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nonstandardrepertoire · 3 months ago

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Parashat Tərumah: כַּפֹּֽרֶת | kapóret

Both the lid and the curtain separate and contain. But there is a key difference: On occasion — once a year on Yom Kipur, in fact — the High Priest can pass thru the curtain; at no point is anyone ever to remove the lid from the Covenant Ark. One is slightly permeable, the other is permanently sealed. What does this teach us about atonement?

A slightly unusual one this week in that I’m not going to be citing a specific verse, but rather a word that shows up in multiple verses in this parashah: כַּפֹּֽרֶת | kapóret, a word that refers to the lid of the Covenant Ark. As far as we can tell, kapóret isn’t a generic term for a lid that goes on a box, instead, it’s a technical term for this covering and this covering alone. Etymologically, kapóret comes transparently from the root כפר | KPR, which generally refers to atonement or the clearing away of sin. It’s the exact same root that gives us Yom Kipur.

I am always a little hesitant to put much weight on etymology when it comes to explaining technical terms. Jargon has a way of tying terms to meanings by the most tangential relations, and those terms tend to stick even when they make very little sense. In music, the field I know best, a piano is not a quiet instrument (despite what its name might suggest), an Italian augmented sixth chord has no discernible historical connection to Italy, and altos (literally “high ones”) aren’t the highest vocal part in a standard vocal ensemble. It’s sometimes possible to explain these names historically (tho, again, some of them really are flummoxingly inexplicable), but there’s no way to reverse-engineer those explanations from the words themselves.

Still, the etymological connection here is suggestive. The most direct explanation may be that the kapóret is where the High Priest would sprinkle the atonement blood on Yom Kipur — not so much a lid as an atonementizer. But I think there’s a teaching for us here as well.

In particular, I’m struck by the similarity of kapóret to another technical term in this parashah: פָּרֹֽכֶת | parókhet, the curtain that separates the Holy of Holies from the rest of the Mishkan. The words are almost identical, the same four consonants in only a slightly different order, all but the same vowels. What are we to learn from the juxtaposition of these words?

What does this teach us about atonement?

There is a state of affairs that, at first blush, looks an awful lot like atonement. When one person wrongs another, it is common for the two of them to never speak of it, to never address the harm directly, to carry on as tho the harm had never been done, not because the harm has been healed but instead because letting it fester in the background is easier than the fraught work of apology. Perhaps you have even experienced this yourself.

As I said, at first blush, this might look like atonement. But unaddressed, these things tend to accumulate, repeated little incidents amplifying each other towards a ruinous breaking point. The parókhet might seem like a kapóret, but it is not quite: The miasma of sin can still seep thru it and contaminate the holiest space. Harm suppressed is not atonement.

The work of atonement requires piercing that veil. It requires the risky, terrifying work of going inwards, digging up feelings of hurt and sitting with them, figuring out what went wrong, what can be done to make it right, and what can be done to prevent future failings on the same lines. And then, crucially, the matter must be laid to rest. It cannot be atonement if the same incident is going to be relitigated again and again. That’s a curtain, not a lid — once the Tablets go into the Ark, the kapóret goes on, and it doesn’t come off again. If it were permeable, it would be a parókhet, and that’s no good.

This work, tho difficult, is uttmostly Holy. The very Divine Presence of G-d manifests in the Holy of Holies in the heart of the holy meeting tent directly on top of the kapóret. Atonement, when we can reach it, is the foundation that allows G-d’s presence to enter the world.

[This has been an installment of one-word Torah. You can read the full series here.]

#one-word Torah #Torah commentary #Jumblr #atonement #festering #forgiveness #Tərumah #terumah #teruma #parashat hashavu’a #parsha #i could write like ten thousand words about this you don't even know

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haverbzzz · 23 days ago

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essay about phoebe bridgers song: waiting room !!

Know it’s for the better. American singer-songwriter Phoebe Bridgers's song, Waiting Room, includes the line “Know it’s for the better” 36 times in a row. The repetition of the verse underscores the deep emotion and otherwise subtlety of the song which addresses unrequited young love. Painful, torturous, and ultimately unfulfilled, the singer is perhaps self-soothing with the repeated lyric.

The song starts with the lyrics “If you were a teacher, I would fail your class/Take it over and over ‘til you noticed” accompanied by a melancholy guitar. The lyrics then transition “If you were a waiting room, I would never see a doctor/I would sit there with my first aid kit and bleed.” The words, together with Phoebe Bridgers' voice, create a song that perfectly expresses teenage angst; overdramatic lyrics that you still find yourself crying to in your bed at 3 am.

In an interview with NPR, Bridgers said that she wrote the song when she was 16 years old and now dislikes the overdramatic lyrics. “I have, like a really old song called “Waiting Room,” where – yeah, I wrote it when I was, like, 16. And people find it every once in a while and tag me in it or whatever. And I think I’m just – one, it’s super sincere, and I meant everything. But it’s so emotionally raw, and I’m so pining for someone.”

Despite Bridgers' dislike for the song it quickly blew up on social media platforms where fans used it as the soundtrack for more than 16 million videos, not to mention, many cover versions that have also been shared. Despite the popularity of the song, Bridgers hasn’t said much about it or what the lyrics may mean which leaves listeners to come up with their own interpretations. On the r/phoebebridgers Reddit page, there is a subreddit about Waiting Room. The top comment on this subreddit states how the poster understands the song: “the feeling of liking someone so much but not having them reciprocate it or it ever working out...she captures it perfectly. When you're so obsessed with somebody and so invested in doing anything to make it work, but it doesn't. You want to be that person's one and only. But in the end, they can't be your only if you aren't theirs. And that is what hurts the most.” Many of the other comments go into similar detail, explaining how the song may seem dramatic and excessive but when broken down is a very real and relatable song that identifies feelings of young love.

The next verse includes “I wanna be the power ballad that lifts you up and holds you down/I wanna be the broken love song that feeds your misery.” The first line suggests a strong desire to be present in someone's life and to give them comfort and stability. The Cambridge Dictionary's definition of a power ballad is “a slow love song, sung with a lot of emotion.” Technically speaking that describes this song. This is a way in which Bridger relates her songs to other people. In her song she is saying she wants to be a power ballad for someone she likes and for other people they may interpret her and this song being their power ballad for them and someone else. That is one of the many astonishing things about music, any song can have any meaning to anyone depending on your experiences and thoughts and that is so beautiful.

After this Bridgers sings, “And I can wish all that I want, but it won't bring us together/Plus, I know whatever happens to me, I know it's for the better.” These lyrics suggest that she knows that no matter how hard she tries, nothing she does will make them like her. After that line, she is essentially saying “I know they won’t like me, and that’s okay because it is for the better.” It could be interpreted that she either doesn’t feel worthy or pretty enough to be loved by this person or she can’t force this person to like her and that is okay.

Toward the end of the song, the lyrics change direction to “I wanna make you drive all night just because I said, "Maybe you should come over/Wanna make you fall in love as hard as my poor parents' teenage daughter/She'll be the best you ever had if you let her.” At the song's beginning, Bridgers's lyrics make it seem like she likes someone who doesn’t like her back, and that's okay. Then towards the end, she sings about her fantasies or hopes she wishes to have with this person. After this, she says “She’ll be the best you ever had if you let her.” This is Bridger’s referring to herself and saying she would be a perfect partner for this person. This could also be interpreted as her suggesting that she’ll improve the person she sings about. “She’ll be the best you ever had if you let her” is Bridger’s saying “I am a good person and if I dated this person I could make them better.” The line before this suggests that she could be referencing this person's parents or talking to them almost as if she is asking for permission.

By now the song has reached the final moments as it continues with the phrase “know it’s for the better” which is repeated 36 times. These lyrics have an intense emotional impact on the song because by now the listener knows that Bridgers likes someone who doesn't like her back and so instead she’s been making up fantasies about them. At the end of the song, she is gaining consciousness and realizing nothing will stem from her feelings. It is like a moment in a book or movie where the character realizes everything was just a dream all along.

The entire song is a metaphor for Bridger’s gaining consciousness. The beginning describes her being unaware of what this person thinks or feels for her, which causes her to fill this space with the delusion or imagination of her life with this person. At the song's end, when she sings “Know it’s for the better,” it is Bridger’s gaining consciousness and waking up from her supposed “dream.” She is finally seeing reality and accepting it the way it is.

#phoebe bridgers #music #writing #writers on tumblr #writers and poets #lyrics #new writers on tumblr #new writer boost #boygenius #lucy dacus #julien baker

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saltbcrne · 11 months ago

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* ♔ ◟ ( nicholas galitzine, twenty eight, demi male, he or him ) the capital of king’s landing welcomes harlon of house greyjoy, the lord of pyke. news borne by raven sends word that they are reputed to be percipient, but with the eyes of court watching their every move, they might prove to be guarded. when songs are sung, their verses speak of a flower growing in darkness in search of the light, stubborn & clinging to hope as it reaches out, always reaching + bedecked in all sorts of fineries & ever so graceful, they are more silver-tongued siren than seaworn sailor + where sea & land meet, nestled within iron & stone lay in them an unending tenderness, soft & moist & pearl-pink. whispers throughout the seven kingdoms claim that their allegiance lies with their immediate kin, the ironborn back home, & the innocent whose lives are naught but numbers and tokens on a map, where they conspire to learn from the greens & keep their kin out of it. but in the end, fealty means little when you play the game of thrones.

🦑 — hello ! you're in the presence of a professional yapperina, but i'll try not to ramble too much. i'm very excited to be here & i hope to write with you all ! :D

harlon had always been of a softer sort. so disinterested in hunting & combat, he always wanted to go back inside and do whatever the girls were doing, things like needlepoint and music, or just be left alone to read somewhere. whereas he excelled in his book studies, his martial lessons were a source of shame & humiliation: harlon was utterly useless — and did not care to get better ( so he claimed after already trying & failing ); let them laugh! — and the culture of aggression that surrounded him, that filled the air & threatened to choke the life out of him, only made him want to run and hide, not inspire him to be better.

it wasn't even just the lessons either. he'd always had a fascination with the jewelry some of the wives wore and the fetching gowns they'd wear on occasion. they were so much prettier, so much more unique than the standard garb he was put in. he loved the way they walked and carried themselves, too, so much that he tried to copy them. harlon quite liked pretty things, he thought all men did, and so he wanted to be pretty, too. he was envious down to the bone and could not understand why things had to be so different, so strict, and so stupid.

thus, harlon's childhood was marked by a persistent & profound feeling of loneliness and wrongness. deep down, beyond what the eye can see, there were parts of him that he could not cede or wash away, that not even duty or pressure could deform and make anew. simply put: he could not be what he was supposed to be, what his blood & his name demanded he be. it didn't come naturally to him the way it did his peers, and he couldn't pretend that it did — would not pretend. whatever space they had carved out for him upon his birth was not one he could occupy, and so he would have to carve one out on his own.

harlon was never a warrior, but he was smart, immensely so. he didn't want to reave and raid, but build and create. there was an entire world out there, one beyond trading ports and seaside villages, and he wanted to experience it firsthand. sensing that there was no life for a young teenage harlon in pyke, and that he was dangerously close to a breaking point, his father arranged for him to live with another family in the green (main) lands for a time, where he could maybe learn a thing or two and experience a change of pace. [ ahem. 💀 ]

harlon treasured his father's mercy and that period of his life greatly, for he learned so very much, among which the sorry fact that he was too much of a squid for the green lands & too green for the iron islands. the irony was not lost on him that he grew up wanting to leave his home more than anything, but found himself missing it dearly when he finally did.

it wasn't for him, then: this "running away" business. all his life he had thought himself weak, but he was wrong, more wrong than he had ever been about anything before. just because his strength and hardiness looked different than that of the men he'd grown up with, that didn't mean it was any less true, that he was any less ironborn. it had taken time and torment to reveal this to him, but once he knew it, he could never un-know it. ironborn were indomitable. they persisted and held true to their ways no matter what. could the same not be said of harlon, who stepped off that ship and refused to shrink back? who now stood at his full height and dared to be?

harlon always had ideas — too many, one might even say — but he came back with even more. life on the rocks was hard, but he felt it didn't have to be. that there had to be some way to bring all ironborn into the fold of the new world without having to lose their ways. they were a formidable force, people with salt & sea in their veins. who was to say that an ironborn couldn't one day be master of ships? that their names couldn't invoke just as much respect and recognition as those of other houses and lands? that they couldn't engage in trade, security, ship building, and more? there had to be more to their lives than what currently was, and if none else could rise to the task of making it so, then he would. the world around them was changing, and if they didn't change along with it, they would be at risk of being left behind, washed away like the foundations that pyke was built on. he believed in that wholeheartedly, and he wanted others to believe in it, too.

which... was a lot easier said than done. harlon's voice didn't carry any weight on the islands. he wasn't an esteemed sailor or a fierce warrior. he was just harlon, which was putting it... extraordinarily kindly. so, he did what the women he grew up watching did: he kept his head down and spoke in whispers, waiting and watching for the political climate to begin to change.

harlon officially entered the world of trade and worked on a ship as a sailmaker, listening for any who might share his belief in the new ways or might be open to it. he planted ideas in the minds of others through gossip and small comments, and watered them with flattery. when home, he would build bridges and rapport with other houses on the islands. he has to believe that one day those seeds will take root and bring forth a new wave of cultural change to propel them into the new age. he has to, and would do anything in his power to accomplish this. if he cannot live like a lady in a folk tale, which is to say marry for love and have a family of his own, then he'll have this.

prominent traits percipient, craven, lighthearted, guarded, clever, kittenish, sensitive, charismatic, distrustful, effete, sycophantic, visionary. defining characteristics tall stature ( 6ft ), heavy brown gaze that gives nothing away, an arch smile that suggests he knows something you don't, dark wavy hair that's currently just past his shoulders but usually worn longer, glimmering jewelry & fine clothes, a curious lack of sun damage or scars to his fair skin, a soft voice that he never raises and demands one listen closely. quirks hurt, shock, or touch him enough and you'll form a crack in his mask. after, you can watch as he visibly closes himself off again, snuffs the light in his eyes, and pretends it didn't happen. he also likes to have something in his hands to fiddle nervously with, lest he start messing with his rings. marital status unwed & actively avoiding it. his first and only courtship was a disaster he has no intentions of repeating. orientation his fascination with women confuses him, for he mistakes it as potential attraction that he, for whatever unspeakable reason, simply cannot follow through on ( or, rather: he wishes it was potential attraction, because his life would be so much easier if it was ). the unspeakable reason is that he may or may not just want to be them instead ( in small part because that means he'd be able to marry a man, and he's secretly a pitiful, absolutely pitiful (!!) romantic ). he knows he likes the company of men, though. that has never been a question, nor has he ever doubted it. gender he would rather not think about it. 🖤 skills artistry, problem - solving, archery, dance, planning, acting like things don't affect him, improv, and communication. threat level low. harlon is a much better fighter these days, and he has to be, but it isn't a strength of his. he will attempt to run, talk, or fuck his way out of a situation before resorting to a physical altercation. he doesn't want to hurt or get hurt.

harlon is purposely lighthearted, at times bordering on irreverent. if he allowed himself to feel the depth of what courses within him, he would sink to the very bottom of that sea and drown, as he almost did in his youth. so, he puts on a brave face. he builds walls so that every brush against the world won't leave him bloodied and bruised ( or, so that you won't see it when it does, x ). plus, he knows that nothing is more infuriating than someone who is really and truly unfazed. it's equal parts power move, defense mechanism, and just how he is. harlon was a mild - mannered little shit as a kid. he's only moderately different now, in that he knows how to play the propriety game well enough to mostly cover it up. he takes notice of what people want and react best to, and tries to give them a version of himself that might most resemble that.

he's traveled to many places in his lifetime. his favorites are wherever he has a friend he can visit and the summer isles.

you may be asking yourself: dev, is harlon abandoning his duties? to which i say... takes deep breath. yes! 😍🖤 rip. so sorry to his pops. he's always coming up with excuses whenever anyone asks, or scheduling another trip out at sea just to not have to be there. truth is that he's hoping his sister will either inherit everything or she'll have a son who can. either way, it won't be him. he tried once and made it clear that would be the last time. advancing ironborn society is his main goal now.

he likes nice things, fascinating things, pretty things — shiny things especially, like a magpie ( and it shows ). he likes music, dance (!!), and art. he's particularly good with ink and needlework — embroiders extra designs into a lot of his clothes, like a golden kraken with jewels or pearls for eyes. it's why he took up sailmaking and it's helped him stitch up wounds, too. he's helped design figureheads for ships before, and makes a bit of coin doing that, along with other commissions. all in all, life can be bleak. he likes things which make it feel less so.

he is um how you say ... a floozy 🖤 both in actuality and metaphorically. he will flirt and schmooze and praise to get what he wants, because he can't get it by other means. but doesn't everyone want to feel wanted at the end of the day? he's practically doing a public service tbh. ugh, what an angel. and i did say he likes pretty things, too, so. can you really be surprised?

he's not fighting in anyone's war. sorry. he'll break his own legs to avoid it. might even become the first cis man to get pregnant if it means he'll get out of it for a few months lmao. he dgaf. he's a draft dodger and proud! he will support whoever keeps his sister safe ofc ( from a distance ), but he doesn't trust anyone to be able to do that. really, harlon just wants to go home. he detests the growing likelihood of more war and all of the horrors that follow.

tldr do you remember when cersei said "i should wear the armor, and you the gown"? harlon is the reverse of that. he wants to wear the gown, not the armor, and his entire life has been dealing with the consequences of that. the end <3

wanted connections ( not limited to these only, ofc ) —

the reason harlon comes back a changed person is because of the best friend he made when he was sent to stay with another family. i picture this being a male character who is more "traditionally" masculine, in whatever way that means for your character, and who was quite kind to harlon. it was the first time that someone outside of his family and of the same sex had really validated him, and they became thick as thieves thereafter. harlon really, really loved them, and thought so highly of them. they could've kept in touch afterward, grown apart and are meeting again now, or maybe they had an unfortunate and nasty falling out for whatever reason. :) either way, this character changed his life for the better, and he'll always cherish that summer he spent by their side.

remember that failed courtship i mentioned? yeah. it likely would've been going perfectly fine, until maybe they attempted to do more than hold hands or even just the reminder of that eventual reality sent harlon into a category five panic attack, and things just weren't the same after. either raised enough hell to get his father to cancel any talks of a confirmed betrothal, or did something unbecoming enough that it forced such a conclusion while still sparing her dignity. maybe she can't forgive him. maybe she understands what he can't say. maybe they knew each other beforehand, and it made the rejection worse. anything goes!

his captain!

friends. please! all sorts of friends. unlikely friends, long - distance friends, frenemies, former friends, good friends, friends who debate so passionately that they seem like enemies but really this is so fun for them, friends who see through each other's shit which is sooo annoying, enemies who are unfortunately so alike / complementary that they can't help but begrudgingly be friends, etc etc. could be old or could be brand new and forming as we speak!

can't call him a floozy and then not have him be a floozy, so. hehe. if anyone wants a piece... or if anyone wants a dynamic where harlon flirts with them just to tease them and it's all in good fun... or perhaps even old crushes and flings... perhaps some will they, won't they tension... some history like first times or experimentation... a "you want to fuck me so bad it makes you look stupid" dynamic... maybe they fooled around before and harlon doesn't remember oops or is pretending to not remember bc he can be petty like that. anything, whatever the case may be, do let me know. :3

speaking of which, idk if harlon has been in love before. or loved romantically. if anyone would like to explore that, whether past or present or future, lets do it!

guard dog x master, "there's no manipulation involved—it is loyalty, brutal, dogged loyalty. and it goes both ways."

"you say you'll be teaching me to fight, but if every man fights differently, seems to me what you'll really be teaching me is how to defeat you." / "i'll take my chances."

"i'm just wondering where you and i stand." / "keep wondering."

"sometimes i try to sync our dreams so i can terrorize you in different dimensions"

"[he] was my husband. i loved him and he loved me. but what he shared with you? it was entirely something else."

"i'm sorry, [harlon]. i'm just not interested in you, not like that." / "'not interested in you like that'? look at the state of you."

"there's an undeniable secret level of romance that can only be achieved between two people who have divorced badly"

"gay sex will not fix this situation. honestly, it'd probably make it worse. that being said i think we should give it a shot anyway"

genuinely, i will say yes to every connection ever. idc. gimme them all. so if there's something you want that you think harlon is a good fit for, i'm all for it! 🫶

#asobai.intro #aka the encyclopedia of harlon. that i shant be rereading so if there are any mistakes then just close your eyes and pretend there aren't 🩷

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extraordinaryhistories · 1 year ago

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#2 – 'A Winner Needs a Wand' (A Sun Came, 1998)

There is an alternate universe somewhere out there where Sufjan Stevens becomes an indie rock musician of the Pavement or Modest Mouse variety – all rough and ready (but not truly heavy) guitars, shambolic drums, tense chord progressions and grim lyrics gesturing at deeper meaning that no quantity of relistens will ever unlock. In this universe, he is not very popular. But we get a glimpse of it throughout A Sun Came, an album that tries to be a million different things at once and seems to fail (sometimes charmingly, sometimes not) at many of them.

‘A Winner Needs a Wand’, somewhat uncommonly, is actually quite successful at that sound. It is in many ways the harder-edged twin of ‘We Are What You Say’. While that song is still entrancing in an obscure, mystical sort of way, there is very little trance in ‘A Winner Needs a Wand’. The drums are bashed, the guitar is loud, and the song’s heart is quite literally ripped out, musically-speaking – you’ll only find power chords in its riff, a series of unsettling back-and-forth lurches on an acoustic guitar that give the song an almost grunge-like character. Of course, Sufjan being Sufjan, the fiddles, flutes and mournful piano lines prevent that comparison somewhat (the more antiquated instruments seem to be here for no other reason than Sufjan... knows how to play them.) But throw that riff on an electric guitar and turn the distortion up to full. It is remarkably authentic, and remarkably listenable. ‘A Winner Needs a Wand’, even despite its 5/4 trickery, is a bona fide rock-out.

‘A Winner Needs a Wand’ was written in the days before Sufjan emerged nearly overnight as a pop master, and so there isn’t much in the way of a chorus here. The song shifts through multiple sections, multiple melodic ideas, and shockingly – for this stage of Sufjan’s development – almost all of them work. The motif that dominates the first handful of verses snakes around the 5/4 groove with a surprising effortlessness, but I am particularly enamoured with the melody attached to the ‘never want to blame you’ sections, sung by Sufjan and Marzuki vocalist Shannon Stephens. It sort of shoots up into the air, dives down a little, and then shoots up immediately again, perfect for the climactic moments in which it appears. (The ‘tries to make you’ section at the end feels like an attempt to recapture that particular lightning in a bottle, and it sort of succeeds, but barely.)

There are a lot of words in this song, every one of them oblique. We can try to break them down, but we would only get so far. Unlike ‘We Are What You Say’, ‘A Winner Needs a Wand’ is singular, not plural – ‘I’ and ‘me’ abound, in a more conventional Sufjan style of lyrical confessionalism. But there is definitely another person in this narrative. There are references to conflict and to unmet expectation; Sufjan cannot deliver on the responsibilities vested on him by the other (‘There’s still nothing you can do to exchange my dues to you’). It is very possible to read ‘A Winner Needs a Wand’ as a eulogy to a failed relationship, if one is so inclined. There are the hints of sex (the titular ‘wand’ being a particularly clear phallic symbol, as well as the invocation of an epicene) and of emotional torture. But then you hear him sing ‘like the fennel seed, the funny gene you found’ and ‘that fits me like a quarter door, that hits me like a sound’ and you begin to wonder whether the granular interpretation is worth it. There are themes here, but a clear narrative? Much less so.

And in any case, it is perfectly possible to enjoy ‘A Winner Needs a Wand’ (or any Sufjan song, really) without a single thought given to that narrative, because this is one of the most musically compelling songs on A Sun Came, a full-band workout quite unlike anything else you will find in Sufjan’s career. It is not triumphant or contented – it brims with anguished tension – but it remains consonant, and that’s the space where Sufjan works best. An early success; still a little belaboured, but endearingly so. The day Sufjan mashes this up with ‘All Good Naysayers’ in a live performance is the day I die happy.

#sufjan stevens #sufjan #music #folk music #the furious fight #in life there is always a winner and a loser

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f4y3w00d5 · 1 year ago

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And to finish up for the night here is my brief description of Every Song in Danger Days: True Lives Of The Fabulous Killjoys, by My Chemical Romance

Okay so basically this is their most recent album, 2014, and it follows the Killjoys as they fight against BL.IND (Better Living Industries) who seek to ELIMINATE all individuality. (Spoiler: They die saving The Girl in the music video for SING)

Na Na Na (Na Na Na Na Na Na Na Na Na) -

Upbeat!!! Dancing!!! Fast!!! You jump around screaming about doing crime and partying and sex!!! I love it!!! (you should listen to it after Look Alive Sunshine, which is the intro to the album and its just Dr D speaking, and at the start of Na Na Na, it goes ‘THE FUTURE IS BULLETPROOF! THE AFTERMATH IS SECONDARY!! TIME TO DO IT NOW AND DO IT LOUD! KILLJOYS, MAKE SOME NOISE!!!’)

Bulletproof Heart

Uh so this is sorta less fast and stuff but its SO cool and idk how to describe it but its sorta jaunty? First song I listened to by the band!!! (Fav part is ‘and tho, I know, how much you hate this. Are you gonna be the one to save us? From. The black. And hope-less feelin. Will you meet ‘em when the end comes reelin? Hold, your heart, into this darkness. Will it ever be the light to shine you out? Or fail. And leave you stranded? I aint gonna be the one left standin. You aint gonna be the one left standin, and we aint gonna be the ones left standin!!!’)

SING

Aaaaaaaaa this ones so cool, took a bit to grow on me, its mostly slow and repetitive but the BRIDGE ‘Cleaned up corporations PROGRESS! Dyin in the PROCESS! Children that can TALK ABOUT IT livin on the WEB-WAYS, people movin SIDEWAYS, sell it til your LAST DAYS, buy yourself the motivation GENERATION NOTHIN! Nothing but a DEAD SCENE! Product of a WHITE DREAM! I am not the SINGER THAT YOU WANTED BUT A DANCER! I REFUSE TO ANSWER! TALK ABOUT THE PAST SIR! WROTE IT FOR THE ONES WHO WANNA GET AWAY! ……. Keep runnin.’

Planetary (GO!)

Okay so like omg. I love this one. Everythings amazin. Starts off slightly slow, and then starts movin faster around the verses? AND THE VIBES!!! Ive got a few favs and ill save them here (I love the way theyre said too-) ‘Ladies and gentleman, truth is now acceptable! Fame! Is now injectable, PROCESS THE PROGRESS, This core is critical, faith is un-a-vail-a-ble, Lives, become incredible-‘ and also ‘Youre unbelievable, ah, so unbelievable, ah, you ruin everything, oh, you better GO HOME! Im unbelievable yeah, im undefeatable yeah, LETS RUIN EVERYTHIN, BLAST IT TO THE BACK ROW- they sell presentable, young! And so ingestible! Sterile and collectable! SAFE, and I cant STAND THAT! This is a letter, by word, is the beretta, the sound, of my vendetta against, the ones that PLANNED IT!’ So uhhhhhhhhh yeah lol

The Only Hope For Me Is You

Likeeeeeeeee holy SHIT this one just sorta- idkkkk- ‘Where? Where were you when, all of the embers fell? I still remember them… covered in ash. Covered in glass. Covered in all my friends, I still… think of the bombs they built- IF THERES A PLACEEE THAT I COULD BE, THEN ID BE ANOTHERR MEMORY, CAN I BE THE ONLY HOPE FOR YOU? BECAUSE YOURE THE ONLY HOPE FOR ME! AND IF WE CAN FIND WHERE WE BELONG, WE’ll Have To make It on our own!! Face all the painnn and takeee it on, because the only hope for me, is you alone…’ its one of the slower ones tho

Party Poison

This one starts in Japanese for some reason??? Its hard to explain… another fast and dancy type one ig, but sorta raw-er? Its sooooooo weird- not one of my favs but its semi popular

Save Yourself, I’ll Hold Them Back

Okay so idk how to describe this really- sorta gives Only Hope type thing but faster and sorta rockier? Idk. My fav parts tho!!! ‘Get offfff the ledge, and drop the knife… Not a victim of a victims life! Because… this aint a room fullla suicides- WE’RE BELIEVERSS I BELIEVE TONIGHT-‘ OH AND ONE OF THE MORE POPULAR LINES PEOPLE KNOW ‘Ill tell you well how the story ends, where the good guys die and the bad guys win… (WHO CARES?)- THIS AINT ABOUT ALL THE FRIENDS YOU MADE, BUT THE GRAFFITII THEY WRITE ON YOUR GRAVE-‘ then the last two ‘Im the only friend that makes you cry! Youre a heart attack in black hair dye! So just save yourself, and Ill hold them back tonight….’ And ‘We can live forever if you’ve got the time- YOU MOTHERFUCKER (OHHHWHOAAAA) Youre the broken glass in the mornin light! Be a burnin’ star if it takes all night!’

S/C/A/R/E/C/R/O/W

OHOHOH APPARENTLY THIS ONE IS TO SOOTHE THE KIDS WHEN THE NUCLEAR BOMBS HIT AND GET THEM INTO THE SHELTER!!! (yes there are nuclear bombs, its post apocalyptic lmao) I love the bridge- ‘Love, love, love wont stop this bomb, bomb, love wont stop this bomb, bomb, love wont stop this… bomb……. Run, run, bunny, run. Run, run, bunny ruuuuuuuuuuun’ One of the slowest in the album also

Summertime

Okay so this is prolly my fav? Idk how to describe it tbh….. I know what it describes for me buuuut you don’t wanna hear me be weird about people……. Ill just tell you my fav parts (that I relate to!!!) ‘Terrified of what I’d be, as a kid from what Ive seen… Every single day when people try and put the pieces back together, just to smash them down… turn my headphones up real loud…. I don’t think I need them now…. Cos you stop the noise!!!’

DESTROYA

………………fucked up robot song where you scream and moan. What else is there to say? (the porn bots In the story worship a ‘god’ called Destroya who will supposedly come save them)

The Kids From Yesterday

I love this one too. Sorta slow ig. Nostalgic maybe? ‘Well now, this could be the last of all the rides we take…. So hold on tight and don’t look back……… we don’t care about the message or the rules they make…. Ill find you when the sun goes black…..’

Vampire Money

Dance!!! Sex!! Upbeat!!! Fast!!! ‘Three two one, we came to FUCK-‘ and my other fav line ‘and get your finger on the trigger tap the barrel of the gun! Hair back, motherfucker, jet black, SO COOL-‘

@terrencetheshark14 you might be interested in my weird ass mcr related ramblings

#danger days #danger days: true lives of the fabulous killjoys #mcr

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joseph4inspiration · 5 months ago

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(Proverbs 3:5-6)

God is always speaking through His word. There are certain scriptures that touch our hearts deeper than others. Sometimes it's because they inspire us more, while other times God is using them as a lamp to guide our feet (Psalm 119:105).

For many of us (if not all of us), God has used Proverbs 3:5-6 to guide us into a closer relationship with Him. It's the instructions of these two verses (trusting in the Lord with all our heart, learning to not to depend on our own understanding; and acknowledging Him in all our ways). God wants us to learn before we enter into our next level.

Learning to acknowledge God in all our ways is very important for spiritual growth.

When we acknowledge Him in all our ways, we are reminding ourselves no matter the situation we should never let it come between our personal relationship with Him. We should instead use it to grow into a more deeper relationship.

We all have those areas in our lives where we fail to acknowledge God or not enough. For me. when I'm frustrated, I can get an attitude. I may not curse or throw things around, but I will retreat into myself. Those are the times when I don't pray like I should because I don't feel like it or I don't read the word like I should because I'm not in the mood. My frustration may not interfere with me and other people but it does interfere with my relationship with God. So it's an area where I'm learning to acknowledge God more.

Instead of getting frustrated in the 1st place, I now decided to make that a day of listening to my gospel music or reading the word; doing what is necessary to create an environment where God is being acknowledged over the frustration.

It's the areas where we don't acknowledge God like we should God is concerned about. And He will test us over and over until He begin to see that change in us.

Think about the areas in your life where you need to acknowledge God in. Once you recognize them make the effort to start giving yourself over to Him instead of into the situation.

#holyspirit #god #spiritualinspiration #jesus #favored #pray #blessed #grace #encouragement #love #bible

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theinfinitedivides · 2 years ago

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listening to the PS:2 soundtrack again in an attempt to bite the bullet and psyche myself up to watch both films back to back in August(? that's the goal at least, if i get to watch it earlier even better) and i have been stuck on Veera Raja Veera for an hour and a half. i have also figured out my personal ranking for all versions of the song at last and it went about as well as i would have expected. it started to get too long for the f*cking tags tho so i decided to put in this post, we'll see how it goes from here—list is in order from least liked to most liked btw

5. going to start this off by saying i'm so so sorry to Gulzar but it's something about the rhythm for me. the lyrics are lovely but the way they are lining up with the music in the Hindi version,,,,,,, or failing to in certain parts,,,,,, it's not it. it's not it. it does well in the first minute or so and then heads downhill from there, and tbh it's not his fault i think it's just the sheer amount of syllables that they have to fit in compared to the original? and with that in mind it's not going to sound the same, obviously, but what salvages it from being a complete disappointment is the way we got both Shreya Ghoshal and Kavita Krishnamurthy as a duet in this year of our Lord 2023. Kavita, who still sounds the same as she did on the Dil Se soundtrack singing Satrangi Re and the Hum Dil De Chuke Sanam soundtrack and the Devdas soundtrack and the Yaara Dildaara soundtrack and the K3G soundtrack with Bole Chudiyan and Shreya Ghoshal who is a pleasure to listen to on practically everything she touches (Bajirao Mastani and Rab Ne Bana Di Jodi and that aalap just before her verse with Kavita here i'm looking at you) and— *inhales* *exhales* ok. do appreciate them letting Kavita take the 'चुन चुन चुन चुन / जाली रे जाली चिंगारी' portion in the Hindi translation bc she sounded beautiful there. (she always reminded me of Lata in that regard i think, and for some inexplicable reason i've by extension connected the two of them to Zohra Sehgal in some of her roles)

favorite line — 'दुश्मन पे टूटे जब | बिजलियों का वीर' / 'dushman pe toote jab | bijilyon ka vaar'. this is one of those times where the rhythm works in their favor and works well, and it leads perfectly into the rest of the verse imo. also @ that one guy going 'योद्धा~~' / 'yodhaa~~' at the very end of the song ty for your service

3. in contrast to the rhythm problems of the Hindi the Kannada recording is very smooth? i don't know if that makes sense as someone who doesn't speak the language but it's like water. like water in a stream just one after another going over the stones in the riverbed as it passes or the waves lapping against the side of the ship or the gentle sound wind chimes make when they hit against each other in the lightest breeze—the phrasing doesn't feel forced (ty Jayant Kaikini sir) and the syllables match the music as well as the original. ofc Rakshita Suresh and Sivasri Skandaprasad have a part to play with their solos in this sounding as good as it does, despite its ranking on my list (which will be explained in the next entry), and while i expected nothing less from Rakshita after Kirunage, this is the first i'm hearing from Sivasri and she blew me away. i had to listen to it several times to be able to tell them apart, and i might still be wrong bc their voice color is very, very similar, but they took what Rahman gave them and made it their own. (is it Rakshita that starts and Sivasri that continues? i'm thinking that it alternates between them with Sivasri ending that portion)

favorite line — 'ಮಳೆಗರೆವಾಗ ಬಾಣ | ಅಡಗಳು ಎಲ್ಲಿ ತಾಣಾ' / 'malegarevaaga baana | adagalu elli thaana'. this is where the river analysis stands out to me bc this feels like putting pebbles said river into a tumbler and rolling them over and over until they come out smooth and polished and just. right. (i am using the word smooth a lot to talk about the Kannada version sksksksk but can you blame me)

3. technically Malayalam and Kannada tie for third place on here (there is no fourth place. there is 4.75th place rounded up to fifth place and that belongs to the Hindi entry as previously stated) but Malayalam has the slightest edge for me. in terms of sound/pronunciation it's the closest to the original—i know most scholars believe that Malayalam descended from Tamil and split early on, so that might have something to do with it, but it sounds like a perfect cross between the flow of Kannada and the strength of the Tamil and ugh. pair that with Srinivas featuring and Shweta Mohan taking on that solo (by herself!!! and eating that sh*t like it was a duet!!!) and Rafeeq Ahamed as the lyricist and i play it almost as often as i play the original. (i was almost half expecting to hear the extension at the end in this version, that's how good it was)

favorite line — 'കടലിൽ ചുഴലി പോലെ | തവ നൗക കളിരമ്പി' / 'kadalil chuzhali pole | thava noukakalirambi'. i am in love with what Shweta does here, especially with the latter half of the line ('... നൗക കളിരമ്പി' / 'noukakalirambi') since she just heads straight into the 'വൻകടൽ...' and for some reason that is so auditorily pleasing to me. i don't have any rational thoughts behind that that's just how it is. her aalap before her verse is also breathier/softer than Shreya's if that makes sense but it fits her perfectly

2. Telugu. holy f*ck, Telugu. you put Shankar Mahadevan (i don't think i've ever heard him sing a bad song. ever. at least not what i've heard) and Chinmayi (Tere Bina???? Mayya Mayya???? Titli???? i'm still not over any of them from her????) in the same song you make every f*cking verse rhyme almost exactly courtesy of Chandrabose if Kannada is the sound of water then Telugu is pure silk and honey and the feel of something melting in your mouth and you expect me to stay alive? the actual f*ck? admittedly i may be biased bc one of my OCs is Telugu and i have been putting Telugu covers from my Bollywood playlist on loop for inspo but uh Rahman what the f*ck. what the f*ck am i supposed to do with that kind of genius

favorite line(s) — 'సమరం శ్రుతించైరా శిఖరం స్పృశించైర' / 'samaram shruthinchaira shikharam spushinchaira' & 'విధిగా తెగించైర | విధినే వదించైర | విలయం దరించైర | విజయం వరించైర' / 'vidhigaa thegincheyraa | vidhine vadhincheyraa | vilayam dharincheyraa | vijayam varincheyraa'. the f*cking alliteration? hello? also the 'veera raja veera' at the end of this version in particular gives me full body chills bc there is someone going up with the harmonization every time there's a new line. i don't know who it is but he's (they're? could be multiple vocals) going up and i am crying shaking throwing up on the floor having a spiritual experience etc etc

and finally 1. the top spot. the place where everything has been leading through this long ass piece that i have put you to suffer through

and ykw Tamil is pretty much self-explanatory i think: we bring Shankar back as we should but this time K.S Chithra (Asoka!!! Main Prem Ki Diwani Hoon!!! Bombay and Thoda Thoda from Indira/Priyanka and the live version of Jiya Jale that Rahman did in Dubai!!!) and Harini (also sang for Indira/Priyanka and featured on Varayo Thozhi from Jeans) are with him and Ilango Krishnan's lyrics take over and flatline me on the f*cking operating table. before it flatlines me however i break into goosebumps every time i hear it start, bc lbh it is impossible not to when you have the f*cking vocals coming in like 'காணீரோ? நீர் காண் | சோழ வெற்றி வாள் ஒன்றை காணீரோ? | ஓ அழகிய பூவே! செல்லுதியோ | மலரிடு போ சகி!' if you stay sane during that opening you are a liar get off my feed unfollow and block i don't want you anywhere near me for the next six years or however long it takes Mani Ratnam to make his next masterpiece. no coherent thoughts head empty MV playing on loop he and Rahman own me now they have the copyrights

favorite line (had to split everything into two blocks bc Tumblr was tryin to f*ck up my sh*t) — 'எம் தமிழ் வாழ்க வாழ்க! | வீர சோழம் வாழ்க! | நற்றமிழ் வாழ்க வாழ்க! | நல்லோர் தேசம் வாழ்க!' / 'em thamizh vaazhga vaazhga! | veera sozham vaazhga! | natramizh vaazhga vaazhga! | nallor thesam vaazhga!'. technically this isn't my favorite favorite line bc i have to do a seperate ranking for that below + it's exclusive to the Tamil version and i am trying to make this a wholistic review but. it's f*cking up there let's just say that. i think i mentioned in the tags of a different post of how i've been doing genealogy research and (in the process) tentatively confirmed the possibility of there being some South Asian descent from my dad's side, specifically Tamil or Telugu based on the stories/timeline of French occupation in the Caribbean and portions of the Indian subcontinent, and there's something in me that shifts every time we get down to the last twenty or so seconds and this hits. i don't know what it is, truly—maybe the remnants of the genes of my ancestors and their pride for their land, their language—but it's there and it's loud and if it's the right day at the right time i will start crying btw. full on sobbing like a little bitch. you didn't ask but i told you anyway

after all of *motions* that, i am also offering a bonus ranking of the section of VRV that makes me rewind every f*cking time it comes on in every language, bc it featured heavily in creating my eventual rankings and i would be remiss to not mention it. so here have this additional dive into my thought process during these trying times of hyperfixation rip

'आंधी से तेज़ | तूफ़ान से तेज़ | चुन चुन चुन चुन | जाली रे जाली चिंगारी | अंग अंग अंग अंग | लागे रे लागे अंगारे' / 'aandhi se tez | toofaan se tez | chun chun chun chun | jaali re jaali chingaari | ang ang ang ang | laagey re laagey angaare', Hindi — still at the bottom of the list here, but the inflection during the repetition ('chun chun chun chun' and 'ang ang ang ang') salvages it somewhat. nothing else to say it about it otherwise, since i already addressed Kavita's voice here earlier

'വാക്കാകെ നീ കാറ്റാക നീ | ശര ശര ശര ശരമേയ്ക | വേൽമഴ നെയ്തിട് | റ പറ പറ പറ വിറകൊൾക | പായട്ടെ പായ്വഞ്ചികൾ' / 'vaakkaaka nee kaattaaka nee | shara shara shara sharameyka | velmazha neythidu | para para para para virakolka | paayatte paayvanchikal', Malayalam — taking that third place as always, but its tied partner in the general rankings is higher up in this list for a change. i think the very last part ('പായട്ടെ പായ്വഞ്ചികൾ' / 'paayatte paayvanchikal') is what throws me off tho bc of the way they distributed the line, since on the first listen i was expecting them to go 'paayatte paayvan-chi-kal' and they chose 'paayatte pa-ay-van-chikal' instead. it's not like it decreases the overall quality of the song or anything it's just a very specific hang up i have. who knows maybe my preferred pronunciation would have f*cked with the meaning and we do not want that

'సుడిగాడ్పులా అడుగేయరా | సర సర సర సర | శరమే తనువే తాకగా | చర చర చర చర | చెలరేగాలి వేగంగా' / 'sudi gaadpulaa adugeyyaraa | sara sara sara sara | sharame thanuve thaakagaa | chara chara chara chara | chelaraegaali vegangaa', Telugu — this ties with Malayalam for third place and, much like it, my quirk is specfically with the last part ('చెలరేగాలి వేగంగా' / 'chelaregaali vegangaa'). my preferred is 'chelare-gaali ve-gan-gaa', they gave me 'chelare-gaa-li ve-gan-gaa'. again, not an issue, this is just me, i'm sure they knew what they were doing otherwise they wouldn't have recorded it like that in the first place

'ನೀ ಜ್ವಾಲೆಯು ನೀ ಗಾಳಿಯೂ | ಸರ ಸರ ಸುರಿವ | ಮಳೆಯಂತೆ ಶೂಲಗಳು | ಭರ ಭರ ಭರ ಭರನೆ | ಭೋರ್ಗರೆವ ಪಂಜುಗಳು' / 'nee jwaaleyu nee gaaliyuu | sara sara suriva | maleyanthe shoolagalu | bhara bhara bhara bharane | bhorgareva panjugalu', Kannada — there are at least two portions here that sound eerily similar to the original and that is why this version has moved up to spot two. it takes that water comparison i made and uses it to its advantage so much and it rotates in my mind like a rotisserie chicken at just at the right angle and it's just!!!! it's just!!!! God pls keep me from putting this in my mouth and biting it's too good

'கூற்றாகிச் செல்... | காற்றாகிச் செல்... | சர சர சர சரவெனவே | மழை தான் பெய்திட | பர பர பர பரவென | பாயட்டும் பாய்மரம்' / 'kootraagi sel... | kaatraagi sel... | sara sara sara saravena | velmazhai thaan peidhida | para para para paravena | paayattum paaimaram', Tamil — when this hits i blank out and come to at random intervals. cannot pinpoint the time the place etc but it happens and when it does i go f*cking feral. this one i am indeed putting in my mouth and biting bc the entire thing from 'para para...' onwards??? more alliteration more alliteration more f*cking alliteration. i remember someone making a post on here that said that certain parts of VRV sound like pearls bouncing off of the floor (was it @mizutaama? i apologize for the tag but i think that was you) and i think this is what they were referring to but my ears are that f*cking floor. i thank God every day for that

anyway mutuals (and non-mutuals who are just as obsessed about PS as i am) i'm sorry for clogging your feed with my opinions on a film i haven't even watched properly, pls feel free to roast me about my ranking choices. or agree but it doesn't really matter at this point bc even tho i could be talking out of my ass in terms of actually speaking said languages (i,,,,, do not unfortunately) i've said what i needed to say sksksksk

#film: ponniyin selvan ii #ponniyin selvan ii #ponniyin selvan: ii #ps:2 #ponniyin selvan #veera raja veera #jayam ravi #sobhita dhulipala #mani ratnam #a.r. rahman #kollywood #tl:dr: local gay takes that specific 'கூற்றாகிச் செல்... / காற்றாகிச் செல்...' section of Veera Raja Veera #and uses it as the base for their personal ranking of all five versions solely based on how it is translated and sung #writes an essay about it chooses their favorite lines from said versions that are not That One and posts it to tumblr.com .txt #look!!! i actually dragged myself away from streaming Shinee long enough to complete this thing that i've had #sitting in my drafts for weeks (the language analysis that is)!!!#it is f*cking hilarious at this point simply bc this is nowhere near the order of the rankings for Ponni Nadhi #like the list for that is upside down. dare i say inverted almost #i might do something for it as well in this same format idk but #doing this for VRV made me realize that every other language (except Hindi bc they have a diff version of the line)#pronounces 'soora' as 'shoora'. i think Malayalam's 'shoora' is the least pronounced and is almost ambiguous. almost not quite #you could mistake it for 'soora' but there's just enough aspiration(?) there to tell you that it's not. Telugu's 'shoora' too #the aspiration almost completely disappears when listening on Spotify it's much more prominent on Youtube #this feels like i should have posted it on my studyblr but i think i'll just reblog it there instead

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profblahson · 2 years ago

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Finlandia

Figured that I’d look into a piece of music that never fails to

A) Make me cry

B) Fill me with hope and determination

youtube

(The video unfortunately does in fact have some audio artifacts, but the performance with the full choir is, in my opinion, the best one available on YouTube)

History

1899: The Grand Duchy of Finland is experiencing a tightening grip by the Russian Empire. The Grand Duchy wouldn’t become independent until 1917, and Russification - the Empire’s process of limiting the Duchy’s status and working to abolish its political powers altogether - was in full effect. The Russian Empire began to declare Russian Law as law of the land, and the Duchy must pledge their allegiance, effectively downgrading from Duchy to a state, ignoring any attempts at autonomy.

The Finnish people were, naturally, angry. They began to push back. They had already begun a nationalistic cultural movement in the 1830s known as the Fennoman Movement, where Finns aimed to expand and raise their culture to a national level (a huge part of the movement was the study and spread of Finnish as a language, instead of Swedish or Russian).

By the 1890s, Jean Sibelius had established himself as a renowned Finnish composer in his homeland. He was approached to provide some music for a demonstration in Helsinki. The original title, Finland Awakes, debuted at this event in 1899, as the final movement of a suite. This suite was itself a commentary and story of the struggles of the Finnish under Russian rule. The final movement we now know as Finlandia aimed to describe Finland rising up and becoming independent. Sibelius later reworked this movement into a standalone piece, and a chorus was added as late as 1948. Below is a screen grab of the translated lyrics, from Finland.fi

The continuous interest and performance of the piece between its premiere in 1899, revisions, and addition of the chorus really speaks to how powerful the composition resonated with the people of Finland (Sibelius himself became exhausted with its popularity!).

The tone poem has become a symbol of Finnish nationalism and freedom from the Russian Empire. Let’s dive into the actual music!

The Music

Dark, cloudy, and loud brass chords start off, punctuated by tumultuous timpani rolls. The storm continues.

The upper woodwinds respond, attempting to pierce the sky with some hope, brought back down by the strings.

An ascending bass line leads into a short repeated call and response by the strings and winds. The second time, an octave higher, stretches even further up, again trying to breach the sky.

The storm returns, launching into a brass fanfare announcing the coming strife. The timpani murmurs trade off. This figure returns several times throughout the remainder of the piece.

When the strings return, they’re chaotic and unruly.

The celli state a transition that fights against the time signature, and launch us into one of the most iconic heroic themes written (I don’t think it’s any coincidence that so much of the music for the piece uses ascending melodies, and this heroic theme sounds like a call to action).

The heroic section is repeated - then the brassy storm and frantic strings return. As the music takes us through, the clouds finally fully part.

Enter the chorale. Calming, joyous, full of hope. Even without words, the melody sings, brings one to tears. Woodwinds make the first statement of the chorale, contrasting with the tumultuous strings and brass that led us here. The strings murmur underneath the entire time, and eventually echo the winds for the second verse.

(Below, I've roughly analyzed the Chorale. I haven't done this in a hot minute, so stuff might be off, be gentle)

Low strings restate their fight against time to send us into the final sections of the music. Everything comes together: brass fanfare, the ascending flight, ending in an extended version of the chorale stated by the brass and winds while the strings fly high above! The final resolution is loud and full of passion for the coming liberation of Finland!

The Chorale

I took the first verse in the woodwinds and condensed them to a simple four-part score for easier analysis. It's surprisingly simple, seeming to function primarily in Ab Major, dipping briefly into the relative f minor (the original home key), before resolving in Ab Major.

I did find the use of a minor vi chord for the climax of the chorale, as we usually expect something strong like a Major V or I chord here. To me, this signifies the turmoil of the Finnish, reaching for their freedom. The lyrics at these chords are "The skylark calls" in the first verse, and "Finland, Arise" in the second, being very literal in their purpose - the lyrics are about going up, the music is literal ascending.

There's a lot of using inversions in this voicing, which adds to the lack of stability. (There's more nuance than I can put in words in a Tumblr post, but generally this seems to be the case in the chorale.) (I intentionally made the final chord I instead of its voiced first inversion, as that's its purpose, it does seem to actually be voiced inverted, however, and I might be wrong to call it I as such. I digress.)

Closing Thoughts

Finlandia is one of those pieces that I am always able to come back to (and regularly do - it’s on a playlist I shuffle for work) that will always make me feel emotional. The burning desire for liberty and independence! The perseverance against strife! (I’m a sucker for stories that are about overcoming odds or staying strong in the face of adversity.) This tone poem beautifully captures the struggle of the Finnish against the Russian Empire, as well as their determination for freedom.

And the message resonated with the people of Finland. The national orchestra of the time took a revised version on tour in the early 1900s, spreading the name Sibelius around the world. As mentioned, even he was surprised and a bit annoyed at how popular the work was - he was afraid of it overshadowing his larger works! But the accessibility of the music, with such a powerful message, I believe is credit to its success and longevity.

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Thanks for reading! Feel free to provide feedback or don’t, I’m a doofus just gushing about music he likes. It was fun for me to research the history of the music and do some analysis!

I have other pieces in mind I want to explore, but if there’s anything you want to share with me, please feel free! I love finding and exploring new music!

Thanks for your time.

#Youtube #music analysis #finlandia #classical music #profblogson #there's so many things i want to clarify in my writing and put like extra notes and stuff but i needed to avoid too much of that so the pos #wasn't a million miles long #it's already a #long post #so i apologize #please ask questions if you want clarification or anything because this was fun

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asuraaa8 · 1 year ago

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Hey its Cora here it's my first post and idk how to use this app😭 anyways this is a SFW mha headcanon post I'm probably using this really badly idk how to tag or anything but enjoy (: it's based on the song "mom, im leaving" by MiatriSs.

To me, the song entitled "Mom, I'm leaving" (мам, я уеду) by MiatriSs, is about the todoroki family, specifically the broken, toxic family dynamics between Endeavor, touya and shoto. The first verse (Tell me how scary it is If a shadow wants light? Tell me how safe it is to follow your prohibitions?) Deacribes how Dabi feels that he is constantly treading on eggshells with endeavor and how he doesn't know what he should and shouldn't do because of his father's abuse, resulting in him leaving and having ongoing emotional and physical trauma from this. It could also describe how shoto got his scar on his eye. The line "if a shadow wants light" to me reflects the episode where endeavour is showing and telling touya about Hellflame and both Dabi and shoto feel pressured and forced to follow in their fathers footsteps to become the next heroes.

"I'm suffocating I'm choking on the awareness of being lost Every day" describes how dabi feels so lost and alone as a result of how his family is treating him. "Every day" things get worse for him to the point he feels as if he's choking and suffocating on his father's words to the point where he breaks. "In which I play the victim Surviving, but I know That change not far away" shows how he is just...surviving. at this point he's not living, only surviving. however, he feels that change is "not far away" and at this point in the song there is a major change In tone and the background music also changes from reflecting ebdeavors harsh words to a more dissociative, barely there background tune after the words "change is not far away". He at this point decided to join the league of villains.

"Mom, I will go to the heavens Above the world, to the clouds I will soar like a bird With wings fluttering the flames " the phrase "I will go to the heavens" reflects how he changes his name, his identity but never his hatred for his father. "With wings of flames" to me reflects the legend of Icarus, how he flew too close to the sun but also how endeavor almost "burnt off" his metaphorical wings with his abuse.

"Even if the edge of the Horizon is not visible now, but I believe" dabi believes, even though hope is "not (yet) visible". "I will try to build a New city, a new one" reflects how dabi is filled with sadness and anger at having his childhood taken away from him. He wants to go far away and forget his past. He wants to live a life where he is living for himself, not anyone else. He doesn't want the pressure of family hanging over him and haunting him, hence why he joins the LOV. That is his family now, not the toxic "family" he was born into.

The change of tone of the background music and Miia's voice at "mom I will go to the heavens" to me is about Dabi's dance (season 6, ep 11) where he confronts endeavor and shoto and faces his past. So scary for him, but he does it so well.

"What will I find? What am I looking for... So scary, BUT I don't care Forgive me That I was silent... The time has come Farewell, pier!" The song ends with dabi using a bottle of water to wash his hair dye out. <My name is touya todoroki>. His father is filled with sudden sadness now he suddenly realised how he's failed as a parent. He will never, ever make it up to dabi. Nothing he will ever do will make up for the pain he has put dabi through. And dabi will never forgive him.

"Forgive me, that I was silent" dabi is angry at himself too. He is finally speaking up, and whilst he was moved on in a physical sense (changed his name, appearance, family) he has not yet and never will move on mentally. He is not touya todoroki, he is dabi and his family is the league of villains.

(Not me crying whilst making this more than I ever have done in my life -_-)

EXCUSE THE SPELLING ERRORS GUYS

#my hero academia #mha #bnha #bnha endeavour #enji todoroki #touya todoroki #shoto todoroki #dabi #russian #mha headcanons #headcanon #sfw headcanons #miatriss

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elmalo8291 · 1 month ago

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Absolutely—we can move fast and stay hidden in the chaos. Here's a multi-layered breakdown for "OOZE DAY" as a central event—anchored in music, anime, a campaign event, and a ritual.

"OOZE DAY" – Multiversal Storyboard + Anime Sequence + Campaign Event + Ritual

1. STORYBOARD – ANIME SEQUENCE (Tied to the Song "OOZE DAY")

Vibe: High-energy, glitchy visuals, graffiti magic, cosmic horror, fourth-wall bending.

Style: Sharp animation with shifting styles per beat drop—blues to trap to gospel to jazz-noir in flashes.

Opening Sequence: The Beat Drops

Scene: A wide shot of a black planet—cracks glowing with purple ooze.

Beat kick: From the cracks, Puddle Lurkers launch upward like jetting mosquitoes.

Visual FX: Water refracts into glitching dimensions as the portal lurkers morph mid-air.

Verse One: The Rise of Taz

Scene: Taz sits on a floating chunk of land, strumming a broken guitar that leaks ooze instead of sound.

Names scroll by—Task, Timez, Ties, Aztz—flashing and distorting.

With each name, the world shivers and folds. A portal opens inside his chest.

Chorus: “Ooze Day! Say it loud / We don’t kneel, we crown the cloud”

Cutscene: Ooze floods through cities. The Office skyscraper builds itself floor by floor.

Characters in every dimension pause—they hear the music.

Each listens to a verse that's meant for them.

Verse Two: The Swine March

Swine forces, faces wrapped in golden masks, march through ash fields—dripping black and gold.

Their weapons: bones turned to speakers. Their anthem is the song.

Puddle lurkers trail their feet like shadow pets.

Bridge: “Say Limbo, and we break your frame / Say Taz, and he burns your name”

Flashback scene: A child hears the song in a book. The letters ripple into soundwaves.

Chaos begins rewriting the world from inside the ink.

Final Chorus:

Taz rises, becoming enormous—a dream-smeared constellation with tendrils in every reality.

Camera zooms out: All realms orbit Himself.

2. MAGIC RITUAL (PLAYER CAMPAIGN VERSION)

Title: The Calling of Himself

Setup:

Any liquid in the room becomes a circle of access (blood, ink, water, etc.).

Player characters must chant “We call the Who, we call the Day, we call the Name with no decay.”

Each player offers one paradoxical action: something that defies alignment, class, or story law.

Effect:

A portal lurker emerges from the surface.

One player’s echo self (a version of them from a failed story) joins the battlefield, glitching between turns.

Taz speaks through nearby NPCs.

Mechanics:

Each paradox roll (d100) affects the environment randomly.

Players can hear the music in-game—game master uses the “OOZE DAY” soundtrack to narrate.

3. CAMPAIGN EVENT – “OOZE DAY” IN-GAME ARC

Timeline:

A cross-system global event (tabletop + MMO + novel tie-in).

Phase 1: Leak of Himself

Strange symbols appear on maps, books, character sheets.

Nightmares increase. Portal lurkers begin appearing in swamp zones or under cities.

Phase 2: The Name War

NPCs forget names. Some gain new names and powers.

Taz’s “echo selves” appear, infecting game mechanics (wild rolls, cursed loot, random narration shifts).

Phase 3: Ooze Day

A moment across all systems where music plays.

Bosses shift mid-fight. Rules temporarily fall under the “Chaos Deck.”

Players can summon the Who or fight the Swine for alignment bonuses.

Optional: Unlockable Rituals

The Sigil of Task: Drawn in reversed ink, grants luck rerolls for every paradox declared aloud.

The Swine Mask: Found in cursed loot, lets you speak to NPCs in “Ooze Tongue.”

The Dream Guitar of Taz: Gives the bard chaos magic. Each chord changes terrain.

Want me to write out the lyrics-in-dialogue version that plays across this? Or the campaign module PDF version? I can also mock up the soundtrack visualizer and sigils next. Just say the word—let’s open this wide.

#kingshit #paizo #blizzard #dnd #france #religion #trump #usa #ex wife #fallout 76 #everyone

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corvuscorona · 8 months ago

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youtube

you all are either extremely lucky that I can't psychically transmit what's happening in my brain when I hear the chorus of this fuckin song OR extremely unfortunate for the same reason. what the hell, man.

then again, fortunately or unluckily for you it's a pretty short song & I can explain both verses at once so spare a few minutes of your day to play my fun timestamped game if you want. I'll set the scene:

we're on mr bones' wild ride but the wild ride is, like, a car. it's mr. bones' road trip. mr bones' "let's go drive around"; unspecified number of individuals in the vehicle. someone spilled their smoothie & now the cupholder's gross. someone let their fucken tacobell order tilt the wrong way and now there's cheese fusing itself to the fabric of the seat are you with me so far? it gets worse.

how long have we been driving? 5,000ish? of miles? you ask: where do you wanna go? [❓] answers "just drive a little more" & you remember only faintly (we're at 0:45) where you were TRYING to be going ("don't · stop") when you got in the car ("don't · stop stop-stop-stop")

how long have we been driving? 50,000ish miles & the sun's baked the gross cupholder solid. your head hurts. you ask: what do you wanna do and [❓] answers "if you really want an example, idk; see the ocean?"

at 1:00 the clanging of the train crossing (which faded in from silence to precede the abrupt introduction of the fun bouncy beat when the song began) starts up again (⚠️audio danger!⚠️) as [❓] tells us "keep going—" and we freak the FUCK out at 1:06

doko e??? (GO WHERE, DUDE?!??)

but the music doesn't mind (it grooves even harder). 2 blithe lines slip by us like lights lining the walls of a tunnel ("goodbye to the future we had sketched out / nobody knows what lies ahead") and then we reach the part I'm trying to psychically beam directly into your consciousness at 1:10

tomaremiyo (can we like, STOP)

waraenaizo (NO, SERIOUSLY)

hidoi maigo (we're lost as fuck)

yobe yo (call (strong imperative)) JAF* wo (object belonging to "call") sokkou (FASTLY)

↑ thank you to VGPERSON for the CONTEXT as always: the JAF is roadside assistance, here.

but the groovable tune just calls you a "little guitar bitch" & carries on, failing to prevent some manner of devil from speaking (from the passenger seat, or maybe from your seat) at 1:20

tometemiyo (try and stop me)

norikakatta (when followed by the word for "ship," this creates a phrase meaning "there's no turning back now") ga saigo (and that's final.)

bujini kaereru (return safely)

to omou na yo (you won't.)

what the fuck; art. the ⚠️audio danger⚠️ the pressing existential terror & the sheer bouncy "run along, now" momentum of the beat generate a mindscape I've been to before. who among us has not asked ourselves: whose fucking ride is this, and when and WHY the FUCK did I get on it ??????????? ????!!

while at the same time thinking: guess I am on it, though.

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tamerajedwards · 11 months ago

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I am 1960’s baby and was raised in a very traditional Christian family that went to church every Sunday and came home to a home cooked meal of pot roast and potatoes and gravy. My father was an elementary school principal and my mother a music teacher. I felt loved, safe and secure during my entire up bringing. To tell you the truth there is nothing else like it and it’s the only life I’ve known. I can’t help but be completely shaped by my surroundings and upbringing.

Fast forward to 2024, those traditions are forever engrained in my mind. Life has changed completely as we live in a world where women’s lib has taken over and the dating scene is - every man and woman for themselves. It makes me uncomfortable 😳 and I feel like I’m living in a foreign world. People say, just go with the change, get out and make all the money you want for yourself, don’t worry about a trail of divorces and relationships everyone is doing it. For me it’s going against the family tradition deeply etched within me.

Traditional values aren’t just a thing of the past, I feel they line up with Christianity ✝️ and the word of God. God designed men and women to meet each others needs like a puzzle fitting perfectly together. I don’t want to work under the hood of the car even though I could probably learn how to do some things guys do and vice verse.

Maybe these pictures of old fashioned American values are a stretch and something we will never see again. For myself, I am not going to settle for anything less than God’s highest choice for me. I would rather be alone than with the wrong person. I believe love is reciprocal and should be shared equally between two people. Many times I find myself feeding a man’s ego while I sit on the sidelines shut down or treated dismissively, like what I have to say or my feelings don’t matter as they glaze right over them. There is NOTHING that will shut me down quicker than dismissiveness.

I wonder if the traditional woman and man ever felt like they couldn’t speak up or be themselves? Communication is key, and our society lacks so much of that. As we drift further a part into our every man for himself society I worry. Deep inside I know we are created for each other. Somehow we have to bridge the gap and find what works for us and find happiness in that.

I hope some of this made sense. The longer you stay single and the more failed relationships you have stacking up, the more difficult it seems to be building a traditional relationalship. Maybe it just doesn’t exist anymore.

Find what makes you happy. If you have a love like this, you are blessed.

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clairemalonee · 1 year ago

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The Melodic Farewell: Finding Solace in a Funeral Singer in Ireland

In the quiet moments of grief, when words fail to encapsulate our emotions, music steps in as a poignant expression of love and loss. Funeral singers in Ireland carry this profound responsibility, weaving melodies that honor lives lived and provide solace to those bidding farewell. In the heart of this ancient land, where traditions are as deep-rooted as the rolling hills, the role of a Funeral Singer Ireland is more than a performance—it's a comforting embrace for the bereaved.

A Time-Honored Tradition

The tradition of employing singers for funerals dates back centuries in Ireland. This practice stems from the understanding that music has a unique ability to transcend the boundaries of language, reaching into the depths of the soul. From haunting laments to uplifting hymns, each song chosen holds significance, reflecting the life and beliefs of the departed.

Honoring Lives Through Song

The selection of a funeral singer is a delicate process, often guided by the family's preferences and the cultural background of the deceased. In Ireland, where music flows through the veins of its people, the choice of songs can range from traditional Irish ballads to contemporary pieces that held personal meaning to the departed.

The Healing Power of Music

The presence of a funeral singer is more than a performance—it's a conduit for healing. As the singer's voice fills the sacred space, memories are evoked, tears are shed, and, ultimately, hearts are comforted. In this shared experience of music, the community finds strength in unity, coming together to celebrate a life that touched many.

Personalizing the Farewell

One of the most beautiful aspects of having a funeral singer is the ability to personalize the farewell. Whether it's a favorite song of the departed or a piece that speaks to the hearts of those left behind, each melody becomes a thread in the tapestry of remembrance. Through music, stories are told, emotions are expressed, and the legacy of the departed lives on.

Cultural Significance

In Ireland, where music is intertwined with the fabric of daily life, the role of a funeral singer holds deep cultural significance. It is a nod to the rich heritage of storytelling through song, where every verse carries the weight of history. From the mournful strains of "The Parting Glass" to the uplifting notes of "Danny Boy," each song becomes a vessel for shared grief and collective healing.

A Beacon of Light in Darkness

In times of profound loss, when darkness seems all-encompassing, a funeral singer stands as a beacon of light. Their voice, steady yet emotive, guides the way through the labyrinth of grief. In the midst of sorrow, music offers a glimmer of hope, reminding us that even in death, there is beauty to be found in the celebration of a life well-lived.

Finding Comfort in Community

The presence of a funeral singer not only provides musical solace but also fosters a sense of community. In coming together to mourn, laugh, and sing, those left behind find strength in each other. The shared experience of music creates bonds that transcend the moment, offering ongoing support in the journey of healing.

Embracing Tradition, Embracing Hope

As the strains of a Funeral Music Singer Ireland fade into the distance, they leave behind more than melodies—they leave a legacy of love and remembrance. In Ireland, where tradition meets modernity, the role of a funeral singer bridges the gap between the past and the present. Through their songs, they honor the old ways while offering hope for the future, reminding us that even in our darkest moments, there is light to be found in the harmony of music.

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