identical, the chords and melody are similar and the way the strings are used are basically the same. I have no explanation for this other than… great minds think alike???</p> <p>RANDOM FUN FACT: Awakening is also in 5/4, go to 1:40 and sing the melody to Stress. Hell, <a href="media/misc/stresscombo.mp3">I’ll do it for you.</a> It fits!!! The main melody of awakening also starts with a similar rhythm as Stress. it’s the curse of the 123 123 12 12’s.</p>
     Wow, I really got off track here. But I hope you learned something today.
     * Yes, Bill Bolin also started an arrangement of this piece before he left the team. I think we were both attracted to the same “essence” present in Buzinkai’s piece.
     ** Bonus challenge: See if you can count out how I divided the measures in this song! If you can do this, you can easily understand how to compose in time signatures like this. It’s actually VERY simple and derived directly from the other breakdowns I did.