The girls are back (from the grave)
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HE ALSO DOES THIS THING WITH HIS CHORUSES WHERE HE SWITCHES 1 OR 2 WORDS AS AN EVOLUTION THROUGH THE SONG.
He did it in Like Real People Do with "should not- could not- will not- ask"
And on my current fixation, he says "all that we intend is scrawled on sand". that evolved to "built on sand" at the end
Also he says "should not change our plans." At the beginning, feeling like however minute there is a feeling of uncertainty; which then evolves to "will not change our plans" that feels to me a greater signifier of certainty; a decision being made to be dedicated.
And the bridge growing in repetition of "we begin again" feels like a score counter but also an affirmation of persistence. That although all things end. Inevitably. This won't be how we end.
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I had to.
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you know a trait I wish we would've gotten to see more of post recollection is Sneaky BastardTM wash who has a plan on top of the real plan and he doesn't tell anyone about said real plan until the last possible second, essentially forcing those around him to participate against their will in one way or another. get moved around like pawns on a chess board idiots.
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I’ve already attached this to a re-blog, but it feels like something that I want to post as a standalone as well. Sometimes I scream into the tumblr void about shit. Thanks to a gifted copy of The Body Keeps the Score I’m doing more DIY therapy work and processing some of my thoughts through the interwebs. So here’s a brain thing.
🎶Let’s talk about projection baby, let’s talk about you and me!!🎶 All joking aside, so many of us who deal with CPTSD use fictional works to process our trauma. We are outsourcing emotions and memories that we, for whatever reason, struggle to deal with unless there is some remove from the immediacy of them. We seek to find ourselves in characters, parallels in stories and situations for our own experiences. We live their struggles and triumphs as our own and so find catharsis within them. Aziraphale as a character is a particularly good example of this. He’s doing the thing so many of us who are trying to convince everyone else and ourselves that “we’re FINE, thank you!” do. He isn’t really processing his shit. He’s putting it on a third party to release some pressure before he completely loses it. And in so doing, us the audience, have gained a character that we both empathize and sympathize with, and in turn, use to work through much of our own trauma. I honestly think that’s why so many of us are waiting for S3 with bated breath. We need Az to figure it out. We need them both to heal. To defeat the odds. To find happiness. We’re all waiting for that because we need to believe that it’s something we can have too. If this Angel who foists 6 millennia of grief and rage and maddening questions about the “why” of everything off into an entire bookshop’s worth of stories and characters, if he can figure it out…surely we can too. Surely there is hope for us buried somewhere in the stacks. Surely there is some understanding that can be found, some catharsis or healing within the lines of these narratives. So we’re all holding our breath, our hope and our hearts, in our hands, waiting to finish the story, and in so doing, complete some part of ourselves. Finally framing those cracks where the light comes in, into something beautiful.
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I’m kinda obsessed with the way we’re slowly getting more and more info on our ‘narrator’ (idk what to call him exactly… compiler? storyteller? our friendly guy in the footnotes?) …getting the feeling that he might not be the most reliable guy to be telling us all this
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thoughts on dress?
ALL OF THIS SILENCE 🤐 AND PATIENCE 🧎 PINING IN ANTICIPATION 😩 MY HANDS 🙌 ARE SHAKING FROM HOLDING BACK FROM YOU (AH AH AH) ALL OF THIS SILENCE 🤐 AND PATIENCE 🧎 PINING AND DESPERATELY WAITING 😫 MY HANDS ARE SHAKING FROM ALL THIS AH AH AH AAaaAaAAHHHHH SAY MY NAME 🗣️ AND EVERYTHING JUST STOPS ✋🛑 I DON’T WANT YOU LIKE A BEST FRIEND 🚫👯♂️ ONLY BOUGHT THIS CAMP WHITEMAN POLO 👕 SO YOU COULD TAKE IT OFF 😏 TAKE IT AH AH AH OOOFFFFFFFF 😋 CARVE MY NAME INTO YOUR BED POST 🛏️ CAUSE I DON’T WANT YOU LIKE A BEST FRIEND 🚫👯♂️ ONLY BOUGHT THIS CAMP WHITEMAN POLO SO YOU COULD TAKE IT OFF 😏 TAKE IT AH AH AH OFFFFFFFFF 😋
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on the one hand listening to music while drawing is an easy solution to wanting uninterrupted background noise While I Draw however the downside is every time a new song starts theres a 50/50 chance that ill remember how i wanted to make an animatic/comic for it and ill scream inside
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If you’re taking the wolf requests how about a Revwolf? >:D (also keep up the good work dude!!! You’re doing real well with this lets GOOO!)
050. revwolf!!! (and thank you!! ^_^)
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one minute I’m sitting doing homework and the next I’m bolting upstairs, posessed by the need to tell my friend about how the song “Tomorrow, Wendy” by Concrete Blond would make a vashwood animatic good enough to fucking ruin me
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absolutely enraged to learn that a song i really liked from some shitty bandwagon midwest emo band is in fact just a cover of a semi-popular song from the 90s by a far superior artist
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The Ones That Got Away (Touchstarved OC Rewrite)
I changed the lyrics to “The One That Got Away” by Katy Perry (I listened to this cover by Brielle Von Hugel), based on my Hound!MC Alon's backstory and their childhood friend's betrayal.
Summer in the city where we grew up.
Running from our troubles and tryin’ our luck,
Searching for a world that’d be big enough for two.
Used to steal Headmaster’s liquor and climb to the roof.
Dreamed about the future like we had a clue.
Never thought that one day, I'd be losing you.
In another life, I’d still be your friend.
We'd keep all those promises, be us until the end.
In another life, you would make me stay,
So I don't have to say you were the one that got away,
The one that got away.
One night on that rooftop, we’d made our pact
To leave these walls together, have each other’s backs.
Sometimes when I miss you, I climb towards the sky.
Summer kept on passing, and we grew up,
Found something in the city much bigger than us.
It’s time to face the music, we had long run out of luck.
But in another life, you’d be by my side.
We'd keep all those promises to take charge of our lives.
In another life, I would fight to stay,
So I don't have to say you were the one that got away,
The one that got away.
The one that got away.
All that money won’t buy back our time for me.
Can't replace you with a million dreams.
I never thought you’d turn our dream on me.
So I guess this is goodbye.
But in another life, I could still believe
That friends would keep their promises…
In another life, we’d make our escape,
And everyone who stayed would say we were the ones that got away.
The ones that got away…
In another life, I would make you stay
So I don't have to say you were the one that got away.
The one that got away…
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Even just reordering the songs in bway hadestown so that Eurydice is on stage during Why We Build The Wall and Our Lady of the Underground would improve things so much….you have the “step into my office” bit, you have Persephone react to that, then you have the song where Eurydice meets the other workers and sees what’s actually going on, then Why We Build the Wall is her having apparently given up and lost her identity like the others…..THEN at the end of Why We Build the Wall, Hades leaves the stage and the other workers turn to Eurydice and take her by the hands and smile, and they bring her to Persephone’s bar and they’re all in the chorus for Our Lady and Eurydice realizes that the people here ARE still people and they do have somewhere to talk where Hades isn’t listening (and all the lyrics to Our Lady actually make sense again lmao, ESPECIALLY “there’s a crack in the wall”)
Also I just really want to see Persephone and Eurydice interact on stage in this context….like Eurydice is a little wary bc she’s pretty sure Persephone is jealous of her, but Persephone knows what’s up and sees the new girl that Hades tricked and discarded and picks her out of the crowd during the musical interlude, and twirls her around while the rest of the cast cheers, and gives her a drink and sends her back to her seat…Eurydice stares at her like she’s entranced…idk. Just a little something that sets up how close they are in “I Raise My Cup to Him” as well as Persephone’s sympathy for Orpheus and Eurydice specifically
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One thing I hadn't quite thought about when I was accepted into a top-tier symphony chorus and had not really thought about much until this week is that when you're singing at that level, people are much happier to go on the internet, watch a one-minute video of your ensemble recorded on a cell phone at a piano rehearsal a week before orchestra rehearsals start, and pontificate about how this is well below the level of quality they would have expected of this institution and they are Surprised and Disappointed by it all.
I imagine that eventually you learn to let it roll off your back but it really does suck when you're not used to it.
(Alas, we are technically on the road until fall of 2025 while our home venue undergoes extensive renovation, and the venue for choral concerts doesn't let us do live broadcasts of Saturday concerts, so I cannot invite you to judge for yourselves. But I still think Carmina is gonna slap. I mean if nothing else we've got Ying Fang.)
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No you DON'T UNDERSTAND this is IZZY. IZZY HANDS. ISRAEL HANDS. THIS IS HIM. MMMMMMM.
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