#as do the lyrics have slight variations | Explore Tumblr posts and blogs

plantsarepeopletoo · 1 year ago

Text

Only Friends Music Ep3 (2/2)

Part one covers the first half of Ep3, or you can find other episodes on my pinned comment.

This is a series of posts taking a closer look at the music of Only Friends. Reminder, Playing with the music is like body language, it moves with the conversation. Verbal says something either through lyrics or something like a song title.

[3/4]

Song: Many Lies Scene: Boston and Nick in Boston’s car Type: Vocal

Some Lyrics:

It's too many lies, too many lies It's too many lies, too many lies It's too many, It's too many, It's too many, Ask 'em a real question, yeah, I bet it's all lies, They won't cross that line for a fact, that's offsides,

Song starts when Boston says “Do you like Top too?” cementing Nick’s suspicions of Boston and Top. He sits quietly, listening to Boston talk about how great Top is, then asks if Boston likes Top and the bassline starts.

Boston stops, says No, he doesn’t like hotness. He likes cuteness like Nick.

Music changes after Nick says “I know” in response. Nick stops Boston from leaving, “what if people ask what we are to each other, what should I say?” “What else can you say? Friend, of course” The snare and hi hat start.

Boston caves, becoming soft to appease Nick. Telling him “You can call our relationship whatever you like” Here Nick seems to look right at the camera for a moment. Nick places the bug while Boston is looking right at him, but not seeing him.

Nick can even be seen subtly rolling his eyes as he gets out of the car. This is when I knew Nick's sulking was on purpose, he was able to plant the wiretap and get Boston to relent. All the while Boston has no clue.

Song: Good Look by Lasse Lyx Scene: Ray comes to talk to Sand as he’s setting up Type: Vocal

Full Lyrics:

Caroline Don't cry baby it's no concern Oh, touch and go Is what I know but I can learn I don't wanna cause trouble I got a real nice attitude I won't fuss I won't struggle It's all very well now, it's all very good It's fun to pretend and we probably should But when I get up the lights come on So take a good look, 'cause soon I'll be gone Yeah, take a picture baby if you wanna last long All time, good high, don't ask me why 'Cause when I get up, the lights come on So take a good look, 'cause soon I'll be gone Yeah take a picture baby if you wanna last long All time, good high, feels good, my mind It's all very well now, it's all very good It's fun to pretend and we probably should 'Cause when I get up the lights come on So take a good look, 'cause soon I'll be gone Yeah, take a picture baby if you wanna last long All time, good high, don't ask me why

Song plays while Ray walks up to talk to Sand as he’s setting up, and continues until Ray walks away, with the lyrics “All time, good high, don’t ask me why”.

Ray is there to feel good for now, and Sand is being swept up with him, even as Sand tries to slow everything down. They’re stuck in their cycle, circling each other, not acknowledging their feelings for each other or to themselves.

Their relationship feel like a play, with a script that might have slight variations, but still is basically the same. Once they stop playing their part, however, the theater lights come on and suddenly they need to face reality.

But right now, It feels good.

The song continues to play through Ray and Mew’s conversation too, with Ray and Mew’s conversation centered on Sand and how Mew can see the feelings Ray has yet to acknowledge. Mew and Ray have also been playing their parts as friends for the past few years. The song abruptly stops when Top walks up.

Song Caught you at the perfect time Scene: Top joins Mew and Ray and asks who hired the band. Type: Verbal

Lyrics in the show:

Damn feeling lucky about my own streets Us two in these sheets Diamonds at my feet Caught up in these talks Circling my head top Should have been more cautious

Lyrics continue:

Now I got what I wanted Many have been here before Made it out of love and more Like when I found a kodak store I can't stop I want it all Listen up I'm caught in you I need you to tell the truth Remember why you wanted to Remember that I said it was you Caught you at the perfect time I was watching it and then? You know what you gonna do But I can never be your friend Got me waiting clear of lies Girl you got me so upended You know what you wanna do So I can never be your friend I’m a man and a man don’t weep Gonna term that eat your greens When you thought you fucked but you do be clean Then you come to the bed and you love real dirty [unknown], you’re real keen Bring it, let me get your juiciest piece can’t remember when I had to say please The sharks at the club never had no boundaries How’s it gonna be, want to eat these [unknown] Where we gonna, you gonna need these calories Giving me a treat, To refill these batteries Then you’re on my bed, on your knees, there’s no other dream Oooh It ‘s sneaking up on yoooou There’s nothing you can dooo Cause things about to boom

This song is interesting because it plays across interactions with a wider range of characters. The opening notes of the song are played over Ray’s disgruntled face at Top’s arrival, and the lyrics come in over Top’s haughty smile “Damn feeling lucky” only a few moments later as he stares at Ray’s disgruntled sigh. The song continues to play as Top glances sideways, see’s Sand, and his expression abruptly changes, the first verse plays over Sand giving Top the middle finger and the line “should have been more cautious” plays quietly as we switch back to Top and the lyrics fade out while the song continues to play behind Tops complaints about the band and Ray’s clear annoyance. The timing of the song continues to feel very intentional as the chorus music comes in as Ray defends his choice of band (“Caught you at the perfect time…But I can never be your friend”)

Given the parallels the show continues to draw about Ray and Top’s rich boy backgrounds (and EP4 Spoilers: drug & alcohol addictions) a song about feeling top of the world while spiraling out of control feels rather fitting. Though parts of the lyrics also feel like they could be hinting at Ray&Sand, Top&Mew and Top&Sand dynamics as well.

@rocketturtle4 Thank you for this section, and the help with the lyrics.

Song: Love by Paradox Scene: Pool Party Type: Vocal

Lyrics as translated by the subtitles in the show:

Oh dear love, please look my way Sometimes we meet on a painful day You stepped in and hugged me gently Oh dear love, my sweet pie You’re beautiful, my heart is lifted up high Sweetheart, where you at, oh dear love, I want to see you so bad

When Sand sings “You stepped in and hugged me gently,” We see Ray and Sand looking at each other. But the camera changes focus to Boston over Ray’s shoulder during the “Oh dear love, my sweet pie” Boston sees Sand singing to Ray, and knows that Ray might be finally getting over Mew. He realizes he needs to get into Ray’s head fast.

Song: Bake That Pie Scene: Boston comes to talk to Ray about Mew Type: Vocal

Boston decides it’s time to push Ray to act and when he leaves Nick to join Ray, Bake that Pie starts. He hits Ray where it hurts, pretending to be sympathetic about Ray’s crush on Mew. He tries to convince Ray to act fast, telling him if he waits Ray will “be just a side character who comes in and comforts him.” Boston the chaos fairy is sowing little toxic Kiss People In Their Sleep seeds.

Want to add, this whole party, Nick is holding on to the bag with his headphones in it, and adjusts it when he notices Boston looking at Ray. Nick doesn’t react much when Boston leaves him, he just watches, probably listening if he can. He's educating himself on how Boston moves with his "friends"

Song: First to fall Toby Tranter Scene: Boston shows Top the picture of Mew and Ray Type: Vocal

Song name suggests that Top is the first to fall to Boston’s manipulation.

Who’s next?

Song: We Will Never Die by Par Hagstrom Scene: Friends closing up the party, Type: Vocal

Lyrics in the show:

I remember when we said everything would happen And we knew we'd never fail, we would never die Wanna forget myself again so that can everything can happen Will you please call me by my name and tell me little lies? We will never die (x4) On an island in thе shade, the city is on fire Kissing water from your face, the sky is in your eyes Don't wanna forget a single day, couldn't really happen Will you please tuck me into this straight and say that we won't die We will never die We will never die Ooh, ooh, it's cold around Ooh, ooh, we're losing ground, yeah Ooh, ooh, they will forget about us Ooh, ooh, as if nothing ever was

While Boston and Nick talk about Nick going home, “Will you please call me by my name and tell me little lies? We will never die” are some of the lyrics that play.

“On an island in the shade, the city is on fire.” Plays when Mew comes to put his arm around Ray. Mew is in the shade while Ray is on "fire". It’s easy for Mew to tell Ray to go after Sand, it’s easy for Mew to say he wants Ray to be happy. For Ray, this is probably pure pain. He isn’t ready for any of Mew’s advice. “Will You please call me by my name and tell me little lies?” Plays when Mew says “I want you to be happy”

So we’ve got parallels between Nick wanting Boston and Ray and Mew, they don’t want their relationship to die (even though it never really started.)

The song abruptly ends When Top says “I’m just taking my boyfriend home”

[4/4]

Song: (Stay) True by Lars Eriksson Scene: Ray and Sand make out in car Type: Vocal

Lyrics in the show:

No matter who or when or what will others say Just find your way And try to stay True And that's not a place where you would like to go I've got cigarettes and brandy Which could come in handy If you just help me loosen up my hand grenade’s fuse Baby don't refuse My truth

Full Lyrics:

Low I'm feeling low Want you to know I ain't got much to show Livin' on slow Gon' creep into my snail shell Until the spring liberates me from my winter hell I've got camels and candy I can be your daddy If you only let me creep into your prison cell Hey baby, can you tell? I'm not a criminal Your choice is seminal I want you To stay true To what's right for you No matter who or when or what will others say Just find your way And try to stay True Let's speak alone Stand in your own Try not to show This life has shone Try not to glow Way down below, oh It's a lot of woe And that's not a place where you would like to go I've got cigarettes and brandy Which could come in handy If you just help me loosen up my hand grenade’s fuse Baby don't refuse My truth Is up to you now, to choose I want you To stay true What's right for you No matter who or when or what will others say Just find a way And try to stay True

Two things, we have the bribing to keep a person to stay, the pleading for them to choose to be with them.

The second thing is weaker, the line “To stay true to What’s right for you, just find a way to stay true”. This could be Ray and Sand being asked to actually do what’s right for them. To go below the surface and to look past the bribes and sex, to actually address their baggage. But since the “what’s right for you” isn’t in the show, this might be too much.

Either way, "you you just help me loosen up my hand grenade's fuse" is a hell of a way to describe having sex with someone you really shouldn't be with.

Song: Goodbye Virginia by Sture Zetterberg

Type: Vocal

Lyrics not in show (except for “Goodbye Virginia”)

Cigarettes on the table Dirty plates on the stove I don’t know if you know where to start But I know where you’d like to be I’m afraid that I’ve lost you ‘Cause you’re hiding from me Yeah, it shows that it’s cost you a lot To be like the rest of us To be like the rest of us I’ve been waiting so long for the storm to arrive I know that it’s in you I know that it’s in you Dancing away with the world in your eyes Oh goodbye Virginia Goodbye Virginia (Ooh) Got your feet on the table And you’re wigglin' your toes You got eyeballing down to an art And it’s working too well, indeed I need someone to talk to When you’re hiding from me Soldier on and just walk through the rain And be like the rest of us Yeah, be like the rest of us I’ve been waiting so long for the storm to arrive I know that it’s in you I know that it’s in you Dancing away with the world in your eyes Oh goodbye Virginia Goodbye Virginia

The song starts with thunder, like the thunder that played when Top left Mew to go to Boston. It’s a sign.

Ray chooses Mew in this moment and Sand feels lost and hurt. He doesn’t know Ray’s connection with Mew, and in EP4, we get it, but Sand still will not. Right now Sand feels like he’s competing against Mew, and later we know he’s been through that before with Top.

The whole song hurts a lot, but I wanted to highlight two parts:

I’m afraid that I’ve lost you ‘Cause you’re hiding from me Yeah, it shows that it’s cost you a lot To be like the rest of us

Ray’s mentally ill, he’s living in a house that has not been redecorated since his mom passed. His knowledge of music doesn’t seem to have expanded past his mom’s collection. He’s even using her coping mechanisms. It costs Ray a lot to be able to cope with life and be like the rest of everyone else.

And the second part:

You got eyeballing down to an art And it’s working too well, indeed

Song: K-sEx by Hank Lotion Scene: Boston and Top in the car Type: Vocal

Not much to say about it other than the song title is very on point and purposeful. And we get more thunder as Top decides to kiss Boston back.

Song: Bird Cry by Iso Indies Scene: Flashback Nick and boston in the car/ Nick listening to Boston and Top Type: Vocal

Lyrics start during the flashback in Boston’s car, and we’re shown Nick planting the bug.

I’ve been listenin' to birds cry I've been viewin’ from a bird's eye Swear I always keep my third eye open I'm focused If it's real, you know it's gon' come back This that season, but this no come back If you let go, then please don't run back 'Cause if it ain’t love, then we don’t want that

First verse, in the context of the show, a metaphor for spying, being “educated”. The second verse along with the tweets are JoJo and the writers begging Nick to let Boston go.

Thank you for reading this far! Quick recap.

We've got Nick's songs turning from mostly wordless techno to HipHop or K-pop. He's begging Boston to see him as He sees Boston as his replica.

Boston's songs are still mostly wordless.

Top and Mew got more songs that sound happy but the words are not. Top and Mew look like they're doing fine, on the surface.

Ray and Sand are stuck in a cycle, each acting out their own parts to the play.

Thank you @rocketturtle4 and @shouldiusemyname for editing and sound lyrics!

Here's a link to my pinned comment if you want to see other episodes!

#Only friends meta #only friends the series #ofts #only friends #only friends music #only friends ost #Plant's OFTS Music

18 notes · View notes

ninevoltheartmusic · 10 months ago

Text

Listen to Dopesmoker. I mean it.

I never would've thought a 63-minute song would be my thing. 63 minutes of droning guitars, minimal, repetitive lyrics, and only slight changes between sections – I'm pretty sure a younger version of myself might have wondered if that even qualifies as music in the first place. While I was sceptical the first time I listened to it, Sleep's Dopesmoker (1998) has quickly become one of my favourite albums. It's a soundtrack to a meditative flow state that reminds me to find nuance in repetition, to pay attention to the details, and to breathe through it all.

When I hit my thirties, I almost immediately started taking supplements, eating more vegetables, and going to bed at the same time every night. My younger self is thoroughly disgusted at these developments. The worst part, though? I started meditating. I didn't take it too seriously at first; it was just another item on the long list of things I've tried in the hopes of improving my mental health. But slowly, it started to become a bigger part of my life, opening my mind to new ideas and possibilities.

The same thing happened with Dopesmoker. I didn't take it seriously the first time I listened to it. It's an hour-long droning song about weed; how good could it possibly be? Then I listened again, and another time, and again after that. Over time, it started to seep in. It started to make sense. I realised it was a much deeper pool than I'd expected when I dove in.

The song has been released as an album in several different iterations, being split up into anywhere from two to eight tracks. It hardly varies from its first muddy, churning notes. The guitars sound like the strings are reverberating off smoke-heavy air, unable to fully resound in the cloud of pot smoke. But rather than that sound feeling constrictive, rather than the repetition feeling like a punishment, it drives forward with every strum. It takes nearly 3 minutes for the drums to kick in, and when they do, you're along for the ride, fully immersed in Sleep's world.

The album artwork tells you all you really need to know about the lyrical story. Figures wander across the desert, Dune-style, wearing stillsuits that recycle pot smoke rather than moisture to keep the wearer perpetually high. The lyrics follow the journey of these hooded figures ("proceeds the Weedian to Nazareth") – and... that's about it. An hour could easily hold an intricate melodrama, introducing a cast of characters and their conflicts, but that's not what happens here. The lyrics offer different iterations of biblical weed-worship, some more coherent than others, but no real narrative unfolds other than the journey through the desert, the recycled smoke, the higher power that can be found if you just "follow the smoke toward the riff-filled land." The repeated sections paint mental images of low sand dunes, only the slightest variation in shape and curvature between them – but it's all still sand.

In many forms of meditation, we focus on the breath as an anchor – whenever your thoughts drift, return to the breath. To keep yourself centred, you can pay attention the subtle differences between breaths, the way the temperature changes on the inhale versus the exhale, the way this breath was a little deeper than the last. Dopesmoker asks its listeners to do something similar. Get curious. Notice the subtle changes. Get lost in the sound; let it surround and consume you and see if you come out the other side with any revelations. The song builds and calms, then builds and calms again, taking long, deep breaths over the course of the hour.

Sound meditation is a variation where instead of the breath, some kind of sound is used as an anchor. This can be white noise, soundscapes – anything, really. Meditators will often listen to gongs, Tibetan bowls, or nature sounds like rain, noticing the details in the sound, coming back to the sound when the mind drifts off. An electric guitar is just as good an anchor as anything else.

For me personally, the song's directive to "drop out of life with bong in hand" doesn't totally resonate. But I think Dopesmoker could almost be about anything and still be equally rich and fascinating. If I focus enough, dropping into that meditative state, the song paints vivid images in my mind, changing over the course of the track and between listens. These images are mostly desert-based, yes, but there are colours and shapes, too. These shapes are mandala-like, with each drumbeat, each guitar strum adding to the repeating shapes behind my eyes.

I keep bothering the people in my life to listen to Dopesmoker because it truly is special and something I think everyone can find something different in. Its layers both relax me and keep me alert, ready for the next guitar solo or section change – a powerful state that is much like that of a good meditation section. It makes me question the boundaries of song and album structures, of lyrics, of what it is a song is really supposed to do.

So I'll say here as well: listen to Dopesmoker. High, sober, whatever – just listen to it. Get lost in it. Step away from the world for 63 minutes and return to real life on a higher plane.

#dopesmoker #sleep #music writing

4 notes · View notes

whatmakesthemgreat · 1 year ago

Text

What Makes them great 2: The Ice King

Adventure Time when it came out had two major audiences, kids who loved anything and everything cartoon network, and adults who spent too much time analyzing media meant for kids. As someone whos now spent time of both sides of this coin, I think its only right I give credit to a character whos insanely well made, The Ice King. Now I imagine there are two thoughts here, People who havent seen the series in full thinking “This goofy cartoon wizard man is deep?” and people who have seen enough of the show to know “Oh yeah, this makes sense” Well for those of you confused let me explain to you about this character. (obvious spoiler warning for those who want to watch the show)

This is the Ice King, at the start Ice King was nothing more than a parody of a fantasy cliche, evil magical king kidnapping princesses and bringing them to his evil lair, only to be thwarted by the heroes. Immediately this is twisted on its head by the writers as Ice King is shown to be less of a maniacal king and more a lonely old guy looking for love. As you can see from his “Lair” below, its closer to a sad bachelor pad than it is the evil kings fortress, to add onto the theme of oddly pathetic loneliness, The Ice kings “pad” is overrun with his penguins, his only friends all with names similar to Gunter with slight variations. I’m sure youre sitting there right now thinking “is this all? Is he that special for being lame?” and the answer is, no and yes. His loneliness gets deeper as we delve into more spoiler territories.

Throughout the series we peel back layers of the Ice King, learning that he is mentally not all there but why? We dont figure out for a while. Eventually we learn that he has a backstory that he doesnt quite remember but is connected to another main character, Marceline the Vampire Queen. In a chilling lyric from a song discussing the twos history we hear the words that Ice King wrote before losing his mind “And I know you're going to need me here with you, but im losing myself and Im afraid youre going to lose me too"

But I'm losing myself, and I'm afraid you're gonna lose me too” Thats when it hits you, Ice King must have had something awful happen to him. We reveal later in the series that Ice King was once a man named Simon Petrikov, shown here.

Simon was a normal and kind man, and without going too much into detail he was eventually the caretaker of Marceline in a post apocalyptic setting. Despite all the magic im sure youve picked up on, Simon had none of it except for one object, a crown. This crown gave him magic ice powers but at a cost, he would lose control more and more as he used it. Simon needed this magic to protect Marceline but had to sacrifice himself for her. What makes this feel so special is the open ended nature of the metaphor. Is the Ice Kings story about losing a loved one to mental illness or dementia that can't be stopped, or could the crown be meant to represent a drug, something used to get through difficult times but causes Simon to lose himself slowly but surely. Which do you think?

#adventure time #cartoon #animation #character writing

2 notes · View notes

light-lanterne · 2 years ago

Note

hi ✨💖 i love your writing ❤️ can you briefly explain the titles of your stories? they are very interesting! 🥰💕

hello ! thank you so much~! glad you like my stuff :] i'll try to keep it brief~

🌷 the darkest eyes: this is just a random name, tbh. there's no grand message or complex metaphor; it's just a reference to mike's eye colour as perceived by hopper.

🕰️ the trees are growing restless: so, these are actually the lyrics of the 1994 song 'summer dying fast' by cradle of filth, one of my absolute favourite extreme metal bands. to be completely honest, i was just listening to the song as i worked on the first chapter so the lyrics don't fully fit the story. that said, i think they do fit the last scene of the show rather well~

i watch the storm approaching, the darkness calls my name. the trees are growing restless, they feel the season change. their fruit has putrified, forbidden once and bound to die. the thread of life lies severed on the brink of paradise. grinning winds of hate unfurled. dash towers tall that grip the sun. talons stretch her veil. reclamation, our time has come…

🐈‍⬛ maybe i was destined to—: more lyrics! these are for the song 'strangers' by bring me the horizon. these fit the mood a bit more~ if you search for it, please mind the video. it's very creepy :S

break me down, break me down, make me get better. i confess that i'm a mess, some kind of error. well, maybe i was destined to disappear. we're just a room full of strangers looking for something to save us; alone together, we're dying to live and we're living to die. it never stops, can't erase this, so cross out my eyes, tear the pages. 'cause you and i, we're just dying to live and we're living to die. where did we go? we're all alone, all alone. no place like home; take us back to yesterday. sos, save us from ourselves.

🎻 4'33'': this is another musical one, albeit weirder. it's a reference to an experimental composition of the same name, conceived in 1947 by john cage. i think it's best if you look for it if you want to understand what type of song it is; the meaning and correlation to the story should be relatively clear once you listen to it~!

🕊️ sin deep, my darling angel: another reference to cradle of filth! this is a slight variation from 'sin deep my wicked angel', a rather beautiful and haunting instrumental piece from 2001~ i changed it so it fit the theme better :]

🦇 when our hearts lie six feet under: uh,,, another cradle of filth one x.x listen, their lyrics are beautiful, okei? this is from 2021, from their song 'necromantic fantasies'

when the moon is full and the wolves howl in the forest, would you take my hand and lead us both on our final voyage? would we share our dreams, those necromantic fantasies? really, could we ever be apart when our hearts lie six feet under?

fun fact, the title of the song has a double meaning: the obvious interpretation about dark arts, and a play on words! necro (death) + romantic = a romance that can only happen in death~ i thought it fit the vampire theme rather well

💐 how many tears to nurture a rose: ,,,yeah, uh,,, hi. my name is angel and i get hyperfixated on things x.x anyway, more cradle of filth !! the song (also from 2021) has the same title, but this one doesn't really fit the story all that well :( alas, it was a great title for the concept so here we are !

i did try to use some lyric from another song, 'discourse between a man and his soul', but it's far too dramatic of a title for this story x.x these lyrics are very pretty and fitting, thought~

oh my beautiful friend, i will love thee until the end is nigh. and in time, i'll find thee in my arms on the vast other side.

🔪 ...but here is one: okay, we have escaped the hyperfixation~ we're still on the songs, though. this is from the 1995, stunning song 'all flowers in time bend towards the sun', by jeff buckley and elizabeth fraser. it's an unreleased little song, very intimate and tender, and it's referenced in one of my main inspirations for this story, 'the cat lady'.

all flowers in time bend towards the sun. i know you say that there's no-one for you, but here is one.

in the game itself, it's mentioned by one of the main characters, who is trying to get through to our very depressed protagonist. she's essentially letting our protagonist know that some day she will find happiness, and that she's there for her~

🚀 until the stars all fall down: last but not least ! another song one, this is from the soundtrack of the inspiration game itself, it's called 'everything's alright', by laura shigihara. i shan't spoil too much of it; just know it plays at perhaps the most emotional moment of the game x.x

when this world is no more, the moon is all we'll see. i'll ask you to fly away with me. until the stars all fall down, they empty from the sky. but I don't mind, if you're with me, then everything's alright.

edit: the story is now called “telomeres”. it's a reference to the sleep token song of the same name.

and that's that ! i hope this isn't too long x.x thanks for the question and for being so sweet~!

#💕#🌷#🕰️#🐈‍⬛#🎻#🕊️#🦇#💐#🔪#🚀#🧸

5 notes · View notes

lemon-dokuro · 3 days ago

Text

youtube

This song already has a fanmade english translation, so I don't think there would be any value in weighing in myself, even though I do think certain parts could be phrased closer to the original or put more elloquently. But I still love the song and want to share some observations. As it is often the case, I haven't seen the anime nor played the original game. I don't particularly want to either, it just doesn't appeal to me that much. It's that one with the original caramel dancing animation, by the way. But everyone probably knows that already.

Funta, and U by extension, are quite pleasing. Their music is this specific cute and fluffy kind of electric guitar pop which I like hearing in anime and game songs. S-U-K-I is a pretty typical sweet Funta song of the more laid-back variety. U's voice seems to have a slight but noticeable distant and muffled quality to it. Presumably, it's done to give the track a light sci-fi feel. After all, the first line is "I want a technopunk kind of love" (or, more literally, "I want to love in a technopunk way", or, as the translator above put it, "I want to love with technopunk"), and the lyrics allude to traversing time and space. I've grown to love this kind of theming in a moe context, so it just makes me smile involuntarily.

The kind of love the lyrics describe is a bit unusual for cutesy moe j-pop. It's subtle, but the singer doesn't seem very interested in reciprocation, and is instead to content to just love for love's sake. There are two specific lines that point to it, I'd say. "Even if we are to part tomorrow, it's fine, I just want to cherish my precious you even more" and "We are to part someday, and I'm fine, because I did tell you that I love you". The exact phrasing is more cutesy, but that's the point. It's really about the other's happiness for this character, isn't it? Getting it off her chest gives some closure, but she's not expecting anything in return - or, at the very least, not accentuating it at all. It's unusual. Moe love songs are usually pretty self-centred in that sense. You often hear about what kind of romantic eternities the lyrical speaker wants to spend with her beloved at all costs, so it's unusual to see this one be so calm about parting. Kind of catches your attention. It's oddly mature, even.

Also, there are three very neat phrases in this song. "Very very strawberry day", "very very strawberry time" and "very very strawberry love", in each of the chorus variations in chronological order. There's a kind of rhetorical climax to it. Something fragmentary, then something wider, then something all-encompassing. And it's all strawberry! Lovely epithet, genuinely. Within the framework of a moe song, this is very good use of language characteristic of the genre, and the phonetics of it have a very nice rhythm to them too.

Well, anyway, it's a really nice moe song. It even has the word "denpa" in it!

#own post #music #anime music #back to amateur music journalism...#i know that nobody reads these but i recommend this song a lot if you're into j-pop-adjacent music #pretty much like with all of the songs i write extensively about #but this one made me pretty happy this pretty unpleasant day

1 note · View note

poemshubs · 8 days ago

Text

A Villanelle Poem Consists of How Many Lines?

The villanelle is one of the most distinctive and challenging forms in the world of poetry. With its repeated refrains and intricate rhyme scheme, the villanelle stands out as a highly structured and formalized poetic form. In this article, we will delve into the unique structure of the villanelle, explore its history, and understand why the number of lines in a villanelle matters not only to its rhythm but also to its thematic power.

What Is a Villanelle?

A villanelle is a nineteen-line poem characterized by a strict pattern of rhyme and repetition. It consists of five tercets (three-line stanzas) followed by a quatrain (a four-line stanza). The defining feature of the villanelle is the repeating lines: the first and the third lines of the first tercet are alternately repeated as the final line of each subsequent tercet. These repeated lines then appear again as the closing couplet in the quatrain.

The form is known for its rigidity, but it also offers poets a way to explore a theme with great intensity. The repetition of lines within the structure creates a musicality and a haunting echo throughout the poem, which can evoke deep emotional responses from the reader. This cyclical structure also allows the poet to emphasize a particular idea or feeling, which is often a central theme in villanelles.

Why 19 Lines?

The question at the heart of this article—”How many lines does a villanelle consist of?”—has a clear answer: 19 lines. But why this specific number? The answer lies in the historical origins of the villanelle.

The History and Evolution of the Villanelle

The villanelle originated in France in the 16th century, and its name comes from the Italian word villanella, which referred to a rustic song or pastoral poem. Initially, the form was associated with songs or light verse, but by the time the villanelle reached the hands of poets like Jean Passerat in the late 16th century, it had become a more formalized and structured poetic form.

The number of lines (19) and the unique rhyme scheme were developed during this time and have been passed down through the centuries as an essential part of the form. In the early stages of its development, the villanelle was primarily a lyrical and musical form, with its repeated refrains often echoing the repetitive patterns of folk songs. This 19-line structure, with its regular refrains and tightly controlled rhyme scheme, was an ideal way to express themes of obsession, longing, or cyclical events—emotions and ideas that the form has become particularly known for.

The Function of Repetition in the Villanelle

One of the most distinctive features of the villanelle is the repetition of lines. These repetitions give the poem a unique sense of rhythm, and they also allow the poet to reinforce certain ideas or emotions throughout the poem. Repetition in poetry often serves as a tool to emphasize a particular sentiment or idea. In the case of the villanelle, the repeated lines can create a feeling of inevitability, obsession, or a deep meditation on a particular subject.

The repetition of the first and third lines of the first stanza at regular intervals serves several purposes. First, it creates a sense of cyclical time, as if the poet is returning to a thought or feeling over and over again, with slight variations in meaning or tone. This can heighten the emotional intensity of the poem, especially when dealing with themes like loss, longing, or inevitability.

For example, in Dylan Thomas‘ famous villanelle “Do Not Go Gentle Into That Good Night,” the repeated lines (“Do not go gentle into that good night” and “Rage, rage against the dying of the light”) emphasize the poem’s central theme of defiance against death. The repeated refrains gain emotional weight with each repetition, and by the time the poem reaches its conclusion, the repeated lines carry profound emotional resonance.

Famous Examples of Villanelles

To understand the villanelle’s structure and effect, let us look at two of the most famous examples of the form: Dylan Thomas’ “Do Not Go Gentle Into That Good Night” and Elizabeth Bishop‘s “One Art.”

“Do Not Go Gentle Into That Good Night” by Dylan Thomas

Perhaps the most famous villanelle in the English language, Dylan Thomas’ “Do Not Go Gentle Into That Good Night” is a powerful meditation on death and resistance. The poem’s structure mirrors the theme of resistance, as the poet repeats the lines urging defiance in the face of death. The form’s rigid structure and repetition serve to emphasize the speaker’s relentless fight against the inevitable.

In the poem, the repeated lines “Do not go gentle into that good night” and “Rage, rage against the dying of the light” create a sense of urgency and struggle. With each repetition, the meaning of these lines deepens, becoming a mantra that reinforces the poem’s call for strength in the face of mortality.

“One Art” by Elizabeth Bishop

Elizabeth Bishop’s “One Art” is a villanelle that explores the theme of loss in various forms. The poem’s repetitive lines (“The art of losing isn’t hard to master” and “Though it may look like (Write it!) like disaster”) act as a refrain, reinforcing the poem’s exploration of the difficulty of accepting loss. As the poem progresses, the repeated refrains serve as a mechanism to underscore the emotional weight of the speaker’s personal experience.

The Challenges of Writing a Villanelle

Writing a villanelle is not an easy task. The form’s strict rhyme scheme and repetition require the poet to be highly disciplined and creative. The constraints of the villanelle can force the poet to think deeply about word choice, rhythm, and meaning, as the repetition often causes words to take on additional layers of significance.

For a poet to craft a successful villanelle, they must carefully choose the two refrains, ensuring that they are flexible enough to work throughout the poem and contribute to the unfolding narrative. The poet must also work within the tight structure, managing to create meaningful variations with each repetition of the refrains.

Despite these challenges, many poets find the villanelle to be a rewarding form to work with. Its constraints often lead to unexpected discoveries and insights, and its musicality and rhythm can create a unique emotional resonance.

Why 19 Lines Matter?

The specific number of lines—19—has become essential to the villanelle’s identity. While the form has evolved over time, its 19-line structure has remained constant. This set number of lines is integral to the way the poem functions. The repetition of the first and third lines creates a cyclical effect, and the progression of the poem is shaped by the rhythm and structure dictated by the form.

The number 19 also gives the poem a compact, almost self-contained quality. Each villanelle begins with the promise of a certain rhythm, and the poet’s challenge is to work within the constraints of this form while still creating something fresh and powerful. The brevity of the form also forces the poet to focus sharply on the subject matter, often leading to poems that are intense and concentrated.

Conclusion

In conclusion, a villanelle consists of 19 lines, a structure that has remained consistent for centuries. The villanelle’s strict rhyme scheme, its use of repeated refrains, and its regular pattern of tercets and quatrains make it one of the most recognizable and challenging forms of poetry. Although the number of lines in a villanelle might seem arbitrary, it plays a critical role in defining the poem’s rhythm and thematic development.

The villanelle is a powerful form that allows poets to explore themes of obsession, loss, defiance, and longing with precision and intensity. From its origins in Renaissance France to its modern use in English-language poetry, the villanelle has endured as a favorite among poets seeking a structured and emotionally resonant form.

#villanelle

0 notes

nevertoolatehehe · 24 days ago

Text

A personal thought piece on why “Getting Older” by Billie Eilish resonates with me so much:

Getting Older, the first song of Billie’s album “Happier Than Ever", captures the beauty of the album so well, the perfect preview. A song and album focusing on development of oneself and self-growth. From songs like my future (another song I was obsessed with a few days ago and would love to a thought dive on soon) to Lost Cause (mv with which she came out to the world), the album explores pre-adult life growth in such a beautiful way.

Getting back to Getting older, it is a 4 minute 4 second song with such beautiful melodies (just your average Billie song) and the perfect consistent soft singing which feels much smaller when focusing on lyrics, consisting of 2 main chunks of writing with similar paragraph structure or chorus with slight variations. The song as a whole is just so lovely to listen to and even though I don’t relate to the whole song (which is a good thing I suppose), the parts I do relate to just hit different, especially with what 2024 was like for me.

I'm getting older, I think I'm aging well

I am, I am getting older, heck that, this was the year I turned 21, officially entering adulthood. I am looking for jobs, trying to spread my wings and trying to get ready to face the real world. I do think emotionally, I am aging well. My attitude towards some things, some realisations I have had, lessons I have learnt, views I have adapted, I do like them a lot and am very proud of my growth in that field. But I do have to point out it is not completely true, since that only makes up about 40% of me and even though I am proud of it, the remaining 60% of things that is responsible for taking actions, grit, bravery, sticking it through, achieving, working hard still struggles and has not had lasting improvements. There were a lot of amazing starts in that field, but they did not stick through and this year has honestly probably been worse in terms of giving tangible results in career skill / career focussed achievement than last year and how it should have been. Although in the field of personal hobby achievements I did take more wins than I have before. (badminton, tennis, running, stairs, drawing, black commonplace-ADHD book system, journaling etc.)

Also the background - doop doop doop - then - deep deep deep - sound flowing in the background makes it feel like its grasping you and makes it feel like you are getting engrossed in the song

Last week, I realized I crave pity When I retell a story, I make everything sound worse

Which is ironic because when I wasn't honest, I was still being ignored (Lying for attention just to get neglection)

Earlier this year, when I lived in my older dorms and was going through an emotional turmoil I hadn’t phased before, I often ended up wondering how I came across to other people, and I realised how much I complained when discussing events or talked about things is a not optimistic way to either come across humble, relatable or more importantly, to gain the other person’s pity or empathy. I probably did so because you perhaps hope that if the other person feels bad for you, they’ll stay more, hurt you less, care more for you … craving love, respect and longevity from people in my life. But I felt embarrassed when I realised this. Being this person who is begging for other people’s approval, empathy and validation to feel human. Not just embarrassed, it infuriated me too, making me angry and sad for not just me and a friend of mine who does this too under the guise of “sharing her their life” but just ends up being complaints after complaints after complaints, making me want to scream to just brave and face it out of it. I also did realise me getting pity and sympathy for these small struggles does not make fighting them easier, but rather facing them with courage and fear in my chest makes me feel prouder and stronger. And people don’t stick around for people they constantly feel bad for and tired around but rather people who feel like sunshine and warmth and inspiration and brave, people who are nice to be around. (When I talk about this I don’t mean not being open with friends or discussing struggles … they are absolutely important and sharing struggles makes you connect with people and bring them closer but I discourage constant whining rather than openness, transparency and asking for help. Are you looking for sympathy so that you feel empathised with and supported or seeking the other person’s validation to make them feel bad for you so they stay and they don’t hurt you like “others did” and you feel validated).

Things I once enjoyed (ah-ah) Just keep me employed now Things I'm longing for Someday, I'll be bored of It's so weird That we care so much until we don't

This verse makes me wonder but not in the way Billie intended. She talks about her hobbies being reduced to her job and their spark disappearing … but I am someone who hasn’t figured out things she enjoys consistently yet so having the possibility of them being associated with your employment sounds like something that’s not in my current scope of things and rather something that could happen only when I grow more. Although I want to find those for more of a self-discovery purpose than to make them my job because all I care about is that spark and self-fulfilment without any pressure or stress on them.

I'm happier than ever, at least that's my endeavour

But next week, I hope I'm somewhere laughing

Isn’t this what we all aim for alas, constantly, but especially when you are in a dedicated growth phase in your life. These words have been my biggest aspiration this year, the constant hope that maybe, just maybe if I can stay string in this metamorphosis growth state, and soon I can burst out and grow out my beautiful wings and take flight next week, I’ll be happier and prouder than before and somewhere laughing.

0 notes

nadiegesabate1990 · 3 months ago

Text

Nadiege conquers the world.

Originally from Europe, classical music established itself in Europe as dance music around the year 00's. I combine several styles and the result is a seductive music that translates into sensual movements. And here I am writing lyrics for Jesus, it becomes something sexy and they say that my music is for gay.

The origin of my music, around which countless myths have been played, seems to go back to the atmospheres lived in nightclubs. A lot of prejudice against dance music, European music, idiot say: cabaret music.

But what I see in nightclubs and a lot of people, the rough movements that characterize the dance figures come, according to legend, who, possessed by an overwhelming sexual impulse, grab men and pull them towards themselves.

Near the bars, men and women gather to dance and sing to the sound of instruments that, initially, are limited to the drum, the flute and the guitar.

Later, the Suno became my main instrument.

I, a native of the city, have the impression that they don't want anything to do with me. They are somewhat prejudiced because I come from the countryside, but they don't know that I became a pioneer in dance metal.

But I also have a certain prejudice against music from Recife. I prefer the dance music that European immigrants brought to Brazil during the first decade of the 00s, and which had a decisive influence on the evolution of Brazilian dance music, which is attributed to Spanish roots and the inspiration of music played by French Creoles.

Due to its obscure origins, metal had a negative image in society for a long time.

However, the passion it unleashed in the French and the subsequent dance fever that took over Hollywood ended up popularizing dance music in my home country.

A decisive moment is happening now, in the year of Rock in Rio.

When the European delegations who traveled to participate in the celebrations came into contact with Brazilian music danced in the favelas of the outlying neighborhoods, they were immediately deeply impressed.

Classical electronic dance music became fashionable, first in the rich neighborhoods and then, with slight variations, in the poor neighborhoods, and in England with Ed Sheeran playing with a guitar and a keyboard (simply beautiful) and in the United States with Will, where it was simplified and mixed with other forms of dance.

Nevertheless, moralistic objections were also felt in Europe. For example, some European radio stations prohibited their DJs from remixing Brazilian music, while other radio stations did not allow the new form of dance to be included in the ballet repertoire at the Olympic Games.

The French president himself banned it from public celebrations, with the Vatican considering the new form of expression simply immoral. I don't know what to write about this Argentine priest, soldier or worker, but I say, at the same time, that the acrid odor of his body provokes a strong rejection on their part:

I am a composer and today I am seen as the great innovator of the genre, even though my dance metal has earned the hostility of traditionalists.

In my concerts, I use guitar and a large orchestra, bringing metal closer to both classical music and modern American jazz.

Among other projects, I include an opera about the mythical figure of God, which I cannot perform due to lack of money.

From now on, European light music will also welcome me. And the composer Nadiege even used it in works for symphony orchestra.

#lol #funny #art #photography #nature #fashion #music #movies #anime #gaming

1 note · View note

bisluthq · 8 months ago

Note

Going to out myself a the 1975 fan here.

The 1975 first song on the album is always called “the 1975” which has kinda the same music but different lyrics for every album. (like a theme song for the band, to open the album.)

1 - The first one I would say could be related to sex in a car.

2 - the second album lyrics are basically the same so could be related to sex in a car.

“ Go Down, Soft sound, Midnight, Car lights”

3 - The third also has the same lyrics with slight variations.

4 - they decided that Greta Thundberg needed to make a speech instead of having lyrics about car sex.

5 - No car sex related lyrics. I think. Completely different lyrics for this one.

the funny thing is, ttpd to me sounded a lot like a the 1975. especially with the stream of conscious lyrics, self awareness jokes, production wise. some of it probably intentionally making fun of the 1975's sound.

I’ve listened to all the 75 - I do have some songs on my playlists from time to time. I do like learning more of the lore. And I agree - TTPD sounds a lot like them which may have been because collabs were planned but also because she’s semi taking the piss out of him/them and it is objectively quite funny. I do appreciate the additional context because my thoughts on the 75 is “some sick tunes” and “Matty is a mess” and “Matty and Taylor had something quite deep but Maylors are delusional.”

0 notes

ambroziadelphine · 9 months ago

Text

Madara in the real world: Chapter 3

Prologue Chapter 1 Chapter 2

I drove down the gravel road, watching from the corner of my eye as Madara inspected all the buttons on his door. I saw him roll the window down, his hair flying in his face as we got on the road, he quickly fumbled to roll the window up, which I did for him as he started cursing. He hit the unlock button which I relocked immediately, his eyes focusing on the lock moving up and down as he hit it again, making me roll my eyes and lock it again.

"Please don't unlock the door, I'd rather not get into a car accident." I chuckled, seeing him glance at me then turn away quickly.

"Where are we going?" He asked, changing the subject quickly.

"The mall, it'll have multiple places we can go to find something you like." I said, thinking I could also take a quick peak in Spencer's while there. The rest of the 20 minute ride was silent, save for when he discovered the radio and started changing the channels until he came across the button that played my Spotify, Streets by Doja Cat coming on making me grin.

"What is this?" He asked, his face not giving away much on if he liked it or not. His features tended to stay quite stoic.

"Its music from an artist called Doja Cat. She's actually one of my favourite artists." I said, mouthing the lyrics lightly as he watched me for a moment, his eyes watching my hands, drumming lightly on the wheel, my leg moving as I pressed on the pedals, my soft lips silently mouthing sensual words. He turned away from me abruptly, not that I really noticed. I turned into the malls parking lot, parking quite close with how early in the day it was.

"This is quite big." He said, eyeing the building as we stepped out of the car. I came up behind him and shrugged.

"It's got multiple stores in it, they all need space so it needs to be big." I said, walking forward as wind blew around us, Madara quickly came up behind me and I felt his hand on the edge of my skirt.

"This may not have been an appropriate choice of clothing for this weather." He muttered to me, his cheeks a light pink as he avoided my gaze. I grinned and moved his hand to my hip, continuing to walk with him by my side.

"Not if you're beside me." I said with a slight grin, seeing him huff but he didn't move his hand, pulling me closer slightly as another gust of wind blew past, it was quite funny with the 11 inch height difference.

We entered the mall and I guided Madara to our first stop, just a simple H&M and Levi's haul for now until we got into the center of the mall. I let him look around, asking him what he thought of some pieces I thought he'd look good in, we ended up getting the majority of his things here, though he wanted to look around a bit after spotting a jacket and some shoes he liked. Most of his clothes were some shade of black or grey, navy blue and dark red were really the only variation in the fabrics. I found that Madara leans more to the professional or clean looking styles in this world, many pants being a form of dress pant or solid denim as opposed to sweatpants or the like; though I still made him get some of those.

His shirts also didn't vary much either, most long sleeved or turtle necked, I made him get a few t-shirts however even if just for around the house. I was currently eyeing the spencer's across from the current store we were in, waiting as Madara tried on a few jackets, I was hoping after this I could take a quick look at their anime shirts and the back section. I was always looking for a new sexy anime girl shirt or new toy to review.

"Do you want to go over there?" I jumped a little at his voice, putting a hand over my heart as I let out a breath.

"You scared me." I breathed, trying to calm my racing heart as he looked at me with a slightly amused smirk.

"I can tell." He said making me roll my eyes. "You didn't answer my question." He said making me sigh.

"Yea, I wanted to see if they have any new anime shirts or new toys in the back." I said, looking back at the dark store, seeing the brightly haired employees putting plague doctor squishmellows up making my jaw drop. "I'm getting one of those stuffies." I said, making Madara raise an eyebrow.

"Why?" He asked making me roll my eyes.

"Because I have a thing for anything cute and fluffy. Why do you think I like you?" I said, turning around and walking up to the counter. "You found what you want?" I asked, seeing Madara blink in confusion by the quick change in topic and nod, following me as we went up to pay, adding another bag to our many that I held.

"Let me carry these." He said, grabbing the bags as we exited the store.

"No, I got it." I said, trying to protest but he just took the bags anyways. "Rude." I huffed, walking after him into the spencer's.

"I won't let a lady carry everything when I'm perfectly capable of helping her." He said making me blush slightly, turning away and exploring the Spencer's I've become so familiar with.

"Hey Alex, looking for anything specific?" Zane, the only male employee of the store asked. He was a sweet kid, only 16 and always looking to help when you need him.

"Just looking around." I said, looking at the new septum jewelry they got in. "Does that say glow in the dark?" I asked, looking at the black ring with a neon green heart. Zane laughed and nodded, taking it out of the sealed case.

"Indeed it does, we also have some matching earrings over there by the shot glasses." He said making me nod.

"Fuck yea." I said, turning to him with a grin. "Got any more sexy ladies for me?" I asked him, Madara raised an eyebrow at this but didn't comment, observing as the teenage boy lead us over to the t-shirt display, pulling out a white shirt of a green haired lady in a ramen bowl in a very revealing position with her ass out. I grinned and nodded, grabbing the shirt.

"Sexy ramen lady? Hell yea." I said, Zane chuckling and pulling out a light pink one.

"Personally a fan of the 'you've yee'd your last haw' cowboy possum but, to each their own." He said making my grin widen.

"I like that, I'll take it too." I said, taking the shirt he handed to me and walking into the back section, Madara's gaze dropping to the floor as he caught sight of the lewd items.

"Must we be back here?" He asked making me roll my eyes.

"Don't tell me you're embarrassed, Madara?" I teased, not getting a response making me turn to him in surprise, seeing his head hung low, refusing to meet my eyes as I stepped closer. "Madara, you don't need to be embarrassed." I said, standing under him so he was looking at me and grinning as he tried to look away, only to avert his eyes from the sexual items around us and back to me.

"Can we leave?" He asked before I grinned, stepping back as I bit my lip.

"Only if you pick the next thing I wear in my videos." I said, seeing his eyes widen as his eyes glanced to the wall of scandalous outfits, his face turning flustered in a tsundere way making me grin wider.

"W-what?" He stuttered, the normally stoic Uchiha looking like a deer in headlights as he stared at me.

"You heard me. Pick." I said, grinning as I looked at the wall, smirking as I spotted an Akatsuki lingerie set, another of a cat, a maid, a cop, a nurse, then one of a school girl, the list went on. He hesitantly looked at all the clothing, if you could call it that, and took a few nerve wracking moments tracing his eyes over them, gulping down the foreign anxiety building in him.

"That one.." He said, pointing to a skimpy demon set as he quickly looked away. I grinned and picked one of them in my size, going up to the checkout counter to pay and go home. Madara was quiet the whole way to the exits, I was carrying half the stuff after arguing with him upon just leaving the store. Just as we got outside Madara put his hand on my hip again, the wind had picked up quite a bit since we entered, my hip flush against his as his hand kept the other part of my skirt down. We got to the car, putting our stuff in the back, resulting in Madara awkwardly trying to hold my skirt down, which had me chuckling before getting in, leaving the slowly populating mall.

I pulled into the garage after a short while, stepping out and opening the back to grab our stuff, Madara hovering behind me to grab the rest. I moved to squeeze past him, accidentally brushing against him as I made my way into the house, the Uchiha following close behind. I set the bags on the table, turning to Madara only for him to set the bags on the table before rushing upstairs, leaving me confused to sort through the clothes. I shook my head and let Seth out for a pee while I started to unpack everything, organizing it all so one bag held shirts, another of pants and then his jacket hung up and shoes still in their box on the table. I hauled the bags up to his room and paused, raising a hand to knock, hearing rustling on the other side of the door.

"You okay?" I asked, stepping back as he swung the door open.

"How do you use the shower?" He asked, I blinked in surprise and took a moment to respond.

"I can show you. Uh.. Are you alright though?" I asked as he pushed past me into the bathroom, leaving me to follow him and quickly show him how to use it.

"Thank you. Now, get out." He said, pushing me out of the room and locking the door in my face making me blink. I was very confused now, he was acting really strange. I decided to brush it off and go put my own things away, hanging up the new shirts and putting the new lingerie set on a hanger to wait for my next shoot, tossing the squishmellow on the bed. I got out my laptop and headphones, decided to take this time alone to spend editing the videos I shot last night, thankful these videos were not nearly as hard to do as youtube videos for editing.

I managed to work through them within about 2 hours when I finally heard the shower shut off, the door opening a few minutes later. Damn, what the hell was he in there so long for? I had moved to my pc and was casually playing Stardew Valley when Madara walked in. I paused the game quickly as I spun my chair around to face him, blushing as I realized he was shirtless, I also noticed he didn't have the Hashirama cells anymore, now just a thin scar where Hashirama would have originally stabbed him in its place.

"Hey, whatcha doing?" I asked, my eyes widening as he leaned down to my face, narrowing his eyes as I leaned back in my chair.

"I don't know what your game is here, but it needs to stop. Or it will end very badly for you." He growled out, I could feel a shiver go down my spine at his tone, my breath hitching as I stared into his dark eyes.

"I don't know what you're talking about." I said, my mouth felt dry as his intense eyes stared me down, he scoffed and pulled away, letting me breath.

"If you don't stop, I may not be so tolerant next time." He threatened, walking out as his still wet hair clung to his tense back. I was frozen there for a moment before I simply turned and went back to my game, internally freaking out as my face was stuck bright red from his words and because of how close he got to me. It took everything in me to focus on his words and not his chest, I just wanna… Ugh! I need to calm down.

1 note · View note

chronicles-of-living-23 · 1 year ago

Text

Raised and cultured with the caressing hands of my grand mother and grand father, life has a slight variations from the disciplinary upbringing to the modest yet courageous face off with the challenges of the world. These had filled the emptiness of my childhood. From the frightening look of an annoyed Lolo for the little girl’s agile state of being. Well, upon those scary big round eyes is a father figure that I have longed for. Accompanied with my Lola’s warm hugs and gentle kisses a child’s day has always been energetic that I consider myself lucky and blessed.

Although there has been a couple of deploring moments where I question our Almighty God about my whole existence, still the enduring and constant brace from them has been the source of inspiration to life as a whole.

Professing to the fact that some deportment has been influenced by them still I enfold to it, from the abiding hair style which makes me look like a pompous tomboy, always short with a perfectly trimmed baby bangs well this makes every summer a very refreshing one. Also their ascendancy has also been part of my social life eschewing the circles of male friends as much as possible distancing yourself from them. Well, that technique has been quite effective, for I am reaping the seeds of obedience these days by letting them indulge with the comforts of life. Their command has also been the key to unlocking some superstitions in this vast universe, from the howling of dogs during wee hours which according to them signifies death, to the supernatural beings like aswang and tiklabang to the avoidance of trimming your nail during night time or even sweeping the floor as well, for all of these brings bad luck and bad karma. Well, you should never be unsentimental for elderly should be respected and attended to. These has been the one of the structure of my continuance but music has been the most exceptional of them all.

The festive and cheerful tones of kuracha music has been one of the healing therapies I usually do in times of desolation and grief. Waray- waray kuracha drives weariness into a blithe moment- gleeful and heart warming as it is as my Lolo tries to move to the beat with a half- paralyzed body, although struggling, still it is the most satisfying instant to catch sight of.

It was Christmas and in the whole world is in whole peril with pandemic, but the nonstop Waray- waray Kuracha has put a genuine smile of our faces. Eclipsing the fear and sorrow of the world may bring any minute from now. As the melody and lyrics provides felicity to the household or even to the vicinity where some neighbors dance with glee and with variations as the loud kuracha music resonates to the whole neighborhood, joyously sweating as they sway their body.

It sure is a contrasting celebration of Christmas and new year ,yet the bliss and hope of a content nation will always rest in our custom and attitude as how we foresee the world. Well, for my Lolo it is a nonstop Kuracha, so we must dance to every rhythm like a Kuracha dancer who sways the hands and body with glee. After all life is a nonstop dance all we have to do is embrace to every melody with our heart and let our body moves to live and survive.

#tiring twirl tourney #wanderer #curious #longing

0 notes

friendsinahistoricalway · 2 years ago

Text

*Text questions copied from coconurt's post, answers are my own*

~ 💖 ASK GAME 💖 ~

📷 What’s set as your phone’s lockscreen? - It's one of the early scenes of Kiki's Delivery Service by Studio Ghibli, where Kiki is cloud-watching on a hill with her radio.

🍫 Cheese or chocolate? - Honestly, I don't know. It depends on my mood, but a good Mint Aero would outclass most cheese on any day.

✨ Do you have any nicknames? - Yahoy, I do indeed. I get called chickadee and buddy by my parents a lot, and my friends call me rat or a variation on my full name (which I'm not comfortable sharing).

🎵 Last song you listened to? - No body, no crime by Taylor Swift.

✏️ Have you ever written fanfiction? - Whhhhhaaaaattt? Yes.

😏 Are you on discord? - Why, are you trying to ask me out?

💛 Do you have any piercings? - Yeah, just the one on my earlobes (like, the most normal place), but I really want a nose stud / ring (not septum, one of the ones on the side, idk the right word), and a second ear-piercing a little further up.

🐰 What do you think says the most about a person? - How they treat people / beings who are of a lower social status than them (waiters in restaurants, service workers, animals, kids, etc.)

🍪 If you were a cookie, what kind would you be? - Lemon and lavender but in the most gremlinoid way possible.

🐶 Are you more of a dog person or a cat person? - Definitely a cat person, but I don't dislike dogs.

🎧 Headphones or earbuds? - Oooooohhh, this is a good one, you neurodivergent asses. I have some really good noise-cancelling headphones that I love, but wearing earbuds and listening to some good lo-fi on a rainy day is such a vibe, especially on the bus.

🌼 What’s the last thing you said out loud? - Not to be cringe, but I just told my dad I loved him, and then proceeded to stub my toe on the stair and drop an f-bomb, so do with that what you will...

🙃 What’s a weird fact that you know? - So many, so many. The inside of a banana peel can soothe mosquito bites.

🦉 Are you a morning person or a night owl? Night owl, for sure. I don't think I count as a human being in the morning.

🧸 Favorite place to nap? - I don't nap a lot, but probably like on my couch or in a tent.

🏳️‍🌈 Are you a member of the LGBTQIA+ community? - What? Me? Indeed, I am one of them queers (affectionate). I'm sapphic, probably a lesbian but idek at this point, and I'm AFAB genderfluid.

🦋 Describe yourself in three words. - Nerdy, loyal, romantic.

👖 Jeans or sweatpants? - Sweatpants, probably, but overalls beat out sweatpants, so idk.

🥤 What’s your go-to Starbucks order? - I don't really go to Starbucks that often, but probably a chai tea latte or London Fog latte.

🧡 A color you can’t stand? - I love green, but that kind of neon yellowish green that gets put on like, little boys' Nike shirts and stuff annoys me so much.

💎 What’s your most prized possession? - I really can't decide between my yellow water bottle; one of my instruments; or one of my science awards.

☕ Coffee or tea? - Tea 1000%. I love London Fogs, mint, lime, and Monk's Blend especially.

🦖 Favorite extinct animal? - Dodo bird. Can't explain it. I blame Douglas Adams.

🌙 How long have you been on Tumblr? - Not long. I had known about the culture of it for quite a while, but I think I joined in fall 2022, not sure of the exact date.

🌴 Desert island item? - A teleporter to get me the heck out of there.

🐸 Describe your aesthetic. - Green academia / dark cottagecore. Slight gremlinoid and historical elements.

🔮 What’s your dream job? - Clinical phycologist with a private practice at incredibly affordable prices.

💙 Relationship status? - I swear, y'all are trying to romance me.

🌿 Describe your favorite outfit. - One of my super flowy things, definitely involves a cloak and a blouse, probably a sword, too.

🎤 Is there a song you know all the lyrics to? - Every Taylor Swift or Harry Styles song ever made, and so many more. I am a music junkie down to my core.

🤎 What color is your hair? - Medium brown. I remember one time when I was little a random old lady walked up to me and said "Now, young lady, I like your hair. It's not so light, not so dark, I call that teddy bear brown". I loved that as a kid, and it kinda stuck with me.

💌 Do you talk to yourself? - Yeah, it helps me process things bc my brain is messed up. I also sing to myself a lot, and I've been told it's unsettling.

💄 Do you wear makeup? - Not like, every day, but I enjoy wearing makeup and wear it pretty regularly, I'd say.

🌸 Best compliment you ever received? - Recently "You had some amazing footwork at the dance last night", I was feeling kinda highkey insecure about my dancing and that was so awesome.

💞 @ your favorite blog. - @tales-from-a-dawn is actually my side blog, I'm sorry, I know we hate self-promotion. I'm writing and producing a fake album (it won't actually be available for purchase, but you will be able to listen to it). I would super-duper appreciate it if you would just check it out and tell me if anything looks cool.

#get to know me #ask game #sapphic #music

0 notes

wordgoods · 2 years ago

Text

Verse Similar to how paragraphs are the body of a letter or essay, the Verse is like a stanza in poetry. The length is usually larger than the rest of the components. Though not all Verses have a rhyme scheme, it is characteristic for Verses to follow a 'AABB' or 'ABAB' format. -> Click here for examples.

Chorus An independent section which is usually repeated, with identical harmonic and melodic structure. The lyrics of the Chorus often contain the song's lyrical hook, which serves to make the tune more recognizable and, in many cases, coerce the audience to sing along. It is worthwhile noting that both the Chorus and Pre-Chorus can be exchanged for Drop and Pre-Drop, respectively, for electronic tracks. -> Click here for examples.

Refrain A Refrain is a line or set of lines that repeat at the end of each Verse. The refrain can often be confused with the Chorus. A Refrain is a repeated section of the verse. A Chorus (or a Pre-Chorus) will have a distinct change in "feel" that separates itself from the Verse. In fact, many songs with a refrain do NOT have a chorus; of course, there are always exceptions. -> Click here for examples.

Bridge Essentially there is a point in song when it completely changes, sounding both melodically and/or lyrically different before it transitions back into original form. It can appear anywhere and rarely appears more than once. -> Click here for examples.

Intro An Intro always appears at the beginning of the song or Part, though not all songs will include an Intro. They are often instrumentals with no words but sometimes there are people talking or buildup involved. Depending on the genre, there are many variations. Only add the Intro header if dialogue is present. -> Click here for examples.

Outro An Outro always appears at the end of the song or Part, though not all songs will include an Outro. Lyrically, the section is represented by either repeating a line as the track fades out or repeating a section of a Chorus or Verse, sometimes with a slight change in the lyrics to indicate a resolution to the song's climax. Outros can also be seemingly-random dialogue. Only add the Outro header if dialogue is present. -> Click here for examples.

Pre-Chorus An often-repeated, semi-independent section that appears between the Verse and Chorus. The Pre-Chorus differs both musically and lyrically from both the Verse and the Chorus, but always appears in conjunction with the Chorus. This is also colloquially referred to as the "build" or "climb." It is worthwhile noting that both the Chorus and Pre-Chorus can be exchanged for Drop and Pre-Drop, respectively, for electronic tracks. -> Click here for examples.

Post-Chorus A semi-independent section that works inversely to the Pre-Chorus, serving to link the Chorus to a succeeding Verse. A Post-Chorus differs both musically and lyrically from the Verse, Pre-Chorus, and Chorus, but always appears in conjunction with the Chorus. On occasion, a Post-Chorus will also double as a lyrical and/or musical Outro. -> Click here for examples.

Interlude Similar to a Bridge, an Interlude is an instrumental or lyrical section which introduces a different feel than any other previous part of song. Like a Bridge, they are used to connect different sections of a song that does not follow a standard song structure. This is not to be mistaken with a Segue which connect two different songs within one track. All spoken-word Bridges are Interludes. -> Click here for examples.

Segues & Parts A Segue is a musical, lyrical, or spoken passage that is used to connect two distinct entities---sometimes whole songs---within a single track using a non-standard structure.

Instrumental Instrumentals on the other hand are when groups play without vocalists and either coordinate in symphonies or jam together. -> Click here for examples.

Instrumental Break Breaks involve instruments or percussion being played between different sections to help create variety in the arrangement or build up to the next Verse or Chorus.

Solos Solos are Instrumental sections where a single performer shows off an improvised or written, extended melody, showcasing their talent. More often than not, a specific instrument rises above the others, hence there could be a [Guitar Solo], [Drum Solo], or [Saxophone Solo]. -> Click here for examples.

#music #musical vocabulary #vocabulary #words #verse #chorus #refrain #musicianship #genius

1 note · View note