#R&C tod

[pipmcmayhem]

Yep I’m back on this backwater ship and holy shit am I obsessed please try not to judge me ty

[eesirachs]

masterlist of introductory materials for the hebrew bible and new testament

below are resources intended for beginners. these would be assigned to upper level undergraduate theology courses or first year theological master degree courses. they represent academic/ "the Academy's" mode of introducing material. bold are titles most frequently used in syllabi.

these are just general introductions, done well but limited by scope. they attend to the testaments as a whole, not their individual books. i recommend, after getting introduced, that your self-study explore particular books, and then, particular hermeneutics: womanist theology, feminist, mujerista, postcolonial, queer, liberation, etc.

as always i recommend reading the texts themselves: an nrsvu(e) translation is expected in academic theology, and this one is a great annotated version.

sefaria is also useful—a jps translation that allows you to see alternative translations for each word

hebrew bible

Collins, John J. Introduction to the Hebrew Bible : And Deutero-canonical Books. Third ed. Minneapolis: Fortress Press, 2018.

Coogan, Michael David, and Chapman, Cynthia R. The Old Testament : A Historical and Literary Introduction to the Hebrew Scriptures. Fourth ed. New York: Oxford University Press, 2018.

Brueggemann, Walter., and Linafelt, Tod. An Introduction to the Old Testament : The Canon and Christian Imagination. Second ed. Louisville, Ky.: Westminster John Knox Press, 2012.

Gottwald, Norman K. The Hebrew Bible : A Socio-literary Introduction. Philadelphia: Fortress Press, 1985.

Hasel, Gerhard F. Old Testament Theology: Basic Issues in the Current Debate. 4th ed. Grand Rapids, MI: Eerdmans, 1991.

Butterfield, Robert A., and Westhelle, Vítor. Making Sense of the Hebrew Bible. Eugene, Oregon: Wipf & Stock, 2016.

new testament

Allison GT. Fortress Commentary on the Bible. The New Testament. (Aymer MP (editor), Fortress Press; 2014. 

Holladay CR. Introduction to the New Testament : Reference Edition. Baylor University Press; 2017.

Green, Joel B. 2010. Hearing the New Testament : Strategies for Interpretation. 2nd ed.. Grand Rapids, Mich.: W.B. Eerdmans Pub. Co. 

Powell, Mark Allan. 2018. Introducing the New Testament : a Historical, Literary, and Theological Survey. Second edition.. Grand Rapids, Michigan: Baker Academic. 

Carter, Warren. 2006. The Roman Empire and the New Testament : an Essential Guide. Nashville, TN: Abingdon Press. 

Smith, Mitzi J. 2018. Toward Decentering the New Testament : a Reintroduction. Edited by Yung Suk Kim. Eugene, OR: Cascade Books.

Ehrman, Bart D. A Brief Introduction to the New Testament. New York: Oxford University Press, 2004.

Barton, Stephen C., ed. The Cambridge Companion to the Gospels. Cambridge, UK: Cambridge University Press, 2006.

Bockmuehl, Markus, and Donald A. Hagner, eds. The Written Gospel. Cambridge, UK: Cambridge University Press, 2006.

Perkins, Pheme. Introduction to the Synoptic Gospels. Grand Rapids, MI: Eerdmans, 2007.

Stanton, Graham. The Gospels and Jesus. 2d ed. Oxford: Oxford University Press, 2002.

[falcemartello]

Triumphierender Tod: Schädel mit Lorbeerkranz und Uroboros (Triumphant Death: Skull with Laurel Wreath and Ouroboros) by Anonymous (c. 16th century)

-----

Le ragioni degli allarmisti.

Ma insomma, da cosa sono motivati gli allarmisti visto che si si approfondisce bene la scienza ci dice che non c’è nessun motivo di preoccupazione per il futuro del pianeta?

Perché hanno questa agenda che vede al primo posto l’eliminazione dei fossili quando abbiamo visto che negli ultimi 16 anni tutti gli sforzi e i miliardi spesi non hanno prodotto nessun risultato utile sulla riduzione della CO2?

(Vedi QUI)

https://twitter.com/fortnardelli/status/1660316504804425728?s=20

R. Lindzen risponde così: “ Sin dal tempo della prima Giornata della Terra, il movimento ambientalista ha capito che il settore energetico, la ragione del nostro tenore di vita e del nostro benessere in occidente, è fondamentale e deve essere tenuta sotto controllo.

Ho spesso sentito dire che la specie umana ha un impulso totalitario, specialmente dopo la rivoluzione industriale con il crescente potere dell’uomo sul mondo. Fenomeni come comunismo, fascismo e nazismo hanno esaurito la loro spinta storica.

Oggi, come modalità di controllo delle persone, sembra esserci rimasto l’ambientalismo. Un risultato di questa operazione è che ci saranno un po’ di persone che guadagneranno miliardi, sfruttando adeguatamente la spinta ecologista.

Il secondo risultato sarà molto dannoso per tutto il resto della società. Non ci sarà più energia a buon mercato, il che impoverirà la parte più debole dei cittadini, e avrai concentrato immense quantità di potere in poche mani”.

(Fortunato Nardelli)

[pandoramsbox]

Sci-Fi Saturday: The Invisible Man

Week 12:

Film(s): The Invisible Man (Dir. James Whale, 1933, USA)

Viewing Format: DVD

Date Watched: August 13, 2021

Rationale for Inclusion:

After a diversion into aeronautic sci-fi and a post-apocalyptic narrative, our survey returns for one last example of a Pre-Code horror hybrid: The Invisible Man (Dir. James Whale, 1933, USA).

As with Island of Lost Souls (Dir. Erle C. Kenton, 1932, USA), The Invisible Man is based on an H.G. Wells novel. Unlike when Paramount Pictures bought the rights to adapt The Island of Dr. Moreau, however, Wells demanded script approval as part of the deal with Universal Studios for them to adapt The Invisible Man. Wells had hated the adaptation of The Island of Dr. Moreau, finding its emphasis on horror and lack of imagination miserable, and was not going to let a similar fate befall another one of his novels.

Although the rights were secured by Universal not long after the success of Dracula in 1931, it would take two years for the studio to assemble a satisfactory crew, script and cast. James Whale signed onto the project in 1931, but after the huge success of Frankenstein (1931, USA) left the project, not wanting to be associated as a horror director. However, after his return to romance with The Impatient Maiden (1932, USA) failed at the boxoffice, Whale returned to horror, first with The Old Dark House (1932, USA), which reunited him with Boris Karloff, and then signing back on to The Invisible Man. During Whale's absence from the project many screenwriters and drafts of screenplays, some of which used elements from another novel that Universal bought the rights to, The Murderer Invisible by Philip Wylie, had come and gone and failed to meet with Wells' approval.

In June of 1933, a script that finally met with Wells' approval was produced by R. C. Sherriff, who had written the play Journey's End, which sent Whale's star on the rise. This screenplay originated the idea that the experimental monocane serum that Dr. Jack Griffin (Claude Rains) produces not only makes him invisible, but slowly destroys his sanity. Similar to the lab setup and lightning power in Whale's Frankenstein, insanity as a byproduct of the invisibility would inform later adaptations of the Wells novel, including the early 2000s television series, which also featured a clip from the 1933 film in its opening credits sequence.

Reactions:

As resistant as Whale initially was to making horror films after Frankenstein, he proved with each subsequent one that he made how good he was at it. With the help of a group of repertory creatives both on and off screen, Whale put a pathos and humor into his horror films in a way that no other director working in the genre in the 1930s did. It's why over 90 years later Frankenstein, The Old Dark House, The Invisible Man, and The Bride of Frankenstein (1935, USA) are some of the best horror films of their era and amongst the most influential of all time.

Yet, the horror genre aspects in The Invisible Man are not as prominent as its science fiction categorization. Griffin is a mad scientist, that is an otherwise average person, whose hubris and curiosity makes a monster out of him. My partner noted that he considers The Invisible Man to definitely be a monster movie, but more of a suspense or mystery film than a horror film. Any movie that features a serial killer is at least partially horror in my reckoning, but the way the narrative of The Invisible Man unfolds, it is closer to a suspense film like M (Dir. Fritz Lang, 1931, Germany) than an unquestioned horror film with a fantasy monster like Dracula (Dir. Tod Browning, 1931), despite all three having narratives that boil down to "what is the mystery surrounding this man" then "this man is a monster and must be destroyed for the greater good."

The mystery and monstrosity around Griffin is rendered possible through the performance of Claude Rains and some inventive special effects. As with Whale's casting of Karloff in Frankenstein, his role as the title character in The Invisible Man was a star-making role for theater actor Rains. Having to rely on his voice and physicality, but not his face, gave Rains some trouble during production, but he ultimately created a character that oscillates between aloofly mysterious and a madcap lunatic. 

A combination of post-production optical work, clever blocking, and use of wires rendered Griffin invisible. The special effects used would remain the standard way of conveying an invisible entity prior to computer generated imagery and post-production work becoming dominant in the industry. As silly as it may feel knowing that Griffin unwraps his head revealing nothing beneath is achieved by something as simple as Rains wearing his shirt and jacket above his head as he removes the bandages it remains visually iconic.

My only issue with the practical special effects comes at the film's climax when Griffin exits the cabin where he is hiding out and he leaves shoe prints in the snow, despite it being previously established that to be fully invisible (as he is in the scene) he must be totally naked. What baffles me if the use of shoe prints instead of footprints was a question of deliberate censorship or thoughtless oversight. I usually don't get nitpicky about these types of goofs in movies, but it stands out sharply in an otherwise carefully engineered film.

[aita-alternia]

ATIA for playing icp to loud at grubmart?

|(purple blood fem@le) works @t grubm@rt on the spe@kers, so us@ully I’d just pl@y the regul@r stuff but |felt bored @nd quite m|sch|evous tod@y sooo, |pl@yed my f@vour|te |cp songs from @ pl@ylist |h@d on the spe@kers on full volume! Now @t the t|me wh@t |d|dn’t know |s there w@s this one troll in the store who gets re@l @ggress|ve when he he@rs |cp. So Ofc pl@ying my music on full volume got h|m |n l|ke m@x murder mode so wh@t found out is th@t he l|ter@lly k|lled like 5 people. @nyw@y |got f|red @nd h@ve @ court c@se tomorrow =:o|

[daughterofhecata]

Once again I aimed for complete blackouts on @batmanisagatewaydrug's and @macrolit's reading bingos and this time, I actually succeded! (Even if I took some liberties with the term 'novel' on the macrolit one, mostly focused on the 'classics' aspect.) Lowkey proud of myself ngl.

Titles for both under the cut, full reading list here.

batmanisagatewaydrug:

graphic novel: Christopher Tauber, Hanna Wenzel: Rocky Beach. Eine Interpretation. [no english title]

horror: Jáchym Topol: Die Teufelswerkstatt [org. title: Chladnou zemí/engl. title: The Devil’s Workshop]

author you’ve never read before: David Henry Hwang: M Butterfly

translation: Władysław Szlengel: Was ich den Toten las [org. title: Co czytałem umarłym/engl. title: What I Read to the Dead]

poetry collection: Richard Siken: Crush

a book recommended by a friend: James Oswald: Natural Causes. An Inspector McLean Novel.

verse novel: Alexander F. Spreng: Der Fluch [no english title]

novella: Thomas Mann: Der Tod in Venedig [engl. title: Death in Venice]

a book w/ vampires: Michael Scott: The Secrets of the Immortal Nicholas Flamel #2. The Magician.

book w/ a cover you think is cool: Cornelia Funke: Tintenwelt #4. Die Farbe der Rache. [engl. title: The Color of Revenge]

2023 release: Jonathan Kellerman: Unnatural History. An Alex Delaware Novel

book w/ an animal on the cover: Faye Kellerman: Der Zorn sei dein Ende [org. title: The Hunt]

book published before 1980: Josef Bor: Die verlassene Puppe [org. title: Opuštěná panenka/engl. title: The Abandoned Doll]

science fiction: Ursula K. Le Guin: The Dispossessed

romance: Akwaeke Emezi: You made a Fool of Death with your Beauty

historical fiction: Alena Mornštajnová: Hana [org. title: Hana/engl. title: Hannah]

450+ pages: James Ellroy: Die Schwarze Dahlie [org. title: The Black Dahlia]

memoir: Jeanette McCurdy: I‘m Glad My Mom Died

re-read a book from school: Frank Wedekind: Frühlings Erwachen [engl. title: Spring Awakening]

short story collection: John Barth: Lost in the Funhouse

non-fiction: Vera Schiff: The Theresienstadt Deception. The Concentration Camp the Nazis Created to Deceive the World.

book w/ a movie adaption: Vladimir Nabokov: Lolita

book published in your birthday month: Jan T. Gross: Neighbors. The Destruction of the Jewish Community in Jedwabne, Poland.

anthology: Alain Locke: The New Negro

macrolit:

Classic Author A/B/C: James Baldwin: Giovanni‘s Room

Published between 2000-2023: Kim Newman: Professor Moriarty. The Hound of the D‘Urbervilles

Philosophy or Literary Criticism: [various books and essays for three literature courses]

Harlem Renaissance: Claude McKay: Harlem Shadows

Children’s Literature: [various Three Investigators books]

Fan Fiction: [various works]

Essays or Satire: Mark Thompson: Leatherfolk. Radical Sex, People, Politics and Practice.

Book of Short Stories: John Barth: Lost in the Funhouse

Classic Author G/H/I: Lorraine Vivian Hansberry: A Raisin in the Sun

LGBTQ+ Author: Ocean Vuong: Time is a Mother

Published before 1940: Friedrich Schiller: Maria Stuart

Classic Author J/K/L: Ursula K. Le Guin: The Dispossessed

Detective, Horror, or Suspense: Maurice Leblanc: Arsène Lupin und der Schatz der Könige von Frankreich [org. title: L'Aiguille creuse/engl. title: The Hollow Needle]

Classic Author M/N/O: Vladimir Nabokov: Lolita

Classic Author S/T/U: J.D. Salinger: The Catcher in the Rye

Poetry or Play: Arthur Schnitzler: Reigen [engl. title: La Ronde]

Biography or Non-Fiction: Peter Hallama: Nationale Helden und jüdische Opfer. Tschechische Repräsentationen des Holocaust. [no english title]

Classic Author P/Q/R: Sylvia Plath: The Bell Jar

Graphic Novel: Christopher Tauber, Hanna Wenzel: Rocky Beach. Eine Interpretation. [no english title]

Published between 1940-1999: Hanna Krall: Dem Herrgott Zuvorkommen [org. title: Zdążyć przed Panem Bogiem/engl. title: Shielding the Flame]

Classic Author D/E/F: Bret Easton Ellis: American Psycho

Young Adult: Kathy Reichs: Virals #1. Tote können nicht mehr reden. [org. title: Virals]

Gothic Fiction: E.T.A. Hoffmann: Nussknacker und Mausekönig [engl. title: The Nutcracker and the Mouse King]

Classic Author V/W/X/Y/Z: Frank Wedekind: Frühlings Erwachen [engl. title: Spring Awakening]

[magicicephoenix]

So you know how there’s the thing with phones (might just be apple i dunno) where they can scan pictures for words? and then you can copy-paste them?

I wrote a thing at like midnight in a notebook with the most horrendous handwriting, and this is what the scanner picked up on:

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[apple-pecan]

Ratchet & Clank: Up Your Arsenal (2004)

i beat this game when i was 11 but this is my first time beating it without cheats so :P

this was the first R&C i played as a kid and yep, still my favorite. the gameplay is extremely fun with tons of powerful and wacky weapons to use and the writing is silly as hell. dr. nefarious isnt the deepest villain at all but he sure is funny, and his robot butler lawrence is the perfect foil.

there's less emphasis on minigames this time around but the ones that are here like the hacker minigame and the tyhrraguise pseudo-rhythm minigame are pretty fun and not that frustrating compared to the shit in Going Commando. actually this whole game is quite a bit easier than it's predecessor but it's not a total cakewalk either. pro-tip: lock strafe is your friend.

overall it was fun and nostalgic to go back to and it felt good to finally beat it on the game's own terms this time. i guess deadlocked and tools of destruction are next; hopefully ToD works well in rpcsx3 or whatever because i dont have a ps3 anymore XD

9/10

CLOSING NOTE: dr. nefarious shares the same VA as andrew ryan from bioshock. now that's pretty fucked up

[linnydreamy]

𝔈𝔠𝔥𝔞 𝔡𝔢 𝔑𝔲𝔟𝔢𝔰

Vιsto ᥴo꧑o sι fᥙᥱrᥲ ᥙᥒ sᥙᥱño. Sᥱdᥲs ᥴáᥣιdᥲs ᥡ ᥱtérᥱᥲ𝔰 ᥴoᥒf𝔬rtᥲbᥣᥱ𝔰 ρᥲrᥲ dor꧑ιr, ᥱᥣ úᥒιᥴo ᥣᥙgᥲr doᥒdᥱ ρᥙᥱd𝔬 voᥣvᥱr ᥲ ᥴᥲsᥲ. Sιᥱ꧑ρrᥱ so꧑ᥒ𝔬ᥣιᥱᥒtᥲ ᥡ ᥴ𝔬ᥒ ᥣᥲ ᥴᥲbᥱzᥲ ᥱᥒ ᥣᥲ𝔰 ᥒᥙbᥱ𝔰 dᥱ ᥲᥣgodóᥒ, ꧑ι ᥲᥣ꧑ᥲ ᥲᥒhᥱᥣᥲ rᥱρrᥱ𝔰ᥱᥒtᥲr ᥣo soñᥲdorᥲ qᥙᥱ ᥱ𝔰 ꧑ι ꧑ᥱᥒtᥱ.

Vᥱstιdo dᥱ ᥱᥒᥴᥲjᥱ, ᥴᥲ꧑ι𝔰oᥒᥱ𝔰, fᥲᥣdᥲ dᥱ ᥲᥣgodóᥒ ᥡ sᥙétᥱrᥱs dᥱ ᥣᥲᥒᥲ. Cᥲᥣᥴᥱtιtᥲs bᥣᥲᥒᥴᥲs ᥴoᥒ ᥱᥒᥴᥲjᥱ ρᥲrᥲ ρᥲsᥱᥲr ᥱᥒ ꧑ι hᥲbιtᥲᥴιóᥒ. Zᥲρᥲtos dᥱ ρrιᥒᥴᥱsᥲ ρᥲrᥲ sᥲᥣιr ᥡ botιᥒᥱ𝔰 dᥱ ᥴᥙᥱro ᥒᥱgro ρᥲrᥲ ᥱsᥴoᥒdᥱr ᥴᥲdᥲvᥱrᥱs ᥱᥒ ᥱᥣ bosqᥙᥱ.

¿pᥲrᥱzᥴo ᥙᥒᥲ ᥴhιᥴᥲ dᥱ ᥱᥒsᥙᥱño? qᥙιᥱro qᥙᥱ vᥱᥲᥒ ꧑ιs ojos ᥣᥣᥱᥒos dᥱ ᥱstrᥱᥣᥣᥲs ᥡ dιgᥲᥒ qᥙᥱ vιᥒᥱ dᥱᥣ ᥴιᥱᥣo, dóᥒdᥱ ᥣᥲs ιᥣᥙsιoᥒᥱs sᥱ hᥲᥴᥱᥒ rᥱᥲᥣιdᥲd ᥡ hᥲbιtᥲᥒ ᥣos áᥒgᥱᥣᥱs ᥡ qᥙᥱrᥙbιᥒᥱs. O ꧑ás ᥲᥣᥣá, vᥱᥒιdᥲ dᥱᥣ ꧑ᥙᥒdo ιᥒfιᥒιto dᥱᥣ ᥴos꧑os dóᥒdᥱ ꧑ι ᥴorᥲzóᥒ ᥴᥲdᥲ qᥙᥱ dᥙᥱr꧑o vιsιtᥲ todᥲs ᥣᥲs ᥒoᥴhᥱs.

[sonyclasica]

SHIRO SAGISU

EVANGELION INFINITY Y EVANGELION-VOX

Milan Records lanza  dos álbumes con la música de la popular franquicia de anime NEON GENESIS EVANGELION del compositor Shiro SAGISU. Disponibles por primera vez fuera de Japón, ambos álbumes incluyen música de la serie original de anime de 1995 de Hideaki Anno, así como de la serie de películas REBUILD OF EVANGELION, que concluyó en 2021 con el lanzamiento de la cuarta y última película de la serie Evangelion: 3.0+1.0 Thrice Upon a Time.

Escucha Evangelion Infinity AQUÍ

Escucha Evangelion-Vox AQUÍ

EVANGELION INFINITY llega como un enorme álbum recopilatorio de 50 pistas compuesto por múltiples versiones del icónico tema "EM20" de SAGISU, recién reinterpretado en una gama de estilos que incluyen desde versiones a capella y spaghetti western hasta chiptune del tema -escúchalo aquí. EVANGELION-VOX, por su parte, incluye 20 remakes de hip-hop y R&B de la música de SAGISU, con aportaciones de artistas como MALI, LOREN&MASH, LOREN y otros más que dan un giro a algunos de los temas principales de la serie – ecúchalo aquí.

EVANGELION INFINITY

TRACKLISTING –

1.       DECISIVE BATTLE (1995)

2.       Spending Time in Preparation (1996)

3.       The Beast Ⅱ(1996)

4.       NORMAL BLOOD (1996)

5.       The Longest Day (2007)

6.       The Longest Day Ⅱ(2007)

7.       EM10B Rhythm Main Mix 070820 (shin)

8.       The Longest Day Ⅲ (2007)

9.       Strategie"Yashima" (2007)

10.    Battaille Decisive (2007)

11.    Sin From Genesis (2009)

12.    2EM36 rhythm only (shin)

13.    2EM36 orchestra only (shin)

14.    Bataille d'Espace (2012)

15.    Serenity Amongst the Turmoil (2012)

16.    E01_matsumoto (2013)

17.    E16_shima (2013)

18.    euro nerv (2021)

19.    EM10A alterne (2021)

20.    EM10A alterne bis (2021)

21.    EM20 =wunder operation= (2021)

22.    E-16 normal rhythm (1998)

23.    E-16 fast rhythm only (1998)

24.    PRELUDE TO BATTLE (1997) – MALI

25.    BATTLING (1997) – MALI

26.    E01_EWS_Amano&Kosei (2009)

27.    E01_01_YoichiMurata_Session (2009)

28.    E01_02_YoichiMurata_Session (2009)

29.    Jerry Long (2016)

30.    Akira Jimbo universe (shin)

31.    ch alt1 proto (shin)

32.    ch alt3 proto (shin)

33.    ch alt4 proto (shin)

34.    EM20_alterna01～EM20_alterna03～EM20_alterna04(2017)

35.    E01_WithoutEricTrumpet_EWS_Amano&Kosei (2009)

36.    Shiro'sBrassBand_TributeToBreckerBrothers (2009)

37.    EM20 KOTETSU Voice Orchestra (shin)

38.    TENSIONS featuring Takahashi Yoko (2017) – Yoko Takahashi

39.    TENSIONS =he who pays the piper= (2017) – Yoko Takahashi

40.    EM20 =clint eastwood= (shin)

41.    euro nerv optionA =tokyo III and timpani= (shin)

42.    EM20 =spaghetti western swang= (shin)

43.    euro nerv optionB =tokyo III and guitars= (shin)

44.    Can’t run away, Face it =EVA oriented Giant Swing= (shin)

45.    EM20 =super chiptune= (shin)

46.    alterna blueprint CHOKKAKU guitars (shin)

47.    a short attention span (shin)

48.    battle suite 1997 (1997)

49.    EM20 suite 2017 (2017)

50.    all you need is love, Martin… (shin)

EVANGELION-VOX

TRACKLISTING –

“EVANTRODUCTION” (A-4) – The LORD

“THE IMAGE OF ME –vocalise” (A-1) – LOREN

“FROM MY DREAMS” (A-4) – Carroll Thompson

“EVANGELISM” (A-4)– LONDON GOSPEL CHOIR

“CAN'T GET YOU OUTTA MY HEAD” (A-4) – LOREN&MASH

“X-plicit” – MALI

“PRELUDE TO BATTLE” (E-1) – MALI

“BATTLING” (E-1)  – MALI

“interlude-THANATOS” (E-13)  – Mike Wyzgowski, LOREN

“THANATOS-IF I CAN'T BE YOURS- JAZZ SIDE STRICK-MIX ” (E-13)– LOREN&MASH

“I'LL BE ALWAYS ON YOUR MIND” (C-5) – Carroll Thompson

“ARMAGEDDON” – MALI

“Komm,susser Tod” TUMBLING DOWN-MIX (M-10) – LOREN&MASH

“ANGEL ATTACK” (E-6) – MALI

“UTOPIA “– MALI

“PROMISED LAND-reprise” (F-2) – Camelle Hinds

“PROMISED LAND LOREN & MASH studio LIVE” (F-2) – LOREN&MASH

“STAR” (LOREN & MASH studio LIVE)(F-2) – LOREN&MASH

“THE IMAGE OF ME” playback (A-1) – LOREN

OUTRO “never shall we return from conflict we must learn” (A-10) - The LORD

SOBRE Shiro SAGISU

Nacido en Tokio en 1957, Shiro SAGISU es un compositor, arreglista y productor musical que ha estado en la vanguardia de la industria musical durante casi 40 años, desde su participación en el debut de The Square en un gran sello discográfico en 1978. Ha trabajado en cientos de miles de canciones con artistas de una amplia gama de géneros, desde la era de la canción idol de principios de los 80 hasta el reciente J-Pop y el crossover clásico, y también ha participado activamente en el campo del cine, la televisión y otros tipos de música visual. Además, produce constantemente un gran número de proyectos de éxito. Ha estado activo en Europa desde los años 90, dirigiendo clubes en París y componiendo música para artistas británicos y franceses. También fue el primer compositor japonés en dirigir la música de una película coreana. Su combinación con Hideaki Anno, que ha durado más de un cuarto de siglo, tiene muchos fans entusiastas en todo el mundo. Además, siguiendo los pasos de su padre, Soji Ushio (1921-2004), dirige Pee Productions y gestiona las producciones de la empresa. Entre sus trabajos más recientes figuran las series EVANGELION, MUSA, CASSHERN, BLEACH, Berserk, Shingeki no Kyojin (ATTACK ON TITAN) y Shin Godzilla. Actualmente desarrolla su actividad internacional con tres bases en Londres, París y Tokio.

Sony Music Masterworks se compone de los sellos Masterworks, Sony Classical, Milan Records, XXIM Records y Masterworks Broadway. Para obtener información y actualizaciones por correo electrónico, visita https://lnk.to/sonysoundtracks.

CONECTA CON MILAN RECORDS: WEBSITE | FACEBOOK | INSTAGRAM | TWITTER | YOUTUBE

[amores-meu]

🩶 ))) 🩶      ⿴⃟

 ((◠‿◠)) ~.•° Ⲙⲉⲛ⳽ⲇⳋⲉⲙ 𝖽ⲟ ꓓⲓⲇ

＿(_つ/￣￣/ ｡o○  

　 ＼/＿＿/"Cᥲdᥲ ρᥱssoᥲ tᥱm sᥱᥙs mᥱdos, sᥙᥲs vᥱrdᥲdᥱs... Cᥲdᥲ ᥙm sᥲbᥱ oᥒdᥱ dóι ριsᥲr. A vιdᥲ ᥱ́ ᥙmᥲ ᥴoᥒstᥲᥒtᥱ dᥱsᥴobᥱrtᥲ, tᥱmos qᥙᥱ ᥱstᥲ́ ᥲbᥱrtos ρᥲrᥲ o ᥒovo, ρᥲrᥲ ᥲs sᥙrρrᥱsᥲs qᥙᥱ ᥱᥣᥲ ᥒos ρrᥱρᥲrᥲ, sᥲbᥱᥒdo qᥙᥱ sᥱjᥲ o qᥙᥱ for vᥲι ᥣᥱvᥲr ᥱ dᥱιxᥲr ᥲᥣgo ᥱm ᥒós. Mᥲs ᥒᥲ̃o ρodᥱmos ᥱ́ dᥱιxᥲr ᥲs oρortᥙᥒιdᥲdᥱs ρᥲssᥲrᥱm ρor ᥒós sᥱm ᥲ ᥲρrᥱᥴιᥲrmos. Nᥱᥒhᥙm ᥴᥲmιᥒho ᥱ́ totᥲᥣmᥱᥒtᥱ sᥱm grᥲᥴ̧ᥲ, tᥙdo tᥱm mᥲgιᥲ, tᥙdo tᥱm sᥱᥙ ρorqᥙᥱ. Sᥱ fιᥴᥲrmos ᥲᥒᥲᥣιsᥲᥒdo ᥲ dιfιᥴᥙᥣdᥲdᥱ , sᥱ ᥲ bᥙsᥴᥲrmos ᥱ ᥲᥣιmᥱᥒtᥲrmos ᥱᥣᥲ gᥲᥒhᥲrᥲ́ forᥴ̧ᥲ . Sᥱjᥲ mᥲιs fortᥱ qᥙᥱ ᥱᥣᥲ , sᥱjᥲ mᥲιs fortᥱ qᥙᥱ sᥱᥙs mᥱdos, sᥱjᥲ mᥲιs fortᥱ . Voᥴᥱ̂ ᥱ́ ᥙm sᥱr ιᥣᥙmιᥒᥲdo ᥱ mᥱrᥱᥴᥱ todᥲ ᥲ ᥲᥣᥱgrιᥲ . Dᥱsρrᥱᥒdᥲ-sᥱ do qᥙᥱ tᥱ ᥣιmιtᥲ ᥱ sιgᥲ oᥒdᥱ o horιzoᥒtᥱ ᥱ́ mᥲιs ᥲzᥙᥣ, oᥒdᥱ ᥲs fᥣorᥱs tᥱm mᥲιs ᥴorᥱs. Eᥒᥴoᥒtrᥱ ᥱstᥱ ᥣᥙgᥲr qᥙᥱ ᥱ́ sᥱᥙ ."

____________✎Lᥱᥒᥱ Dᥲᥒtᥲs

              🩶 ꦿꦿ

[postsofbabel]

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[meusbbs]

.        💕G૨αтıdãσ🙏🏻

➷💕ᴘᴏʀ ᴠᴏᴄê ᴇsᴛᴀʀᴇ ᴀǫᴜɪ

🦋➖➖➖➖💕ϑolтe Տəʍρʀə!!

‣ ω ᴇ ʟ c o м ᴇ

🦋➖➖➖➖🦋➖➖➖➖🦋

➲Aᥴᥲᥣmᥲ ᥱ dᥱsᥴᥲᥒsᥲ sᥱᥙ ᥴorᥲᥴ̧ᥲ̃o... Dᥱᥙs sᥲbᥱ dᥱ todᥲs ᥲs sᥙᥲs dιfιᥴᥙᥣdᥲdᥱs... E tᥱm ᥲ ᥴᥙrᥲ ρᥲrᥲ todᥲs ᥲs sᥙᥲs dorᥱs... Amᥱ, tᥱᥒhᥲ fᥱ́ ᥱ ᥴoᥒfιᥱ... Um ᥲmᥲᥒhᥱᥴᥱr dᥱ bᥱᥒᥴ̧ᥲ̃os ᥱstᥲ́ sᥱᥒdo ρrᥱρᥲrᥲdo, ᥱsρᥱᥴιᥲᥣmᥱᥒtᥱ ρrᥲ voᥴᥱ̂!

          ↪ Lιᥲhᥒᥲ Mᥱᥣᥣ 

....😔/          ⇙

... /▌┌┘

... / \┌┘rαηcγ

⏇꧑📞

[notationsworld]

Agar Tum Mil Jao (Zeher) - Sargam, Harmonium And Flute Notes

Agar Tum Mil Jao (Zeher) - Sargam, Harmonium And Flute Notes

                                  SCALE OF THE FLUTE IS C BASS/MIDDLE Agar tum mil jao M..G..M..G..M..R..G..M... Zamana chod denge hum M..G..M..D...M..G..G.. Agar tum mil jao M..G..M..G..M..R..G..M... Zamana chod denge hum M..G..M..D...M..G..G.. Tumhe paakar zamane bhar se rishta D.D..D..D.N..N.N..N.R'.R'(K)..R'(K)..N..D.. Tod denge hum D...M..G..M.. Agar tum mil jao M..G..M..G..M..R..G..M... Zamana chod denge hum M..G..M..D...M..G..G.. Agar tum mil jao M..G..M..G..M..R..G..M... Zamana chod denge hum M..G..M..D...M..G..G.. Bina tere  R'..R'..R'(K)..G'..R'..N.. Koi dilkash N..N..D..S'..N..M.. Nazara hum na dekhenge M..G..M..D...M.P..M..G.. Bina tere  R'..R'..R'(K)..G'..R'..N.. Koi dilkash N..N..D..S'..N..M.. Nazara hum na dekhenge M..G..M..D...M.P..M..G.. Tumhe na ho R'..R'..R'(K)..G'..R'..N.. Pasand usko  N..N..D..S'..N..M.. Dobara hum na dekhenge M..G..M..D...M.P..M..G.. Teri surat na ho jisme M..G..M..G..M..R..G..M..M..M.. Teri surat na ho jisme M..G..M..G..M..R..G..M..M..M.. Wo sheesha tod denge hum M..G..M..D...M..G..G.. Agar tum mil jao M..G..M..G..M..R..G..M... Zamana chhod denge hum M..G..M..D...M..G..G.. Also Read This :- - Baadshah O Baadshah – Sargam, Harmonium And Flute Notes - Yeh To Sach Hai Ki Bhagwan Hai (2nd) – Sargam And Flute Notes - Aao Milo Chalen – Sargam, Harmonium And Flute Notes - Zindagi Kuch Toh Bata – Sargam, Harmonium And Flute Notes - Kaun Tujhe (M.S. Dhoni The Untold Story) – Sargam And Flute Notes DO -  SA       -    S   RE  -  RE      -    R MI  -  GA      -    G FA  -   MA      -  M SO  -   PA         - P LA  -  DHA      - D TI    -  NI          - N LOW OCTAVE PA -  p DHA -  d NI -  n SHUDH MA - m        TIWAR MA - M HIGH OCTAVE SA -    S' RE -     R' GA -     G' MA -     M'   m' PA -       P' KOMAL SWAR DHA -  D(k) NI -       N(k) RE -       R(k) GA -      G(k) Read the full article