#also its literally in the title of the song but i thought he was sayin i'll explain everything 2 the geese not geeks

[goldenwaves]

ahhhh 5 songs ive been listening to lately ty @djservo

i will tag uh. @lucidicer @stinkrascal @warmsol @goldenhour-s @usermoon and You

[scapegrace74-blog]

Ginger Snap, Chapter 5

A/N  Know what this fic needs?  More Geillis.  No really, I think you guys are going to like where I’m going with this.   Just bear with me.   Only one more chapter to go after this one, plus an epilogue.   Thanks for coming on the journey with me!  With due credit to Sia, this chapter’s title is Fire, Meet Gasoline.

Previous chapters are best enjoyed on my AO3 page, because I have a bad habit of going back and editing them after they’ve been posted.

Geillis Duncan drove much the way she approached life, which was to say without much regard for rules and at white-knuckle speed.  I gripped her Range Rover’s leather cushion and swallowed any exclamations of dismay as we ricocheted through Edinburgh’s late afternoon traffic.  When we finally slid into an underground parking spot and emerged into the bustling festivity of the Princes Street Christmas Market, I felt the tension of imminent disaster abandon my shoulders.

“Where to first, then?” Geillis asked, looking far too animated by the prospect of accompanying someone while they did their Christmas shopping.

Geillis and I had kept in touch and met for coffee a few times over the past months.  When I explained that I wouldn’t be taking any more cooking classes at Ginger Snap because Jamie was giving me at-home lessons, her reaction was a moonbeam grin.

“Look at ye, wee vixen!  I ne’er wouldha thought ye had it in ya, Claire.  Tho I canna say as I blame ye.”

No matter how much I protested that I was together with Frank and that my relationship with Jamie was purely professional, she refused to believe me.  The ongoing absence of a ring from my left hand didn’t help.

“Now,” Geillis exclaimed once we’d taken in the sights and sounds of the market, “let’s have a keek at yer list.  Where should we start?”

I pulled out my phone and opened the Notes app.  As she read, my friend’s nose wrinkled in confusion.

“Trouser socks, shoe stays, Moleskine notebook, Rive Gauche...  who are ye shopping for, yer grandparents?”

“No,” I protested.  “The first three are for Frank.  The perfume is for me.”

When I explained that Frank had made a list of the items he would like to give me for Christmas, Geillis grew incensed.

“Ye mean he has ye doin’ his gift buying fer him?  Tha’s the least romantic thing I’ve e’er heard.  Do ye even like Rive Gauche, Claire?  And dinna lie tae me, fer I can read yer feelings all o’er yer face.”

Truthfully, I didn’t much care for the flowery scent.  My personal taste ran more towards woodsy or herbaceous aromas.  But it was Frank’s favourite, and it pleased me to please him.  Or it had.  I was beginning to wonder when it would be my turn to please myself.

“Right,” Geillis interrupted my thoughts.  “Marks and Sparks will do jes fine for yer wee granny list.   And then you and I are going shopping fer yer real gift.”

Geillis was a force to be reckoned with in a retail environment.  She navigated like a guided missile from one department to the next.   Twenty minutes later, we were back on the pavement, which glistened with the colourful reflections of decorations strung above.

“Your car is the other way,” I explained as Geillis turned left.

“Aye, tis, but our destination is right o’er here.  House of Fraser.  See?  Tis practically calling yer name, Claire.”

Inside the venerable old building was an astonishing multi-tiered arcade reaching over five stories to a massive skylit ceiling.  The central space was dominated by a fifteen metre-high Christmas tree (a Fraser fir, of course) and every archway of every arcade was dripping with lights.  The impression was like stepping into a Fabergé egg.

Geillis dragged me, slack-jawed, towards the ladies’ wear section.  Circling the racks like a hawk on the wind, she eyed my body, sizing me up quite literally, then thrust several pieces into my hands.

“Geillis,” I hissed, wary of the sales staff hovering nearby, no doubt smelling an excessive commission in the offing.  “I don’t need a new outfit.  And I certainly don’t need,” I shook the garments in question, “something like this.  Wherever would I wear it?”

“Well, fer starters, ye’d wear it tae dinner t’night.  I dinna wish tae offend ye, Claire, but I canna in good conscience allow ye tae set foot in the Timberyard dressed fer a job interview as a primary school teacher.”

With that she shoved me in the direction of the changing rooms.  Deciding to humour her, I was unbuttoning my top when two lacy bits of nothing came flying over the door.

“Start wi’ these.  And dinna think I willna notice if ye’re no’ wearing them!”

I stripped down to my panties, bemusedly wondering how she knew my exact bra size. 

Upon seeing me exit the dressing room in her choice of clothing, Geillis let out a squeal of delight.   She insisted I rip out the tags and leave the store wearing my new outfit, declaring it was her Christmas gift to me.  

I felt tremendously self-conscious as we walked towards the restaurant.  The aubergine velvet jeans clung to my legs in an unfamiliar way and the black turtleneck, while technically not revealing, hinted at kink with its many heavy zippers and fastenings.  Together with my unruly hair, unstraightened for once, I felt like another woman entirely.  I didn’t recognize her, but I felt like she might be someone I’d like to get to know.

The Timberyard was a modern restaurant in a rugged old warehouse, not far from the farmer’s market I’d visited with Jamie.  We were joined there by several of Geillis’ friends, and we ate, drank and laughed until my sides were sore. 

As I wobbled to the loo, I noticed the bartender following me with an appreciative gaze.  It had been a long time since a man had looked at me that way, and it gave me a guilty thrill.

We left the restaurant just before midnight. I pulled Geillis into an impulsive hug.

“Wha’ was that for, hen?” she asked.

“Nothing.  Everything.  Just, thank you for being you, Geil.”

“Och, tis my pleasure, lass.  I only want tae see ye happy.  Now, what do ye say to a digestif?”

After only a slight protest on my part, the two of us piled into an Uber.  Our destination was another restaurant, this time in a converted whisky warehouse by the harbour in Leith.  It was well past last sitting, but when I mentioned this to Geillis she explained away my concern. 

“I ken the owner, who’s also the chef.  Tis a popular spot fer locals in the restaurant scene tae meet after they close up fer a few drinks afore heading home tae their beds.”

Inside, the walls were rough stone, supported in places by industrial metal beams.  The kitchen was open to the main dining area, and I grinned as I thought of Frank’s strong opinion on the matter.  Near the back of the room, lit by dim naked bulbs and the glow from several open fireplaces, was a huge square table surrounded by nearly twenty chairs upholstered in bright yellow plaid.  Around the table was gathered a motley assortment of men and women, all talking and laughing and sipping on a variety of drinks.  And in their midst, his copper hair shining in the firelight, sat Jamie.

A shout went up from the table as Geillis approached.  I hung back, tugging at the hem of my new turtleneck as though I could stretch it to cover my arse.  Besides Jamie, I recognized Jenny, Angus and Murtagh, but I only had eyes for the big ginger chef.  He sat at one corner, probably in deference to his long legs which were stretched out before him, wrapped in black denim.  A black leather jacket hung over the chair behind him.  He looked dangerous.  It was a very good look for him.

Dragging me by the elbow, Geillis nudged and bumped Angus to one side despite his vulgar protests, then practically pushed me down into the chair directly next to the chef.  With a smug smile of satisfaction, she then retired to the opposite side of the table.

I looked anywhere but directly at Jamie, but I could feel his butane eyes on me.  I was certain he would scorch right through my outer layers and down to where Geillis’ choice in lingerie burned against my tender skin.  The noise from the rest of the table faded away.

“Ye look bonnie t’night, Arsonist.”  His voice was low and gruff and it sent a quickening through my veins.

“Thank you, Jamie. It was Geillis’ Christmas gift to me, and I feel, well... let’s just say it isn’t my usual look.”

“It suits ye, I think.”  He reached out and lightly touched the silver tab of a zipper that ended near my wrist, setting it swinging.  I swallowed and looked frantically around.  Several open bottles of liquor stood nearby. Grabbing the nearest one, I poured myself a generous serving and knocked it back, all in one go.  I tried to steady my breathing.

“Look, Jamie...”

Just then a blond man in chef’s whites called to Jamie from across the table.  An exchange involving a lot of Scottish cursing and an off-colour reference to someone’s lobster pot ensued.  I tried to convince myself I needed to leave.  It was late, I was half-drunk, and whatever I intended to say to Jamie should definitely wait for another moment.  Maybe never.

A hand on my thigh broke my preoccupation.

“Sorry, Arsonist, ye were sayin’ something?”

I wet my lips, frantically trying to recall anything but the feeling of Jamie’s strong fingers, stroking me through the velvet of my jeans.

“I...”

At that moment, the woman on Jamie’s far side broke into song.  The rest of the table cheered and clapped along, and it was impossible to hear anything except the concussive pounding of my heart against my eardrums.

Jamie grabbed my clammy hand.

“Come wi’ me,” he instructed, grabbing our outerwear and pulling me towards the door.  Geillis watched our departure with all the excitement of a child on Christmas morning.

Outside the air was dense and cold, a briny slap after the stuffy warmth of the restaurant.  Jamie obviously had a destination in mind, and we walked hand-in-hand along the cobbled streets for several minutes before finally emerging at the port.  A jetty struck out into the inky sea, and it was there that we ended up.  Besides a few gulls and the winking of a nearby lighthouse, we were all alone.  The sodium street lights caught Jamie’s curls and made them burn.

“Forgive me, Arsonist.  I couldna hear myself think in there.  Tho, come tae think of it, tis no’ much better now.”  Rather than release me, as he spoke Jamie stroked my hand, running calloused fingers over each vein and every knuckle.  I don’t think he even realized he was doing it, but it stole every thought from my head.

“No ring,” he remarked, stroking the finger in question.

“No,” I whispered in response.  

And then it burst out of me, like a tidal wave of feeling that I never saw coming.  I told him everything.  My childhood roaming the globe with my uncle, pre-occupied and rootless, dreaming of stability.  Meeting Frank at Harvard, and realizing that he represented all the things that my life to date had lacked: structure, security, a solid foundation, a home.  And how it took moving to Scotland and coming into contact with a group of near-strangers to make me realize that the price I had paid for that stability was higher than I’d ever imagined.  I’d given up my dream of becoming a doctor. I’d become so lost in Frank’s vision of who I should be that I’d almost lost sight of who I actually was.

By the time the flood of words left me, I was in Jamie’s arms, crying into his leather jacket.  He hushed me with quiet murmurs and languorous stroking of my hair, as one would a child who has woken from a nightmare.

I stepped out of his embrace and rubbed my sleeve across my face.  I must have looked an absolute mess, but he still watched me with those earnest, patient eyes.

“I’m sorry,” I began, “I don’t know what...”

“Claire,” he interrupted.  I’d never before realized just how many consonants were in my given name.  “Ye dinna need tae apologize tae me.  But ye may want tae consider an apology tae yerself.”  At my raised eyebrow, he continued.

“I’m no’ the kind of man tae tell another what they should and shouldna do.  But ye strike me as someone who’s made decisions fer the right reasons, yet ended up in the wrong place.”  Here he paused, as though carefully weighing his words.  “There’s no sin in changin’ yer mind, Arsonist.  Tis very well tae be hungry, so long as ye ken what ye hunger for.”

“And what do you hunger for, James Fraser?”  The provocative words had left my lips before I had the chance to censor them.  His answer came in the form of a blistering look that left no doubt as to its meaning.  Then he gathered himself, banking the fire I’d unconsciously ignited.

“Many things.  Regular, ordinary things, mostly.  My family’s health and happiness.  A faster bike.  My own restaurant.”

“Like Tom’s there?” I asked, gesturing towards the harbour.

“Och, Tom is a braw chef, and worthy o’ every accolade tha’s been showered upon him.  But the hospitality scene in Edinburgh is cut-throat, an’ suitable locations cost a fortune.  Nah, Jenny and I want tae buy back our childhood home in the Highlands.  Tis called Lallybroch, and when our Da passed, our Mam sold it tae her brother.  We’d turn it inta a country inn, wi’ Jenny running the lodging side o’ things and I the dining.  Tha’s the dream anyway,” he ended with a shrug.

I rested my hand on his forearm.  “That sounds like a wonderful plan, Jamie.”

Before he could reply, an enormous yawn burst from my lungs.

“Time tae get ye home tae yer bed, Arsonist,” Jamie grinned.   “Come, I’ll give ye a ride.”

“Wait, haven’t you been drinking?” I inquired as we walked back down the jetty.

“Three years sober,” he explained with no hint of embarrassment.  “I went somewhere pretty dark after my Mam died, an’ it took a near-fatal crash tae scare me straight.”  His eyes squinted in a poor approximation of a wink as he added, “Besides, there are better ways tae chase a rush than in the bottom of a bottle.”

“Such as?” I asked brazenly.

Which was how I found myself on the back on a black motorcycle, my arms twined around Jamie’s waist.  Rather than take me directly home, he steered us north, following the coast.  It was very late, with hardly another vehicle about.  We merged onto the motorway, and Jamie picked up speed.  My thighs tightened around his lean hips, the vibration of the motor beneath us shivering up my spine.  As we emerged beneath the hastate lights of the Queensferry Bridge, I stretched my arms wide, icy air ripping against the sleeves of my jacket.  I laughed, although no-one could hear me.  I yelled, and only the wind yelled back.  I was flying.

***

It was nearly dawn when Jamie pulled up in front of my flat.  My legs thrummed, my eyes were dry with fatigue, and my heart ached, but I felt better than I could ever remember.  I handed Jamie back his spare helmet and shook out my curls.  He watched me in that half-sleepy, half-vigilant way of his that I now recognized as desire.

“I don’t know what I could ever say to thank you, Jamie.”

“Ye needn’t say anything at all, Arsonist.  Nae matter what ye decide, it has been my very great honour tae get tae know you.”

Without another word, he kick-started the engine and drove off into the early morning mist.

“Goodbye,” I whispered to his vanishing shadow.

***

The lamp above the couch was lit, and Frank lay still beneath its glow.  I realized he had fallen asleep waiting for me to come home.  Instead of regret, what I felt in that moment was pity.

The sound of my jacket being unzipped woke him.  He blinked in confusion and then in shock.

“I’m very sorry if you were worried,” I began.

“Worried?  Do you have any idea what time it is?  My God, Claire, I don’t know what to make of you these days.  You’ve never behaved irresponsibly before, and now you’re out at all hours and you’re wearing,” he gestured wildly with his hand at my new outfit which I had, quite honestly, forgotten I was wearing.  “And your hair, Claire!” he finished, as though the manic state of my curls was definitive evidence of my fall from grace.  Despite my exhaustion, I stood tall.

“Frank, we need to talk.”

[supercantaloupe]

this oklahoma fucks

my thoughts on the oklahoma revival (6/8/19 matinee) under the cut! 

this show. i was absolutely blown away. i see a lot of shows (one glance at my theater page will tell you that much...) and at this point it’s rare that i see something which i feel in my gut from start to finish how incredible it is, but, wow, oklahoma lives up to the hype. it’s 2 hours and 45 minutes plus a 15 minute intermission, and i swear i didn’t stop grinning or giggling for that entire 3 hours.

it’s also sometimes a rarity now for me to go into a show blind. i certainly was familiar with oklahoma before today -- i knew the basic storyline, i’d even heard some of the songs from this cast, and hell, the musical’s almost a century old (it basically founded the modern broadway musical!) -- but i didn’t know it very intimately going in. from the moment i entered that theater, though, i was enraptured. 

the show has a comfortable feel to it, with its old-timey wild-west drawling dialect and a loveable-as-always rogers & hammerstein score, but it’s reimagined in a way that makes it feel both completely new and completely familiar at once. it’s an intimate theatrical experience, one i haven’t really felt since great comet took its final bows. i’ve always been a fan of intimate and innovative productions but this show really excelled. playing in the round is the perfect way to welcome an audience into your world on a personal level, but oklahoma takes it a step further. there isn’t even a shift in lighting from the beginning of the show; it looks the same from the momeny you walk in and sit down through the first two numbers. it’s a small detail but it really works wonders in creating a world that the audience feels a welcome part in from the get-go. and that’s not even mentioning the tables onstage, the crockpots full of chili, the table of yet-to-be-made cornbread (all of which gets to be enjoyed by the audience during intermission!). and the string band right there on stage! with pedal steel and mandolin and banjo! what better way to welcome your audience into your world than to incorporate real elements of americana: a barnyard hoedown, a cultural centerpiece in american mythos and identity. (plus, i’m always a sucker for country twang in my music and a band onstage. pit musicians never get enough love!)

and man oh man, the cast. they are all phenomenal. my selected and personal commendations go out to mary testa, whose aunt eller COMMANDED the room and oozed a lovable familial flavor; ali stroker, for her charming, bubbly, and completely endearing brand of wildness in her portrayal of ado annie; patrick vaill, for his deeply chilling performance as jud; rebecca naomi jones, for the surprisingly deep layers of thought and emotion she brings to her laurey; and to damon daunno, for his downright enchanting vocal performance, southern drawl, and ass-waggling swagger all the way to the drama of his more serious scenes, like in “poor jud is dead” and the wedding (dudes got raaaaange. just sayin.). i need a cast album immediately!

it needs to be mentioned how much personality and charm put into every aspect of each actor’s performances. the choreography was just wonderful, from the corn-shucking “many a new day” to curly and will prancing around the stage slapping their thighs (there’s a lot of chaps and a lot of ass wiggling in this show. make your peace with that right away.) to the delightful hoedown-style group dancing in “farmer and the cowman”. i’m absolutely delighted at how seamlessly integrated the wheelchair-bound ali stroker is in every aspect of choreography -- it’s skillful, it’s full of personality, it’s unique and fun to watch. really the only choreography (and really the only scene in general) that i failed to fully appreciate was the dream ballet: as cool as it was, i personally am just Not A Dancer in any shape or form and such an interpretive, almost contextless solo dance kind of flew over my head. i still appreciate the artistry and skill involved in it but i’m sure there are other people out there who got a lot more out of that scene than i did.

to take a moment to appreciate the more technical aspects of the show: firstly, i was impressed by the subtlety employed in the sound design. i’m pretty sure all the actors were all wearing body mics (pretty much standard practice nowadays), though they were either very hard or downright impossible to spy. (nice job to the costume and hair departments for concealing those even from audiences so close!) my theory is that the mics were placed higher up on the actors’ heads, effectively concealing them in their hair and distancing the mic from their mouths -- thereby lessening their ability to pic up the actor’s voices. in a huge, proscenium-style theater, that’d be a problem, but here, in a theater and a show where intimacy is the name of the game, that works. you still heard the actors’ voices from where they were onstage, not just pumped in from speakers (if they were at all!). effects were used sparingly but to great effect: i noticed even in the opening number the reverb effect used only at the ends of certain words or lines to evoke the echoing of a voice over the prairie, which i thought was a very nice touch. and in addition to body mics there were handheld and stage mics, which indeed functioned as handheld and stage mics, with a clear auditory difference between when the actors used them and when they didn’t. again, this built up the believability and intimacy of the world, as well as contributing another layer of coolness to certain scenes (like “poor jud is dead”, which is done almost entirely in the dark and almost entirely on one handheld mic between curly and jud. the upped volume and closeness evoked using the handheld mic brought the entire audience in that much closer into that small and intimate space of the smokehouse and heightened the tension masterfully.)

and, oh my god, the lighting. the biggest snub of the tonys this year is oklahoma not even getting a NOMINATION (atw turn on your location i just wanna talk). i mentioned before those house lights not changing from when you enter the theater through the first few numbers but when they do -- when curly and laurey lock eyes and really consider each other -- there’s a sudden and unexpected shift, going from the bright full house lights to dark everywhere, with the stage lit completely in a dreamlike green. and just as quickly as it came it goes, snapping back to those full house lights again. what a simple but very strong way to convey a message! the show also makes really great use of directional lighting, projection, and colored ambient lighting, with the latter i find particularly notable in the late part of the barn party scene when laurey has her encounters with jud and curly (with these interactions lit a cool and creepy red, mostly by the colored fairy lights strung from the ceiling among the streamers). also an effective surprise is this show’s use of blackouts, its use of complete darkness. i’ve seen a lot of shows but i’ve NEVER seen a show use a blackout like this before. 

for example, in the scene leading up to “poor jud is dead”, when curly goes to talk to jud in the smokehouse, the lights suddenly cut out, entirely, like we’ve stepped into a dark and sordid little corner of the world, jud’s domain. the whole beginning of this scene is played ENTIRELY in the dark, with naught but the sound of the two men’s conversation to tell us what’s going on. it’s creepy as hell and so effective. and then, as curly sings, a projector comes on, shining onto the back wall of the theater, an extreme black-and-white closeup, first of jud, then of curly, and of the two of them together, literally being broadcast from a camera held right up then and there. and after the song, after the projection fades away, we get a single spotlight, a pinpoint of light streaming from above; it shines onto the table directly between the two men, illuminating that patch of space, casting an eerie glow on the scene. and then, finally, the end, when auntie eller walks in, and the lights fade up just a bit, like would realistically happen if someone cracked open the door in a dark room. everything about the lighting in this scene plays up the creepiness of jud, the unpredictability of his madness, it plays with the suspicion and nerves of the audience by literally depriving them of information in the form of visuals. it plays similarly to jud’s and laurey’s encounter in act ii, when the lights cut to complete black again as he kisses her. we can’t see them, but we hear everything: kissing. metal clinking. footsteps, retreating. and then, those red party lights fade in, just enough to see laurey retreat to the opposite end of the stage, just enough to see jud’s unbuckled belt and confused, angry expression.

yeah, this oklahoma doesn’t pull its punches when it comes to jud. they make it crystal fucking clear who he is and what he’s trying to do. the lights, the sound, the whole production works to this end. and it doesn’t pull its punches with its finale, either. those of you familiar with the original show know that jud shows up to the wedding with a knife, and after a skirmish with curly, ends up falling on it and dying. this oklahoma did something else: jud shows up, asking only for a kiss from the bride and to give a gift to the groom. inside the box he brings is a shiny pistol, thrust into curly’s hand and trained on jud, standing open and ready for death, a forced assisted suicide. and after several long, tense, silent seconds, curly pulls the trigger. (i actually wasn’t even sure if they were going to go that far, but, yeah, they did that.) and the blood that splatters both on jud’s shirt and on the faces and white wedding outfits of laurey and curly is copious, and raw. it stays there for the rest of the show, a reminder. the finale ultimo is no longer a happy, triumphant reprise of the title number. it’s sung, powerfully and communally, by everyone with dead-fucking-straight faces. 

this isn’t your grandmother’s oklahoma, that’s for sure. 

what it is is a fantastic new staging of one of the biggest, most familiar classic pieces of american theater ever written. it’s simultaneously a back-to-its-roots retelling and a refreshing new take of classic material. it manages to be fresh and nostalgic, old and contemporary, mythologized and contemporary all at once. it’s not quite a masterpiece, but it’s damn near close to it. 

in short, i haven’t seen a show this good in a long time. if you get the chance, you should too. it’s not one you’ll want to miss.

[cruddyborderlandstheories]

i have so many theories!!! theyre all screaming at me!!! i must write out them all!!!!! 

so here’s one that’s been knocking around my head since finals week began:

the Writing 3 Playlist on Spotify 

I think this bad boy is a hint at the game’s timeline

maybe not 100% explanatory, but I think we can guess certain parts of the game through this

and i just wanna tell y’all now, almost all of this is speculation, as honestly im 90% sure the playlist was created bc it had borderlands-y songs in it (although the last few have me scratching my head)

lemme explain why im writing this, though I’m very thirsty for lore

tl;dr: game goes like this: lilith powers stolen. go to promethea, go to jungle, find brick mordy and tina, get into a fight, lose fight, go find other VHs, get into another fight, Krieg shows up to save Maya, maya die. (oh no she ded), the twins have their we are GODS moment, the VHs get summoned to the Eridian homeworld, there’s a huge ass final battle, someone attempts to create an end-of-the-world scenario

so the playlist itself was created to help one of the authors of the game get into their borderlands jam 

it starts with a Cage the Elephant song, “Trouble”, the band of which we all know wrote the first song used in BL1. Not really much else to say here, but we do know the opening cutscene of the game involves our current team of Vault Hunters being attacked by the Children of the Vault. this is, of course, not indicative of any songs used in bl3, but we can assume it captures the general feeling of the game.

Second song: “Fire” by Barns Courtney (holy shit I love this guy so fucking much!! if you’ve never listened to his music, PLEASE do so! I really recommend “Rather Die”- I am in the process of making a bl3 animatic to it actually lmao). 

So anyway, I’m just sayin’, the lyrics of this song...

“Oh, a thousand faces staring at me Thousand times I've fallen Thousand voices dead at my feet Now I'm gone... And my mother told me son let it be Sold my soul to the calling Sold my soul to a sweet melody Now I'm gone... Oh gimme that fire ...”

Honestly, I would not be surprised if this song was about Lilith’s loss of her powers. I mean, she used to call herself the Firehawk because she burned the shit outta bandits. c’monnn.

The man, the myth, the legend himself even says that "[The song is] quite defiant as well, like this cannot be how it ends, it cannot be my situation."

Mooooving on

“Majesty” by Apashe and Wasiu

holy fuck i love this song so much. and its so very obviously about the Calypso Twins- at the very least its Tyreen.

“All the stars and galaxies address me as your majesty So better say your majesty, I might react erratically Throw you in a fire, purify you I'm the sire, my empire's on the rise You better find yourself a place to hide Your place to find, but say it twice My name divine, I'm aimin' high Don't look in my face or eyes Take a bow and save your life Glory to the emperor, my temperature is risin' Always hot, it's getting violent”

I mean come on if its not when we meet the twins for the first time after they steal lily’s powers, then its definitely when they do something absolutely badass and really show us why they’re revered as gods. Possibly related to the Holy Broadcasting Center?

“The Way I Do” by Bishopp Briggs 

this one honestly had got me stumped as to its purpose, i lowkey kinda think its getting Sanctuary 3 up and running (and possibly meeting Maya for the first time- still not sure about that). I wouldn’t be surprised if there’s a whole thing for Scooter and this song fits pretty well. I imagine we also meet Vaughn and the Children at some point, so maybe here?

“Greeting the Menace” by Zack Hemsey 

yeah i uhhhh dunno. This sounds like a song about a dude getting tortured which scares me a bit lmao. 

I thought maybe this song and the next 2 could be VH-based songs, as the next 2 have no lyrics whatsoever and the third is called “Best Friends”, but who knows... If this is the case I could make the argument this is about Zane or Moze, leaning towards Zane cuz he’s pretty covered up, plus I think “Best Friends” would be more Moze’s style lmao

I could also see this being a song about Troy... could explain all the ‘body mods’ and the missing arm.

“ProtoVision” by Kavinsky

If we’re going with the idea that these next few songs are about the Vault Hunters, then I imagine this would be Fl4k’s. It’s got that synth and some guitar which I think fits perfectly with his robo-hobo aesthetic lol

Other than that, I truly have no idea what part of the story this song could reference since there aren’t any lyrics. Maybe Promethea’s city? I could kinda see it, it sounds pretty high-tech

Similarly, “diatribe.” by Oliver Michael

the beginning gives me a whole meditation vibe which I kinda associate with Amara and her phasecast skill which “sends out an astral projection” of herself. 

Then again, this could be the outskirts of the Promethean city... I could see myself wandering around the huge ass foliage and discovering an abandoned research base to this song idk

“Best Friends” by grandson

aaahh i love grandson. I think this could be a Moze-based song. I just get that vibe from her leather jacket... anyway

I also could totally see this as discovering Brick, Mordecai, and Tina in the research base (if that truly is where they are). Cause we saw them in the trailer hanging out there. 

tbh the lyrics themselves kinda remind me of pre-Tales Rhys and Fiona and all their friends

“All of my best friends Like to go and get fucked up Then they talk about all the lives they never got to live Oh, they're still waiting for some sort of invitation It's never coming along, oh no, you'll get just what you give”

but idk if that’s what its meant for

“Bap U” by Party Favor

hmm another ‘lyricless’ song. not really lyric-less but uhhh the lyrics are pretty nonsensical lol

I could see there being a fight scene with Brick Tina and Mordy as AIs helping out here, maybe exploring the abandoned research base?

“Not Human” by elegant slims 

oh you know what im going to say here hahaha

monster troy p l e a s e

i wouldn’t be surprised if Tyreen started accumulating more powers here, like perhaps the previous fight scene was over the Vault on Promethea and the twins were able to access it before us? and Tyreen gives the Vault Monster the succ

“Crack in the seams You're breaking through The animal inside of you You're not human anymore... Your eyes go black electric blue The animal inside of you Life on a string Watch it swing Hide your teeth”

and one (or both) of the twins start going feral lol

“Way Down We Go” by KALEO

one (1) fear and that’s that someone dies during the scene that corresponds to this song

hopefully its just the boys being depressed over a loss instead of a victory, but oof

anyway, you know what they say: “sometimes you gotta fall before you make it big” ;) thats a typhon deleon quote

“I’m a Wanted Man” by Royal Deluxe

I want to believe these next few songs are us recruiting the rest of the Vault Hunters not seen yet

I kinda associate this one with Axton since his whole History with DAHL, but who knows! It could be Gaige, too. or Maya since she looks like she’s being incredibly gay criminal on the Maliwan Monastery planet. Maybe both Axton and Gaige? I would love that

“The Devil You Know” by X Ambassadors 

Could also be Axton! I lowkey think its Salvador or Timothy Lawrence. The reason I think its Timothy is cuz the whole song gives me huge Handsome Jack vibes, but it could also be Sal cuz I totally imagine him becoming a bounty hunter to fund his gun addiction lmao

“00000 Million” by Ella Vos

this one also gives off Maya vibes imo. I wouldn’t be surprised if this one is about her and the introduction of Little Blue. I could also see Athena and Janey here, just living their lives out in a cottage somewhere. awww

“Jungle” by Tash Sultana

Ahh a love song [pukes] Hopefully this one is about Athena and Janey, cuz there is a depressing lack of both of them in all the trailers we’ve seen! It sounds lowkey sad, though. I hope nothing happened to them D:

“Don’t Wait Up” by Dustbowl Revival

this one gives me very big Fiona and Sasha vibes. 

Of course, there’s also the fact that the song is about a dad, and we still don’t know who the heck “the Father” is on all those Calypsos posters. We also dunno who in the heck “Mother” is, either. Sounds like Father left the cult, though, oof, and Mother stuck around. Wonder what that’s all about, maybe he felt like the twins were working fast/efficient enough and left to do things himself? Very lost on this idea tbh. the song seems very out of place, but it has to connect to something, yknow?

“Dies Irae” by Apashe and Black Prez

For those of you who don’t speak fluent Latin (the fuck guys?? lmao jk), the title means "Day of Wrath". Nice, nice, nice. 

the lyrics, you might be asking:

“'Cause I'ma beast. Where you at? I've been unleashed. Whatchu doin'? Sink my teeth. Y'all can't fathom I'ma beast”

me: [vibrating in my seat] monster twins monster twins monster twins monster twins

at the very least this is definitely a fight scene here. Probably with the twins again (hopefully). Maybe they found some way to imbue the cultists with fucked up powers and are sending them against the VHs as giant demon things and as we fight through the temple (apparently with some Guardians) we realize the final one is Troy and/or Tyreen?

I like to imagine this is where Maya gets her powers stolen, if only because the next few songs... I think she’s around because she’s now the only person with Siren powers on the side of the Crimson Raiders, so they might need her help with the Vault in some way

“RAMPAGE” by GRAVEDGR

y’all wonder why I seemingly forgot about Krieg in the above songs? Well, this is why. 

The only lyric for this entire song is “Bitch, I'm on a rampage- mask on my damn face”

I mean come on, Krieg with his psycho mask on, the fact his action skill is literally called “Buzz Axe Rampage”, the fact he loves Maya as shown in his introductory trailer... it’d be so perfect. And I bet badass psycho Krieg would be the only thing able to beat back whatever’s attacking at the moment. I’m just imagining him smashing down a wall and going apeshit

“Black Out Days” by Phantograms

Another song I think is about Krieg and Maya. I don’t think Maya does too hot in this game, I honestly wouldn’t be surprised if she gets the Roland treatment if you know what I’m saying. I wonder if this causes Krieg to devolve back into insanity cause the whole song seems to focus around that. I hope not D:

“Hide the sun I will leave your face out of my mind You should save your eyes A thousand voices howling in my head Speak in tongues I don't even recognize your face Mirror on the wall Tell me all the ways to stay away”

To be honest I could also see it being that Maya gets her powers stolen and thoughtlock-ed by the twins to fight on their side (as she’s seen fighting with the big demon elemental things), and maybe we have to kill her or hurt her in some way to get her to stop attacking us. God I hope not.

Let’s hope this is someway about the twins and definitely not about our favorite Siren and/or Psycho

“The Finishing” by Stavroz

oof i think somebody dies... If its not Maya, my best guess is Krieg or Lilith. Maybe Mordecai or Brick? Oh I hope not, I love both of them way too much for it to be healthy. But, hey, at least Tina learned some coping mechanisms :(

“Intro” and “Apocalypse Please” by Muse

merged these into 1 because Intro is like 15 seconds long and is literally the introduction to Apocalypse Please. 

Definitely reaching the end of the game here... 

“And it's time we saw a miracle Come on, it's time for something biblical To pull us through And pull us through And this is the end This is the end Of the world Proclaim eternal victory Come on and change the cause of history And pull us through”

I think the twins (or whoever may have become the main villain- perhaps the Eridians?) have claimed victory/gotten the ultimate power in one way or another, and/or this is the Crimson Raiders getting themselves ready for a final stand-off with the big bad evil guy. 

I would really love if there’s a scene right at the end of this where the Twins have their huge “BOW TO ME” moment and then they just get COMPLETELY obliterated by a new villain. Just absolutely decimated.

New villain, like if they opened a Vault and whatever was being imprisoned there just wipes the floor with them (something like the Destroyer, if not the Destroyer itself), or fuck shit maybe even Tannis? or the Eridians looking for help in the war. or the Eridians bringing war. Who knows!

Again, could just be the Twins having gotten their hands on the end-game material, like realizing they can turn troy into big demon fuck (no i am not letting this one go) and we are kinda fucked now.

“Free Animal” by Foreign Air

I... have no idea lol

maybe Krieg getting rescued, maybe (one of?) the twins getting recruited by the Raiders for the final fight? It could fit into the ‘Beast’ imagery. Fuck, maybe even rescuing/finding Typhon or something? Idk, im kinda in the party that Typhon is going to be coming back some way or another lol, I’d love to meet the guy

“Dreams” by ZHU and Nero

This definitely sounds like a new BBEG has just been introduced or the big bads just entered the final phase of their plan, like the Crimson Raiders just learned about something life-changing and this is their “oh shit” moment

i wanna believe that the Eridians or another alien race (like the Seraphs!) are going to come in at the ‘end’ of the game and the Watcher is gonna be like “bitch did you really think I thought these dumbass ECHOnet streamers were the epitome of War??” I imagine we’d be on the side of the Eridians here, since y’know, the Watcher came to us for help.

Of course, the twins could still be the BBEG and have gotten their hands on that universe-destroying power that was described on the website (”to recover a map to ancient Vaults and prevent a universe-destroying power from falling into the wrong hands”) so maybe the Eridians called us in in order to meet and get help against the COV?

“Beyond the Fray” by Cassandra Violet

personally i think this one is about the Eridian homeworld

“I'll mark the day When we can meet beyond the fray Don't lose the will to see your home You find the way so we can meet beyond the fray I'll fight to see that you get home Consider this small clue Look beyond your point of view Make a space for honesty hide“

Wouldn’t even be surprised if someone made a sacrifice so we could get there... I imagine its hidden somewhere in the alternate dimension or wherever the Vaults lead to so it couldn’t be found, so maybe Lilith’s got her powers back at this point and she sacrifices herself to send us there?

idk...

“Outside the Realm” by Big Giant Circles

ah yes, another reason I think the end of the game involves the Eridian homeworld in some way. Have you heard this?? huge “we just stumbled upon a long-lost-alien-planet” vibe. I love it. Maybe even just a shot of Sanctuary III slowly gliding over the giant planet, having just exited phasewalk. God yes

“Battle Royale” by Apashe

another reason i think the final fight is some giant battlefield/wave fight instead of just against 1 or 2 enemies. not to mention the fact that the VH skills we’ve seen so far are crowd control based instead of raid boss focused. 

Its likely the VHs against the Cult of the Vault, but if we defeat the Twins halfway through the game, then the Cult will dissolve on its own. Either way, I really really really really really want a huge fight against an army. I don’t care if its against the Children of the Vault, the Eridians/some Guardians, or if its against the Seraphs or a new set of aliens we’re gonna get (maybe whatever the Destroyer was/is?). idk idc i just want a huge battle. I imagine we’re on the Eridians’ side, as I said above, but who knows, maybe the Watcher went rogue. 

oh and also, the next song:

“Doomsday” by NERO

oh hey, I recognize this song, it’s giving me major BL2 flashbacks lmao

Also the last song in the playlist, which is giving me the big fear (tm)

I imagine that we wouldn’t have been brought to the Eridian homeworld if it wasn’t kind of a huge deal, and what’s more of a huge deal than the end of the universe?!

that’s what i’d call doomsday, anyway.

could be the reason the Eridians are coming out of hiding after all this time. Either to stop our dumb human asses from opening the Vaults, or to get help against these alien fucks because our dumb human asses keep destroying their first line of defense- the Vault Monsters.

If the twins actually DO remain the main villains throughout the whole game, then I imagine this is them prepping to destroy the universe

but maaaan i really want some aliens... maybe the universe destroying power IS the aliens? aw hell yeah

[rainbow-squirrels-7]

!!ENDGAME SPOILERS AHEAD!! Since I did it last year with Infinity War and now that I’ve seen Endgame twice here are my ramblings:

But before we begin apparently I accidentally predicted Endgame’s title during my IW ramblings and then completely forgot about it...

-so like that friggin beginning tho poor Clint like the entire movie. Agreeing with a favorite YouTube movie reviewer of mine, this was really Clint’s shining movie despite his uh- downward turn for a bit there -but on the bright side I’m glad his older kids’ names are canon now; like legit I thought those (Cooper and Lila) were made up by the fanfictioneers. Maybe they were and the writers were like ‘huh okay less work for us- yoink’ -then Nebula and Stark playing table football that was adorable. The shiny paper reminded me of that one Chris Hemsworth gif you know the one of him making a face at his reflection? -and heck yes Carol coming in hot to save the day what a legend -woohoo go get Thanos time -and he’s just in a frickin farm in a T-shirt (a T-SHIRT?!?) collecting some fruits and starting a new YouTube cooking channel -“what’s up half of the universe today we’re making weird bumpy fruit stew” -but heck yeah Thor cut off that guy’s head -and then just like whoa five years later. I usually can’t stand time jumps but it’s alright. It really gives a perspective of ‘yeah the world isn’t better with half its population. Everyone’s so sad’ -good job of Steve starting a therapy group tho even if he doesn’t take his own advice -I can’t believe a rat saved Scott talk about lucky -unless that rat was actually Loki -just sayin -and the bike kid: “wouldn’t you like to know weatherboy” -I forget how old Cassie was in Antman and the Wasp but +5 years to that I guess. She looks a bit too old to me but what do I know. I’m very glad she didn’t disappear though cuz I love Scott very much and I don’t want him to go through that -tbh Scott saved everyone cuz he had the time travel idea in the first place. I love an optimistic boy -UHBUHH I HAVENT TALKED ABOUT CAROL’S HAIRCUT YET UM HECK YEAH -it’s very good I’m very gay -anyway -I liked Nebula’s prominence in this movie she’s growing on me but of course it doesn’t take a lot on account of me loving robots (cyborgs?) so much -getting the band back together! -baby Morgan Stark/Potts was Very Good -ohmygod Thor -so chub -I was annoyed being without beefy Thor the first time, but rewatching it though I thought his Look was maybe not only reflecting his depression (cuz yeah) but maybe mythological Thor? Like I’m just throwing spaghetti at the wall but maybe in actual Norse myth Thor was (well, actually a redhead) that chub/beef combo but he did have the fluffier beard that MCU Thor had this time. Idk, like I said- spaghetti -Valkyrie’s back! Love her -they call her that though? Isn’t that what she is- like her job? Does she not have a name? Could have sworn it was Brunhilda or something -and Korg and the sharp bug guy are back too! Love them -friggin playing Fortnite -jokes aside though I do love that deep look into Thor’s guilt throughout the whole movie. Like he thought killing Thanos would just make everything better but it didn’t and just couldn’t deal and would rather drink to forget -Clint’s guilt was also interesting, like showing that ‘oh god he could really go there, he could get this bad given the circumstance’ -just Blade Runner-ing all around Tokyo -I haven’t seen Blade Runner but it has neon lights and rain right? -but yeah I do like the “the Snap took away good people and bad people but like it could have just took bad people and since it didn’t I’ll have to instead” -sad boy -he was very uh ‘Magnus rushes in’ if you will, during this movie. Not caring for a lot of it if he lived or died cuz he’d lost so much -god he was good in this movie -anyway -I also called the time travel:

-it still doesn’t completely make sense to me though? Like time travel is confusing enough but adding in a multiverse just makes it even more so -I loved the revisiting the old movies! -low key wanted an Age of Ultron revisit so we could have OMG we could have seen Pietro again -still on the #bringbackpietromaximoff train guys -but anyway we could have seen some good Wanda scenes and also my boy Vision again -but it did make more sense to get the three in NY at the same time -it was real cool to see the bald wizard lady (Minerva from TAZ Amnesty) defending the wizard building during 2012 Avengers- like that is so believable and now we can watch 2012 Avengers and be like “oh hey the wizards were there” -“that is America’s a**” I love how much Scott hero-worships Steve like we saw that in Civil War and yes it’s so funny and I love it its great -Steve vs Steve fight?? Great -“I can do this all day.” “Yeah yeah I know.” -And again, we can totally watch 2012 Avengers again and be like ‘yes meeting with Secretary Pierce and the other Shield guys- this is totally believable, it’s exactly what would have happened we just didn’t see it.’ -the elevator scene! I thought for sure Steve was gonna do the “now before we begin does anyone want to get out” but the “hail hydra” was just as good -“they’re hydra but we don’t know that yet” “they Look like bad guys!!” -and I guess Loki using the Tesseract to escape during that scene is setup for a... tv show? He’s gonna be wreaking havoc through time and space I guess?? Glad he’s back though -anyway revisiting more movies -friggin Guardians 1 -Quill singing Come and Get Your Love really badly cuz all we heard was the actual song and OhmyGOD that was hilarious -I’m glad Rhodey and Nebula got on a team cuz they can be prosthetic buddies -but did Nebula just not tell Clint and Nat that one of them would have to die for the Soul Stone? Or did they know and just not wanna talk about it till it came up? -TBH I though the ‘lose someone you love for the stone’ requirement would have been filled by both Clint and Nat already cuz Clint could have been like “um my dude do you even know how much I’ve lost already??” -apparently not though -Nat’s hair was great for the time travel parts I liked the red fade to white -though it was a sad and intense moment with Clint and Nat deciding who of them had to die it was also sweet cuz you can see how much they care for each other -and I was- well not glad but I really wanted Clint to see his family again -not that The Avengers weren’t his family -that friggin line “did she have family?” “Yeah. Us.” GOD -and then there’s that whole rigamarole with double Nebulas and oh Gamora’s back too -again time travel/the whole multiverse thing apparently doesn’t make sense to me so I’m just gonna gloss over it as much as I can until I can get more into it later -anyway the other time travel to the 1950s! -cool callback to Winter Soldier like you could see Zola going into the bunker -like So many people were there at the Camp Lehigh (idk if that’s how it’s spelled) like Everybody was there -good good moments with Tony and his dad -I thought it would have been cool for Tony to have given his dad the inspiration for his own name but oh well. Maybe that wouldn’t have even worked with time travel and all -Steve’s prank call to Hank Pym that was funny “um the box is glowing” -but oh geez the scene where Steve finds Peggy oh god when he goes in the room with her name on the door my roommate and I were watching it together the first time I saw it and both of us went “ohhhhhhh oh nooooooo” -cuz like that’s the first time he’s seen her since he went in the ice! Or at least seen her how he remembers and not old in Civil War hhhhhhhh GOD -I think seeing her there was a factor in his decision later but I’ll get to that later this is a long heck movie -oh and the OG human Jarvis showed up! I like him, I only saw season 1 of Peggy’s show but I remember liking him a lot -but yeah back to the present unless- well I’m sure I missed something -OH FRICK THOR’S BIT -I can’t Believe they went back to The Dark World -tbh I actually like The Dark World I think it’s a good movie but it’s not universally liked -callback to the scene with Loki tossing the cup in the air ahaha that one was always good -so if they had Rocket’s pokey device during that movie the whole plot of that movie could have been avoided? -anyway um Frigga?? What a queen. Literally -I loved “I was raised by witches I can see with more than my eyes” -she’s really what Thor needed there but god the “she dies today” poor boy -she’s so good though -I loved that ‘measure of a hero is being who you are not who you’re supposed to be’ Yes -and the “I’m still worthy!!!!” Thor needed a win -“eat a salad!” -Now back to the present -Stark-Tech can apparently channel Infinity Stones? And doesn’t need a special heart of a dying star and giant dwarfs to forge a special gauntlet um okay -“what do I have flowing through my veins right now?” “Cheese whiz?” -Bruce is so good though so strong I loved the “I was made for this” -so sweet when Laura called Clint! Yes! Everyone’s really back! -and double Nebula just Had to ruin everything tho -before I get into the final battle- I wonder how much of the time travel scenes were reused from old footage and how much was reshoots with the same actors/costumes/sets? -anyway -um rude blowing up the compound -and god the water scenes were so stressful the first time. Water/specifically-about-to-drown scenes always freak me out. Also trapped under ice and squished under something scenes -Clint finding the gauntlet and getting away from Thanos’ cronies! Every time anyone was running with the gauntlet all I could think of was that one goof from TAZ Balance in Petals to the Metal- Taako’s “Grab the Gauntlet and don’t look back” friggin

-also when Steve, Thor, and Tony all go to confront Thanos who is waiting for them, there’s a specific song playing in the background: https://youtu.be/H_9mnO_NOjk?t=120 (it starts at around 2:00) and you’ll hear this series of deep bell sounds? For the life of me- that specific sound sounds SO FAMILIAR and I can’t friggin place it. I can’t decide if it just reminds me of the Wind Dance song that plays in TAZ Balance whenever the Hunger shows up (which is fitting tbh)? Or if it sounds like some boss battle music that I can’t place? Maybe from Pokémon or Mystery Dungeon? I just can’t remember. It sounds real cool tho -but uh yeah UM -STEVE!! WORTHY!!!! -I mean we all be knowing but! -such a cool scene. I started clapping the first time I watched and others in the theatre joined in -not as cool as when Vision lifted the hammer but I’m biased -but things look dark at this point and I can’t remember if it’s at this part or one one next but there’s this real cool wide shot, this real nice tableau of Steve on a hill or something and this light behind him as he faces Thanos’ army and yeah it just looks real good. Like a good computer background I’d like to have or a poster -but yeah then! -“ON YOUR LEFT!” -Yay!!! Portals open and ‘oh yeah! Everyone’s back now! We have friends to help us fight!’ -gave me some good TAZ Balance episode 68 vibes. Could have called for a cool Lup-esque speech tho from Steve since he’s so good at that- “You see this? This is scary. But we can do this.” -EXCEPT -now we reach the part of my rambling where it turns into somewhat of a rant -because I’M annoyed but only for a specific reason that won’t affect the average moviegoer since Apparently not everyone’s a fan... -cuz Literally the only person who doesn’t show up -is my boy Vision -I mean Yes -I Know he was one of the people who died before Thanos snapped -but my hopes were Way Way Up that he’d come back somehow -and UHHH APPARENTLY I WILL JUST HAVE TO BE DISAPPOINTED -everyone Else came back??? Why not my boy?? -he wasn’t even mentioned despite being So Important in IW -except vaguely when Wanda pulled a real Taako in Balance episode 67 “You f**king took everything from me!!!” -she could have took out Thanos on her own for sure like he had to call in the big guns just to stop her from doing just that -strongest Avenger heck yeah -and Carol came too! -friggin Star Wars Episode 8-ing up in here shooting through Thanos’ spaceship that was So Cool -and the Girl Squad! Girl Squad! part!!!! Yes!!!!! So good!!! Protec small Peter! -somewhere, Nat smiled -Spider-Man’s instakill that was great -I loved the ‘pass the gauntlet’ part though -when Clint handed it off to T’Challa, T’Challa called his name and that was good cuz callback to Civil War when Clint said “we haven’t met yet. I’m Clint.” And T’Challa was like “I don’t care”. He does care now! Lol! -Carol just friggin Beast mode Thanos can’t even touch her he had to pluck the Power Stone from the gauntlet to even knock her back! We stan! A legend! -and oof Tony to Stephen Strange “14 million and one we win? Is this it?” “If I tell you it won’t be” -cuz oof -it really was a good ending for Tony though -he started it all way friggin back in 2008 -and the “I am Iron Man” Yes -and also I think it was in Age of Ultron that part when Tony was talking to Fury and it was like “I saw them all dead and that wasn’t even the worst of it” “the worst was that you didn’t” -so it’s very fitting and so so good -lining up with and going against Howard’s earlier “the greater good rarely outweighed my personal interest” and proving that Tony really was so heroic -so like it’s sad but it’s fitting and not like an unsatisfying end for his character -and it’s not like he won’t be friggin mentioned ever again or anything he’s friggin Iron Man he’s already in the new Spider-Man trailer -(no shade at all in the ‘not begin mentioned at all’ category...) -anyway oh wait -oh god Peter Parker tear my heart out again sad boy he’s so good at making us sad when he’s sad about Tony -yeah anyway again -loved the “proof that Tony Stark has a heart” disc from the first movie that was good -oh and so like the camera is moving through all the different groups of people on the dock and moving towards the house -(just an interlude but CAROL IN A SUIT UM YES) -there’s a shot of some random kid! And I didn’t know who it was until I was leaving the theatre and another guy heard me and my dad talking and he told us! It’s the kid from Iron Man 3! Now That was a nice throwback -but yeah then it gets into the I guess TAZ Balance Rebuilding Year-esque scenes -which were all Very good! Good family scenes; Hope and Scott and Cassie, and T’Challa and Shuri and their mom, and that scene with Wanda and Clint was very good BUT -would it have been So Hard to do just a small scene of maybe somewhere in Wakanda like Shuri helping to rebuild Vision with all that vibranium while Wanda was there watching? Maybe even from his old body?? Would that have been so hard?? Just Something to give me hope?? -why are all these movies So Against Wanda being happy??? -but yeah almost to the end -more time travel with Steve going to return the stones! I’m glad Sam and Bucky got more lines I love them both -but what I really loved was that Steve got his Magnus ending -not in a “how does Magnus die” way but a “how does Steve live” way -love me a good happy ending esp if it involves dancing like that’s All he wanted -like I said earlier, I think just seeing Peggy again was enough for Steve to be like ‘oh it doesn’t matter if I can’t live without war action (a la what Ultron said in AoU) i do really want that life with Peggy and I can do that now’ -it was just Good -but it does raise a few time travel questions -like if Our Steve went back to the 1940s (he did go to the 40s right?) does that mean that there’s another Steve still stuck in the ice? I would say there can only be one Steve at a time but that was proven wrong in the very same movie. There’s gonna be something to do with multiverse in the next Spider-Man which will of course just make everything all the more confusing but still... I guess if I don’t think about it too much it’s not such a big deal -it was also very fitting that there weren’t any after credits scenes. It reminded me of the end of TAZ Balance with the announcer (Junior) not announcing the final episode since he said in 68 that we’d have to see what happens in the last one together. Idk but I liked that -and I liked the signatures of all the OG avengers! That was like them signing off on this huge thing they did, which is really what happened! This huge friggin 12 year thing! -wait was that what the 12 meant all along?? The 12%, the 12 minuets? We may never know -but anyway back to the most important part to me -my boy Vision

-I was so naive  

-like I’ve been told there’s gonna be a tv show or something but like -come on -you could have given me Something -I feel like Griffin in the Fallout 4 Monster Factory after Roachie despawned “nothing?!? You leave me nothing!?!” -so like all in all it was a good movie a Really Good movie I liked it a lot -that Time Heist- I love time travel plots. I already had some of my next DND campaign planned with time travel being a big part- I hope my players don’t think I’m stealing lol -it was very enjoyable and so so good to wrap up this huge thing and put a bow on this story arc. Which I guess can open the door for experimentation now? Which would be kinda cool -Scarlet Witch movie maybe and my dreams can come true??? I can be happy??? Please -I just- one little scene could have left me less disappointed and given me just a little hope but anyone who’s not in the ScarletVision boat will not be disappointed by this movie (cuz the deaths [Tony and Nat] are heroic and satisfying to me, so I’m not not satisfied by that) -it wasn’t Their movie but still. Let me complain -It really was really good though -And I guess I only get motivated to write fanfic like once a year (or whenever new ScarletVision content is in a movie though um the Vision part of that was uh nonexistent) so like my Complements fanfic is in the process of growing a fourth part so look out for that I guess -and if you’re still here reader, I hope you enjoyed my long long ramblings

-and in conclusion:

[vennomax]

Kingston: Ethiopian prince’s visit to Jamaica relives the birth of Rastafarianism

New Post has been published on http://www.vennomax.com/lifestyle/kingston-ethiopian-princes-visit-to-jamaica-relives-the-birth-of-rastafarianism/

Kingston: Ethiopian prince’s visit to Jamaica relives the birth of Rastafarianism

It was a rainy April day in 1966 when Emperor Haile Selassie came to Jamaica. As his plane landed, the rain stopped, and the tarmac was mobbed with people. The crowd shoved security forces out of the way, and official protocol had to be scrapped. Inside the plane, the Emperor waited for half an hour, surprised and overwhelmed by the enthusiastic welcome.

That visit over 50 years ago is the stuff of legend, retold again and again. For Rastafarians, it was a visit from a man they consider divine. For newly independent Jamaica it was the visit of an African king.

I arrived at the same airport on Apr. 21, 50 years to the day since the Emperor’s visit, and the atmosphere was electric. Hundreds of Rastafarians arrived in buses, many dressed in traditional Ethiopian embroidered garb. They held signs in Amharic, an Ethiopian language, welcoming the grandson of Haile Selassie, their messiah, back to Jamaica. The air was thick with the smoke of ganja, which Rastafarians smoke as a sacrament. As the crowd chanted, a drum circle beat out a sacred rhythm.

I grew up in Ethiopia and now live in Jamaica. Like many Ethiopians, I have always been puzzled by the Rastafarian belief that Haile Selassie was an earthly manifestation of God. So when I learned that Ermias Sahle Selassie, Haile Selassie’s grandson, would retrace his grandfather’s steps, visiting Jamaica on the fiftieth anniversary of the Emperor’s visit, I knew I had to witness it.

Like many Ethiopians, I’ve always been puzzled by the Rastafarian belief Haile Selassie was an earthly manifestation of God.

April 21, is “Grounation Day” for Rastafari (as Rastafarians refer to themselves), a holy day that marks their messiah’s setting foot on Jamaican ground. At the airport on this day, people carried framed photographs of the Emperor in a military cap. One man wore the same cap in the rasta colors with the Emperor’s visage knitted into it.

Yet the prince who approached the crowd outside Kingston airport had close cropped hair and wore a conservative grey suit.

Two lines of men in bright red, dreadlocks piled high on their heads or flowing down their backs, held up Ethiopian imperial flags—green, gold, and red with the Lion of Judah in the center—forming an arch for him to walk through.

It was a scene that could be hardly be more different from the formality of the Ethiopian royal family. Rastafarianism, a strongly anti-establishment religion that condemns the material world of “Babylon,” and the Ethiopian royal family, perhaps the very definition of the establishment, are strange bedfellows.

And yet, as the prince passed and the crowd stretched out to touch him, the prince reached back, grasping their hands.

I heard calls of “Jah Rastafari!” It felt like a sort of homecoming.

The Black king to the East

How did a monarchy in East Africa, thousands of miles away from Jamaica, form a bond with an anti-establishment movement on an island in the Caribbean? Why was a prince whose family was overthrown over forty years ago greeted with ululation and celebration?

The answer turned out to be in a phrase of Marcus Garvey’s, the Jamaican black nationalist, that was repeated over and over as I followed Prince Ermias around Kingston during his four-day visit: “Look to the East for the crowning of a Black King, he is the Redeemer for the days of deliverance are near.”

I had missed the point. Rastafarianism is about more than a black king in a distant land.

Garvey, a Jamaican hero, was born in the late 1800s, Jamaica, lived long after slavery was abolished in 1833. But his fellow Black Jamaicans lived on an island that was still a British colony ruled from England and Black Jamaicans were still poor, mostly landless and longing for the “deliverance” that Garvey promised.

Then in 1930 Haile Selassie was crowned Emperor of Ethiopia. He ruled the only African country to successfully resist colonization, in part due to a famous victory three decades earlier over Italian troops.

Garvey’s prophecy appeared to have been fulfilled with the crowning of this Black king and Rastafarianism was born. Rastafarians take their name from Haile Selassie’s name before he was crowned and took an imperial name: Ras Tafari. Ras, literally “head” is a title akin to “governor” while Tafari was Haile Selassie’s first name.

BRITAIN ETHOPIA ROYAL VISIT

Ethopian Emperor Haile Selassie ride in a carriage with a young Queen Elizabeth II in London, 1963.

As a young religion, Rastafarianism has been the target of mockery for plenty of reasons, not least of which is the belief that a man who died under two generations ago is divine. I have been guilty of that myself. But as I talked to Rastafarians, I realized I had missed the point. It is about more than a black king in a distant land.

Haile Selassie and Ethiopia were part of black Jamaicans making a new history for themselves; rejecting the hand that history had dealt them. An African king represented their rightful or “divine” heritage, instead of one of slavery, oppression, and racism.

“I choose to be a descendant of a free and independent people free of that negative and oppressive legacy.” Orville Morris, a Rastafarian who was nine years old when the Emperor visited in 1966, told me, “I choose to be a descendant of a free and independent people… free of that negative and oppressive legacy of slavery and colonialism.”

Ann Witter, who was 16 when Haile Selassie came to Jamaica, and has lived in Ethiopia, told me that she felt like Ethiopia was her spiritual home. “If I hadn’t been born here in slave country, I would have been born there,” she said.

As I spoke to Rastafarians who, like me, were following the prince around Kingston during his visit, I realized that for them, Haile Selassie and Ethiopia are about “emancipation from mental slavery,” like that Bob Marley song so many of us have been singing along to all these years.

Embracing Rasta

Not much material is available about what Haile Selassie himself thought of Rastafarianism. He infamously dodged journalist questions about being a deity. Believers insist his non-denial should be interpreted as a tacit acknowledgement that he was divine; skeptics think he was just being polite.

Rastafarian legend has it that he privately said to his followers, “Be still and know that I am him.” The statement, with its Biblical echoes, could be interpreted as an acknowledgement of his sacredness or as a reference to his title: His Imperial Majesty, often abbreviated as H.I.M.

Haile Selassie’s grandchildren tell a different story.

“Haile Selassie wanted to be absolutely clear that he was not a saint or a messiah.” Prince Bedemariam Mekonnen Haile Selassie, one of the Emperor’s grandsons, told Erin MacLeod, author of Visions of Zion: Ethiopians and Rastafari in Search of the Promised Land.

What is clear is that Haile Selassie decided to embrace Rastafarians, a group that were not only marginalized and oppressed, but actively persecuted in Jamaica, even after independence in 1962.

Rastafarians still complain of discrimination by their fellow Jamaicans, of being called “dutty Rastas” (‘dirty’) for their dreadlocks.

It was very significant, then, back on that tarmac in 1966, that the Emperor requested that a Rastafarian—Mortimer Planno, who had previously visited Ethiopia, help the king navigate his way through the throngs when he arrived at the airport.

At a time when Rastafarians had little political power, Haile Selassie met and dined with them and awarded them gold medals with the Imperial Lion of Judah insignia. The Emperor also gave the Rastafarians a land grant in Shashamene, Ethiopia, so that they could realize their dream of returning to the “Promised Land.”.

Flying the Emperor’s flag

And Rastafarians returned the favor when Haile Selassie was overthrown in a coup in 1974. The military group that seized power, a military committee, known popularly as the Derg or “committee,” tried to systematically erase the Emperor from Ethiopian history.

Although Haile Selassie had been a champion of modernization, Ethiopians under his rule were still largely poor, illiterate and landless. A drought, the international oil crisis, and discontent in the military ranks, combined to create conditions ripe for a coup. When he died a year later, the Derg claimed it was due to complications from a prostate operation, but many suspected foul play.

The Derg, which adopted communist ideologies, eventually controlled Ethiopia with bloody terror. But it could not have known the power of reggae music, the weapon that Rastafarians would wield to keep Haile Selassie relevant and his memory alive.

When the Emperor died on August 27th 1975, journalists reportedly rushed to confront Bob Marley with the death of his deity. His response was “Jah Live,” a single released shortly thereafter: “Fools sayin’ in their heart, Rasta your God is dead… Jah Live!”

During the joyless days of the Derg era in Ethiopia, I remember listening to Bob Marley’s hits – songs that talked about “Selassie I,” redemption, freedom, and exodus to the Promised Land. For people like me, those songs were about the Derg regime as oppressor. I wouldn’t learn until many years later, living in America, that they were about Jamaica, or maybe just about any Black person who longed for an end to injustice.

Rastafarians and reggae music have made Haile Selassie and his imperial flag shorthand for black liberation. In a way, Rastafarians and reggae music have made Haile Selassie and his imperial flag shorthand for black liberation and the cause of liberation in general.

“That flag has a meaning for more than just Rastafarians. The whole war against Italy, the fact that Ethiopia remained uncolonized, really made Ethiopia a beacon, a lighthouse to the pan-African movement,” Steven Golding,the president of the Kingston chapter of the Universal Negro Improvement Association and the son of former Prime Minister Bruce Golding told me.

In Jamaica, Rastafarianism has worked itself into the culture and popular consciousness. One gets the impression that Rastafarians make up far more than the 1% reported by the country’s 2011 census. Images of Emperor Haile Selassie and references to “H.I.M.” are common sights. The Ethiopian flag’s green, gold, and red, with the Lion of Judah are all ubiquitous, and on this island are taken to be symbols of Rasta.

Most Jamaicans are Christians, so belief in the Emperor as deity is anathema. But many embrace him in the same way that generations of music fans embraced Bob Marley’s music: on the basis of their understanding of Rastafarianism as a sort of jumble of “one love,” ganja, and the mysterious affinity for an African king. Some are surprised to find out Haile Selassie, like his short-haired grandson, does not have dreadlocks.

Back at the airport, I watched an employee snap a photo of Prince Ermias with her cellphone.

What did he mean to her, I asked. Like most Jamaicans, she was Christian, she told me, but she liked the Rastafarian message of “one love,” and she thought Haile Selassie might be a prophet, or at least have “heavenly qualities.”

“He empowers black people,” she said. “A lot of us are Rastafarians at heart.”