#adience

[ode-to-fury]

I don’t think people give the narnia movies enough credit for being really good adaptations

[d0not-disturb]

YOU ARE LOVED

I'm coming in saying this cause your art is absolutely incredible and I would eat it every day on toast if I could.

I saw you say "If the people don't like it don't draw it", and I think you shouldn't go by that. Your art is absolutely incredible and you should focus on what makes you happy.

You being so young is and amazing at art is an absolute treasure. Don't waste it on others judgement, use it to make yourself be happy :)

Your art is like cured pork ramen. Some people are obsessed, and others it's not their cup of tea. Don't water it down for the people who Billy you, make it delicious for yourself and share it with the people who want it.

The majority of people are normal, so when you change your art to be normal for the normal adience, it attracts them, BUT, as soon as you do something even a lil weirder than usual, the normal prowl will leave. Would you rather have a few boring people be your fans, or every cool and unique person?

Okay you misinterpreted THAT I meant don’t draw bad stuff like don’t be problematic

But thanks anyway bookie

[alexiguessss]

THIS IS SO GOOD OMGOMGOMGOMG

AAAAAAAA

I WILL COLLAPSE ONTO THE FLOOR

I AM A PUDDLE

OMG THEY LEFT BOJANS THANK YOU MARTIN AND MATIČ IN THERE

YOU CAN HEAR THE ADIENCE THE WHOLE TIME THIS IS AMAZING

[mnstcrbnll]

[ also both event partecipants and "adience", like this for a little sirio question! ]

[chambergambit]

thinking about jj abrams career for some reason. his skills as a director lie in 1, fun action set pieces and 2, manipulating nostalgia to create emotional investment. i personally think this is done best in Super 8, a film that was in many ways a precursor to Stranger Things, but is now mostly forgotten, so i’m gonna talk about Star Trek instead.

Star Trek 2009 in incredibly fun and rewatchable, but deliberately side-steps the franchise’s philosophical ideals (specificall, examining what an ideal society would look like and what structural inequalities we would have to address to get there). this is because abrams doesn’t care about the franchise or its ideals, and only did the movie in hopes that the nerd cred it gave him would land him a Star Wars movie in a future (a move that, for better or worse, worked). he openly stated this in a daily show interview he did as promo for the fucking movie. jon stewart was absolutely baffled and it was hilarious. i remember watching the interview when it aired and thinking "...that does not bode well.”

i was right. abram’s utter inability to give a shit results in Star Trek Into Darkness, which directly betrays the franchise’s philosophical ideals, banking entirely on what abrams thought adiences liked about previous Star Trek movies and wanted to see more of. he very lazily just tried to remake Wrath of Khan without considering what made WoK not just work, but matter. 

Star Trek Beyond kinda miraculously manages a return to both fun and ideals. unfortunately, only already invested fans cared, and i don’t think we will return to this particular side of Star Trek for a very long time. 

[adarkrainbow]

The time of fairy tales

I’ve got this hugely cool book called “Fairies, elves, dragons, and other creatures of the faerie lands” - which isn’t an encyclopedia of mythical creatures as the title might imply, but rather an encyclopedia of the “fairy fiction” as a whole throughout history, starting with the old Arthuriana and ending at the turn of the millenium fantasy books, passing by Romantic poetry, Tolkien, fairy paintings and.... of course, fairy tales.

There is in particuler one-sub chapter dedicated to fairy tales, called “Les fées s’invitent au salon”, (The fairies come to the salons) written by Terri Windling, which is an informative and excellent recap of the history of “fairytales”, to get a brief but complete introduction. (It however covers in detail only the “ancient” steps, because this sub-chapter is in the chapter of the “Classical times” ; the works of authors like the Grimm brothers or Andersen, while mentioned, are kept for later chapters about the 18th-19th century fantasy). But it still covers in details the history of Italian and French fairytales, lists the big names of the genre, how they came to become a literary genre, as well as how stories for adults ended up becoming stories for children.

Another note: this book was released in 2003, just to put things back into context (because it evokes the “modern” fairytales). 

Les fées s’invitent au salon... 

Under the term “fairy tales”, we find today any kind of fantasy tale aimed at children. But the fairy tales of today are actually simplified versions of the fairytales of old, re-shaped to fit a child adience - the true roots of the fairytale can be found in the literary salons of the 17th century, where they were created by writers who were authors and editors of adult stories.

A first division should be made: the oral fairytale of the tradition, what one might call a folktale, is different from the literary, “invented” fairytales. Folktales have been transmitted orally since the dawn of time from generation to generation, this is true: they are the tales of fairies, of wizards, of witches, of brave people breaking curses. But the “literary” fairytales were originally an entertainment for an elite, they were a form of art, favorized by the arrival of printing process and by the progresses of literacy. It is true that these literary fairytales are inspired and come from the oral, “rustic”, “folkloric” tales talked above - but they also take inspiration and elements from ancient myths, from famous love stories, and from other literary sources, such as “The Golden Ass” of Apuleius. The authors uses all these things to find the basis, motifs and foundations of their tales, before re-shaping them and re-placing them together according to their own personal imagination. 

While supernatural literature is present since the medieval tmes, the true “beginning” of the fairytales as we know them today is 16th century Italy. It is there that the genre started, with two specific works. The “Piacevoli Notti” (The Facetious Nights) of Giovan Francesco Straparola, and the Pentamerone of Giambattista Basile, also known as the Cunto de li cunti (The Tale of Tales). Both authors admit that they took their narratives and their inspiration from the oral folktales of old, but they were not scholars trying to record or preserve an oral tradition and popular folktales - they were writers who were reshaping these tales through the culture and sensibilities of educated men, turning them into literary works aimed at an adult audience. Each of them included their fairytales into a wider narrative structure, imitating the form of the Decameron - and this narrative technique became a classic of the genre. These two works contain the oldest literary forms of many well-known stories today: Sleeping Beauty, Cinderella, Snow-White, Rapunzel, Puss in Boots... However these stories barely look like the ones we are used to - for example this “old” Sleeping Beauty has the maiden waken up not with a kiss, but by twins suckling her finger, twins she gave birth to in her sleep after the prince “visited” her. The fairytales of those two works were sensual, erotic tales, as well as very dark and violent - the whole sprinkled with crude, vulgar humor. We have to remember that Straparola had to defend himself in front of a court of justice due to his Piacevoli Notti leading to accusations of indecency. 

In the 17th century Italian literature strayed away from the marvelous and fabulous, but the tales of Straparola and Basile (Basile more than Straparola) influenced a whole generation of storytellers in France - in Paris. In the middle of the 17th century, fairytales became the new fashion in Parisian salons. These salon, literary salons, were the places where some of the greatest women of letters of the era gained their fame: Madeleine de Scudéry, madame de Lafayette... In these salons, women gained a form of independence, and they could push back many of the barriers that limited them: there, they could let their intelligence shine and practice their talents. Finding a true success, numerous women started writing fiction, poetry and theater plays, and even started earning money thanks to this - allowing some to stay celibate or to split away from their husbands. The salons started to gain a massive influence - they were the ones who started the trends, they were the ones who influenced the artistic concepts and ideals, and they even were the cradle of political movements - each salon offered a web of connections and help for women that fought for their independance. And in the middle of the 17th century, the salons’ new passion was for those word-plays and speech-plays based on the plots and intrigues of the folktales told “by the fireside”. Historically the genre of the fairytale was associated with women, it is true, but the new use the “précieuses” did of it was revolutionary and subversive. Today, their fairy tales seem to us outdated and worn-out, too embellished and ornate, smothered in “pearls and jewels”... But to the ears of the 17th century audience, this baroque language and these overcrowded sentences were truly rebellious, breaking off with the polished, restained, dry style of the literary works approved by l’Académie française (of which women were excluded). 

In fact, fairy tales played a big role in the socio-literary feud known as “la querelle des Anciens et des Modernes”: on one side, the “Ancients” believed and claimed that a great work of literature could only be derived from Latin texts or Greek stories, they imposed the idea that anything worthy and all culture came from the Greco-Roman heritage. On the other side the Moderns, of whom Perrault was a leader, considered that a new literature was possible, a literature coming from the past, culture and tradition of France itself - and the fairytales were the emblem of this “Modern” literature, breaking away from the old epics of Antiquity to rather create a literature out of French folktales. The baroque style of fairytales also played another very important role: it hid their subversive subtexts, and it allowed them to be published despite the presence of a widespread censorship on literature. It is no surprise that these women writers depicted young girls born out of aristocracy living under the arbitrary control of a father, a king, or an old and wicked fairy; Similarly, it is no surprise that it is fairies full of wisdom that arrive in the story to bring an unexpected happy ending. It was due to the omnipresence of “fairies” of these tales that they were called at the time, “fairy tales”, “contes de fées” - the name that now defines the genre today (even though at the time it only designated the French literary works of the salons, it now designates a vast and sprawling corpus of international supernatural stories). However the fairies that lived in the salons and in these literary tales were quite different from the creatures of oral tradition and old myths. They had several common features: like them they practiced magic, like them they granted wishes, like them they could do either good or evil, like them they could help or curse people... But these new fairies were clearly belonging to the nobility, they were intelligent and educated fairies, with a strong independence: they were fairies ruling over entire kingdoms, they were fairies taking care of justice matters, they were fairies influencing fate itself. In a way, these fairies embodied and reflected the women-authors that created them.

As the fashion of the fairytales continued throughout the 1670s and the 1680s, madame d’Aulnoy proved herself to be the most famous of the Parisian storytellers, admired by all as much for her stories as for the brillaint and important friends she had. She ended up writing down her fairy tales (such as The White Cat, The White Doe, The Blue Bird, The Sheep) and publishing them in 1690 - they were enormously successful, a true best-seller. Soon after, author famous members of salons started publishing their own fairy tales: in 1695 Marie-Jeanne L’Héritier and Catherne Bernard, in 1696 Charles Perrault and the comtesse de Murat, in 1697 Rose de La Force, in 1698 Jean de Préchac and le Chevalier de Mailly, in 1699 Catherine Durand, in 1701 the comtesse d’Auneuil... The salons were also frequented by men - non-conformist men, men supporting the Moderns. Three of them deserve a mention here: Jean de Préchac, who wrote the “Contes moins contes que les autres” (an impossible to translate wordplay that I could vaguely assimilate to “Fairytales less fairy than others”) ; Jean de Mailly, author of “Illustres Fées, contes galants” (Famous Fairies, gallant tales), and Charles Perrault, who created “Histoires ou Contes du temps passé” (Stories or Tales of the past), also known as “Contes de la mère l’Oye” (Tales of Mother Goose). 

Born in Pars in 1628, Perrault was part of a family belonging to “la noblesse de robe” (the nobility of the dress - there were two types of nobility in France, the “nobility of the sword”, the old nobility who earned their title through warfare and military ; and the “nobility of the dress”, new nobility who earned their title through administrative and bureaucratic work); His father was a magistrate who was part of the Parliament, and his four brothers had shining careers in theology, architecture and the law. Charles hmself was magistrat for three years after studying the law at Orléans, he then became the “senior clerk of the State”, aka the secretary of Colbert (the sort-of-prime minister of king Louis XIV). He wrote poetry, essays and speeches glorifying the king, and he was elected at l’Académie française in 1671. In 1672 he married Marie Guichon: they had three children, Marie died of smallpox a few years after, and he never wed again. In the 1690s, Charles Perrault took an interest in fairytales. He wrote three poems inspired by folklore (later known as his “Fairytales in verse”), he then wrote a prose tale which was the prototype for his future “Sleeping Beauty”, and finally he published “Histoires ou Contes du temps passé” uner the name of his son, Pierre Perrault Darmancour, in 1687. (It is a whole topic I will explore another day). Perrault took back the tales of the oral tradition and the folklore, but removed their rudeness and “rustic” aspect to made refined, courtly, aristocratic tales, filled with humor and “lightness of spirit”, but behind which his defense of the Moderns was very clear. These stories were notoriously different from the fairytales written by the women o the salons - Perrault’s style was much simpler, his stories less complex, and his speech less baroque. He rather wanted to give the artificial feeling of having fairytales directly taken from the mouth of an old peasant storyteller of folktales, the famous “Mother Goose”-type of character. The second difference relies in his treatment of female characters, as his princesses are much more passive and defenseless than those of the other fairytale writers, their main vertues being beauty, modesty and obediance. 

Even if the women of the salons, like Marie-Jeanne L’Héritier and madame d’Aulnoy, were just as much read as Perrault, the literary critics viewed them more badly: they preferred much more Perrault’s tales, due to them being supposedly much simpler and less subversive. In 1699, the abbé de Villiers wrote a “Dialogue” in which he praised Perrault but heavily criticized the women who were writing fairytales - he was so furious of their success and popularity that he claimed most women only liked to read because they wanted a trivial way to be slothful, he also added that anything needed a bit of effort tired them and bored them. If one was to trust his words, for them a book was just a game and ornament, not much more than a ribbon. 

The social and literary terrain gained by women actually started to get away from them in the 18th century. The salons closed one after the other. Perrault died in 1703, d’Aulnoy in 1705, Bernard in 1712. This era saw the arrival of a “second wave” of fairy tales in the literary landscape of France. This time, it was stories mostly written by men, actng as both parodies of the previous fairytales, as well as new stories inspired by the folktales and myths of the Orient. This second wave started with the enormous success of Antoine Galland’s translation of Les Mille et Une Nuits (One Thousand and One Nights) introduced the Arabian fairytales to the French audience. Galland, an orientalist, had discovered throughout his travels a 14th century manuscript while he was trying to translate the tale of Sinbad’s travels and journeys for one of his former students. Today, his translation is heavily criticized for taking numerous liberties with the original material, but one has to remember that Galland wasn’t trying to create a scholarly, university-level, faithful text: he wanted to make France discover an entire world unknown to it. The One Thousand and One Nights flooded France, inspired numerous pastiches of Arabian tales, from the Adventures of Abdallah by l’abbé Jean-Paul Bignon to “La Patte de chat” (The cat paw) by Jacques Cazotte. 

In the middle of the 18th century, a “third wave” of fairy tales happened in France. These new writers were closer to the “salonnières” of the 17th century, much more than the parodists of the “second wave”. For example Gabrielle-Suzanne Barbot de Villeneuve created stories quite similar to those of the 1690s, in which she also studied the role of women in the marriage and in society. In her youth, she had been the wfe of an army officer whose death had plunged her in poverty, and forced her to live from her writings. Her most fairytale is “Beauty and the Beast”, a long, complex and subtile erotic story that explores questions of love, marriage and identity. The story was then rewritten in a shorter form by madame Leprince de Beaumont, who created the most popular form of this tale today. Another author that took back the tradition of the old salons was Marguerite de Lubert, who wrote six successful novels based on fairytales, and numerous other shorter texts. Her most famous stories are “La princesse Camion” and “Peau d’Ours”. Just like Marie-Jeanne l’Héritier and Catherine Bernard, she avoided any marriage in order to be entirely dedicated to her literary career.

In the second half of the 18th century, a new iea appeared: why not adapt fairytales to young readers? Until now, the literary for children was a boring, didactic one, all about teaching moral values. Ad now, parents and teachers with a more open mind start thinking that maybe moral will be easy to swallow if it is wrapped in the “sugar of entertainment”. Madame Leprince de Beaumont was one of the first French authors to write fairytales fit for children. She had fled an unfaithful, dissolute husband, had lived in England as a governess, and started writing French fiction for journals destined to “young ladies”. Even if her fairytales contain some original elements, it is clear she took most of her materials from the previous authors of the genre. All throughout the 18th century, the fairytales of madame d’Aulnoy, Charles Perrault, comtesse de Murat, Marie-Jeanne L’Héritier, Catherine Bernard and Rose de La Force were published in “La Bibliothèque bleue” (The Blue Library), a collection of small and cheap books spread by peddlers. Written for lower classes and lesser social groups, these rewritten, simplified tales had a huge success - and the fact that they were often read out-loud to illeterate group caused a strange phenomenon: these literary tales slowly returned to, fused in the oral culture of France, and een of other European countries. This is why a lot of people, still to this day, believe that Donkey Skin, The White Cat or Beauty and the Beast are anonymous, folkloric tales.

These oversimplified, sometimes anonymous, versions of the fairytales could have been the only ones we kept today, if it wasn’t for the huge, colossal work of the writer and editor Charles-Joseph de Mayer. From 1785 to 1789, he published 41 volumes collecting and compiling a hundred years of French literary fairytales: it was the Cabinet des Fées. Afterward, century after century, a hierarchy formed itself in popular culture and the mind of people, a hierarchy that summarized the entirety of the history of fairy tales in three texts: the fairytales of Charles Perrault, the fairytales of the brothers Grimm, and the fairytales of Hans Christian Andersen. It is only quite recently that the wider history of the genre is brought to light, thanks to the works of several “historians of fairytales” such as Jack Zipes, Elizabeth Wanning Harries, Maria Tatar, Lewis C. Seifert, and Marina Warner. 

At the dawn of the 21st century, many more fairytales are being published - returning to their original status as “tales for adults”. Some are new stories imitating the same themes and narrative techniques as the fairytales of old, others are retelling of old stories in more subversive forms, often as a way to explore and criticize modern society or the question of genders. The article concludes on a list of these new “fairytale storytellers”: Angela Carter, A. S. Byatt, Margaret Atwood, Joyce Carol Oates, Kathyrn Davis, Olga Broumas, Carol Ann Duffy, Liz Lochhead, Emma Donoghue, Berlie Doherty, Ellen Kushner, Delia Sherman, Tanith Lee, Midori Snyder, Patricia A. McKillip, Kate Bernheimer, Robert Coover, Salman Rushdie, Neil Gaiman. 

[444names]

french forenames + legends from brawlhalla

Adandren Adien Adience Adine Alaurey Alette Alique Alérôme Amathard Amick Amikov Amile Andrayarc Andre Andrie Anfei Anicoise Anifeilde Anlord Anloïc Anmagalie Annait Annin Anniste Annyx Anuerrey Anuerth Ançoin Ançoisèle Araphert Aricine Arlethéo Arose Assim Astéphil Audennyx Audrang Auline Aumen Aurie Aurine Azancelle Baphanluc Baphin Baptia Baptite Barisami Bashaël Bennix Benoé Benrie Benrine Berrent Bette Bricony Briert Brieu Brunon Brunoé Béandrin Béath Bödvancie Bödvanne Bödvra Cadelle Cadille Camiko Carges Carlenck Caspie Castine Chaméline Chanique Chard Chelle Chenée Chlor Chloémy Chric Chrick Chriechel Chrion Chris Christin Chèle Claey Claia Clain Claine Clastine Claul Clauli Claulle Claure Cléme Clémick Clémiko Clémine Colan Colange Colarc Colaule Colaurene Colia Colko Corenon Corent Corgilie Crolanin Crolia Cyric Cyrick Cyrie Céance Cécie Cécieu Cédrane Cédérion Céliah Célène Damine Dannine Delie Denée Dette Diane Domic Dovic Dovice Duskin Duste Dylvar Emane Embenée Embette Emicel Emienone Emmarc Emmarde Emmarle Emmathen Eziond Fabette Fabine Fabri Fabria Fabry Faine Fandrine Fanifei Flodidy Flord Florgeor Flori Florine Flouille Floïc Fragnès Francla Frandrim Franlor Fraph Frayar Fraymoris Frémy Gaétine Geord Georie Geory Gernarold Geroberte Gerte Gerthomi Gette Ghiette Ghilippe Gilie Ginès Gnaine Golai Golin Grien Gueent Guiste Gélin Haline Handrence Heand Heanne Heançois Helle Hellei Herro Hugord Hugore Huren Huroleine Hélie Irenck Istine Istite Jacque Jacqueeno Jaette Jamarce Jamil Januelie Jeanadeno Jeanarnai Jeand Jeandre Jeandris Jeane Jeang Jeanie Jeaniel Jeanine Jeann Jeannyx Jeanoé Jeançoine Jhale Jhane Jharca Jocéline Joniquel Josévette Joëlles Julgré Julia Julil Jéran Jérie Jérès Kaymon Kaymone Kevine Kovin Laine Lainevick Lannyx Lanpie Lasuzarre Laudomari Laurey Laurégo Liang Liecland Lilex Loren Loril Louilieu Louiste Loémilde Lucar Lucier Lucieu Luciline Lucis Lynny Lérarce Madianna Madré Magaétine Magaël Magerren Magnath Magnich Magnique Magnès Magnèse Maine Mairèse Manmick Marcal Marce Margabel Marice Marichand Maris Marit Marle Marna Maros Marraxx Marre Marte Martra Maspieno Masuza Matranne Matrice Matrimon Matrio Maudel Michrion Miciste Mienon Mirose Mirrentor Missic Mohamic Monaumed Monielice Monne Moreillen Morguiste Morieli Moris Murentore Myrience Mélie Méliel Mélilette Mélordvai Nadie Nadrin Naris Narole Nascarie Nascas Natchaël Naude Naudra Nichrieu Nifei Odidia Odine Odvranlor Olane Pasca Pathier Pathor Pathugo Patriel Patrio Paure Paurent Paurie Paurémise Petielyne Piance Piand Queentan Quellei Quenoéme Quessard Raphie Rarine Raymane Raymon Raymonne Reilenzo Rentiel Rette Rolaine Roliel Roline Roséves Régiles Régiste Régit Rémir Saber Sabrie Sabrin Sabrinne Saianine Saitiam Sandrégin Saniferte Sanne Sannièves Sette Shale Sharc Sichel Sidrément Simenjand Skine Solence Soline Sophamine Stien Stéph Suzan Sylarinix Sylaulle Sylvale Sylvari Sébaphie Sébaptiah Sévechèle Sévelis Séves Tharle Thienoé Thiette Thine Thérômeno Ulette Uline Vaitin Valaurise Valettord Valémis Varand Varin Varine Vieris Vierrei Virèse Vièle Vérène Wilde Wiline Wille Wuskinèse Wustine Xandra Xanir Xanne Xanue Xulinès Yanlorge Yvecla Yvector Yvectord Yvelle Yvoli Yvondette Zarce Élaudrand Élaumire Élord Élouiste Éloémen Émillex Étalinait Étanne Étantin Étine Éverre Évessid

[mcytblrconfessions-but-bad]

to the people asking if hating on artists for nsfw art is weird: maybe instead of asking mcytblrconfessions-but-bad adience who you won't listen if they don't support your opinion anyway do self-reflection yourself? why do you even think sex is bad? why do you concider hating on people enjoying it or creating art with it? sex is a preference and you have the right to subjectively dislike it regardless, but marking it as sinful and shameful and weird and judging creators for sex in their works just because YOU dislike it while masking it as a right thing is puritain culture. i think you won't listen to this post anyway because you were waiting for people to cheer or something but i think it is wrong. mc charaters' sex is literally a product of imagination and have little to no connection to reality. it can't harm anyone. self-reflect already

.

[ittybittybumblebee]

When i move out and have more privacy to do so i might do things like STREAM ART or VIDDY GAMES but you would allso probably see me in the corner laughing maniacly after procuring thee very last sinkle little chip left in the bag and eating it like a starved wild animal and alsp rambling on a bout some weird thing that i think about a lot or like make strange funny faces all the time i would be very insane if i havd an adience that is there to watcj me perform i know this

[theselectionsite]

music

So, i think music is a very important part of a movie, that’s why we have a whole sound department in hollywood just focused on that. And well, the name of the main character is America SINGER, and gues what? She SINGS, and PLAYS viollin, so I think it’s UNACCEPTABLE if music isn’t explored in The Selection movie. Seriously, i’d be VERY disappointed. It just makes no sense to me. I really need a scene of America performing a song, i even pictured it could be the opening scene of the movie. In my mind it starts with a black screen and the initial credit names, and her voice starts, she starts singing and playing violin to a small adience, it’s a perfect way to introduce the main character (her talents + her name America SINGER haha) so when the concert ends she comes home and then we have the first scene just like the book, where she finds her mom at home with the Selection letter asking her to fill the form.

I’d really appreciate if the team could ask famous artists to do exclusive songs just for The Selection soundtrack, and i hope they really use the songs in the scenes, in kissing moments, transitions, or whatever. I have a very particular wish also, it doesn’t need to be in the first movie, maybe in the third... America could sing a song she wrote to Maxon (it doesnt happen in the book, but its something that you guys could create for the movie) It can be a song for their wedding, or it can be in the book scene when Maxon get shots and almost dies, and america says “If you make out alive, i promise you i’ll let you call me Dear” so, while he’s sleeping/fainted, she could sing something to him, very beautiful lyrics. So, i think it’s very important that the actress that will play america has a good voice too, not just acting skills. And i wish if you ever produce an original song in America’s voice, i wish you could release on music platforms aswell, So it could be an album with the original movie soundtrack and there would have a bonus song in sang by america. omg this is just AMAZING.

I have so many ideas, and i’m sure so much more would appear if i dedicate more time to it.

[autodaemonium]

zbəɒtpθæydmnsɪɛlzɪnɛ

Pronounced: zbuhoutpthaydmnsiaylzinay.

Pantheon of: explosive trace detection, spinnability, urge.

Entities

Pzpddəaɪueɒəiɪəənngip

Pronounced: pzpdduhaiueouuhiiuhuhnngip Spinnability: spinnbarkeit. Urge: wanderlust. Prophecies: overhead, demurrage. Relations: zɑəiðəəvaɪktʃiʌnælnlzo (hyaline).

Zɑəiðəəvaɪktʃiʌnælnlzo

Pronounced: zahuhithuhuhvaiktshiunalnlzo Spinnability: spinnbarkeit. Urge: adience. Legends: lucky dip, doubles.

[bl33py]

i'm really sad to say that i'm kind of underwhelmed with the new hozier ep :(

I don't think its bad by any means - i feel like some of the tracks are more pop adiencent than usual, which isn't inherently bad, but it does feel like they lack some of the substance previous releases had.

eat your young is for sure the standout and it's clear why it was chosen as a title track. I'm still not in love with it, but its definitely my favorite out of the three, i love the first pre chorus and the chorus.

i wasn't expecting anything like swan upon leda from the teasers so i'm not surprised there isnt anything like it, but i am a little bummed about it ngl.

song of the day 76/365

[alexiguessss]

NOVI VAL LIVE IS SO GOOD

THE ADIENCE SINGING AND THE GUITARS AND AAAAAAAA

[elle-smells]

JaSsLyN and PeYtOn no what the fuck its Josie and Penny <3

[estroniaid]

queer friendly streamers are always great but their audiences suck

[my-relatable-hotchpotch]

Can I just *take a moment* to appreciate the fact, that when I was watching infinity war in a theater and Tony got stabbed, the entire audience, audibly and all at once, gasped.