#anvil chorus

[chrispratl71]

Metal Forces mag #1

[mrvelocipede]

At some point while I was working on the series of photographs, I discovered that you can get a custom-printed board book. So now I've done that, and the alphabet book exists as an actual thing, which is both oddly satisfying and slightly disconcerting.

The original idea dates back to 2015, according to my files. That would have been when Daughter was quite small, and just learning about letters. Reading books to children is lovely, and is also its own special form of torture, in some ways. Some books are fine; they hold up to the constant repetition of reading and re-reading out loud that is inevitable at that stage. Others...not so much.

I started thinking about an alphabetical series of words that might survive the ordeal of reading-to-toddlers. Over the course of several months, I turned the words over in my mind, tinkering with the rhythms and rhymes, trying to keep within my own arbitrary self-imposed limits (one word per letter, concrete objects if at all possible, so as to allow for illustration, words that were fun and satisfying to say).

I vaguely thought about illustrating my resulting sequence of words, but my life didn't allow for that kind of distraction. I got as far as scribbling some possible page spreads, but that was it.

This summer, though, my nephew is getting to an age where he's excited about books, and likes being read to. And my own life has settled down at least a little bit, such that I have free time to think about larger projects. So that was when I seriously started trying to make the whole series happen.

...and almost immediately ran into my own ridiculously specific ideas about what I wanted the pictures to look like. Did I truly need an anvil to represent iron? No. No, I did not.

However, I did have a few acquaintances or friends-of-friends who might actually have an anvil. I did a small amount of asking around.

Nobody had an anvil. Somebody might know someone who did, but they were out of town. Out of the country, in fact. For at least another month and a half. Ah well.

Eventually it occurred to me that it didn't have to be a real anvil, it just needed to look enough like one for a photograph. In fact, it would be very much easier to set up different location shots if I was using something lightweight and portable, instead of several hundred pounds of ferrous metal. And so I found myself doing sculptural things with cardboard and papier-mâché for the first time in years.

Now I have what basically amounts to a Humorous Cartoon Anvil. It's pretty great. I feel like there are a lot more photographic possibilities to be explored, with this thing.

And I'm giving the printed copy of the book to my nephew, for his upcoming birthday. Huzzah.

[voice-of-illogical-sense]

I love when the music feels like it is hitting me with hammers

[alannah-corvaine]

okay okay it took me like ten minutes to remember how to super/evil boop, but now i'm locked and loaded and ready for war.

[ecle-c-tic]

My god I love music

[rapidkirby3000]

Perhaps one glimpse of how real writers feel about being replaced by AI writers? 🤔

[autistic-autumn]

alexa play me that song with fucking anvils in it

[m1ssunderstanding]

Get Back Rewatch 55 Years On: Day Four

"Lennon's late again" says Paul, as he walks in late. And sweet Ringo just gently, "between ten and eleven is the time" Which means: "Chill babe. He'll be here."

One thing that always gob smacks me is how bored George and Ringo are watching Paul pull Get Back out of the ether. They literally see him do this shit all the time which is insane to me.

His voice is so so so pretty!!! And he's just so completely in his own world. The hunched shoulders. The twitching. The gibberish. The tapping. The twisting.

Obviously this is a song with the original central feeling being let's go back to before everything went wrong but he wants to make it into a meaningless song with both story bits and almost walrus-esque bits. But why is the first lyric he comes up with about gender? Thinking of @scurators posts on Paul and gender.

Ringo's customary quiet really does add significance to his voice, so him singing along with this so quickly says something I think about his support for the song and for Paul in general.

When John walks in he's greeted with a little cocky nod and smile like "look what I've just done while you were late." And then Paul sings "get back to where you once belonged" directly at him before breaking the eye contact. It's one of those heartbreaking Lennon/McCartney miscommunications because Paul is doing this to get John back, but actually it's scaring him away, you know? Paul thinks he has to prove to John how good he is, but John's exhausted with how good Paul is.

STFU Michael Lindsay Hogg

Paul really does love the idea of being forced out of parliament by cops and honestly so do I. Would've been iconic and might've kept them together.

John's so quiet today and also Yoko is not here. Correlation or causation I wonder.

"They say don't they say charity begins at home?" I love you forever, George. His humor is always so well-placed and so dry (even though he's clearly cracking himself up here). And it steers the conversation away from a direction he was not happy with without poking any bears. In fact, everyone's laughing. Clever boy.

"I've decided that the whole point of it is communication. And to be on TV is communication and we've got a chance to smile at people like all you need is love or something so that's me incentive for doing it." Wise, egalitarian John making a lovely appearance.

And then there's Paul. "I'm here cause I wanna do a show." Lol I love them.

Why do they say "Mr Epstein?" Is it because they're on camera and they want people to know who they're talking about? Does it have something to do with the maharishi telling them certain ways to talk about Brian? Does anyone have any thoughts about that?

Okay so you know how I just said last time how emotionally mature George was? I still think it's generally more true of him than the others, but this right here? This is not it. "I don't want to do any of my songs in the show because they'll all just turn out shitty." Man has issues.

I think it's important to recognize that George and Paul have both said the literal word "divorce" and it's NBD. But when John does it, Paul takes it as "the groups really over and I have to go into hiding and not get out of bed and maybe od who knows." Why? There's another puzzle piece here that we're missing.

"Should we leave you for a while?" "YES!"

On the one hand I'm like "working on Maxwell is the last thing you guys should be doing with this time alone." But on the other thing maybe it's the only thing they can do at this point.

"Mal? You should get a hammer. And an anvil." As he's walking away. Main character in a contrived mad genius biopic. Except it's real.

"Joan" sounding suspiciously like "John" ... And then he goes "fool, Maxwell fool." Aka one of their ~special words~ New theory. John hates Maxwell because he dies in it. And Paul's the killer.

"Take it away Johnny." Even though it was George and John whistling before wasn't it? Did George get cut from the whistle chorus? Another straw on the camel's back.

I LOVE that John just does not know any of his own songs. Across the Universe my beloved!

On the glyn/Paul moment featured below, I have three thoughts. 1. Whore. 2. John Lennon villain origin story. 3. The fact that glyn didn't just tell John is striking.

"I wish it fucking would". "Cause I'm down." This lyric going from a self-soothing reassurance that his people aren't going to leave him that he'll always have this beautiful dream he's created with them. To this? I hate it here.

So there is a big emotional and energy difference between their Beatlemania selves singing "Rock and Roll Music" and their current selves. And part of it is due to the fact that they're just not as happy as they were then. But I think most of it is really just that they thrive when they're performing for an audience.

[jaydexbg]

Aite, Jay's thoughts on Restoration now that the emotional dust has settled.

My non-spoiler thoughts are... it's okay, a love letter to the series? No. A love letter to fans? For the most part.

No shade to RT, Burnie or anyone who worked on this, they did what they could, and had time for. This is going to be loooooong as its my full summary of the movie as a long-time fan, RvB is my special hyperfixation/interest. Spoilers below the cut.

Alright, to start. I personally will believe that s14-17 are cannon, and that Restoration is a simulation/Jax movie/AU/Alternate ending./what have you. I believe this for many reasons, but let's get the Big 3 out of the way first.

1. Sarge's death. I understand it's inclusion, and I understand that with the anvil and steel boot of WB it was hard to produce something of immense quality. Sarge had been a consistent key player and many of us expected this.

But his death was... wrong. It didn't feel impactful, he didn't die a Sarge death. While the reasoning was good (saving Caboose) the execution and runtime made it feel sloppy and just a plot driver(barely). He deserved a much more heroic send-off, and this comes from a avid Red Team supporter, so this should have impacted me. If Sarge had a proper heros death (and the movie had more time), set in a similar vein as Church (or even like he would have died to Meta in s8) then I think I would have had a lot more feelings, and I think it would have also allowed me to accept it much easier, I'm not insanely upset at Sarge dying(however I still would prefer them all to be happy), im upset at how it was handled.

2. Doc's death. Alright, this one peeves me a bit. I LOVE the idea at play, I personally even think it works with Wash given their history in S8, it is a really good reveal. But this also means Doc, an integral character who's been there since Season 2. Doc, who had been the most mistreated and abused character--and JUST got over being overshadowed by O'Malley in universe(S17)... died off screen. And that alone makes me not want to take this as cannon.

It was a moment of "WHAT??-wait." I like Doc, I like all the characters of RvB, but Doc dying off screen after the battle is not it. The Matt Hullum double kill is arguably funny, but I won't stand for Doc dying like this. Sorry.

And 3. The one that bit me the most, hold your sighs/tears; Grimmons. I'm sorry, but I refuse to believe that Grif would leave Simmons, or that Simmons wouldn't go with him. These two characters have been joint at the hip since episode one, they have been through EVERYTHING together. There is a LOT of subtext behind these two, Grimmons barely felt like a fan ship, if they revealed the two were married the entire time I wouldn't have batted an eye.

I don't like their ending. They should have either both went to earth, or both stayed in Blood Gulch. I understand Grif's entire thing was hating the military, but he loved his friends, he cared so much (saving Sarge MULTIPLE times despite Sarge still always bullying him, agreeing to go with Sarge and Caboose to fight the Meta even though he didn't have to, him throughout all of the Chorus Trilogy, and this is just the stuff that is cannon no matter what.), and I don't believe him simply being dismissed would have him leave, he stopped being apart of a proper military when Project Freelancer shut down, and while he was apart of Chorus they'd clearly been demoted/let go since they were ranked down to Privates in Restoration. (I also believe S15 handled the idea of them being moved after S13's ending far better)

And while I don't mind Simmons coming into his own as a leader, he dosent... have a team? They abandoned Lopez, Sarge is dead, Donut is an Admiral (likely for the UNSC), and Grif left. The Blues only have Caboose and Tucker. Carolina and Wash are likely going to go back to the hospital to let Wash heal (which is another thing). So its just Simmons, Caboose and Tucker alone in Blood Gulch? Doing... what exactly? Fighting? This is not a good ending for any of them and it barely makes sense. Id honestly have preferred a "where are they now" segment to this ending.

With those out of the way, lets go over a small lighting round of stuff i didn't like;

Wash felt like he was just there to tell us Doc died, and to get Carolina to the final fight. If you removed him entirely and just said "Carolina has been tracking Meta" nothing would change.

Carolina's inclusion felt like someone threw a cyan bolder into the script, her entrance being a homage to Maine's entrance in S10 was cool but she appeared out of nowhere.

I refuse to believe that after all of this none of them would be checking in on Wash, that man has been the glue of the Reds and Blues since he joined the team and I REFUSE to believe they would just dump him at an institution, however this is especially insane for Carolina. She would be with him every second.

Tucker was INSANELY underused, his moments of breaking through Sigma's control were good, but Tucker felt like he wasn't important. He should be, he should have been the main character of the story, he is the main character of Red vs Blue to me (after Church).

The way Lopez and Sheila were just abandoned is disrespectful. Its in character, and the whole gag but for a final season I dont want a gag like that in a finale. I wanted to see Lopez at that campfire scene imagining him not talking but enjoying the reminiscing. That would have been so sweet and nice. This also applies to Sheila.

The lack of Donut outside of a mention of him being an Admiral and the silly memory of him from Simmons is outrageous. He is a main character, we established this in S17 and retcon or not, he earned that development and it should have remained.

Grif was was insanely angry in the beginning, I imagine this more as Geoff because his performance throughout was probably the best of the movie. He's taken RTs closure hard and I completely understand him being upset, so this is barely a complaint.

Alright... with the negative out of the way, lets talk positive! i wish I could say my positives outweighed the negatives, but unfortunately that isn't the case, however I do have two big standouts.

1. The campfire scene. This, this scene alone is what adds a chunk to the positive section of my feelings. It was the scene that really gut punched me, the moment I heard Ed Robertson's voice I crumpled into tears (I am a HUGE Barenaked Ladies fan). The pure bittersweetness of watching these characters who have been through so much together finally taking a serious moment to reminisce is all I ever wanted from RvB. I wished with all my heart that Tucker, Church, Sarge, Donut, Doc, Lopez, and Sheila could share in it, who knows maybe Sarge and Docs ghosts popped by to listen. But, this is to me, what I wanted.

2. Agent Texas. This was good, this was REALLY good. The bait and swap to have Caboose bringing Tex back and not Church was good, and especially nice development from Caboose despite how rushed it feels. The kicker of this though? this Tex was not the same Tex as before. That reveal that this Tex was not based on the Directors memories of Allison's failure, but instead based on the Reds and Blues memories of her beating their asses is ACTUALLY insane, and a genius twist. And her getting her black armour plus the playing of Round One/Bullfight got me more hype then I was ever expecting to get from Restoration. I also believe that Tex finally being remembered properly and being able to move on with Church was heartwarming and very much deserved.

My negatives far outweigh the positives, but the positives are so good, and with it being the finale of 21 years worth of content I cant in the right mind say I dislike Restoration. I don't like it as the ending to Red vs Blue, call me bias (my favourite season is 15) but the trade off of development for the characters between Restoration and Shisno is just not worth it for me. Say what you will about the Shisno Trilogy but you cannot ignore that it gave us the much needed development for many characters, Grif and Donut standing out the most. While the "god"-plot is far fetched and out there, and I've heard that Tucker was character regressed in s16 (which I do not believe and will die on that hill but thats a topic for another day), or the inclusion of the Blues and Reds putting a wrench in some lore I still don't think it was all bad enough to warrant a retcon entirely. Who knows, maybe this was all planned from the start, or it was just because of WB. But this ending is not satisfying to me. I won't say its a bad ending, if I didn't like Shisno so much and never bothered to watch it I'm sure as a direct continuation from S13 I would have a much more positive look on it.

I also do believe that Burnie wrote it in such a way that you can decide for yourself if S14-17(and 18 if you enjoyed it) or Restoration is the cannon ending and to that I respect it.

So in short, my review of the final piece of official Red vs Blue content, is that its okay. A lot felt OOC, and plot was rushed and messy, things felt like they were all predetermined and not driven by the characters as is RvB's biggest strength. It was far too short and even still I generally don't like retcons. But for what it is, and the positive moments it brings I still think its good. Not cannon to me, but I will definitely be taking points from it into my personal cannon post-s17 (Admiral Donut my beloved, you would be so cool if you actually showed up).

[moltengoldveins]

personal favorite headcanon: totems don’t just ‘heal’ you. They fill every scar, every open wound, with gold. They knit you back together Wrong, and it doesn’t just extend to the injury that killed you, it knows Everything. Even long-faded scars are back, brighter and bigger than they were when they first healed, shimmering bronze in the green light of resurrection. They’re a soul-deep instance of the craft of kinsugi: you come back better, in one sense of the word, but you do not come back the same, and whatever dictates ‘better’ does not care to hide or soften your history of suffering like your body does. Every loss, every slip, every pain is magnified and glorified, until they are all most people can see of you. You become, in entirety, what you have survived. Your death becomes your identity. (Are you really even revived?)

Elaboration on my personal favorite headcanon: Techno’s execution was the first time he’d ever had to use a totem. He’s an old thing, be he god or man: he’s never died. But he has fought. He has fallen. He has held himself together with cloth and rage, and afterwards Philza has had to stitch stray pieces of flesh together until they once again resemble his dearest friend. Most of his injuries are old enough for the evidence to have faded from the surface: they are not old enough for the totem to pass them by. For a moment, when the anvil fell, he looked like he was made of gold entirely, a figure of divine fire. He barely faded when the light did: every inch of his skin laced through with shimmering lines. One of his eyes was crushed in the execution: it glows yellow now, alongside its red partner. Quackity fought a man made of metal, and died watching him bleed ichor instead of blood (long healed bones, deep tissue tears… his heart, crushed by his rib cage when the anvil ground his body to pulp. the gold took everything, even the blood his chorus chants for.)

Tommy has to take a moment to recognize Techno: he doesn’t have to hear the story to know what the Butchers managed to do.

Philza spends a hundred winter nights replaying that moment on the balcony, one futile arrow shattered against the falling iron, half of his soul consumed in green and gold. He spends a hundred more laughing, pressed to Techno’s side, naming each glittering cut, recalling their origin. Neither of them remember what Techno looked like scarless. That is, of course, the whole point.

When Doomsday comes, the first sign of death is a burning figure, tall and bright and cast in gold under a blood red sky, standing amidst a sea of black hounds.

[travels-of-david]

Dwarven hymns

Dwarves do not sing as we do. A lyre and harp, even a tambourine are foreign items to a strange culture in their eyes. The humble drum has been the only instrument I have ever seen a dwarven bard use and even then, most of the dwarves turn their noses up at the shape of them, more so at the sound they make. 

Once, as I sat in a tavern on the outskirts of Cartha, a dragonborn asked a dwarf (I assume a female) for a song of their land. They merely laughed, insulting the dragonborn that he could surely not know the words to one of their hymns, much less play it on a piece of wood and string. The comment grabbed my attention and I soon found myself towards the city of Erabas, under the peaks of Mount’ Lesst in the far east. 

Dwarves do sing. Do not assume they don’t. But they don’t sing like us. 

The pickaxe and hammer are the instruments of the mountain, together they keep the tempo. Often as I walked through the city, I could hear the rhythmic beating of hammer on anvil and from deep in the mines, pickaxe on stone kept time. At no point does the rhythm end. A belief is that if the hammer and pickaxe stop, the forges will stop and the city under the mountain will die. 

For the most part, dwarves hum their songs. Even as they speak, they hum in order to keep in time with everyone else. There are parts, the closest we have are choruses, where they sing the words in unison. The first time I heard it, I was shook to my bones. Hundreds of thousands of dwarves simultaneously singing to the same beat. It was as if the mountain were rumbling itself and would cave in. Yet it never did. After the fourth so-called chorus, I had become accustomed to the sudden noise and on my last day, I even joined in, saying a few lines that I had heard and memorised. 

There are those amongst the dwarves who sing continuously known as the Leot’akuma. While the word has no direct translation, its closest counterpart could be either the choir master, or the master of the song, depending on how you view their occupation. Their duty is to sing the words no one else sings, the part everyone else hums. They walk with a staff, beating them continuously into the ground, keeping tempo with the hammers and pickaxes. Their voices echo throughout the streets and city, reminding everyone where they are in the songs. 

Dwarves do not sing one song, rather there are multiple all happening at once. Many times, one Leot’akuma would be singing about the history of the city, another would be singing about the king, and another about myths and legends. The dwarves that work hum along and when the chorus comes along, sing to what they remember. Once, in a garment shop I was visiting, the chorus came around. Each dwarf then sang something entirely different and not one of them was singing along with the story the Leot’akuma three streets down had been singing about. 

The king of Erabas granted me a gift to see the legions of the dwarves sing before I had left, since I had participated with a chorus and honoured him as a sojourner. The legions have their own Leot’akuma. They lead from the front, their staff still going to the beat of the hammer and pickaxe. The structure is still the same, dwarves hum except for the chorus, except they sing all the same piece and do so more regularly than the average worker. The result is a booming wave that could scare even the most fierce of warriors. 

Unlike us, dwarves do not write their music down. Each piece is memorised. The Leot’akuma, therefore, memorises a multitude of songs and choruses are passed down, either by family or by trade. One day a dwarf will sing his family's chorus, the next, he will sing the chorus of his work. The army has not only their family chorus but the chorus of the legion. Each legion has its own chorus and song, often going through the deeds of the legion. 

While I have been referring them to songs, that’s not exactly what they are, at least not as we view songs. I think a better name for them is hymn. They do not tell stories of women, food and drink, but of work, life and the hardships that they face. Their hymns are straightforward with little poetry in them. I suppose it reflects their culture. The life of a dwarf within the city is hard. They work twelve hours on a regular basis and many do not have days off for weeks or even months. They pour out blood and sweat to keep the city alive. The hymns of the dwarf are often the only thing that keeps them tied there. 

When I had left the city and returned to the west, I met an older dwarf who had left his city long ago. We shared a hymn together and he told me how he missed the hammers and how humans had made him lose his sense of rhythm, as they cared not how the hammer swung, nor how the pickaxe hit the stone. 

[rifelman]

i think it's interesting whenever a show does two episodes with similar plot elements but one is really good and the other sucks, because it gives you a cool opportunity to analyze why one execution of the same basic plot works and why the other doesn't.

Season 1's "The Apprentice Sheriff" and Season 5's "The Anvil Chorus" share a major plot element of "a cocky stand-in marshal tries to enact gun control in North Fork," but The Apprentice Sheriff is about a billion times better than Anvil Chorus in my opinion

tbh i haven't watched The Anvil Chorus in a while because i avoid season 5 altogether but i think it boils down to the differences in how they build up the motivation behind each stand-in marshal's decision.

Dan Willard in The Apprentice Sheriff is a deeply insecure young man who thinks he has to prove himself after letting down his father by flunking out of college. he enacts the gun restriction to try to re-establish his sense of authority after some rowdy cowhands humiliated him. that feels resonant to me. you can understand and FEEL why he's doing it.

Whereas with Nils in The Anvil Chorus, it feels more like he just does it because he's stupid and annoying and its just frustrating to watch.

[andromedawaiting]

In the spirit of the new movie coming out in July, lemme tell yall something, folks. Films with scientists gallivanting all over hillbilly hell chasing tornados (ie. Twister) are awesome and all, but as a Storm Chaser (TM) and bonafide meteorologist, storm chasing is a lot less squinting suspiciously at angry clouds and a bit more made up of the following:

—uh, where the hell are we, we have ZERO service, aw shit okay now we have to pull out paper maps that haven’t seen the light of day since the Lewis and Clark expedition

—What the bejeezus is That Smell (TM): brought to you by cow farms of the american south

—Followed up shortly by: hm, smells like a good storm day. *Big sniff, followed by any colleagues in hearing range inhaling like they didn’t all also wake up at the exact same motel* *chorus of agreeing chaser noises*

—*intense montage of looking at weather models* *models don’t like you and oops turns out the storms they predicted yesterday are actually three states away, sorry bout that*

—chasers have the ability to see each other’s locations through the use of a mutual radar app. Typically, this isn’t used for any Scientific Reason (TM) but instead used to see which chasers took a bite out of the Bad Decisions Bagel and are now getting pelted by baseball sized hail. Whoopsie daisy.

—chasing is 95% driving, 4% crying while eating gas station food, and 1% getting a front row seat to the wrath of the gods. You will see things you won’t believe, and part of the job is being able to keep your cool while you do

—tornado? Oftentimes not the scary thing while chasing. What is? lightning from the anvil of the storm striking right next to you even though you are miles away. (this is called a positive polarity strike due to the charge arrangement of cloud+ground, and comes from the top of the cloud as opposed to the base. They’re thousands of volts stronger than your average boom). These are affectionately termed “bolts from the blue” and they are terrifying. Why bolt from the blue? You can be standing under clear sky and still get got. Sometimes you’re in Kansas and you’re the tallest object in 100 miles. This instills True Unease.

—the movies often depict the titular main character standing in the middle of what looks to be Actual Hell, all dark and gloomy and windy. Sometimes that does happen. In reality, most of us are outside of the storm looking in, and are surrounded by blue sky on three sides and looking at Super Angry Cloud on the fourth.

—chasers tend to gather at gas stations before they go out on a storm. If you see a large gathering of particularly excitable (and oftentimes a lil disheveled, hey, we’ve been on the road for weeks) people chattering at each other while pointing between their phones and the sky, you should probably head home and brace for things to get a tad bit windy.

—experienced chasers always have something called a “bail out”. This is a pre-planned study of where you think the storm will go and the roads associated, so that if the storm decides it really doesn’t like you, you can leave without getting run over. Some rural counties only have one road. Some counties only have dirt roads. (Hint hint, dirt turns into mud when it gets wet. Don’t do it.)

I could keep going for ages, but we’d be here forever. Anyhow, stormy skies, yall, and if you aren’t sure if it’s a tornado…well, it probably isn’t, but please find shelter anyway and leave the 100+ mph downdraft winds to us.

[dykeredhood]

I need to go back through my General Hux playlist and curate it a little better, right now there are 2 versions of the Anvil Chorus on there and there are probably a few more Star Wars score tracks I could add

[ginza-division]

Next Stage (Last Judgment Ver.)

Bring the Beat!

[Last Judgment:]

We’ll step up and face the Next Stage

[Masa:]

In the heart of the chapel, where the faithful come to kneel

A shepherd guides his flock, with a love that's truly real

"Embrace the path of light," he raps, "let your spirit thrive

With faith as your compass, we'll keep hope alive."

[Eiji:]

In the vast web of PROFILE, connections spark and dance

A nexus for voices, in the digital expanse

"Embrace the evolution, or fade into history's shadow," we decree

For in the relentless march of tech, it's adapt or cease to be

[Oki:]

I'm the titan in the booth, with a voice that shakes the ground

My verses forge like Hephaestus, in the beat, my anvil's sound

Rising like a phoenix, from the ashes of defeat

I bring the fury of Ares, no retreat, only compete!

[Eiji:]

Social media's web, that's the future's arrangement

[Oki:]

The Titan's roar, that's the arena's judgment

[Masa:]

The faithful's way, that is our commitment

[Last Judgment:]

Oppose us, and Death will be your very Last Judgment!

[Chorus:]

We’ll meet here again (HEY)

Let’s sail on our next adventure then (HEY)

Remember today and rewrite the future

Come to the next stage! Let’s go!

I wanna face off against you again (HEY)

I wanna be stronger then (HEY)

Remember today and dazzle them with how you’ve changed

Let’s go to the shining next stage

[Last Judgment:]

We’ll step up and face the Next Stage

[neverwalka1one]

Il Trovatore Anvil Chorus Met Opera

So, when I started getting a disposable income, I thought I would Get Some Culture.  I went to the opera, because... well.  Culture.  And because it was Carmen, and I grew up with Sesame Street and the singing orange and of course I had to see the real thing.  What I didn’t know is that the local company had a translation of the lines running constantly above the stage.  

... And lemme tell you, the only difference between opera and soap operas is a) the language and b) the quality of the music.  Carmen is a wild ride.  

So what I’m saying is there is literally no conceivable reason I can’t have anvil songs in modern media.  Opera really isn’t that deep.  This song is literally about how they’re happy because the sun is out. (I know it’s hard to tell with the dark set but yeah)  Tell me y’all don’t want this.

And if it’s out there and I’ve missed it, share the links, I want in.