#μ’s icons

[ponzu-devil]

"from μ's to everyone, here's a swee~t present! happy valentine♡!" ★ μ's valentine icons (500x500) / psd by smoakedits

[iconstore]

Fairy Tail - Brandish icons

[ladymahou]

Hello! Can you do Yuki Sagiri from Triage X or Brandish Myu from Fairy Tail?

Hi! (๑˃ᴗ˂)ﻭ

[createcore]

new year’s shrine μ’s icons 🌟 like/rb if used?

[venusenshi]

love live sifas

[terabyte-teddybear]

lesbian nico yazawa icons with a heart crown as a surprise for @autisticidol <3 ftu with credit

[ka-3-ya]

𝟭 𝟮 𝟯 ⠀ᯫ BRANDISH MYU

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[mashirosicons]

coming back after aggeesss to post some icons i made like a year ago but never posted? hi again!!

[karapalace]

love live! - μ’s 𝜗𝜚 doll icons ♡ ot9

[karmamatsu-doodle]

Honoka icon I cooked up! Rest of the μ's girls still cooking Can be used with credit :)

[deathlessathanasia]

“First of all, I cannot emphasize enough that Aphrodite is not the “goddess of love.” The time has come to leave such an anachronistic label aside, along with the stereotypical image it conveys, because this does not belong to Greek history but to our own. What we call “love,” far from being universal, is a culturally determined idea. Its modern use is not neutral and therefore does not guarantee the objectivity required for scientific study within the field of ancient Greek religion. It is far better to examine the Greek way of referring to Aphrodite’s actions and of representing her competences. Ancient evidence attributes to her the power to arouse eros, to “mix” living creatures, and to tame them through sexual union: ἥρως, μ(ε)γνυμι/μιγναι (‘to mix’) and δάμνημι/δαμναι (‘to tame’) are at the core of the Greek way of referring to Aphrodite. Archaic poets also used the word φιλότης in relation to her powers, but, contrary to current tradition, which is influenced by the image of the “goddess of love,” this term in the case of Aphrodite does not mean ‘tenderness’, ‘fondness’, ‘reciprocity’, or indeed any other element in our modern notion of romantic love. Rather, it means ‘intimate relationship’, or ‘sexual union’. Despite the fact that ταφροδισια (the ‘works of Aphrodite’), like the words already mentioned, refer to the realm of sexuality, the label “goddess of love” should not be replaced with that of “goddess of sexuality.” At first sight, the label “goddess of sexuality” appears like a less subjective definition than the label “goddess of love.” However, this label is not entirely free from anachronism either. Yet in the course of my research, I have noticed that Aphrodite’s domain does not exactly coincide with what we understand by sexuality. Most importantly, her realm is a vast, varied, and tightly articulated sphere of influence, which is impossible to summarize with any such classification. Any static definition will betray the polyvalence that characterizes the deities of a polytheistic system.

There are good reasons why the Greeks did not use the formula “god of ” or “goddess of ” to describe their divinities. The case of Aphrodite illustrates well the misunderstandings caused by this descriptive method. The canonical portrait of Aphrodite is, in fact, as reductionist as the common label of “goddess of love.” I am referring to the conventional image of Aphrodite as the icon of femininity, the incarnation of love and beauty, alternatively associated with grace, tenderness, and harmony, or with seduction and deception. As Nicole Loraux has said, “a goddess is not a woman,”17 but when it comes to Aphrodite, everyone tends to forget this poignant statement. As I noted, a deity is not, strictly speaking, a person, with a well-defined personality. Rather, a deity represents first and foremost a divine power, one which can manifest itself in nature, in society, or in an individual, without itself being any of these manifestations. The Greeks produced various representations of their gods, which have their specific place within a precise context of elaboration and communication. Let me also remark that history may play a role in this variety of representation, even though ancient evidence makes this point difficult to pinpoint. Be this as it may, multiplicity is an essential feature of the Greek god: Hesiod’s Aphrodite is not identical to the Aphrodite in the Iliad, nor is the Aphrodite of Sparta the same as the one of Athens. Even within the same city, the goddess offers more than one facet, depending on the location of her cults and the epithet she carries. Historians of Greek religion do not need to amend this multiplicity by boiling it down to a simple formula.”

 - Gabriella Pironti,    Rethinking Aphrodite as a Goddess at Work, in Brill’s Companion to Aphrodite

[7grandmel]

Todays rip: 15/04/2024

A Mambo Moment

Season 4 Episode 1 Featured on: SiIvaGunner's Highest Quality Rips: Volume AI

Ripped by Cryptrik

God, man - I ALWAYS forget just how good Cryptrik is at ripping until I hear another one of his works. I've covered it from time to time on here already, primarily their great big mashup-medleys, Battle Emergency and Follow μ’s / Halation Generation - it came as no surprise at all to learn that the guy has experience in DJing. Yet in rediscovering Maroonbound recently, I was reminded of how vast Cryptrik's list of contributions really is, how many facets of it I'm still unfamiliar with. And now with A Mambo Moment, I'm starting to actually consider - is Cryptrik a Maroon 5head just like me??

Like, maybe Maroonbound should've made it obvious, but I'd partially just assumed it was made for Chaze the Chat moreso than due to Cryptrik himself actually being a Maroon 5 fan. And maybe that is the case, maybe this rip too isn't meant to be taken that seriously - but fuck man, Shiver? Of the songs on Songs About Jane, its hardly the most recognizable, it's not like Harder to Breathe 64 or Sunday Morning which used the album's big singles - Shiver is the kind of deep-cut that I myself had never even heard until listening to the whole album for myself. Mind, this isn't me complaining, Songs About Jane in its entirety is an all-time album for me for all of its tracks, and I adore Shiver as well: it blends an intimidating and almost threatening tone with a sense of funk only rivaled by fellow album deep-cut Tangled. Maybe it was that funkiness, and the inherent comedy in mashing up its imposing feel with a tune as fun-loving as Mambo No. 5, that led to A Mambo Moment being made - if such was the thought process, it was a stroke of genius.

And really, it is just that simple reason why this rip is featured here. Cryptrik found a really fun way to mash up two songs that feel as if on opposite ends of the vibe spectrum, elevating it beyond the standard mashup at several points throughout. Be it the rip's beginning including both Shiver's iconic guitar distortion and Mambo No. 5's verbal introduction, the slightly swing-ier rhythm that Shiver's vocals get to fit through the new percussion, the breaks in both songs' instrumentals at Mambo No. 5's designated pauses...it all works incredibly well!!

But again, most of all, I am just happy to see Shiver get repped on the channel. This is, unlike a lot of the recent coverage on here a la Light! (Potentialseeker Colress), a rip where I AM attached to both sources used, and it makes the end result all the sweeter, the kind of mashup I never knew I wanted but adore ever so much now that I've heard it in action. Really, A Mambo Moment is the second Cryptrik rip like this to be covered on here, after Give Me the Fantasy - and its possible it won't even be the last! The guy's rips just has a way to plainly make me happy, and I'm so happy that he's still contributing to SiIvaGunner with his same signature style, eight years into it all.

[letmesleepy]

My icon this halloween (^μ ^ )

[melblur]

Todays rip: 29/05/2023

Follow μ's / Halation Generation

Featured on: Rips of Christmas Past Ripped by Cryptrik

Doing somewhat of a double feature here - the original track was uploaded at the beginning of Season 2, with Cryptrik later creating a remastered version for their own channel in late 2018 (Season 3).

Cryptrik is much like Nikki+ in that their style is very identifiable on the channel - in some ways, you can view the two as polar opposites. Wheras Nikki+ consistently provides the most soothing, dream-like tunes of meditation possible, Cryptrik is a full-on DJ, producing beats and bangers on a regular basis ever since the earliest days of Season 1. Not to say that this is all Cryptrik does - he's seen great success in branching out to more traditional mashups, remixes, soundfont swaps, and so on - but the music he specializes in is very much his own unique brand on the channel. As consistent as the morning sun, even within the week I'm posting this, Cryptrik is there to combine the channel's favorite jokes with insanely catchy and bop-worthy beats and EDM melodies.

There's tons of Cryptrik tracks I could've chosen to exemplify this, and this one was mainly just chosen because its been sitting in my personal playlist ever since its release six years ago. But it speaks to just how timelessly quality their work is that it still slots right in with the rest of their iconic contributions to the channel.

Like Nikki+, Cryptrik is sure to come up more in this series of posts as time goes on, so look forward to that lol.

[socialjusticevampire]

Something about the way in which in the first game, Thorn figuratively resurrects Ichika through the adoption of her likeness within Mobius. Yet in the second game, it is Thorn whom is resurrected by Bluffman, and the medium through which this is done is Thorn's music. The resurrector becoming the resurrected, the appropriated image, the icon.

How Bluffman elevates Regret as a Goddess. Through the creation of the Redo, how the Tower of Epimetheus is a tower that enshrines a God, how his ultimate goal is to destroy Redo in order to achieve true apotheosis. How Apotheosis, in and of itself, can be conceptualized as a form of death and resurrection.

Ichika Saotome is dead, so she cannot speak. We hear of her only through the stories of the men who she left in her wake, and yet her ghost permeates all of the first game's story.

Thorn, too, haunts the second game. Through the Musicians reverence of her, she too is elevated from the realm of the human to the realm of the aspirational. He is not Thorn-aka-Asuka, she is Thorn, the Legendary Composer, the one whom the presumed worth of the Obbligato Musicians is measured against.

(When MU-kun excoriates Bluffman, tells him that he is not Thorn, he calls him Natsume Asuka. It is the one time Thorn's name is used.)

Sayoko Hitomi is not dead, despite the many attempts to kill her. She is spoken of as a Goddess, as a virtuadoll greater μ, as invincible, as impossible to defeat. Much of this is by Bluffman. Much of this is by all of the other Musicians.

In the end, she speaks. And in the end, she says, I am a human being.

She is taken down while screaming and sobbing. Her last moments are spent crying and breaking down. She dies in Redo. She comes back in the real world. And this isn't like the other deaths.

This is death of a Goddess, and the resurrection of a human.

[faces-of-7th-art]

@catherinedeneuve_ Μ#portraits @festivaldecannes ''15ans des portraits'' Mε αφορμή στην τιμητική αφίσα του 76ου Φεστιβάλ των Καννών αναρτώ μερικα επιλεγμένα πορτραίτα που εχω κάνει στην Catherine Deneuve απο το 1983 εως το 1996,για 15 χρόνια.

Το πρώτο ήταν το 1983 στο fumoir του Carlton με τον φίλο της σκηνοθέτη #andrétéchiné και έπονται μερικα ακόμη...περισσοτερα στην σελίδα στο fb https://www.facebook.com/studiorassias Faces of 7th Art.

Η Deneuve παραμένει η ηγέρια του Γαλλικού κινηματογραφου,με κινηματογραφικές ταινίες εξαιρετικές,όπως ''Les Parapluies de Cherbourg'',''La Belle du Jour'',''Tristana'',''Le Sauvage'',''La Chamade'' etc...και οπως αναφέρει το περιοδικό Elle cette fois, la grand-messe du septième art a choisi de rendre hommage à une icône française : Catherine Deneuve.

Une affiche réalisée par Hartland Villa (Lionel Avignon, Stefan de Vivies), à partir d’un cliché en noir et blanc de Jack Garofalo, pris sur le tournage de « La Chamade », sur la plage de Pampelonne, précise le communiqué de presse. Un film sorti en 1968, adapté du roman de Françoise Sagan, que l’on doit à Alain Cavalier, où Catherine Deneuve incarne le personnage de Lucile aux côtés de Michel Piccoli et Roger van Hool. Une affiche, à la fois sobre et élégante, à l’image de l’illustre actrice.

On the occasion of the honorary poster of the 76th Cannes Film Festival, I am posting some selected portraits I have taken of Catherine Deneuve from 1983 to 1996, for 15 years.

The first was in 1983 at the Carlton fumoir with her director friend #andrétéchiné and a few more to come...more on the fb page https://www.facebook.com/studiorassias Faces of 7th Art.

Deneuve remains the heroine of French cinema, with excellent films such as ''Les Parapluies de Cherbourg'', ''La Belle du Jour'', ''Tristana'', ''Le Sauvage'', ''La Chamade'' '' etc...and as the magazine reports Elle ''this time, the high mass of the seventh art has chosen to pay tribute to a French icon: Catherine Deneuve.

A poster produced by Hartland Villa (Lionel Avignon, Stefan de Vivies), from a black and white snapshot of Jack Garofalo, taken on the set of "La Chamade", on the beach of Pampelonne, specifies the press release