#Where Words Fail Music Speaks verse | Explore Tumblr posts and blogs

saltbcrne · 7 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 · 7 months 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 · 8 months 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 · 19 days 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 പോ��െ | 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 பூ��ே! 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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squeakintothevoid · 1 year ago

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youtube

I decided to stop lurking and actually post my thoughts somewhere because of my man Larry here, who shared his reaction to "The Sound of Silence" covered by Disturbed. I've listened to the original by Simon & Garfunkel before but didn't pay much attention to the words. I mean, it's just that memed depression song, right?

What folly! I have failed ye, Simon & Garfunkel! But Disturbed's video made me pay attention to the obvious message:

“This is a song about the inability of people to communicate with each other"

—Art Garfunkel

Okay, I get the point. Now, if I may, I will disturb the sound of silence (ha) to share my own thoughts while I was listening to the song:

[Verse 1] Hello darkness, my old friend I've come to talk with you again Because a vision softly creeping Left its seeds while I was sleeping And the vision that was planted in my brain Still remains within the sound of silence

Let me give you some context about my life. I have social anxiety. Or did, I might not meet the criteria anymore. But woah boy, did I have social anxiety. I mean, sometimes I'd try to speak and simply could not make a sound. That's how paralyzing my fear of speaking was. I know now that this fear came from being ignored as a kid plus a heaping of religious trauma. Growing up, I'd hear some teachers or friends say it's okay, just say what you want, be yourself. Sure, whatever. I didn't really believe them due to not being noticed very much the rest of the time. I thought: I don't even have anything to say and if I did, why would I risk telling anyone? But that positive messaging still seeped in my brain somehow where it remained dormant.

[Verse 2] In restless dreams, I walked alone Narrow streets of cobblestone 'Neath the halo of a street lamp I turned my collar to the cold and damp When my eyes were stabbed by the flash of a neon light That split the night, and touched the sound of silence

Of course, I still had thoughts and emotions to say even though I kept them inside. At age 10, I thought I was like a wise ninja, only speaking when necessary, but really I was emotionally stunted and always afraid. I slowly learned how to socialize though, but real progress was made when I started gaining confidence and trust in myself. Mainly because of movies and music. And the few solid people I could trust in my life.

More context about me: I was raised Mormon (Latter-day saint). So like, in a cult. Or a "high-demand religion" if "cult" is too much of a buzzword for ya. Anyway, I ended up attending BYU, a Mormon college that will kick you out for not conforming to their strict "honor" code. I was understandably depressed while I was there. Except I didn't understand why at the time.

Then my eyes were stabbed by the neon light of Freddie Mercury.

For real though, Queen, among other artists, helped me see that I felt stuck, and that the next step on my hero's journey was to break free from Mormonism and my parent's expectations (and somehow not get expelled and homeless at the same time). To have confidence in myself and keep myself alive.

[Verse 3] And in the naked light I saw Ten thousand people, maybe more People talking without speaking People hearing without listening People writing songs that voices never shared And no one dared disturb the sound of silence

So now I was aware of how sinister and blatantly false Mormonism was. In a university full of devout followers that will tattle on you. Followers only talking about what they're allowed to talk about, and anyone who stands out is shut down. Everything seemed so platitudinous and hateful now. Man, I wasn't ever thinking for myself before, was I? I knew there were other people at BYU in my situation, because they said so on reddit, but I didn't dare make my thoughts known to anyone in person.

[Verse 4] "Fools," said I, "You do not know Silence like a cancer grows Hear my words that I might teach you Take my arms that I might reach you" But my words, like silent raindrops, fell And echoed in the wells of silence

Simon speaks like a prophet. In Mormonism, you have a prophet that claims to be speaking the words of God. So like, you gotta listen to him or go to hell. Actually, Mormons don't really have the same idea of hell as mainstream Christianity, but you definitely won't get into the special VIP top level of heaven if you don't shut up and obey the prophet with exactness. Prophets give you commandments. Prophets tell you to give all your time, talents, and money to the LDS church. (Although they only enforce giving 10% of your income.)

But Simon isn't really speaking to tell you what to do and not do. He, like most artists, is trying to reach out to you. To emotionally express himself and encourage others to do the same. It's a refreshing idea of what a prophet could be. He's calling us fools not because we are sinners, but because he wants to share what he has learned. His writing isn't to make a cash grab (I think lol), but catchy music that can be echoed in the background tends to get the best sales.

[Verse 5] And the people bowed and prayed To the neon god they made And the sign flashed out its warning In the words that it was forming And the sign said, "The words of the prophets are written on the subway walls and tenement halls And whispered in the sound of silence"

Most people see the "neon god" line as a critique of consumerism, and I wouldn't disagree. It's sad that television and music in many ways raised me better than my parents, that the religious texts that promised me spiritual awakening didn't have shit on Freddie's whimsical ballads. But these "neon signs" are what saved me, no matter how cringe that sounds. I wouldn't be as daring to make real world connections if it weren't for media and the internet.

Following fandoms, lurking on tumblr, sending superwholock memes to my friends, watching stupid youtube crack videos, staying up late just vibing to the music I had. These are my prophets. It's sharing all these little pop culture things that culminated in me finally realizing that I'm alright as I am, even with my cringe hyperfixations. That maybe I can slowly learn how to speak my truth and say with a newfound sense of confidence that I do want extra ketchup. Or that I'm rejecting my parent's one true religion.

It's all good now, I never got expelled nor disowned as I feared, but I'm still healing from things. I can't say I'm a beacon of self-confidence either (right now, I'm worried this whole post is too long and pretentious). So if you took the time to read this, thanks! I know tumblr can be a hellscape of a site but I appreciate y'all. It's our little ramblings that get us through the day when we feel like nobody understands us. Here's to the whispers in the tenement halls!

Yes, I did shoehorn a spn gif in my first tumblr post, what are ya gonna do about it?

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profblahson · 1 year 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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dk-thrive · 2 years ago

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I think I heard divine intervention

Do people still see God’s face in their oatmeal or do we only worship money now? Either way, as corny and impossible as it might be, I wish I could reach out from these keystrokes, set my hands on your shoulders, gaze deep into your retinas and tell you that when Joni Mitchell sang George Gershwin’s “Summertime” at DAR Constitution Hall earlier this month, something like God entered in the room.

The circumstances were strange. Mitchell was in Washington to accept the Library of Congress Gershwin Prize for Popular Song, and in the moment I’m describing, to headline at a tribute concert being filmed by PBS. Accepting her award in a satiny frock the color of the ocean and a beret the color of gold bullion, the 79-year-old colossus of song seemed a little out of sorts. Was it the implicit awkwardness of a televised exaltation or something worse? Mitchell suffered a brain aneurysm in 2015 that left her unable to speak or walk, and has since made an astonishing recovery, but as she sidled up next to the grand piano, the room held its breath.

Then, clutching a shiny golden microphone in her right hand, she exhaled that opening verse, her phrasing patient and exact, her tone heavy with color and feeling. “Hush little baby,” she sang with a finesse that can only be measured in metric tons. “Don’t cry, don’t cry.”

Failing to connect those words to the sopping wetness that had instantaneously materialized on my face, Mitchell was halfway through the song before I noticed that my lungs had also chosen to relocate to my throat, which technically qualifies as an out-of-body experience, which is where the whole God thing comes in. Cumulatively, this moment felt greater than life, greater than everyone in the room, maybe even greater than Joni Mitchell, unless she’s God, which I suppose is no longer out of the question.

Normally, I’d worry about sounding hyperbolic here (greatness feels cheap in the social media age), or even worse, sentimental (hooray for a fragile older person doing an incredibly powerful thing), but I’ve been too busy spending the past few weeks trying to figure out how a song so delicate managed to collide into my sensorium with such annihilating, tidal force. Maybe the secret of Mitchell’s entire songbook is tucked away in that paradox — all of those drumless ballads from “Clouds” and “Blue” crashing against our collective consciousness like rogue waves. Maybe we can trace it all back to Mitchell’s lifelong affinity for dancing. There’s a tremendous amount of movement in her music, even when the gestures feel stark and the mood feels serene.

And then there’s all of Mitchell’s unambiguous greatness: Her singular ability as a songwriter to speak to our experiences and imaginations through characters we may or may not know (Carey, Edith and the Kingpin) and settings we may or may not have visited (the autonomous Champs-Élysées, ex-paradise parking lots). Singing about all of this stuff with the intricacy and insistence of a pen scratching paper, she matches unexpected words with unexpected melodies, simultaneously possessing them in ways that feel deeply inventive and allergic to cliche.

But how all of this felt so abundantly clear as Mitchell gently moved another songwriter’s words around in time, as if placing them into their most perfect position, I’m still not sure about. Something profound, and complete, and deeply life-affirming had suddenly sprung into reality, and it was hard to understand exactly how or why.

“You had to be there” is a cruel phrase, isn’t it? We’re a storytelling species, and we spend our lives trying to share “there” with those who weren’t. We search for it in novels and “How was your day?” at dinnertime. But on a Joni Mitchell album, “there” feels like “here.” The visceral experience of hearing her most vivid songs always seems to supersede the detailed stories they’re recounting.

This is all to say that you can watch Mitchell sing “Summertime” in full on television tonight, and while I can’t promise God will visit your living room, try listening with all of your being and see who shows up.

— Chris Richards, from "Joni Mitchell sang Gershwin. I think I heard divine intervention" in The Washington Post · by Chris Richards · March 31, 2023

#Chris Richards #Joni Mitchell #george gershwin #summertime #Youtube

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corvuscorona · 4 months ago

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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 · 6 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 · 9 months 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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libidomechanica · 11 months ago

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Untitled (“Until the golden seat fair weeks;”)

A ballad sequence

I tame troops of tapers, thy voice might we double day. A tone of yesterday I have it hath is the sweet joy blinded

me. Until the golden seat fair weeks; they praise the restraine. That streak the multitude of a dead! Is therefore: from

head, and relie; peace, and sank, some sprang thee pleased: these can. I say, you I sat does Love silent night hand in bigger nosegay’:

drop and flung defiance of sigh so sweet you see a graveyard clime at disease, and Lillie green grain unascend,

as we with trust since the who knows? Mars and decides in sleep; obedient prime; and ourselves? The rocket, when Cupid!

” And nor blame me the authentice. Wear that at any time, which thee, art cold with my darling, firm thou are all, am Master fountains, but of flowers voted types of charger she spirit all mine, past. And mock’d at now and all make turned

the priest it is change of the fool, to cure of the forth, now for the even we shaft which, believ’d �� the year; now, but which happy I hae I laugh for it, and bower as well? Hey have may her slave ourself, and cannot gray yearning lane; but

all me greene, however, told to the breakfast. That all not. Hold remove, who, his for summer by their smoke. Loves her clowne, lyft vp thy dew a tedious howl, and the barks, my Soul the pine, god being, Fools were—where that spurn the lessed and

bowed his beuie of God of passion, from the silence she lost fair on her very exercise of blossoms of Separationary for ever that our claim, or it in her and remained. But the sole store; no snowy skies and fail; a

music, for the lily she longer stood from bene pried whereas sheep, or wrong thy dews gather, rise, stir will I am, I drink delight was near—the victorial tent, ichoot now common wrong. Each holiday, and folds a dog can be;

little throng pavilioning and adorn’d to be molten our griefe; and fair. Hoping hope, with unknown each made that made fallen into you thy soft and have flesh so layd, when looks and night is farmer love turn all hither Ben, o Tinkled

pied, and air thine Eye world of death- white Lambes ytorne? Of coming gust he linneth the summer’s distant viewed the long he sits ampled to a horror over you art, that half the gain the little on the grassy ear. Elizabeth

and I dived in their heart grow to herself thee Hobbings, whose eight the night; o’ the faint ane, Where, every worm what ancie, and bower pavement. Warm in every hymn to a soul where beneath thought of galliard did bid mee address there, was up the

background of the when we promis’d her hair, and give and chastity retires, to catch her the rest of incipall. It did but everywhere wak’d the light: and if we faces cast, which I heart groves are less, or rage steps again. Verse a visions

repair, not you all the gathering and cleave may take a mayden Queene, hey ho! And pith to speak, the crooked on there lies! Sets his memory steel sounded rabbits, alack, her person shore, the sought satiate than death! The feature of

rose a May-lady be trig, she lay; see when this ever fon, the dew upon her through many Lilia’s he dam, the green let the White be not afraid to sound. Old Master game wonder world be near; and much reward, but though youth prudes

at you thing blows raise, our and had not aughter far in turn’d to fiery Sirius although our cities world’s bittern skie. Saucy me, having with thou guest, thrust if in me that ye sall not of the All is staff, his our due?

But again, in rank like are through to gratify the Rhodian you still fret, fool, to bee. Since I want to practices,

love when word?-That care one, the hunt the whirling, my duty soughts, and dies all my lets, invalid, sister’s caused the merit

first, wholly wants on a winter’d to follow, each other, warm the ravel fowl hath my carrol lowde, as high! Rose,

fired, devoid of the sea-lover mothers’ loves word upon my fruitful of deep it survey’d, the lay the cold dust

up, and beare through both proue? For her seem mostly raced, I did seemed as young word then seem so witch, I forgiven his eldest

maid gay; over melodie. A matter delight and paint and ever look’d on my heaving Might poets to the love.

Deep in the she hollow, quoth admit. Love closed in horrors rise as he difficulty smooth the dead left a thought her sleeps, and those the prise, we did excell sad variety could no those in war. Down to brimming fears—you used not a Thorn, and wha sae reach, belied,

a Rhodians crossed, or to guides, there’s daring Two whom shame, but why could comforted eyes haunches or that I write it is strange to they dead death, can say thyself, nor envy, hate; so to thee, and dewdrop’s ingenious act abide what you all the hugged will thy pearls hands.

Fortune hast play they wander these walk of the will not rate, to harms that quiver weep as the moon, where apace: let soule

waited, friendlesse of an oil pain; thy fury on state! Emanation dwell, when it nor she war on her to therefore,

Live they light speech the woodmen he cat or soul of good thing blossom-fragrance to end to her conquer, wake they better

in this hush’d quiet they what was the charred: the you, like a stones in a sty, to her not again, because I bear the

day, pierced through depth of Venus keep, never unrevealed. Speak it sell. Of birth the hold hoped him shape is She? The best

of saint—inexorable, clabberable are that me, has with thou in a country and the turns in consequenched

with our fair; death-white that rowme to Heaven, its light, whilst Benediction with food service in the night speak, the grueling

at our joyous stown a shores my cold—yet Eloisa weep there were diuels invoke the held it Linkumdoddie; with snatch’d

a public shame your springs shoulder or a noon, a feudal knight: the sea, whose was the green starving spelled; thou do, but

I am attaintily shee is he beauty and thee only in the people from want of our cast home. When not

been raven too, when I were a mountain dewy locked with hunger to lag behind tongue. Some life is then way, the

strickening denies him at thy dews gather sleep on which I looked with clear; with the ease: the wreath for your trayned with body

waste; there beheld, and lords with remained, and all yet shed and dull fence’s crannies are lost, his pulse, and you please, dost

divine cannot daring selves known; each me, Heavened at the other heau’nly highest foam in the movies force, and

fans him once deeply to what bright, I wadna gie a blown a slighted static begin to tent and the flies and couple

womanishment. His own Soul to and some great and solicit emails, ton enslavering to him who grone, thou

shall possest, for some whilst son, is illo&c. With mutual Truth. Thrice as cool suspense of trumpet blush&pale light: we

doth never follows wheedle-point with the city, who bounds in the Souther; she’s my brows of nature. Thy beads apace.

Horseman, and I have seem with rating Pretty rail tilt it were a mayden Queene my song and crush, thought, it flustered it.

Let the moor; she come future foretold; there not swim before his cheat and learned titter for long me, and flung design’d; labour troth, invalid, since her loving the love return, nor blames with stone. Fell: vnwisely wear by this wander goe.

And mountains by traditions, and her by we twangling stripes for two: but the fetched and breathed out of trumpet bloody Marses

beneath; but I, vnbid, fetches more; nor can never anger falles enjoy, and into fight, ah, yesterday, my

Julia’s he beams athwards journey fountaine things to stands for heauen apace when I shall like the silence to wise, will believed

his true woman name. Her both rise, to be mind a Reproach, O Springe in hands; our love, and caverns and then, though bottom,

bleaching caughted care, he lilies the sun will not comes. I leave maid, ordain perch,—did yours of floweth Heaven flashin;

but his day. Tripping hand, and her family-like chain of thou beckon from there; assist thou then see the guarded with

pearly exposure to trust since, sweetest living chain of th’ unwilling arms, but still to the air a presence

her been, deathlike, now! And later, and even kill those sorrow show proue? All not borne shall base and into be vnkind, and

tears to sharp I answer’d not so as tries spray biginnet and well, that under in the destroy, or lie What pine. And

warm in the light. But let their and give us flail, the slope, our death! Love to suited hawk, descending the beloued land

of other, look; as the sweet steep received there into ease, and sing month of woman injuries they made. Lifted, and

the Tast, allows she mine her loued lass that bears breast shone says, and Sops in such am in lava, fans of some witless

oceans prevail. Then be news, and seem so well, and dark his will I break the man, here was a ghastly race shepherds came

homeward to swore his close own so weary, Senses fired be lov’d and she second a walking. Was the group of day.

From the sweetest the part shaken by confusion sense, in vain of one means I may thou, runnaway, pav’d with bareness;

in the Veil from soul, and entered were be you, Ben, and soul with honest memory tellecture, inter-assurèd

of throne, they darling, charaded fruitful Muses come boy would sheep, never me. Vain her be as a princed as happy

each happy staggering found he thin the Abbey-ruin in a year for Bacchus friendship’s name I would seemeth

the house so few with you, what himself a man, and nestle deeds—this Irish in. Twins, for long grew to they talk you and

laughed to a shadow send the dead. The cleave that I know. Remarket stand may move, you will steals the sunk that such a blow—

I sweate, for needs a diuell, as a rowe? And eithering Tyran gray make fair annual task! Nor love been martial day.

Not long-forgotten ghostly race. Under fears life like Nature frae sun began: love there? No bitts of their name in green;

but sense—cannot every part, in rymes, of a Gardent abode; already. Lives and she loved! While Cymon fire, thou

art those but it’s the window and the pray’r accepted soft kisses alone, the crown i’d couple, and worse. All mine,

the may take back the grueling in the dead, and stretched with to pleasures of lofty loving lies, each in his High-archetype

of a small grief lay befall finish cups against though life consequent before I was a kings to seized throne, forfeits,

ceased pride, and his slaughs that and vials fire with patience pression still alike, O that smote and the ravished siding

by rich me as his face, acts the tide the friend the last breaks, and make his love to the fancy residentified:

two black us on thy foote to the hearing convent’s glow He has rough came not the blast night! And die. Nor longer, yet

his tarry. He came down, the censed and coronation while deeds, like feeble crime touch of this I would ne’er foes so

long the end wheedling the search every same a soul and friendship’s naked but in this cheek. The fair. Or can divine compared

of other joy: when we entertain sweet Aglaia, my Abelard bold of Loue, I would be i’ th’ unwilling

a sclended to horses’ he soil; and down. Of her blot of times a charming to price with me hys shall score left, the

will, followers are never way down backwoods. Two brothers to the law of his solecisms, seven-headed me her

flower? ’ Rights here bereaue, and lur’d gladness lift up before your sailors to a poppy faces Truth courselves swayne, the

prepared of pearls upon my Muses close on me; darkening hour! Why the stars go over the world, come, whose disguise, to

clear. And a Jael, with think not deale but we wise, and the sudden down. In all from becomes what heart rounding hand-breede. And

this’ he with libbe in cling Lilia with face the moon-beast gasps, and me, delightes wear by this Gama. The exampled

and fast and catch a rubber/ gasoliness and woman which in thy vain: but their ship with thee to walked it a

hoard old stood nearly in the fresh and low, for after-life with adorn’d beat. Meet, that I wails not broken, yet then quake

his broken, yet must barried? If every Garment for us. But I in my And now not morning it.

Decides him worth wicked with our own; hire sweetness dole. Over to her, when roving cruell were it by there morrow which smile kings to pray the while that mansion’s sweetestable grieved, when I was to lay thy power, with thou upon beard, and

because my thou in sweet in sleep to the would raise tinkling, old dusky cave eating up his iron to remove, and his vault Midst the glory from their seat of flower soul of my last recently over, till yeare, let his flower Take

Lily as frame of food serving with hersel’ to beauty, and said Lilia’s. Revive; inspire take here green faire is awake. Whose poetess, six feete are we outlives are, issuing to see. All station! When laurels and smooth-faced battle-

bolt sang, a broke to thy feet highest foam in its tide; that might by kind wailing said, How’s mask of wonderful, charms of the trumpets on its patter and waiting your vows be blesse clear Sprite yet thy nature give to prize, with secure come, little

he tapers, thereof to fight or serpentered the stands to live, and never weep to the first, and mirth; then I appeare; for all,—what we’re a new colour turnstile they madness He hast that to thy Muse! Sleeping out off and tended

by him here at those of angeling the words behind. How does Love speak and once ill-required. Most fishing stream, the spoyle is proud heart it sweet Water; sic a wintry maiden Aunt a little she land, epic, homicidal; and gray

of delight, the tear’s back who temples were frae sun a step I on other, a godlike a man; and the silken near his extremities country rind and breed shred to guided stormy time; and is song on the Romish Tityrus, I

force, his wise inflames home, song. And the chaos thus blazing horn at his Soul was drawn his rival, can obeys. Nor portioned life: ’ I thou now I thou list’ning Lilia; Why weed-flower Lilia witchcrafty loue yblent: great man,

his swift flames; purple vessel bearing sea-shell, the maggoty mind death. And if your west, that Fate draw one glare, he retract on natures death some of cat or warming galesus chronicle; and to make some back throwe meet my fangs of dew;

I am, was, down gagelike, began reproach several flood. Break and no tracks? And inward weight poetess, Arac’s sisted to hearth’s shadow of anger side? Petulant care throw of cheats, a feudal winged into th’ earth, painfully

had the moss-grown to me: for thee only vocal rage steel, In the but kind, he red wise powers; but to have no less divide the fall; and all its patting Phoebe fayre Eliza than the woods daught upon it kind wailing still tis

we, taught ungentlenesse bring the waters incensed awhile altar form, as I am sick of the wound the generous to the quiver spark, and swarm in the fiend because, she harps she walked it barrier lie gagged with young Lochinvar.

Mighty heart thy tender, confound the hath put though the sung term expired, but if a hearth; the listens mutual

pitying creating found, on which can both probes than a faults, wife was brain the dares adowne hardest remained breath, and trial.

Ghost o’ this we with busts: and I was Eloisa see! The had not bright? So her; sic a wife and Sorrow is their Christ.

And sing, charlie and tempests more. Who temptied part of the patter love for what were shore, here is proud, since of ants. Not

till and Orion low when all send a lisping patience your babble, lost, dear lady friend again. Can say that that

thy heir: his was the lofty limbs like strive the fields: and feeling and walls! Tell, plunging heart; the sun will yesterday, and

men my father sire, thou prate his so large some under goe. Sir Walter the contract, and conquered in vain country-

tone. That dwells with his bow-hought, which her where, while the less Jeanie Scotland angels lay. That soule waited, but me on one

his shoulded by sea, whose disturb the counter’s houses clowne, lyft vp thy glory friend! In ecstasy my antidote.

Who darest meant; but in fool, to take! Another Maiestie, where in the clear were but demaundesert; the public may veins?

That by all worthily; the vestment hand ivy-tressed three stage, nor of the book decorum knowing flower the houre, sad church, and wore: but, when our loving chains of his nae sae reared, and rehead alone. Lives, six feet as the its Secret

came in my sinful earth the durst the low in vayne. Which is midden your hair, or third But them. Like silent grown drouth, wise to thee within the back the ravished by night in warm, as louers, once again. When net, to learn of thee, and trembling,

and mean? Of Oliue brawly weep my father’s hand leaps it should some ball dancing with redeem thinks were there’s dark landed me lattice-lightning out in this lip, and his heard the record shore, worne of hurt or see her love so well? Change; that

strongly grow! Haste, who know is bed acrossest, cheap of cherry shower and beat in her walls and be thy mind strange, unless pass’d fringed arms the delay! Met us weep. And breached; the Rhodians felt for a yard bold king, pure and brushed swine, beat

in placed or then, like anarchism those his hand, in while your Pasimond is care! Bears down: and how distils for he, The terms have you with claims at did grace, like or two day by fits are gone but now and bay walls and darling shrinking Walter,

where wild king of his brawly we tasted left her ways my tongue. Cold and she best; the voice were but country and let our frailties in grave—wrapt in the woman infant before stars before your self down faith our delight, and yet dripping of

the nerves our face divine where and met her fates a night drawn of twin spite, in no know that ye sall bury a malformal face. You all in absence down. Or kiss he peopled with a rude embrace of old and for never chance can say birds

spilt for her! The trumpet round, her beauties rought, till to dreamt their earned, to gazed my Delice. Colin field the might cry for long silent night: nor the rest; when his old. And meaning day, Defence: theeues down they knee—like the way one wits in the bring

the Face look up, the air off from Candia they suffers clownish my eye. With such vngratefulnessed, nor in my hear as broadcast lilies sharpnesse gayne: or prisoners marriage morn. As if it but than a statues reared, whittered sides

away to bear; actaeon-like silence on League of man or more lost in my heart and love is he poison doors, and step is all is her bride. Bride; which and waits theirs, make, for ever way to the summer beauty candle- light shot awrie! The ever

all to mind, and made of plea, war with ooze, and ever, patting horn, and in arm’d befell; the Prince, tougher to have made, could repel, till couple world’s grew side rejoinder—then a stood and painted parts folds on flies heaving nature’s deck

them, my horses beat not you more, free; she shadow of time to obeys. What, that maidens with Science what it was gives the sails they: all thine ease, which did faint breake me, song a sclender in defend the seas are, freshened breeze from their Life divine,

that me; my clowns at paintily smiles of her, look pierce Passion-winged aloft into a silent night. Stop, not One rest me, doubled me with fragrance, where used on the forsake witty, and squeezed himself disown: and turned, and Paradise!

Thou victims as required, with snow, and have man were all thine by its crowd purling, it mighty Mothers are the kiss the crystal vial Cupid eyes were not understood and like a room with they are gone witter are we to the hoofs bare

as my names of rebound, to fight with smiled, a lass o’ Ballochmyle. I like are list the Face out among to be it doth sport done to throught take her selves so loves, and flustering batter, so little jars for I die! And ever-beating

sleep the more I not been my eyes, down the penitence the fires, to weep of Death good, when fire and knows? Can it should some rounds of fool, unruly strange. Glad, yea, all alone, the shouldst througher very splits, and arms; and Death. Until Death the

lay that swelling heavy dew,—and even this brother’s Eyelash the sound here indulged his hand ivy-tress I ceased: these scent, that dewy shone his pipe of my little weep for a million taughter he came the garden we entering selves?

Said Cyril touch drove, and this broken square were lossum cheerful meditation to cures peace of ice, and in visiting

stray can obey; all excel or step to sin touch drove turnstiles, the dainty rime, the violet various stone,

together, went: from her poniard, I lie, devotion, at these fruit morning, turned divide think, went and down by me dispers

give us on their birth cannon: Echo sight, as young Dawn, but thou known to dancing angelick for weary sland-crag,

when to my Belovéd; gaze, and tremble; in that war: and left by, made he saw his turtle, a thunderneath of chere.

Now that the cold me whisper’d, ’twere smoulder or not a Saint’s grit in nature from himself and your struck by this write

memory of they cry, as pre-engaged hands from then worse to horse with vowed my boat with Spirits new, Urania: her by

night their meriment, still flaunt with woe, then it all be as from the would ne’er beams renewed fruite it were reap this eyes of

your if Delusion thy self a spider it was but it shall may vow I’ll deeds—this april to aggravate thy spirit

the rose and takes me song the chil love no peace, on while my darling, a blusters with than hound wished, then and gracious

winter, as it full inspired my pen and that of the tender names, allured her new Form them lying morning throne,

silver lesse coming on measures not yet anothers taughted care, looked on dies. To die—climb! Then war, with the hours: the

turn the old lords with tears. I say, Remember’d throught, write, and make some go, are some guy with message and cruell they see now?

Fierce he mutter’d like I hope is held to see such place, nor both whose have it or stream, the Cyprian stay intent; nor

youthful Chloe, charnel; fear; and honour’d the fruite it beauty shiness and crown is ylent least remained at Netherby

gate. He double brib’d the height, and will, where his is always? Yet worth—company is the foyer and hastens mute

and gaze o’er the you love they say the fight, all to subdue, rise Alps betrayed heard, nor any Breath. Duty, and the love

fortune for his all tremble shy to be knolls and gaping aisles, and when dazled with slow finess ocean-foam in

his javelines. Where is sowre- breathe immortal curtain it seem bare: for Thou victim off, somewhere sea my father

slender Friends of their flight: we doth sparkle land, soone by the blast rest, as incensed at her slaves our for thy phantom flies

beneath when fill’d th’ offenced lips. To thy way, that poem born the said, soft cheek so proves me sense he said; there,

the Veil. Eat up by its meek—the trifling up through not less; a love, ye fall, and yet here from me close of its Face look

for Poet steered peace, but the passion to provoking hugely stood brow is the prospered if your and ride, what climb the

fountained, all not the iudgement the violets sheet of the Border head: no vertue, I conquer griefe; and hath speedy

of Abelard it see perch’d away. Valleys he, insteeds fleet country day: by wintry soul is dear-purchase. And breaking

leaves the plann’d descending be, and whose silent guided stomach, I fenced while than to sun, that garres, and sword in

one cannot borne wittes than were threshold, when I love concentrate: he, what he sight, and much greated, apt at the

violate she lofty stream of her smaller. You waked, as wark, O miracle at worthies light, and every self, and

as if it thy outward walked, nor robbed by and cursed to sing; restrain, and bray old passion-winges the bride; forsake, nor

true would trembling the bridal, amberable is find, in either night with so swept Blood—Search the pale limbs with shadow

of tale. Reads very when up your praised the very same sallying streaming all send the dewy locks, where he now is behind.

I have sunk, there stand and man, and for thee virgins third among beauty was all: oliues beats of his sleep, sweetly?

Then greene embellies motion, I woundless, I kiss material sounded me the streamlet variety of the

pallace by there at words of yourse; so long like Dianeme, nor conquered in thy place or his owne fault castle an isle the

great ancient prepares worthy to have before disposed with a cymballed loom of living their appointed the King

roared make some kind. The false, and I almonds drop liked it a heav’n. And when I closed with the soul to brydle lough came force

with all Company looks upon the faint copses in the bonie last cloud, singing, All ’s Well! That, and dark land of old

mammie’s heard about the weigh: she way down to mix with this luckie with me the vineyard bold kind the other’d not blow.

I seen’—but when, till wilt though the thine own humble; in ilka quarter-storms, but find as he does now a twisted rocks

hand singing half as gave love is it were fled soft in his closing flower? Thus in arms fair, no beginning an end

when you: your latest, so oftened some cast, robert Burns: can for our beauty answers of pearls, conformed; that I lose

of Beautiful dreamed, and citie breede. Into dear lady, I would I thou shalbe prest on? Faith thou lik’st not. With want to the

waving he stain what, the first be tied: that rowme to love three? He beneath would not thou, Muses on early immortal!

Knew that I woundering up; no more of braves, both cold nis no reason is the for brake wad fyle that iron-cramped

up solid thy sought; because that beautiful archange bark is cheats of the white better, think the long, something mouth; flower,

fairing wails at our body’s marble. Of that each seven- headed maid, which is a flight’s soft, you strange my golden

crowne. Stormy Cymon could grow profound, on white walls. That deaf and cruelly me, half earthest look’d, they lost—her holding tomb.

#poetry #automatically generated text #Patrick Mooney #Markov chains #Markov chain length: 5 #125 texts #ballad sequence

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f4y3w00d5 · 9 months ago

Text

Faye Fangirls About My Chemical Romance, Part 1 (Danger Days

Danger Days: True Lives Of the Fabulous Killjoys – Sorta pop punk ig, some more rocky songs

Excluding the ‘songs’ where its just talking

Na Na Na (Na Na Na Na Na Na Na Na Na)

Bulletproof Heart

SING

Planetary (GO!)

The Only Hope For Me Is You

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

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

Summertime

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

Vampire Money

@mayhem-moth

#my chemical romance #faye fangirls

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