#// thus it plays more on the central themes of life / purgatory / death

[b0kksu]

Gimme some more hcs for his Bleach verse uwu. Please. 😌

The Gojo Clan is ranked as the third noble family within the Soul Society. They are illusive, enigmatic, and do not wish to associate with others unless absolutely necessary. Everything is done by a proxy, thus, there is one designated soul within the clan that will represent them. The greatest && longest standing member is the rare anomaly, Gojo Itsuki who as a son is considered somewhat of an oddity. Thus, he is the sire of the Six Eyes, the crown anchor of the family’s lineage. Most are aware of a Gojo due to their physical traits along with strong spiritual presence, the majority of the clan are women, they tend to wear hues of silver, light blue, dark blue, or teal which is considered royal amongst them. 

Satoru himself isn’t seen until Rukia’s execution, he acts as a diplomat keeping the peace && building bonds with the Royal Guard. In fact, his presence at that moment was merely to investigate while being rather nosy himself. While he appears jubilant, kind, over excited about everything his spiritual pressure is menacing && can quickly trigger fear even the impulse to buckle. That is depending on his mood or if he wishes to play nicely, which he isn’t, he is aware of the strength within him && what his birth means. There is a strange sense when one gets to know him that the role he is designated to wear is an empty crown. Seldom few know the truth of his being until it is later revealed; he is the Soul King.

Loves the living, envious of those who can transverse between death && life. He likes to hear their stories over tea with plenty of sweets. Though it’s rare to see his actual gaze as the Gojo Clan finds the bindings to keep away impurity, there is an overwhelming sense of sorrow, Satoru who wishes to leave the cage behind but cannot. He’s resigned himself to duty && fate for a greater ambition even if it seems futile. 

Short Zanpakuto, The Inverted Spear of the Heaven, yes this is a complete play on the weapon that nearly killed Gojo in canon. Infinity is considered a secondary addition, the shield barrier acts as a part of the sword, when pierced it can combust or explode in a final act to keep Satoru safe. He always jokes, with such a sword, you could fell the Gods && the Soul Society - wouldn’t that be neat? 

Long hair is a sign of luxury in the Gojo Clan, those who wear it often plate it or wear a loose fluffy braid, Satoru prefers the ladder. Delicately woven into his locks is a light blue ribbon to signify where he came from. It is a keepsake he adores deeply since it is one thing that resembles Satoru, not the Soul King. In his younger years, he is depicted as a man with an undercut and fearsome dark blue eyes. He also wears a haori over his uniform in pure white with silver tassels, a long dark red scarf safely pinned by an emblem of a dragonfly, a mark of the Gojo Clan that is seen within their jewelry, portraits, ect. 

I think if given the chance he’d probably love hiding out at the Shoten with Urahara. It would be hysterical if Satoru was a store clerk who kept check of all the inventory and even wrote various blog posts to entice customers over new sweet treats. 

[lady-plantagenet]

Shakespeare Appreciation Week

TUESDAY, JULY 14th: Favourite Plays Day: Hamlet (Yes I know I’m basic) 

For most of my teenage and young adult life, I’ve been wondering what it is about Hamlet that has drawn me so much to him in particular. The tension between action and contemplation was an obvious one for me, but looking back at it now (more 15th century history orientated than before) I realise that with the ‘method in his madness’ he thematically reminds me of the perils faced by some of my favourite historical figures. So on reflection, my love for Shakespeare’s most famous protagonist has rekindled and redefined itself. Behold an old take of mine on whether Shakespeare presents Hamlet as sane or mad, admirable or not? (At least up to Act 3) @harry-leroy .

It is without a doubt that it was Shakespeare’s intent to portray Hamlet in a multi-faceted way, pertaining of a lot of paradoxes, such as Hamlet being both mindful of Ophelia for example warning Polonius about letting his daughter be blinded to the majesty that he projects: ‘Let her not walk I’th’sun’, yet at the same time condemning her for simply exhibiting more than one personality: ‘God hath given you one face and you make yourselves another’, which ironically is a central feature of his character. Therefore in many ways Hamlet is supposed to be portrayed as both admirable and mad to us the audience, as his character consistently changes depending with whom he speaks to, such as the ghost of his father in contrast to his mother, Polonius and the rest of the Danish court, as he is sometimes admirable in the way he accepts the moral responsibility that he has as heir presumptive of Denmark has, while simultaneously mad, as he is seen in some of his interactions and within his introspective soliloquys.

 On the one hand, Shakespeare’s intentions to depict Hamlet as a protagonist pertaining admirable qualities can clearly be seen through the multiple times he draws parallels between Hamlet and his storyline and Greek and Roman mythology, for example when he sees himself as Pyrrhus, who is a character that the term ‘pyrrhic victory’ derives from, the drawing of such a parallel subliminally portrays Hamlet in an admirable way to some degree, as it transmits Hamlet’s concern for morality in himself and others, because it shows how he acknowledges that even if he like Pyrrhus were victorious – in his case victory is avenging his father by bringing himself to conquer his ponderous nature, and murder Claudius -, his victory would still have moral ramifications for both himself and those around him, which is one of the main reasons why he procrastinates his vengeance despite wanting it so. For example, when he says in Act 1 Scene 2, line 244: ‘Though hell itself should gape’, he supresses his curiosity as a scholar, and wish for vengeance as the son of his beloved father – both roles that dominate his life and characters – in order to acknowledge how unorthodox this encounter would be, as suggested by the explored themes in that scene such as heaven, hell, death, the after-life and purgatory, which all pertain to a thaumaturgy which is a theme that would have been immediately linked to witchcraft and blasphemy at that time, and it is in many ways admirable for Hamlet to be troubled by the news of his father’s ghost returning instead of immediately trying to see it, without considering the moral implications, which can also be seen by how suspicious he is at the onset, questioning Horatio and Bernardo fervently about the smallest details: ‘pale, or red?’, ‘looked he frowningly’ and ‘armed say you’, while the stichomythic nature of the sharp and short exchanges between the three men, further emphasizes Hamlet’s suspicious and agitated approach towards occurrence, as he firstly maturely analyses if it is indeed his father they saw, before committing the heretic act of speaking to a ghost, who could judging by its description of the sun – often a symbol of clarity and bounteousness – as ‘sulph’rous and tormenting flames’, be a creature of hell and alluding to the dark side, instead of heaven. Yet, he himself often compares himself to the ‘sun’, whether intended for the pun between ‘son’ and ‘sun’, or when describing his relationship to the world and Denmark. For example, in Act 2 Scene 2 when he encounters Polonius and warns him to cease being his ‘fishmongering’ self and to"Let her not walk i' the sun: conception is a blessing: but not as your daughter may conceive" in Act 2 Scene 2, line 184 to 185, which is also delivered in prose instead of the more scholarly and sophisticated albeit removed iambic pentameter, which could suggest that he is speaking plainly and simply at this point, and his advice to Polonius should not be taken as one more of his paradoxes and mind-games. Hamlet’s delivering of that line though very strange in nature - as it is jux-ta-posed with the gruesome imagery of charion and maggots, which connote filth and deaths – can be one example of him exhibiting an admirable quality as he realizes that as ‘the sun’ he is in many ways Denmark and has a moral duty to act on what is better for everyone and the people around him than his own selfishness, as Polonius’ aside: ‘still harping on my daughter’ acts as a clarifier to the audience, that Hamlet still harbors feelings for Ophelia, which makes it clear that him warning Polonius to not ‘let her not walk I’ the sun’, serves as a warning to not let her be blinded by his position and the high-standard to which he is being held by Denmark and Ophelia as the heir presumptive: ‘the glass of fashion’, ‘the mould of form’, as he condemns himself for being so submissive to his own feelings as he calls himself ‘a rogue and peasant slave’, for not being able to take up the role of kingship like the actors ‘could force his (their) soul’ and pretend to weep for Hecuba despite meaning nothing to them, and thus making him more admirable as he realizes his own selfishness and thus does not vie for the position of a king or to selfishly love Ophelia.

 On the other hand, the frequency to which soliloquys form Hamlet’s dialogues could connote a certain degree of madness as the constantly introspective nature of Hamlet’s dialogue shows how far he lives inside his mind, which intrinsically suggests that he sees and experiences life to some subjectively, which can connote a certain degree of madness. This is primarily manifested by Hamlet’s constant use of paradoxes throughout the play for example in Act 1, Scene 4, Line 85, when he tells Horatio and Marcellus “I’ll make a ghost of him that lets me”, where ‘let’, which meant ‘hinder’ now means the exact opposite to ‘allow’ which depicts Hamlet as a very confused character as the diction of his speech is ambiguous in meaning, which often can also confuse the audience, getting them into the somewhat mad state of mind that Hamlet is in, another example that illustrates this is for instance: ‘you are the queen, your husbands’ brother’s wife’ that Hamlet says when talking to Gertrude, which not only serves to highlight the morbidity of the union of Claudius and Gertrude but also makes a paradox out of a fact, which serves to further blur the factual world of the outside and the paradoxical inner-world that Hamlet primarily resides in, which serves to further perpetuate the idea that Hamlet is in fact mad and not just play-acting, which he is clearly not capable of –switching roles like the actors have – which would explain the spiteful language that he uses when condemning the players such as: ‘monstrous’ and ‘horrid speech’. Additionally, in his encounters with characters like Rosencrantz and Guildenstern (of whom he didn’t know were spies) Hamlet’s general mood despite changing: he is much more amicable towards the two men, then people whom he is spiteful towards such as his mother, Claudius and Polonius, still retains its air of madness, in both the language that it contains and the rhythm of the line. For example, he proclaims to them: ‘I am but mad north-north-west: when the wind is southerly, I know a hawk from a handsaw’ in Act 2, Scene 2, Line 402-403, this which is seemingly a clever jape, aimed to show Rosencrantz and Guildenstern that, he (Hamlet) knows they are spying on him, and that beneath his ‘antic disposition’ he is perfectly aware of everything around him, on the other hand the completely offbeat comparison between a ‘hawk and a handsaw’, whose similar sounds no doubt brought their jux-ta-position in Hamlet’s head despite the inappropriate comparison, in addition to the weird repetition of ‘north-north’ in the direction and allusion to something as unpredictable and flimsy as the ‘southerly wind’ can suggest an internal disorientation, which could also reflect an internal perplexity in the construction of his intended jape towards Rosencrantz and Guildenstern, and thus, an element of madness and disorder within his mind, which makes this intended clever remark about how he noticed that they were spying on him, into more of a joke on him, as the way it actually comes out of his head, would not make sense to the audience/reader.

 In conclusion, Shakespeare clearly intended to portray Hamlet as a multi-facetted character pertaining of many different identities and moods, which often appear erratic and baffling to both the recipient (character dialoguing with him) of his speech and the spectator/reader of the book, yet not so obvious as to make it clear that he is mad. Shakespeare further confuses us by having Hamlet proclaim that “As I perchance hereafter shall think meet to put an antic disposition on”, which leads the reader to constantly question when he is pretending or actually being mad, putting the reader in a similarly maddening and blurred disposition as Hamlet, which therefore makes it increasingly difficult to completely understand him. In addition, Shakespeare’s frequent depictions of Hamlet’s noble and admirable qualities such as his need to consider his moral responsibility and role, in addition to his sometimes selflessness, for example when he warned Polonius to keep Ophelia way from him, and warder her off on the grounds of being multi-faced, which he himself is, further mares the image that the reader developed of Hamlet, as he is a lot like the paradoxes in his dialogues: both selfish and selfless, both lucid and mad. Therefore, my overall view is that Hamlet is overall still pretending, but his inner-fight with his inactivity and procrastination in exacting his revenge, is driving him closer to madness, but not in the conventional sense.  

[undertheinfluencerd]

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Warning: SPOILERS for Afterlife of the Party.

Here’s a full guide to Netflix’s Afterlife of the Party soundtrack, which delivers a short list of poppy, upbeat party songs by American pop and R&B singer Spencer Sutherland and one score track by composer Jessica Rose Weiss. Starring actress Victoria Justice of Nickelodeon fame (VICTORiOUS) as Cassie, a fun-loving, albeit irresponsible social butterfly, Afterlife of the Party follows Cassie into a purgatory-like afterlife after a freak accident kills her, where she’s offered the opportunity to right all her unresolved wrongs on Earth, thus earning passage to the “Above” (heaven) or, if she fails, to the “Below” (hell).

Matching the Afterlife of the Party‘s comedic “death-but-fun“ premise is a 5-track EP soundtrack that errs more on the side of fun than death. Put another way, while Cassie is stuck in the In-Between, a limbo state between heaven and hell, the album has both feet firmly planted in heaven. In fact, the album is exclusively upbeat and danceable, featuring four original songs performed by Sutherland, who stars in the movie as the famous fictional singer Koop whom Cassie idolizes; one of which includes a duet with Sutherland and Justice. Though Cassie’s fangirl obsession with Koop is repeatedly made obvious throughout the film, what’s understated about their budding connection is how, despite the chasm separating life and death, their separate journeys seem to have always pointed towards each other, with a charming twist ending that sees the two entering a “pearly gates” of sorts hand-in-hand.

Related: The Kissing Booth 3 Soundtrack Guide: Every Song

For his feature film debut, Sutherland’s character has more of ambient presence in the movie, whereas the real-life pop singer Sutherland plays a more central role to the Afterlife of the Party soundtrack. Pop music fans may know Sutherland as a contestant on the UK version of The X-Factor in 2017, performing Marvin Gaye’s sultry “Let’s Get It On” for his audition and James Arthur’s “Say You Won’t Let Go” in a group performance. Sutherland has also released multiple singles starting with “Heartstrings” in 2013 up to “Freaking Out” in 2019, before landing both an acting and singing role in Afterlife of the Party.

At the helm of the Afterlife of the Party soundtrack, Sutherland is the movie’s musical heart and soul. On the topic of entering the movie industry through the channel of music, Sutherland expressed in an exclusive interview with Alexisjoyvipaccess his eagerness to take on more acting roles: “I’ve found such a passion in acting now from this, and I would love to do a lot more in acting, but also a lot more in musical acting, because it was very cool to tie the two together. It was amazing.“

Whether or not that means we’ll see Sutherland in more musical acting roles in the future remains to be seen. Nonetheless, his performance in Afterlife of the Party is key to the “party” aspect of the story, and it seems likely that Netflix will continue along this pop musical trajectory with its future titles. With that in mind, here is a breakdown of each song on the movie’s soundtrack, as well as an additional song heard in the movie.

“Blush” by Spencer Sutherland – Played multiple times throughout the story, Sutherland’s “Blush” (or, rather, Koop’s “Blush” from the character’s perspective) is arguably the main theme song of the movie. Introduced by a radio DJ voiceover as “the number one song of the day” at the movie’s opening when Cassie is considering various outfits in front of her mirror, “Blush” is soon after described by Cassie and her best friend Lisa (Midori Francis) as “their song” when it’s heard playing at a dance club. This is significant when later, after Cassie dies, Cassie fulfills her role as Lisa’s spectral wing-woman  by trespassing into Max’s (Timothy Renouf) apartment, Lisa’s hunky neighbor, to sabotage his record-player into accidentally playing “Blush” during a chance encounter between Max and Lisa, who is wearing a “KOOP” shirt at the time. Max takes advantage of this “coincidence” to ask Lisa on a date to see the music video set of a Koop song.

“Drive” by Spencer Sutherland – While hanging out in Lisa’s apartment, Lisa initiates an “impromptu dance party” with her deceased friend Cassie after commanding Google to “play ‘Drive’ by Koop.” It’s revealed during this exchange that Lisa introduced Cassie to Koop’s “greatness,” further suggesting of the importance of Koop’s music to their bond.

Related: Every Song In Cinderella 2021

“One Look” by Spencer Sutherland – The music video Max refers to when asking Lisa on a date, Sutherland performs “One Look” in the flesh (as Koop) while standing in front of a blue convertible with a surrounding team of backup dancers. Taking advantage of her ghostly transparency, Cassie transports herself onto the music video set, much to the awe of Lisa, and she starts dancing in front of Koop, who seems vaguely and nonchalantly aware of her presence. During the song, Cassie approaches Koop for a kiss before she’s abruptly snapped back to the In-Between headquarters, where she’s chastised by her quirky guardian angel Val (Robyn Scott) for neglecting her purgatorial responsibilities.

“Home” by Spencer Sutherland & Victoria Justice – Breaking up the Sutherland monopoly on the Afterlife of the Party soundtrack is a duet track with both Sutherland and Justice, heard during the story’s end after a recently deceased Koop and Cassie meet in an elevator ascending to the Above (heaven). As the two walk hand-in-hand towards Above’s idyllic, flowery mountain range, the song starts as the end credits roll, signifying that Cassie and Koop are finally “home.”

“Score Suite” by Jessica Rose Weiss – The one non-Sutherland song on the movie’s soundtrack, “Score Suite” is the only listed track on the list attributed to the composer of the film. While somewhat more somber in parts, at least in relation to Sutherland’s dance tracks, “Score Suite” is predominated by a majestically whimsical tone familiar to many rom-com scores.

“I Only Have Eyes For You” by The Flamingos – Not listed on the official Afterlife of the Party soundtrack, “I Only Have Eyes For You” by The Flamingos plays from the record-player in Max’s apartment, presumably as intended by Max this time, to set a romantic mood for him and Lisa, as they cheers to “regret” over wine, confess their feelings for one another, and kiss.

Next: F9 Soundtrack Guide: Every Song Explained

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[djgblogger-blog]

How the dead danced with the living in medieval society

http://bit.ly/2z1wQcV

Detail of figures from the Dance Macabre, Meslay-le-Grenet, from late 15th-century France. Ashby Kinch, CC BY

In the Halloween season, American culture briefly participates in an ancient tradition of making the world of the dead visible to the living: Children dress as skeletons, teens go to horror movies and adults play the part of ghosts in haunted houses.

But what if the dead played a more active, more participatory role in our daily lives?

It might appear to be a strange question, but as a scholar of late medieval literature and art, I have found compelling evidence from our past that shows how the dead were well-integrated into people’s sense of community.

Ancient practices

In the medieval period, the dead were considered simply another age group. The blessed dead who were consecrated as saints became part of daily ritual life and were expected to intervene to support the community.

A funeral mass, with mourners, from a Book of Hours. The British Library

Families offered commemorative prayers to their ancestors, whose names were written in “Books of Hours,” prayer books that guided daily devotion at home. These books included a prayer cycle known as the “Office of the Dead,” which family members could perform to limit the suffering of loved ones after death.

Medieval culture also had its ghosts, which were closely linked with the theological debate concerning purgatory, the space between heaven and hell, where the dead suffered but could be relieved by the prayers of the living. Folk traditions of the dead visiting the living as ghosts were thus explained as souls pleading for the prayerful devotion of the living.

When, how practices changed

The Reformation in Europe radically changed this cultural interface with the dead. In particular, the idea of a purgatory was rejected by Protestant theologians.

While ghosts persisted in folk stories and literature, the dead were pushed from the center of religious life. In England, these changes were intensified in the period after Henry VIII broke with the Catholic Church in the 1530s. Thereafter, the veneration of saints and commemorative prayers associated with purgatory were banned.

The dead were also removed from view in more literal ways: Reformation iconoclasts, who wished to purge churches of any association with Catholic practices, “whitewashed” hundreds of church interiors to cover the bold, colorful murals that decorated the medieval parish churches.

One of the more popular mural subjects that I have studied for many years was the Dance of Death: over 100 mural paintings of the theme, as well as dozens of manuscript illuminations, have been identified in England, Estonia, France, Germany, Italy, Spain and Switzerland.

Bernt Notke, Danse Macabre, Tallinn, Estonia (late 15th century). Bernt Notke, via Wikimedia Commons

A powerful metaphor

Dance of Death murals typically depicted decaying corpses dancing amid representative figures of late medieval society, ranked highest to lowest: a pope, an emperor, a bishop, a king, a cardinal, a knight and down to a beggar, all ambling diffidently toward their mortal end while the corpses frolic with lithe movements and gestures.

The visual alternation between dead and living created a rhythm of animation and stillness, of white and color, of life and death, evocative of fundamental human culture, founded on this interplay between the living and the dead.

When modern viewers see images like the Dance of Death, they might associate them with certain well-known but frequently misunderstood cataclysms of the European Middle Ages, like the terrible plague that swept through England and came to be known as Black Death.

My research on these images, however, reveals a more subtle and nuanced attitude toward death, beginning with the evident beauty of the murals themselves, which endow the theme with color and vitality.

The image of group dance powerfully evokes the grace and fluidity of a community’s cohesion, symbolized by the linking of hands and bodies in a chain that crosses the barrier between life and death. Dance was a powerful metaphor in medieval culture. The Dance of Death may be responding to medieval folk practices, when people came at night to dance in churchyards, and perhaps to the “dancing mania” recorded in the late 14th century, when people danced furiously until they fell to the ground. But images of dance also provoked a viewer to participate in a “virtual” experience of a community. It depicted a society collectively facing up to human mortality.

Mural of the Danse Macabre from the parish church of Kermaria-en-Isquit, France (late 15th century). Fil22plm, via Wikimedia Commons, CC BY-SA

A healthy community

In analyzing the murals in their broader social context, I found that for medieval cultures, dying was a “transition,” not a rupture, that moved people from the community of the living to the dead in stages.

It was part of a larger spiritual drama that encompassed the family and the broader community. During the dying process, people gathered in groups to aid in a successful transition by offering supportive prayer.

Scenes of dying, a funeral mass, sewing the shroud, burial and comfort of the widow. In the lower margin, a group of nobles confronts a symbolic figure of death, riding a unicorn. The British Library

After death, groups prepared the corpse, sewed its shroud and transported the body to a church and then to a cemetery, where the broader community would participate in the rituals. These activities required a high degree of social cohesion to function properly. They were the metaphorical equivalent of dancing with the dead.

The Dance of Death murals thus depicted not a morbid or sick culture but a healthy community collectively facing their common destiny, even as they faced the challenge to renew by replacing the dead with the living.

Many of the murals are irretrievably lost. However, modern restoration work has managed to recover some of them. Perhaps this conservation work can serve as inspiration to recover an older model of death, dying and grief.

Acknowledging the work of the dead

Constable, bishop, squire and clerk from the Danse Macabre of the Abbey Church of La Chaise-Dieu, France. Ashby Kinch, CC BY

In the modern era entire industries have emerged to whisk the dead from view and alter them to look more like the living. Once buried or cremated, the dead play a much smaller role in our social lives.

Could bringing the dead back into a central role in the community offer a healthier perspective on death for contemporary Western cultures?

That process might begin with acknowledging the dead as an ongoing part of our image of community, which is built on the work of the dead who have come before us.

Ashby Kinch does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.