#also Sung's vocals sound so good

[wolfsplosion]

ASA HAVE YOU HEARD THE NEW TWRP SINGLE YET??

YESSSSS IT'S A BANGER!! the concept of it being from the perspective of forgotten tech makes me a little insane /pos like oughh the themes.....

[mayordeas-clone]

saw a take that peeved me in the vocaloid feed on bluesky but i don’t wanna be confrontational there + my thoughts are too powerful for a 300 character per post thread so im making it tumblr’s problem

due to my intense vsynth brainworms this is going to sound incredibly pedantic and annoying which is why i am posting it here okay here we go

the post was sort of a ‘callout’ of a creator who uses synthv for covers of fnf songs or whatever. the general body was like “they write their own lyrics but they make the vocals using ai with a program called synthesizer v” (the implication being, “this person is an ai-using fraud, don’t support them”)

if ur in the community or like have a little bit of an idea of how ai is associated with synthv specifically this is a nonsense uninformed take (the ‘ai’ training is used for autotuning/cross language synthesis/some other shit idk but the point is it’s not the type of ai that like, writes the melody/lyrics for you and is voiced from random samples from unknowing providers but i’ll get back to this later)

ai is mentioned on synthv’s website (also vocaloid’s much to the detriment of news articles that report on hatsune miku) so it’s a common misunderstanding, whatever. it would be nice if people actually looked into the ways ai works in vsynth at least a little bit but in an age where artists are on the defense against the ai boogeyman i guess i sorta understand the knee jerk reaction to assume the ai in vsynth software like synthv is the Bad kind. annoying, but nothing new.

but i think what made this post rotate in my mind to the point of crystallizing into unnecessary rage is an add-on that was like “i just prefer my music to be sung by real people!” followed by “by the way, vocaloid isn’t ai, so no you’re not bad if you like hatsune miku music”

ohhh man this actually did piss me off a little cuz wow way to really shout to the heavens that you have no damn clue what you’re talking about

firstly, i COMPLETELYYYY understand that the premise and general sound of vocal synth music is not for everyone. the computerized words, the unrealism, or even the fact that it’s not an actual person singing, like whatever that’s fine i get it. but like you can’t go around and be like “by the way vocaloid [aka hatsune miku] is chill don’t worryyyy” bc that line of thinking from my understanding doesn’t really make sense? miku isn’t a real person either 😭😭 her latest release even uses ai! (at least i think it does cuz vocaloid 6 has ai support but idk i guess that doesn’t matter) does she just get a free pass cuz she’s an internet darling?

miku is a piece of software where you write the midi for her vocals and input the lyrics so a slurry of samples recorded by saki fujita can be played back in an in-character singing voice. synthv is a piece of software with similar character voice databases where you do the same thing, write a midi and input lyrics so a database’s voice samples put it all together to sing back. the inclusion of ai in this process is to streamline the workflow for the user to automatically work out the pitch transitions between notes to save on time manually tuning, creating a more realistic playback. this ai, perhaps merely the inclusion of these two letters in the proximity of synthv’s marketing, is what makes synthv both Significantly Different and Inferior to miku.

the lack of ai with vocaloid (as far as op knew, cuz need i remind you vocaloid as of its 6th installment uses similar ai to synthv lol) making it Better than synthv sent the implication, TO ME, that op thinks that the ai used in synthv is the type that like, takes samples from other people without their permission to create the voices (then leading to the “i just want my songs sung by REAL people” aka not sung by dubiously gathered samples). i recognize this means of creating ai voices to impersonate other people and make them say things they should not without their knowledge or permission is CERTAINLY bad but like that’s not how any of this works if we’re talking synthv (you could argue this applies to those utau banks that make voicebanks for like sonic the hedgehog and shit but those usually sound like ass and are about as convincing as a sentence mixed youtube poop). maybe that’s not what they meant (i don’t wanna dig up the post cuz i don’t wanna be bothered and it’s probably gonna piss me off to the point of starting something which i don’t want) but based on my understanding of their point this is like. wholly untrue. in fact synthv voicebanks (particularly those from eclipsed sounds whose terms of service are free to read on their website) have special terms specifically designed to protect the voice providers of their databases BECAUSE of the extra realism in their voices (terms such as, “you can’t credit any voice work done with Solaria to Emma Rowley [her voice provider] or anyone else besides the software itself” in the case Solaria is used to say something objectionable and cast it on Rowley, that would be a breach of the terms and might even get your license revoked). shit like that is likely what people who are afraid of ai voices expect to happen but there were contracts signed to protect and inform the voice providers of what their vocal likeness is being used for + compensation paid to them for their work providing vocal samples SPECIFICALLY for this product. and ofc miku is the same. ITS THE SAME. BUT MIKU IS A FUNNY INTERNET MEME SO SHES FINE. GRRRRR!!!!!!

[tearlessrain]

please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!

gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.

SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:

diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.

non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.

the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.

now, on to how I apply this to bdsm in fiction.

if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.

if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.

this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.

it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.

but yeah, spontaneous writer plug aside, that's what I mean.

[allthecastlesonclouds]

ohh there's definitely a– if you're going for timeline, TGWDLM is first, the Black Friday, then Nerdy Prudes Must Die (NPMD)

if you're going for vocals, NPMD is the best proshot and album wise. half the cast is sick in the proshot of Black Friday, so they're not their best (LISTEN TO THE ALBUM PLEASE THEY DO LAUREN LOPEZ SO DIRTY) (THEY BEING ILLNESS). and most people in Guy are good, but it's very clear it's Jon Matteson's (Paul) first Big Singing Role.

if you're going for metaphor heavy, Black Friday's the way to start– it is heavy with its theming. i'd follow it with NPMD, then Guy (though those are easily reversible)

personally, i'd watch them chronologically! it's fun to catch the callbacks to each show as we travel along in the world. but people certainly have different likes!

hello. i have a question for you. have you ever listened to the guy who didn't like musicals. i think you would have thoughts about the cops/army songs in it

no but i plan to watch all the hatchetfield shows! i enjoyed twisted and a very p*tter musical (before i knew more about the world). i won't start soon but hmu if you wanna summarize or point me to your recommended hatchetfield watching order!

[noneorother]

The secret timeline inside of Good Omens season 2 revealed, *part1*

Part 1 l Part 2

If you’ve ever watched a ballet or an opera, you know how the rhythm in the music is used throughout to determine not only the movements of the dancers, but also when lines are sung or spoken. This is almost unheard of in television, but what if I told you it was hidden in season 2 of Good Omens? If one were to, say, meticulously cut together only the scenes set in the present day into one big timeline, you would get one long video that is exactly 2 hours 22 minutes 00 seconds and 00 frames long. An ineffable cut that is so perfect it defies all logic. (I’ve burnt a timecode into this ineffable edit to help pick up the rhythm.)

Even though there are large swathes of the second season with no music, there is a constant tempo weaving its way through the show: What if the seconds ticking by in the runtime itself was the music? Here’s an example of what I found. Behold a supercut of every single time Shax shows up, or Hell is mentioned in series 2 in the ineffable edit. They always arrive on a 6 in the time stamp (ex: 00:XX:X6).

(SOUND ON is an absolute must here, otherwise you won't hear any of the triggers)

Shax rings Crowley on a XX:X6. Shax miracles herself into the car on a XX:X6. Shax knocks on windows on a XX:X6. Shax’s big scary moment at the bookshop happens at 66 minutes exactly (lol). Crowley calls out for Shax on a XX:X6. Beelzebub starts spewing flies on a 6. People mention hell and it’s always on XX:X6 etc. etc…(Bonus: I also left in Maggie flipping the damned the double-bird on a XX:X6) I’ve also left in the only appearance of Shax or hell at all in the whole series that isn’t tied to a six: the park bench scene with Crowley. Shax seems to be off by one line, showing up on a XX:10, then back to XX:X6 on her second reply: “Bills, mostly”. I can only theorise that this scene, while technically in season 2, is not supposed to *be* in season 2 (even just judging by the trees, sun and the overcoats, it’s not summer like in the rest of the season). And it’s not only sixes! Every time I go through I find more and more little beats that line up exactly with ineffable timings. I can only do one video per post, so I’ll have to cut it up into sections, but Gabriel, doors, car horns, bird calls, Aziraphale, food, drinks, Angels, dialogue, Maggie, Nina, jokes, clocks, bells… The list goes on and on. 

Neil called this season “The bridge”

Because we all know how much Neil loves double meanings and wordplay, I just have to ponder the idea that when Neil said this season was “the bridge” between seasons 1 and 3, he meant it double-literally. First, as in the bridge Aziraphale and Crowley have to cross in order to get them into position for the second coming. We even see the physical manifestation of this bridge leading everyone in the background of the opening credits. But this season is also a bridge in the sense that it’s a musical section that introduces new ideas or material in the middle of a song. This whole season is the music that deviates from the familiar, and re-contextualizes the chorus and the verses so we can appreciate them in a new way. 

Let’s not forget that 2:22 is also exactly the same timing as this (and only this) track from the good omens s2 album (read all about the soundtrack here):

Why is this so bonkers? I think GOS2 might be the first ever “Total” series of television.

Having everything in the series timed and choreographed would actually make it a very faithful adaptation of the Powell & Pressburger film The Tales of Hoffmann (read about the movie and it’s effect on all of s2 here). If you watch the tales of Hoffman, you will realize that the entire film is actually done more like animation, with the music and vocals all performed in a studio, mixed and edited first, and then the actors came back to act out their choreographed and lip-synched parts for the cameras afterwards. The result is "Total film": a movie that feels more like a ballet, with every movement, action, and line happening in time with the music. As far as I can tell, very few films have ever attempted this, with The Tales of Hoffmann and Playtime being the only two “complete” films I could find in this style. (The Red shoes has one section, and An American In Paris has a few)

“Why would ambitious filmmakers simply film an opera? Many admirers of the work of Michael Powell and Emeric Pressburger have assumed that their decision to make The Tales of Hoffmann (…) was in some way an admission(…) that they couldn’t go on making their edgy, over-the-top melodramas after the rejection and interference they’d suffered, (but) there’s a case for considering The Tales of Hoffmann as one of the finest and boldest works that Powell and Pressburger produced, so far ahead of its time as a wholly “composed” film... Late in his life, Powell himself said that he thought it was one of the best films that he and Pressburger had made.” - Criterion review, Tales of Hoffmann

Here’s a simple example from An American in Paris

If season 2 *is* scripted and choreographed to line up with specific timings, I’m pretty sure that would make this the first ever “total” or “composed” season of television ever attempted. Not only does this take an ASTOUNDING amount of planning, scripting and editing finesse, not to mention a completely controlled set, it takes a real understanding of how to perform as an actor using rhythm and metre, which would go a long way to explain why all of the main actors coming back for season 2, with the exception of John Hamm, are well regarded theatre performers, (especially of Shakespeare).

I’ll leave you with one last surprise I found in the discovery of the ineffable edit: remember Aziraphale’s smile at the very end if the credits? It happens on 02:23:03, as the first step off the bridge, and into season 3.

I will have much more in the next ineffable timeline post. Stay tuned…

__________________________________________

Thanks for reading all the way to the end. It’s taken me a solid month to get this perfect. There are so many hidden cuts and jumps to take into account, and I had a frame rate issue that kept exporting to 29fps instead of 25fps, but I’ve finally nailed the ineffable timeline enough that I am confident sharing in it.

Credits to @thebluestgreen and @embracing-the-ineffable for all the support and help with editing and just general good vibes. 

[doomandgloomfromthetomb]

Sister Ray In The 70s

Something special to close out the year — SISTER RAY IN THE 70s! This custom-made Doom & Gloom compilation gathers together a whole lot of "Sister Ray," as performed by Lou Reed and his various bands between 1972 and 1980. One hour, 47 minutes. More ding-dongs than Hostess. Would make a great quadruple LP bootleg, if you ask me.

Everyone’s favorite transgressive-in-many-more-ways-than-one Velvet Underground epic wasn't exactly a standard during this time. But when Lou wanted to let everyone (including himself) off the leash for a bit, he'd break "Sister Ray" out as a vehicle for some unholy/unhinged jams/vamps/raveups ... and judging by what we've got here, he really enjoyed doing so. This is gnarly stuff, shameless, harrowing and totally fun. Not for the faint of heart — but none of you are faint of heart, right?!

"Sister Ray" (Leicester University, Oct. 14, 1972)

A roar rises up from the crowd when Lou announces: "This is the sad, sad story of Sister Ray." With the Tots grooving behind him, it starts off in a mellow mode — which is good, because it allows Lou to really sing, making sure to annunciate every nasty lyric. Soon, everyone’s cooking (for the down five).

"Sister Ray" (Kansas City, May 2, 1973)

The short-lived Moogy Klingman-led lineup gives "Sister Ray" a cartoony, streetwalking funk strut, hooting and hollering behind Lou. Extra props to the drummer (known only as Chocolate), who taps out the appropriate beat during the "Who is that knocking?" section. "RIGHT!!!!" Lou exclaims approvingly.

"Sister Ray" (Buffalo, Dec. 8, 1973)

As far as I know, this is the only recording of the Rock & Roll Animal band tackling "Sister Ray," but it's a 20+-minute doozy. Of course, it takes about 10 minutes for Lou to enter the scene — lord only knows what he was getting up to backstage. Despite a wonky mix that occasionally is overtaken by pummeling drums and bass, it's a vicious listen. I like that it all comes to a pretty definitive conclusion before Lou realizes he hasn't sung the concluding verse and revs things for a final ride ride.

"Sister Ray" (Stockholm, May 14, 1974)

This one starts at a blinding white light/white heat pace, everyone riding a locked-groove riff for as long as they can. Guitarist Danny Weis is off the chain here, reveling in both chicken scratch funk and insane feedback. Lou's tambourine accents make me think of On The Corner's infernal sleigh bells, and his "CooooouLLLLDDDNnnnnt hiiiiIIIIIIIIITTTTTttttt iiiIIIIITTTTTtttttt siiiiiIIIIIIIIIdewaaaaaayyyys" vocalizations towards the end are wicked.

"Sister Ray" (Boston, October 29, 1976)

Lou had Doug Yule, an actual member of the Velvet Underground, in his band in 1975, but for some reason, "Sister Ray" wasn't played that year. But she was back in action in '76 — and in Boston, we get to hear a key "Ray" ingredient we haven't heard much of so far: Lou's skronked out guitar work. It's as if he walked past the old Boston Tea Party on the Fenway that afternoon and thought, "Ohhhh yeah, I used to really shred!" And shred he does, dueling mightily and furiously with sax man Marty Fogel. I'll also recommend this video of "Sister Ray" from a week later, which doesn't feature any six-string pyrotechnics but is awesome nonetheless.

"Sister Ray" (Lund, March 26, 1977)

With Michael Fonfara's icy electric keys mixed way up and Michael Suchorsky's locked-in drums, this almost sounds more like "Kicks" than "Sister Ray." I think that's Lou on distorto guitar there at the beginning, but he mainly focuses on delivering his whiplash vocals as the song progresses. Fogel starts to get pretty loose towards the middle, though I wish he'd cut loose even more — and I definitely wish there was a tape of Don Cherry sitting in on "Sister Ray" from around this era! The car crash ending is a blast, too.

"Sister Ray" (New York City, May 21, 1978)

"Sister Ray" takes no prisoners! This one from one of the many Bottom Line sets Lou and the Everyman Band played in 1978 is a tense slow-burner, sometimes dropping down to a whisper, Lou adding profane/profound asides and stopping to tell an old Warhol story. "Andy said, 'Make sure you do the song that's got suckin' on my ding-dong on it.' I said, 'Oh, why? Social commentary?'" Also fun: the band seems to be having a long disagreement about where the changes of this three-chord boogie are. Come on, Moose! (Sadly, this is one of the more lo-fi documents included here — where, oh where, is my Take No Prisoners: The Complete Recordings boxed set?!)

"Sister Ray" (London, April 10, 1979)

One of the weirder "Sister Ray"s I've come across — though that might be partly the fault of the cavernous acoustics we're dealing with. There's a long solo guitar extravaganza (Chuck Hammer, I presume?) to kick things off, and then a monomaniacal/mechanical beat from Suchorsky, the crowd clapping along, Lou hollering over the top; it almost has a Suicide vibe? Then there's a terrifying drone-metal dirge coda ... Chaos! But that's what "Sister Ray" is all about, right?

"Sister Ray" (Avellino, June 16, 1980)

Lou's insane 1970s had ended and the sober 1980s loomed (Loum-ed?) before him. But he wasn't done with "Sister Ray." Or maybe "Sister Ray" wasn't done with him. Fittingly, this version feels a little bit exhausted, some flop-sweat, some out-of-gas fumes. "Give me some rhythm — FUCK!" Lou yells at the gang early on. But it still rocks, don't worry. My favorite part is Fonfara's wildly inappropriate synth solo. Mainline located!

📷: Lars Jonsson, Copenhagen May 1974 (via weaponsetc)

[justarandombrit]

Okay, so in case anyone couldn't make it to the livestream (and just because I wanted to), I wrote down some notes while watching it, so if anyone wants to read them, they're below the cut. (Also sorry ANI fans, my dad came in to borrow a pencil while the ANI segment was happening, so I missed a lot of it)

. There was a 4 minute long intro voice over before AVPM

. James watched AVPM

. 600,000 and Lauren plays the green screen piano

. 700,000 and Lauren does an architectural digest on the green screen house

. Jon really loves Ready To Go

. Darren keeps letting Joey know he sounds like shit on old recordings

. Pinball Pete’s burnt down 🙏🙏

. MAMD was the first student produced album to make the charts

. A Very Potter Sequel’s name came before A Very Potter Musical

. They accidentally wrote Harry Potter and the Cursed Child

. James gave Julia Albain leg splints

. During Starship the entire cast was breathing fibreglass

. Starship was called “knowingly amateurish”

. Darren was supposed to write 15 songs for Starship, but he got cast on GLEE

. Darren flew in to join a rehearsal as a surprise, ran in singing Beauty and everyone was so pissed

. Everyone still loves Kick It Up A Notch

. Nick: “Which was Holy Musical B@man-

Lauren: “Fuck yeah”

. They made up Sweet Tooth, and then found out he was an actual Batman villain

. Matt came up with “Calendar Man, your days are numbered” in his dream, and it was so good it forced him awake to instantly call Nick

. Everyone thought the flying machine joke was the best AVPM joke

. Goin' Back To Hogwarts Reprise made everyone cry

. AVPSY was five hours long

. Curt saw AVPSY

. Darren arrived 2 hours before the show and didn't get a chance to read through a lot of the script

. Darren came up with “I hope you find that swimming pool”

. Joey ate one banana on the day of AVPSY and during Sidekick went “I'm losing my vision”

. They had to pay the hotel union $11,000 to use THEIR OWN microphones, and Darren's STILL BROKE

. Jeff accidentally washed out his Aladdin hair dye

. A.J. Holmes had the same agent as Jafar's original VA, and they got him to do the intro and say “pee” and “poop” in Jafar's voice

. ANI was, as we know, expected to be a hit, and, as we know, it was not

. TTO was, as we know, expected to fail, and, as we know, did not

. TTO had a batshit cast party

. Pierce used to ask Matt insanely complicated questions before bed, e.g, “How did WWII happen?”

. Firebringer was a really old concept

. Literally no one questioned why the “I don't really wanna do the work today” clip had loads of people dressed as cavewomen + cavemen

. Firebringer was the first show Jon saw live

. They made up all the Hatchetfield shows at the same time

. Nick kept making sure Paul was having fun

. The song from the Pirate Show, “Born To Be Wretched goes so fucking hard. Like if a sea shanty was a musical theatre song essentially

. Mariah: “Rich gays, please give”

. Lauren choreographed Show Stoppin' Number

. People actually gave Lauren their phones when she asked in Inevitable, and they would take them backstage and take selfies before giving them back. One time it was locked and she shouted “WHAT'S THE PASSCODE?!?!?”

. Joey: “I'm in the middle of Wiggle”

. Everyone was ill during Black Friday

. Bryce saw Black Friday

. BRYCE GOT THE APPLE

. Nick told her “Interesting things happen here” when showing her to the seat

. Ahhh when Jeff played Tom…

. Angela was in Jaime’s improv class

. Angela is no longer on vocal rest

. Angela had to kill Sherman with a finger gun one night

. Will was 100% ready for NPMD

. Will was at a party they went to during A Very Starkid Reunion

. HAPPY BIRTHDAY DEAR STARKID

. Rip Kim

. The Docks of Troutspear is sung by Matt’s favourite character (it also slaps)

. The Pit Stop in Hatchetfield livestream is going to be a tag team deathmatch

. I love Starkid so much

[autumnteawithfriends]

My Problem with the Hazbin Songs as a musical theatre kid

So my main problem with the songs in Hazbin is that they feel less like actual musical songs and more like hit singles (if that makes sense)

Like, most of you know some components musical numbers have right? Expressive vocals, talking segments where the instrumental quiets down so you can hear it, interesting and unique song progression. You probably get it.

I’ve been listening to the songs in HH (Incognito on YouTube of course) and the songs are either boring or actually garbage and it’s either because the actors weren’t given enough time to practice the songs or they just simply don’t fit. (Almost like Viv got Broadway actors and did the bare minimum to see which actors would actually fit)

Like, while Happy Day in Hell isn’t entirely too bad (just bland) but my main gripe with it is that it’s a terrible opening number because of a these reasons

It doesn’t introduce us to the mains very well, in opening numbers for musicals, it’s key that an opening number tells us about all of the main characters. Happy Day in Hell only shows Charlie and some of the inhabitants. It feels like it should be a Charlie specific song like I’m Always Chasing Rainbows.

More of a suggestion, but it probably should’ve been split into parts like Bikini Bottom Day. The first part be about the characters and Charlie’s goals, the second part about Hell, and the third part about Heaven and exterminations.

Stayed Gone is just…forgettable, like, the instant I finished listening to it I just straight up forgot it. Which is not good if you want your show to be a musical since the songs should stick and be memorable.

Respectless is actually horrid, Velvette and Carmilla’s singing voices are shit and it shows that the actors either had no time to practice the songs or they just didn’t fit. Velvette has the worst because she sounds fucking grating and not in an endearing charming way. Carmilla’s singing voice isn’t much better, but at least I can stand it, I can’t say much for Zestial aside from his speaking part being hard to hear because the instrumental does not quiet down so it just blends in instead of sticking out.

Horrible behind the scenes context and graphically showing us r@pe aside, Poison also suffers from being bland and boring, the “sounding like a hit single” problem suffers here the most because despite being well sung, it doesn’t feel expressive or intense in the slightest. One would think a song that covers a serious issue our main character is facing would be one of the most intense songs of a musical and it just feels flat.

Hell is Forever is also bland and boring, Charlie has parts in the beginning that are spoken yet the instrumental, once again, does not quiet down so you can actually hear her speaking parts. However, I will admit that Adam’s singing is pretty good and the rock instrumental actually sounds nice.

I don’t want to make this longer, but these are my thoughts

[milgram-tournament]

MILGRAM Best Song Tournament, Round 2, Match 2 BRING IT ON vs. THIS IS HOW TO BE IN LOVE WITH YOU

Propaganda for both options under the cut!

Propaganda for BRING IT ON:

"Reasons why Bring it On should win:

- Just by starting the song, the instrumentals are BANGER. Like his more rock style is very cool, even better than After Pain’s more mellow style - Arthur’s voice (Futa’s va) had bills due because have you HEARD his singing?? His raspier voice fits Futa so well - It feels so explosive and like a call to action in a sense, which very much matches Futa’s mentality during trial 1. He also wasn’t playing victim like a CERTAIN girl… (jk, love you mu!) - SAA HAJIMEYOU USOTSUKI KARIDA - UNDEAD HEROOOI YES SLAY KING HIS HIGH NOTE HERE IS HEAVENLY - His scream at the end. Oh my god. HE LITERALLY ATE THIS NOTE. AFTER PAIN COULD NEVER. BRING IT ON FTW 🔥🔥🔥" - His range goes WAAAAAY higher than Mu. She would end up like PHG if she even tried hitting any of his high notes in the last chorus /j

---

- The vocals are amazing, those growls are so well done - You’re able to get Fuuta’s crime and motive pretty succinctly, only based on the visuals - But it still leaves a lot up to interpretation, like how he only attacked once in the final fight scene. It lead to some cool theories. - On that note, the game aspects are so cool!! Especially when paired with him going after people online, just good synergy with awesome style! - Fuuta’s scared face after he realizes what he did. The great contrast of other foes simply being knocked out then being met with blood splatter. - The tempo of the song changing with his mood is a really good touch as well. Make the song more chaotic which highlights his character traits well

---

"propaganda for bring it on: the music FUCKS it genuinely slaps so hard listening to it. song style is incredible its perfect for fuutas personality and gamer vibes. also the way the mv frames everything as a game? the only time real blood and real gore happens being when killcheroy dies? the little details of all the usernames, the different monster designs, the generally distorted feel of everything being too lighthearted?

okay i could go on about the mv for hours but lets not. aside from that: the FEEL of the song!!! the vocals!!!! it really feels like fuuta putting his whole heart into it, into this point of view that both blows problems out of proportion and minimises them, and DEEPLY fucking up. my darling little hypocrite gamer boy twitter user. he makes his witch hunt genuinely sound like something that could sweep people up into it. also the instruments goddddd. the guitar and synth the bass and the drums the DRUMS. im relistening to it to write this propaganda and it keeps making me headbang when i should be writing. if you arent headbanging to bring it on you are LYING.

the way the lyrics are written is wonderful too!!!! they feel so brash and brave and powerful and like. cocky about it. and it fits PERFECTLY. its gets someone swept up into it and it FUCKS. vote bring it on im serious. lets go!! a victory march!! dan da dan!!"

Propaganda for TIHTBILWY:

okay so like the thing im most in love with: the VOCALS!!!! this song has an absolutely AMAZING singer and AMAZING vocals!!!! the way the conversational talk-singing lines still feel so musical!!!! the cute cute cuteeeee mahiru voice!!!! it brings you so much energy!!!! its a song sung with so much love!!!! mahirus va brings such an amazing feel to the song with such amazing talk-singing!!!! its very skillfully done and it happens in i love you too!! mahiru songs r the QUEENS of musical talk singing

the silly phone call bit. kurururu~!

the little vocal flourish and the way her voice raises up like an excited exclamation in the final prechorus!! daijoubu nante kirai DA!

its such a fast song but everything flows so well!!!! it makes it feel so bright and cheery and peppy!!

the instrumental is so underrated just LISTEN to that catchy bass line thats so pretty in the verses!!!! no for real even if u dont vote this is how to be in love with you go listen to the bass line in the verses it works to move both the song and the listener forward at mahirus sweeping breakneck pace. and the cute keyboard sounding and synth instruments!!!! its SUCH a danceable song!!!! i cant listen to it without bopping along in my seat

the way the ominous bits are subtly hidden? it all sounds so cute but there are just these Things that she sings that are really kind of concerning and unhealthy when she sings them!! and the veiled desperation to be in her relationship- listening to that and the cheery tone and breakneck, quick song pace, it really does represent mahiru SO well. she throws in all these little bits that just go noooo teehee the relationships just fine!! when it REALLY isnt

i would listen to mahiru talk for hours

the MV!!!!!! HER FASHION SENSE THE MAGAZINE STYLE!!!! the magazine style especially works so well with her character!!!! its so cute and stunning and just looking at it you have a blast. also her birdcage!!!! her birdcage and the bright orange and the pink bars!!!! the way everything desaturates and becomes more sickly looking when she wakes up at the end!!!! its such a happy carefully curated and designed dream and then it drains away!!!! also god all her outfits are stunning. mahiru call me

the way she sings "overheat de~!" cutest thing in the WORLD.

the little faces she makes!!!! godddd shes so expressive

actually the whole songs so expressive!!!! shes putting her all into it!!!! her words have so much expression in them!!!! once more praising mahirus va the way her voice can soften and become bright or subtly desperate so quickly is MASTERFUL control of expression when singing and its so underrated. join me in being insane over miho okasaki delivers her lines. shes such a perfect mahiru.

funniest es cover. hands down. funniest es cover.

this is how to be in love with you is FREE serotonin!!!! free energy right there!!!! this is how to be in love with you sweep!!!!!

---

-The song is so cheerful!! I always feel like dancing and singing when this one comes up in my playlists!! Absolute banger, mood definer, kicking sadness in the shin with those high-heels and then hitting its face with a cute purse -THE HIGH-HEELS STEPPING TO THE BEAT OF THE MUSIC IN THAT ONE SCENE (0:50). SIMPLY ICONIC. NO ONE DID IT LIKE HER. -👠💅👝👗 -She is slaying. Look at her outfits. She put so much effort there. She gave it her all. Absolutely serving. -SUKITTE KIMOCHI WAKATTA TSUMORI? NARA KONO MAMA FUTARI O-VA-HI-TO- DE -The storyline of the mv MAKES SENSE and you can form a COHESIVE TIMELINE OF EVENTS (unlike other unspecified contestants' mvs you know 🙄) -look at herr 🥺 she beby 🥺 all she did was love too much 🥺 we all love mappi don't we 🥺 she deserved more let her win this pleease 🥺 -No medical malpractice happened in the making of this mv 👍

---

I care so much about This is How To Be In Love With You- it's visuals are brilliant in the ways it conveys its themes and narrative. I'm never normal Ever about the "Love as marketing" symbolism that is brought in by the use of magazines. It's a lovely upbeat song but the Horrors are Always Lurking under it, the breakup Ritual line is my Favorite Line cause its so horrifying but its said so casually and its so good oh its so good-

[samhaft]

Hey Sam, hope you and everybody are doing alright up there.

I was wondering how you go about writing lyrics? Re-listened to the Zero One album recently and it blew me away just as much as it did the first time. You have such an ear candy manner of flow and I just can’t quite wrap my head around how you even start to write that sort of thing out. Do you start with words or a rhythm first or is it something that takes both a bit at a time?

Thanks, and stay safe!

Thanks for your kind question!

For my flow when it comes to rapped lyrics - where the emphasis sits, where the rhymes are placed etc, I like to think of it like writing a drum part! Without a melody I’m sonically essentially a percussion layer, so thats always been my approach - if you were to play my stressed/unstressed syllables on a bongo drum, ideally it would sound pretty good!

As far as my process, I almost NEVER write lyrics without music existing to write them over, because - as a percussion part - I need the music to inform what sounds groovy. On the other hand I rarely write vocal rhythms without the words, because the words help inform where the emphasis can sit / rhymes will sound best. One thing I also use a LOT is sound repetition - where beyond the rhymes, I’ll use a lot of vowel and consonant sounds that are similar enough to feel “rhymey” without locking into a full rhyme - this is something you hear a lot of in hip hop, but is less commonplace in sung pop music.

I’ll break down an example from the title track zero_one. Rhymed sounds are bolded and color coded, and one interesting move you’ll notice is inserting a syllable into our two syllable ‘level’ rhyme on ‘several’ for a little bit of ear candy, but I want to focus on the italics:

Lost the plot and so I play it again

Needing a friend, needing an end, a creed to defend

proceed another level to battle a devil

combatting several enemies with the

anatomy of a rebel

“Proceed” takes our ‘eed’ and adds an ‘uh’ sound in front of it - now you’d never say ‘proceed’ and ‘enemies’ rhyme - they don’t! BUT the last two vowel sounds are ‘uh-ee’ in both words - and I add a THIRD sound atop that stack with “enemies” which is the ‘en’ sound - so later in that line when I hit “anatomy” it sounds really pleasing to the ear, because beyond just closing our ‘at’ rhyme, it starts with ‘en’ and ends with ‘uh-ee’. And in fact that ‘uh’ sound is also how I pronounce “the” “to” “again” “a” “defend” “several” “of” etc etc etc - none of which are rhymes! But instead repeated percussive use of that one vowel sound over and over throughout. You’ll notice my pronunciation is completely internally inconsistent based on what sounds I want to emphasize at the moment! The “the” at the beginning is ‘thuh’ but the one after “enemies” is ‘thee’ to better match the sounds I’m emphasizing!

Ok I’m looking at this wall of text and feel like I must be rambling like a crazy person so I’m gonna stop lmao

Most of this is an intuitive process for me, I’m not writing up diagrams like that as I write lyrics, but I’m just trying to visualize for you what’s happening inside my brain as I write. Hope that makes sense?

If you’d like to watch me actually write stuff, the linktree in my pinned post features a class I sell that lets you watch me write two songs in real time!

[fruitgummies01]

So I managed to get time tonight to see Jung Kook's 'I Am Still' documentary, and I have many thoughts lol.

Spoiler Free Review

JK is so ridiculously talented. I'm sure it was already obvious. but seeing him in the studio, recording his first album, was amazing. He has such a unique ear for music, and it was impressive to hear him in the studio with his English-speaking producers in the U.S. JK repeatedly talked about how nervous he was whenever he was doing something new, and the astounding thing is you could never tell. His nervousness never showed. He was always delivering at such a high level, that you could never tell in any of his performances. Hearing his luscious vocals and tone in surround sound in a loud theater was worth the price of admission alone.

Spoiler Filled Review Below

There's honestly not too much to spoil. If you watched many of JK's performances during his promo run, you probably have already seen like 80% of the documentary. The TSX performance in Times Square, GMA, Global Citizens Festival, the Golden Live on Stage Showcase, and one of the performances he did in the UK were all highlighted. It's crazy that JK was sick through so much of his promo run. One of the only times he mentioned in the documentary that he was feeling in good condition was for the TSX performance. It was also very obvious how much JK's staff loves him. The fact that they were always taking care of him and asking how he slept, and would cheer if he slept well was sweet.

The behind-the-scenes of Jung Kook recording Standing Next to You, going to the doctor before his GMA performance, and the cutting of his hair all felt like the most significant scenes to me that were actually new. JK recording SNTY really showcased his genius as a musically gifted artist. I mentioned this earlier in my spoiler-free section but JK has a remarkable ear for music, and the fact he could hear a note sung by a producer, immediately knew what they wanted and how to sing it, and deliver it back despite the language barrier was insane. Even though JK was too humble to admit it in the documentary, he 1000% is a musical genius with an innate natural ability that can't be taught.

In terms of appearances by other members, there was not much. While rehearsing Permission to Dance for Global Citizen Festival (I think lol) JK mentioned that Jin and Jimin drive him crazy because of how high their parts are in the song, and that fact he had to sing their parts 😅. He visited Barnes and Noble and saw all the members albums. Tae made a suuuuuper awkward appearance while JK was recording lol. JK's one-arm sideways half hug (with his other hand still in his pocket) made me laugh. Next, Jimin. I have no idea if JK had any input on how the documentary was put together, but Jimin making an appearance at the very end, being one of the last things included, actually felt so meaningful. JK had just buzzed off the rest of his hair, had finished recording Never Let Go, and went to find Jimin. Seeing Jimin's full body reaction to seeing JK's hair for the first time felt equal parts funny and emotional. JK leaned into Jimin as Jimin rubbed his head and then asked him how it looked, like he needed his encouragement at that moment. I thought it was really touching. The scene with Jimin and the scene with his barber/hairstylist who cried after cutting JK's hair felt like two of the most personal scenes in the film that didn't have to do with JK as the artist, but with Jung Kook the person.

This leads me to a few of my issues. While I loved it, I did at times find myself wishing it was a little more personal. A lot of time was spent on interviews with his English-speaking producers who worked on Golden and their thoughts, but thankfully PDogg and Son Sung Deuk were also included to add some much-needed insight into Jung Kook as a person. (I don't want to get flamed for mentioning it, but I really hated seeing Scooter appear, but thankfully he remained in the background during Seven's recording.) The jumping around in time didn't really work for me either, but maybe it's because I was crazy locked in during that time and know the exact order in which his performances happened lol. I also wonder why they didn't include more rehearsal or practice dance footage. They included sooo many full performances from Golden Live on Stage and so much hard work and preparation had to have gone into pulling that off, so it was a little surprising not to see much behind-the-scenes content from it. Or maybe BigHit is saving that footage to use at a later time, which would be very like them lol.

Overall, I would HIGHLY recommend everyone watch 'I Am Still' to see Jung Kook's genius at work on the big screen!!! For a 1 hour and 33 minute documentary , it was time very well spent. Again thank you again to the anon who messaged me asking for my review, this very very long review is really all your fault haha. 😅

[rocketqueen1989x]

Love to love

🤍Axl rose / reader🤍

⚠️please read the warnings before you read and if you feel uncomfortable please click off now ,thank you :3

warnings : fluff + age gap + mentions of stress + mentions of miscarrying a child + reader also has a child with Axl + mentions of arguments and having a break from partner

axl-62

y/n- 35

📍:California

⏰: 6:07pm

2023

***

Right now me , axl , our 3 year old son were in the studio

oh and slash and duff are here too

he’s currently working on a song with Michael schenker and his band.

the lyrics have been done for a couple of months but now axl is about to do the vocals , sing them and record

apparently he wrote these in February of this year and it’s now November 2023

he wrote these when me and him had a bit of a break from our marriage. we didn’t get a divorce or anything .

no no no

we just had a break and had some time apart. the reason why is because I miscarried our baby in December and we both couldn’t handle it , we were arguing a lot and the miscarriage broke axl apart

plus it wasn’t far on shiloh to see us argue like that

but we’re better than ever now. we got everything sorted just before he started the tour with guns n roses

A big smile was on my face as I watched my son ,shiloh blue rose standing at his fathers feet holding axl’s phone while watching paw patrol . his little hand was around axl’s leg as he leaned against him

Axl was talking to Michael as his hand was down on Shiloh’s head stroking his light ginger and wavy hair

his hair was getting so long. it needs cutting desperately. it’s going to his shoulders

honestly shiloh was like a mini version of axl. it’s like looking at axl when he was 3 years old

well expect from axl had shorter hair at Shiloh’s age

but their literally twins . the hair , the eyes , the face shape , the lips , the nose , his humour , his smile ,his facial expressions and his personality

literally everything was Axl. it was adorable

my eyes moved to axl and i watched his every move

He looked so handsome and beautiful

he had on a plain black shirt and some red shorts with his nike shoes on. his cross necklaces dangled from his neck and bounced on his chest every time he took a step or moved

Axl started to walk over to me and Shiloh climbed on my lap shoving axl’s phone in my face ,showing me one of his favourite cartoons off paw patrol

“I’ll be a few minutes “ axl said looking down at me before leaning down and pecking my lips softly

i smiled watching him walk away and in the booth getting ready “do you want to listen ?” Michael handed me some headphones and I nodded grabbing them with a smile

i put them on as I sat in the chair with shiloh on my lap now looking at Axl on the other side of the glass

“daddy ?” shiloh mumbled looking at me and pointing

i nodded with a smile “yeah it’s daddy” I smile happily stroking his finger hair back from his forehead. his bright blue eyes looked into mine as they got wider and softened

Shiloh turned back waving at Axl which Axl retuned with a smile making us both giggle

the intro started and I smiled looking at Axl then back down at shiloh who had his eyes on his father the whole time

that’s when axl’s voice filled my ears making me immediately look up at him through the window

“Oh it’s been too many times and I go back”

his voice sounded so good

what ?

i know he’s been having trouble with his voice lately and to be honest he’s been getting shit for it online

i mean he is 62 … he’s not going to sound like how he did 20 , 30 or 40 years ago

i smiled looking at him in thr booth ,headphones on and his eyes were closed just taking the music all in

“night bars , guitars , rundown motels like shacks “

I looked down at Shiloh and the phone was off now completely as he watched in ‘awe’

you could tell he absolutely adored his father. it was everything to me and of course Axl

“what it mounts up to i domt wanna know at all , I lost you and I need you today “

as sung the words hit me with love and a bit of sadness as I remembered he wrote these lyrics when had our couple of months away from each other

While the words flowed out of his mouth freely ,axl opened his eyes and immediately looked in my direction sending me a light smile making shiloh start waving again

I could see slash beside me out of the corner of my eye and smile softly down at Shiloh

there was little guitar and then he sun softly but more highly

“ Misty green and blue “

It sent shivers down my spine. I’ve never got this feeling ever. I can sit for hours , watch and hear him sing along to songs of his own or even other musicians and I love it

but this. it was different

i felt so raw and real

and it’s the way his eyes haven’t moved from me or shiloh in the past 40 seconds

“love to love to love you “

I felt shiloh climb up on my lap and stood up as I held him tightly. he stood up to get a better view of axl and he started to wave again

“shiloh “ I giggled softly putting his arm down making sure he doesn’t distract

he carried on singing and it was so beautiful. I felt quiet emotional which was very weird because I don’t really get emotional that quickly

“to be something, to be with you “

his eyes follwed to mine and he looked straight at me. my heart melted and it felt warm inside

it sounded so fucking good

“don’t say that you’ll never know , love to love to love you “

As it kicked in it hit more heavier and powerful

there was a long guitar part and it gave me goosebumps making me smile widely as I watched my husband

he looked so in tuned with it. Axl was nodding his head to the beat and his finger tapped on the side of his headphones while his eyes were closed just listening

soon the guitar part was over and he started to continue to see the next part

for the past 2 weeks he’s been saying to me the after the guitar solo means a lot to him and it’s very deep

nobody knows that expect from me apparently. there a big meaning behind the lyrics so hopefully I catch on what he’s talking about

I let out a nervous breath and Shiloh sat back down going back on the phone

“Half of the time it could seem funny , the other half was too sad “

mhmm. i wonder what he’s talking about

“This west bound moon they rise and fall “

i looked up at him from my lap and he was looking directly at me as he continued and began to sing the other words

i could slightly hear his rasp coming through a little

“I lost you and I need you here today, Misty green and blue , love to love to love you “

axl repeated and I gave him a little smile hue he didn’t flash me one back

he had this expression on his face that I couldn’t read it but I seen he gulped and looked away from me

i adjusted the headphones and turned it up at the side making it louder and I held them tighter to my head

“to be something , to be near you “

I looked up at him through the glass separating us and he looked at me for a split second then he closed his eyes and I felt the emotion in his voice

i could feel myself getting more and more weaker as the song went on and his voice came on again in my ears

“I don’t know where I’m goin’ to “

that right here brought tears to my eyes and I couldn’t help but let one tear roll down my cheek

“I tried and I need you to stay”

axl belted out and his rasp came out as he sung long and in an high pitched type of tone

i felt every emotion in him travel into my ears and into my body.

another tear left my eye and went down my cheek slowly but I quickly wiped it away making sure nobody saw but I’m pretty axl noticed

an hour later we left and we had to go home early because of Shiloh anyways. he was getting all whiny because it was past his bedtime

but now I was just finishing wiping down the counter tops with the cloth but that’s until I felt somebody stood behind me

i just saw the dark tall shadow loom over me but I could just tell it was axl but the the outline of his shadow gave it away anyways

I could hear his soft breaths hit the back of my neck and his long tatted arms wrapped around my waist pulling me back to his chest and he leaned his face further down to peck my cheek over and over softly

his little pecks of love warmed my heart and a big but soft smile was now painted on my face

he didn’t say anything and just continued to peck my cheek and a few seconds later he whispered

“I love you “

[mamasuellen-blog]

Aziraphale and Crowley - Nightingale Analogy

After the second season, I started thinking of them both as if they were birds, specifically the Nightingale. Here's an analogy with scenes from Good Omens.

Symbolic Meaning of the Nightingale

The Nightingale is a charming bird, revered especially by artists, such as poets and writers who have been inspired by them and used them as symbols in their works throughout history and time. They are considered as a symbol of love and fidelity. This bird has inspired plays, songs, sonnets, folklore, poetry, stories, legend... It has cultural and mythological importance in various parts of the world. He is mentioned in several books that tell romantic, melancholic and tragic stories. Terry Pratchett and Neil Gaiman chose this particular bird to be part of the iconic story of Good Omens.

Some examples of stories about our two Nightingales over time.

When they met, they sang a millimetrically perfect melody on the same frequency, a song that only they could understand. A tune full of feelings, sensations and connections between two creatures. It brought harmony and meaning for them to stay together.

Color Detail

The Nightingale's plumage predominates in discreet brown and brown tones, with slight RED shades. Your chest is more GRAY in tone, with RED or WHITE tones.

The Power of The Voice

This bird plays an important role in the ecology of the region in which it lives. The sound produced by the Nightingale can help regulate the population of insects and other animals that are part of the food chain. Crowley and Aziraphale are guardians of the land and together they played an important role in keeping it safe. Maintaining balance is essential.

They are Territorial

They are very territorial and become even more so during mating season. They respond more aggressively to others who enter their territory, as they want to protect their love nest.

The Musical Richness of Nightingale’s Song

This bird's musical repertoire includes 260 sequences. His song has a double function: Seduction and defense of the territory. The Nightingale's serenade begins at dusk, continues through the night, and lasts through the early hours of the morning until dawn. It is possible that he sings during the day, even though this behavior is not that common. The most physically vigorous birds are also those with the greatest musical repertoire. Some sequences are sung just for your reciprocated love :

​While other sequences only serve to impose yourself against other rivals :

When a Nightingale hears its partner singing, it becomes very active, attracted by the unique and special sensitivity of this melody :

Crowley moves, fascinated by Aziraphale's singing.

The most impressive thing about this bird is its musical repertoire. The Nightingale is capable of singing for hours without repeating the same sequence once.

Crowley and Aziraphale know several languages. Aziraphale *sings* Nightingale in French.

The Nightingale's song reveals a remarkable delicacy and great power. In its vocal production, cheerful and lively sounds predominate, combined with a strong whistle, a strong whistle to attract.

Crowley makes a loud whistle to attract Aziraphale's attention.

Serenade of Love

After a lot of harmonious song between a Nightingale couple, it's time for the mating ritual and one of them always has the task of building the love nest. In the case of our Nightingales, romantic gestures to develop the relationship always happen.

The construction of the love nest is done with great care and care.

This ritual takes place at night and consists of beautiful love melodies, like the music that plays at the ball. While one Nightingale makes a special vocalization for the occasion, the other feels attraction and moves a lot (dances) and vice versa. Aziraphale chose Crowley and Crowley chose Aziraphale. The two have always been each other's ideal match.

The ball dance is the ritual of these Nightingales.

Predators

Although Nightingales are discreet, their song always reveals where they live, which is dangerous, as it attracts predators who want to capture them.

When frightened, the Nightingale uses its song to communicate sensations and threats, warning other Nightingales of danger. Our two Nightingales are threatened. Nightingale Aziraphale needs to alert his companion of this ambush.

Nightingales are capable of emitting very complex melodies, so complex that they are still of interest to ornithologists in studies. The mixture of different songs caused communication between Nightingale Aziraphale and Nightingale Crowley to become disconnected. The warning song gives way to the melodious and sad song.

The Nightingale Aziraphale tried to warn of danger.

Nightingale Crowley also tried to warn of danger.

After singing intensely to Nightingale Aziraphale, Nightingale Crowley's voice becomes weak and the song that follows is filled with suffering. In his last hope, he gives one last trill. He tried to protect their territory, but was unsuccessful.

The Last Trill of the Nightingale Crowley.

In the end, without strength, Nightingale Aziraphale's voice tried one last song. He wished the fairest of all for Nightingale Crowley, but he didn't get it. Pain hit him in the chest, closing his throat.

In the series, the band of Nightingales was already in the process of migrating, moving forward in search of warmer areas. In the posters for the second season, you can see them leaving.

The Nightingale flock heads off to migrate. The Nightingale Aziraphale also goes to heaven, but a place that is not his home.

I'm aware of what Neil Gaiman mentioned about Rouxninol's singing on Tumblr, but I chose to ignore what he said. Seriously, that's clearly a bird's chirp. And thank you to the person who managed to hear a bird singing in the scene and informed the fandom of this information. Whatever it was, it was a bird call. Yes, I may be crazy for believing this, but I'm not the only one, other people also believe it's a bird's song.

The Nightingale, who had sung in the book and at the end of the first season, for me, who is writing this analogy, also reappears in the second season, even if in a more discreet way, with an almost imperceptible and low voice. What's really impressive is that we can hear him, when the camera focuses on Aziraphale's face, who is holding back crying with his mouth slightly open, trying to emit something, or was it the Nightingale Aziraphale who made this song?

The predator achieved its goal. He separated and silenced the birdsong.

Nightingale Aziraphale was captured and transported to heaven in a box. A sky without any freedom, a totally inhospitable place, outside of its natural habitat

Meanwhile, Nightingale Crowley, at the slightest sign of distress, quickly flew in search of shelter to protect himself from the pain.

One of the peculiarities of Nightingales is that they are loyal birds and do not adapt well when isolated from their companions.

They were the last nightingales to leave and unfortunately painfully separated, which makes part of this romantic story in Anguish. And this fits the meaning and symbolism of the Nightingale bird for writers.

In season 3:

“They’re not talking to each other.” = They are not singing.

Although they are separated, the singing is still present. A single song and many memories. “A Ninghtgale Sang in Berkeley Square” has a heart-like vibration within them. This music resonates in them, like a charged wave of energy that surrounds them and tunes them to each other, a vibration so powerful that it connects them to "us".

I am faithful to the theory that Aziraphale sent the song to Bentley for Crowley to listen to, as he also remembers and will never forget the memorable moments between them.

"A nightingale Sang in Berkeley Square" is the song they can understand, the melody made sublime.

There is nothing that lasts forever, not even the pain of separation. The Nightingale bird's migration is temporary and on this journey they always return. The gang is always faithful to its place of origin.

In this way, in a flock, the nightingales Crowley and Aziraphale will meet and begin the freedom they so desire. The power of their song will be ineffable, allowing them together to destroy cages, traps and predators. Bringing harmony to their world.

In the end, Nightingale Crowley and Nightingale Aziraohale will flap their wings and fly together in synchronization, dancing in new airs, until they land on an apple tree branch, which is in a beautiful garden and there they will build a new nest. They will sing in a divine way, while exchanging vows of love, in a beautiful sunset.

Meanwhile, the Nightingale flock will be noisy for them on the South Downs.

I had a lot of fun writing this analogy and I hope you like it too. English is not my mother tongue, sorry for any spelling mistakes. Thank you if you made it this far. :)

[awhisperofbluevn]

Hi I just played your game and the art style is so GOOD I love the designs and everything I hope more people can see your game!

Can you also give me some facts about the merman and game? I would love to know anything jsjshdyhk

Hellooow ! Thank you very much for the compliment, it means a lot to me ! ❤️

And I'm more than happy to share some anecdotes, I'll include things that won't be outright said in the game but are still canon or expand on things that were already said as to not spoil things that will be said in future updates of the game !

I'm just not sure if you want infos about the game development or the world building and characters, I assumed it was the former but let me know if you meant something else !

(I now realized I maybe went a bit too much into scientific stuff in my answers, I'm not sure if that's what you expected lol.)

About the merman :

– As seen in the demo, he doesn’t possess any lungs and cannot breathe outside of water. However, he does have a large resonance chamber in his chest which allows him to store air to produce and amplify sounds through his vocal cords but also serves to let him float effortlessly.

– Since he breathes through his gills, his nose and nostrils are only used to smell. And he does have a pretty decent sense of smell, though it's not his most developed sense.

– He has a very high salt tolerance for obvious reasons.

– The demo states he is very heavy. He’s actually way more than 200kg of muscles. Probably closer to 300kg, even.

About the game :

– It is my very first game, but not the first idea I had for a game. However I had to put my other project on hold because it was too ambitious for a novice in coding like me.

– The first idea of a name I had was « Deep Blue Sea ». Since I’m not from an English-speaking country, I later realized the name was already used for very famous movie so I had to change it.

– The title « A whisper of blue » is inspired by the very first line of a song produced by Momocashew named « The ocean where I belong » sung by Oliver and Ren Kagamine. Yes, it is about a merman. Yes I had a Vocaloid phase.

[madrone33]

THE WISDOM SAGA IS OUT AHHHH

It was SO much better than I anticipated. Like, I knew it'd be amazing to listen to - 'cause practically all of Jorge's stuff is - but I was less attached to Telemachus as a character than Ody, so while I was settled in for a fun time I wasn't as invested as I had been for the previous sagas.

Little. Did. I. Know.

HOW DO THE SAGAS JUST KEEP BEING SO GOOD LIKE WHAT JORGE DO YOU SLEEP

Anyway, now that it's officially out for everyone, here's 1000+ words worth of excited screeching/rambling/word vomit from my immediate reaction to the audio, when it released at midnight for me! (I'm australian, so I got it 15 hours ahead of the americans lol, but also means I hadn't seen the animatics from the Live at this point)

Also, heads up there's a lot of swearing and I wasn't very coherent, 'cause my brain-to-type filter was non-existent at midnight while in the middle of a HYPE adrenaline rush lol

I feel so awake rn, even though it's midnight lol.

Started smiling as soon as I heard him. He sounds so GOOD!! MICO you're knocking it out of the park!

"Come and give me a sign!" Ayyy the Athena motif!!

Ooh they merged MICO's audition way of saying "if you're dead... or just tooo far"!

"Can I do whatever I takes to keep my mum safe?" aww don't worry bebe Athena's coming!

"Where is the man who'll have to wife?" ooh they really did use the Man of the House lines!

And they dropped that it's been 20 years! That's good, a proper timeline needed to be established at this point or newcomers might get confused.

ohhh shit! That growled "Boy!"

(Also, edit from after I watched the Livestream: HE DID NOT JUST THROW A BOWL AT MY BOY OH HELL NO-)

"Why don't you open her room so we can" oh FUCK OFF ANTINOUS!

oh the LINE! The CHAMP line!

"If I fight this monster" THS MONSTER! It changed from those monsters to this monster, because while he might be having fun thinking of conquering distant monsters out in the world, the real monster is living in his home and he needs his father's strength more than ever and AHHH

(Another edit from post Live: he decided to fight for his mum's honour and thought he'd get a beatdown or DIE in the attempt and STILL put his fists up oh my goddd!! And also, HIM STEPPING INTO THE SPIRIT OF HIS FATHER AHHH)

Ok I hate Antinous already. Like, I really love his voice, it's perfect, Ayron did amazing, but Antinous? What the FUCK! FUCK HIM! And I decided I love Telemachus. He sounds so helpless in that last line 🥺 ATHENA STEP IN!

Listening to Little Wolf now! Oh god I'm scared for Tele

(Edit post Live: YOOO IT'S FULL ON STREET FIGHTER STYLE!)

"Wanna entertain me?" oh EW Antinous!

I just have a permanent stink face on rn lol

"Wanna entertain me?" Still ew, but also aww he didn't do the growl like in the demo

Clock sound effect! ATHENA!!!

she's giving TE/MO type vocal vibes, more than Act 1 Athena lol

"What's going on here??" lmao he's confused about Quick-Thought, like ody wasn't

"Uppercut him. Now." AYYYY FIGHT ADVICE

she's doing the verse melody but for him!

wait what'd she say? "I've no respect for bullies! Those who [something something] will!"

SHE CALLED HIM A DOG HA! What's a dog to a wolf hey antinous >:)

"One young wolf has a larger heart than all these men combined!" awww Athena <3

YES!! SHE'S SINGING THE CHORUS BUT IN HIS FAVOUR!!

the HARMONIES!!

"Oooh, maybe I pushed you a bit too hard..." lol she's too used to ody who is used to her

oh FUCK OFF antinous!

"Tell me, Athena, why you came to my aid..." wait WAIT HE SUNG THE "what keeps you up so late at night myyy friend?" MELODY??? HOLY SHIT!!

Ok that was awesome. We'll Be Fine time!

SHE CALLED ODY HER FRIEND!!

OMG SHE'S DOING THE "MIIIND" RIFF!!

awww she regrets <3

NO THE "SLEEP AT NIGHT" CALLING BACK TO ALL THOSE TIME ODY COULDN'T SLEEP FROM REGRET

omg but her HIGH notes

ooh? 👀 The line changed from "sailed to an island" to "and I didn't die?? What does this mean for HTD's "I heard he's on a diplomatic mission" line?

oh now HIS high notes!!

THEIR HARMONIES!!

awww their motifs mixing! <3 <3

(Edit post Live: lmao him trying to lean on her shoulder and accidentally falling through her instead XD)

Well that was nice! Time for LIP... What am I in for bro

AHA I was RIGHT! The music from the cover art reveal IS here at the start of this song!

OH HOLY HSIT NOT HIS "REMEMBER ME" OMG WAIT GO BACK

The "ohhhh" motif from Remember Them!

TIME DIVE! WITH LYRICS!

oh yo! THESE scenes! We called the Sirens, Scylla, and Thunder Bringer on the discord, but the lines that are being used are INTERESTING

(Edit post Live: the animatics are going CRAZY this saga!)

calypso time...

Ooh calypso's voice is much gentler than the snippets! (I'm determined to not let my bias against her character in the Odyssey colour how I feel about her performance, because Wangui is a lovely person, and her voice is beautiful.)

lmao the awkwardly long pause and then "... ANWAYS!" is always funny XD

the electronic elements when she reveals what she is!

"Time can take a heavy toll." uh oh what's that mean

Damn not the "all I hear are screams"-

...

... holy fuck. Um. My jaw literally dropped what. What. Ok first, her "ody" fuck that. Second, the LEDGE?? Um. UM. I need to rewind please

Oh shit

Oh my goddd JUST LET HIM GO

NOT THE OPEN ARMS NO WHAT THE FUCK NOT POLITES OMG EURYLOCHUS OH FUCK ANTICLEA TOO OH SHIT

no him calling for athena! 😭

the slow clock omgggg

YES GO HELP HIM HE NEEDS HELP

... wait I need to rewind wait shit I'm shaking

ok. Pause. That was.

I guess I called correctly, but it turned out to be a BIT of an understatement when I said there'd be an UNEXPRECTED EMOTIONAL MOMENT! What the FUCK. Oh god that was incredible and I teared up and ah fuck wtf fuck who gave him the RIGHT

TIme for God Games. Shit. Am I ready for Beast Mode Zeus??? No. But I'm doing it anyway! :D

ok that was beautiful. Also her calling him "father" was unexpected but welcome

"... Odysseus." commander motif!!

god I love his voice but I hate him

ok I love how he says "AphroDITE!" I'm smiling, I'm getting into this

also, wait why does he say "or" instead of "and" like the snippets did?

The voice teasers! Ah shit I can't believe I'm going to HEAR THEIR VERSES IN A FEW SECONDS WHAT. Also Hera's voice is VERY interesting!

Apollo? YO?? Wait wait I have to go back and actually listen to the words lmao his voice is cool!

oh the sirens??

Huh. I... don't really get that logic? Athena just said "yeah but they had it coming and now they'll know better" and he replied "understandable have a nice day"?

wow what is that accent? Lemme go back and understand lol

damn those went by quick. Also, not what I'd thought their issues would be. Tho I think someone called the sirens one!

ooh wait I've always loved aphrodite's, this is BEAUTIFUL. I need to go back to the start of the song so I can get her full impact after pausing so much.

ohhh she's the first one to reject athena!

Ares!!

"HOLD YOUR TONGUE NOW! HIS SON'S MY FRIEND!"oop you done fucked up ares

oh I LIKE hera's voice! It's kinda airy but still hella powerful!

damn my jaw hurts from smiling

I hear cheering 👀

ohhh THAT'S what he meant by "or"! Athena was supposed to face either the five gods or Zeus?

"You DARE to defy me!" DAMN Zeus! That growl!

THUNDER BRINGER CHORUS!

lightning bolt to the face lmao

oh? The Wotm motif?

wait. Is the. Is this the "anime character on brink of death thinks of their friends and powers up" moment???

(Edit post Live: shit, zeus. Someone call CPS)

"Let him go..." oh wait that's IT?? NO WHAT SHIT

... lemme hear that end bit again.

WAIT reading through the comments and JORGE'S DAD VOICES HEPHAESTUS?? HOLY SHIT THAT'S EPIC! Now we just need his sister lol.

Oh that's right, I can see the cast now! Brandon McInnis as Apollo, POSEY as Hera, and Mike Rivera as Hephaestus. Nice.

It's 1 am now. Holy shit that was a wild ride. Damn. Hats off to Jorge and all the cast and editors and EVERYONE, that was absolutely incredible!! 💙🙌🏼🎉

... but also JORGE! WHEN I CATCH YOU JORGE-

[disastergenius]

Observations/my favorite things in Hadestown Live from London:

Act 1:

Melanie La Barrie's interpretation of Hermes really works for me, it's my favorite version so far

Caribbean Hermes! Irish Orpheus!! Northern Eurydice!! love that they got to keep their accents

Orpheus's "Yes..." in Come Home With Me

Orpheus's laugh as Eurydice accuses of him being a liar and player; the playfulness of the interaction is so cute and helps balance their dynamic (you get why she would actually want to give him the time of day), and she returns the laugh at the end

Grace Hodgett-Young and Dónal Finn both have absolutely gorgeous singing and speaking voices

"and the sugar from the maple" line sounds so good

the voice crack "Yes!" (Wedding Song) gets me every time

more giggling from Orpheus and Eurydice

Gloria Onitiri's Persephone is so good! Her characterization is fun and I like her vocal choices

singing "who has finally returned to us / with wine enough to share" (Livin' It Up On Top)

I've loved every single version of All I've Ever Known I've ever heard

knowing that Dónal's favorite line is "But when I saw you all alone against the sky/It's like I've known you all along"

the strings solo is beautiful (All I've Ever Known)

Zachary James is really good as Hades, I like that he's not trying to do a Patrick Page impression

Removing Epic II means we miss the best transition of the show of Epic II into Chant I

Grace Hodgett-Young has such a strong and consistent voice; Eurydice's desperation in Chant really comes through

I have also never heard a bad version of Now That the Chips are Down

Dónal's Orpheus sounds significantly sadder and more angry at himself when he realizes why Eurydice left and as such, he sounds much more desperate to go after her. He also sounds more unsure as he starts walking but the strength in his voice is perfect

not gonna lie, I usually skip Why We Build the Wall. It's fine as a song and well sung, and I understand why it's there narratively and it helps worldbuild Hadestown before we see it through Eurydice's eyes, but it just does nothing for me (Act I functionally ends at Wait For Me)

the chorus getting quiet at the end of Why We Build the Wall is a good choice

Act II:

jumping straight to If It's True on this album is crazy. I'm aware that since it cut songs it's not meant to be fully representative of the show, but it really changes the listening experience if you skip to the middle of Act 2

Dónal's If It's True is devastating. What can I say that hasn't already been said: it's the perfect mix of sad and angry and unifying for the workers. Righteously angry union leader Orpheus is the best

Epic III fantastic as always

Epic III lyric rewrite is fine. I still like the og version (from the off-broadway version) and I get why it keeps changing but I do think the lyrics are not as inventive

Epic III They Danced instrumental/vocal is also beautiful I love it so much

giggles in Promises! Getting flustered as the audience cheered

Promises is the last time we see Orpheus and Eurydice happy together and Grace Hodgett-Young and Dónal Finn play it so well, the emotions are all there

Wait for Me Reprise

Leaving off Doubt Comes In is criminal, I'm so sorry, Dónal's version is great and equally devastating and this is the song I'm the saddest was excluded

Road to Hell Reprise continues to be sad and the emotional whiplash without having Doubt Comes In is wild

Overall:

Fantastic album, I love this cast and glad they got a recording. Mourning the cut songs (also they cut so many Hades and Persephone songs; they have none of the ones they sing together), living in denial that they have them recorded from this performance and will release them someday.