#check performance

[chloesimaginationthings]

FNAF nightmare foxy is a huge fan of Roxanne Wolf,,

[cassandragemini]

Aimee, from Leonard Nimoy’s 2010 photography series Secret Selves

Aimee — tattoo and body piercing

I like being a girl…no one knows I am a woman, let alone a lesbian. My beard is natural, there is no imbalance.

[dailyastarionpics]

Drama queen...

[weareravershq]

HEIS REMA!!!

[or-did-i-dont-didnt-send-it]

Fun fact: McLaren have scored 1102 points from 2021 to the first half of 2024.

Fun fact: 152 of those are Danny Ric. 264 of those are Oscar Piastri. 686 of those are Lando Norris, that’s well over half.

Fun fact: Lando had a 130 point advantage across ‘21-‘22 and has a 140 point advantage across ‘23-‘24 thus far.

Thank you and goodnight.

[breelandwalker]

Tfw you've been doing this for ages and somebody's like wow you're so knowledgeable / cool / interesting / etc

and you're just like

my darlings i am not up on any kind of pedestal, not even so much as a stepstool, i am down here in the dirt with you and my hands are filthy

i have no laurels to rest on, i still make mistakes, i am still learning too

[bad-tf-fic-ideas]

(312) Megastarop concept: the Cybertronian civil war has been over for a century. After the initial declaration of peace, and one much-photographed, significant handshake with Megatron, Optimus Prime has withdrawn from society.

He avoids a lot of people now, including dear friends, and rarely goes out. In part, it's because Optimus has had his fill of conflict he could not escape, and now even the small disagreements seem like too much work. But in part, he is just tired. Physically. Emotionally. Existentially.

The only messages he returns anymore are Ratchet's, which is probably why he isn't even aware that Starscream is trying to get in contact... until he kicks in the window. Very insincerely, Starscream claims he's performing "a welfare check," since Optimus can't be bothered to answer his emails, his phone, or his door.

Starscream, of course, fancies himself a wit. Given no incentive to stop talking and a passive audience, his wit runs very long indeed. But his real problem, when he pauses in his soliloquy to mention it, is eventually revealed: something is very wrong with Megatron, and he has come to get Optimus Prime so he can fix it.

He's the only one who can, apparently.

[bean-writes]

My friend insisted she didn't need to rewatch the first Lord of the Rings movie because she still remembered what happened. So I asked her to recap it for me. I'm fucking dying 🤣🤣🤣

Ladies and gentlehobbits, I present to you The Lord of the Rings (according to my friend):

"The world is different. Legends. The ring falls really slowly into the water. The group of travelers and Will Turner find it. Boromir is the magic wizard guy, or he's the elf. Or human. It doesn't matter, he's a minor character. And the movie ends with the one who can't swim in the lake. Also Saruman is the bad one."

Who are the Ringwraiths? "The Ringwraiths want Gollum to have the ring."

And who is Gollum? "He uh... the 'precious' guy. The shriveled guy."

Who is Gandalf? "He's the wizard guy who dies when he fights and runs down some stairs. And he changes colors."

Who's Sauron? "He's the opponent of Gandalf. He's a wizard like Harry."

Rivendell? "Where a group of good people live. Which good people is up for debate." (She didn't ask us this last bit, she stated it.)

Who lives in Rivendell? "Men."

No.

"Dwarves."

No.

"Elves?"

Yes.

"No they don't live there."

Where do dwarves live? "Hobbiton."

Who is Galadriel? "Galadriel is part of legend, he is not around any more."

Who's Arwen? "A really impactful character. She had magic powers."

Who is Bilbo? "He is the one who is holding the ring when the movie sped up a lot because they kept saying 'ring'. Bilbo is the author in the office."

What's Moria? "The opposite of Mordor."

What is the green dragon? "A dragon. A race. A group?"

Who are the Uruk-hai? "Bad people. That's all you need to know."

Who is Peter Jackson? "Knock off Percy Jackson."

[feralgodmothers]

So I just learned that including Polk Salad Annie in Elvis (2022) was Austin’s idea…

Thank you for your service sir 🫡

[rosesofenvy]

How Far We’ve Come - Music Theory Analysis

[Disclaimer: I went to university for music as a violin primary and have the most confidence with classical strings. I passed my piano proficiency courses, but that is the extent of my piano knowledge. It has been a few years since I have done an in-depth composition analysis of any piece, let alone transcribing a piece by ear and then analyzing it. Music theory has never been my strong suit! Please excuse any mistakes in notation, and any inaccuracies in my transcription or analysis. I did my best and this was purely for fun *shaky thumbs up*]

----------------------

'How Far We’ve Come' by Harlan Guthrie is a duet between Grand Piano and Cello. This piece opens with solo piano, either in a pickup measure or in a single measure of 2/4 before transitioning to 4/4 time in measure 2. Throughout its entirety there are many moments of rubato which have been notated as ritardando and a subsequent a tempo. To most accurately follow the phrasing, listening to the recording is highly recommended.

This piece begins in the key of F#M or the enharmonic spelling of GbM. Although unpleasant to look at with either 6 sharps or 6 flats, depending on which spelling is followed, this key is often used by composers to invoke emotions of a conquest story, evoking relief, triumph, victory, and clarity. As we know from our story in Malevolent so far, this meaning is not lost on us. I have chosen to keep this piece as F#M since that is how I originally began transcribing it. I have also attached the GbM version at the end of the post, however all the analysis follows F#M spelling.

The lone piano begins on the third of our I chord with a hesitant, heavily rubato 8th note pickup into measure 1. The transition from measure to measure in this first phrase gains little confidence, especially with the transition from the pickup into m. 1 as this is the only instance in the piece where the set of 8th notes in the left hand do not lend itself into the next right hand pickup (four 8th notes instead of five). Each lead-in to the downbeat is stretched, pedal held throughout the measure to allow the sound to linger. Each press of the keys is deliberate, yet maintains a mezzo dynamic as the sound fades. m.2 is introduced with a vi chord, creating a hint of unease before resolving in m.3 to a IV(add7). We end our first phrase with a half cadence to a V chord, leading into a V7 as our next phrase begins with a B. 

As we enter our second phrase it is similar to our first with  m.5 beginning with a I chord, m.6 expands our vi chord compared to its first iteration, resulting in a more confident feel as we continue into m.7 with yet another expansion to our IV(add7). M.8 ends this phrase as we reach another half cadence V chord almost V7. 

Beginning m.9 the piece has a few possible paths of analysis, we arrive on a vi chord if we are remaining in F#M, which unlike our other initial starting phrases this throws us into a melancholic mood. There is a possibility of modulation to the relative minor (D#m), however I believe it remains in F#M and utilizes inversions of our chords and will continue with this assumption for the next phrase.

Remaining in F#M, m.10 could be a vi(4/2) inversion, or a I(6/4) inversion. Because Measure 11 moves to a ii chord, I believe it makes more harmonic sense for m.10 to be a vi(4/2) inversion as moving from a I(6/4) - ii is less common than a vi(6/4) to a ii. 

M.11 into m.12 is a fascinating progression. We have a V with the (g) in m.11, then we are descending to a Dnat, A#, E# progression. The Dnat is what has thrown me off the most, as it is a minor chord of sorts but doesn’t exist within our key of F#M, or relative D#m. The E# A# progression I believe is a I(4/2) chord, as it is leading us back into the next phrase. Even spelling enharmonically as a A#, Cx, E# chord it does not naturally occur within our existing key. After many hours of checking theory textbooks, writing out possible modulations, and playthroughs of the chords, I’m choosing to leave this as a V-I(4/2) progression and accepting my loss that I do not know what chord exists in the downbeat of m.12. However, I can say that resolving to something that is not a root tonic further creates this sense of melancholy.

Bringing us to our next phrase at m.13, similar to our previous phrase a vi chord but instead of resolving to an A# it resolves to the root D#. M.14 is identical to m.10 with the exception of the lower octave A#3 before resolving in m.15 to a ii chord until the fourth beat of the measure which leads us into measure 16 - resolving to a IV-V half cadence by the end of the measure. 

Reaching m.18 we are returning to our original phrase. This is where our cello enters for the duet, in which I have some observations about musicality first. As the piano is using a significant amount of pedal to sustain the sound, the cello utilizes a wide vibrato to create a warm sound. Notably, this doesn’t occur as significantly when entering with the lower notes. The cello is confident, encouraging the piano forward and maintaining a solid momentum even with the hesitance the piano has shown. 

M.18 we begin on a I chord, supported by the cello playing a low F# as the root. In the pause between phrases, it's as if you can feel the performers breathing together before they move to m.19, our vi(add7) chord. 

Measure 20 I have quite a bit to talk about. Stacked chord analysis is not my forte (pun intended). From what I could hear, there is a B1, F#2, B2, F#3 in the cello, while the piano continues with a IV(add7) chord. B1 is impossible to play on a cello with traditional tuning, in order to achieve this note they would have to tune their lowest string - their C string - down a half step. The chord B1/F#2/B2/F#3 is also impossible to play on a single instrument. If one cello tuned their C down to a B, then they could feasibly play the bottom chord, possibly the two B’s in octaves. It is possible for a cellist to play an F#/B/F# chord, however it would be uncomfortable and not result in a good tonality with it being a triple stop - but, the second cello could split the chord and play a different combination (F#2,B2 or B2,F#) with success. Other solutions to this could be having a double bass play the pedal B, as it would be within their ability on and remain in the correct octave, or having the piano cover the pedal B. This massive chord then resolves simply to a half cadence V chord in measure 21. 

Entering our last section, m.22, we return to a phrase similar to the beginning, with a confident I chord. With each measure we go to a more traditional chord progression to a V-IV-V in measures 23, 24, and 25 respectively. In an exciting turn of events, we land on a I chord in our final measure. The first PAC in the entire piece, and yet, it doesn’t sound as if the piece is finished. Throughout its entirety, all the phrases have been a form of inauthentic cadence. We end on a Perfect Authentic Cadence, a V-I, it should sound resolved. And yet, it continues on. The notes ring, and if left on repeat (as I have done for this analysis), it makes sense for it to continue. 

In conclusion, I believe this duet is in an general AABBAA format, with A being Major key tonality and B encompassing a minor key tonality. This piece is a conversation, it’s full of emotion and hesitance and is a fantastic representation of everything we’ve seen Arthur and John go through so far in the podcast. I can’t help but think of “I’ve come so far…and I have miles to go before I sleep” with this piece as a reflection of that. This composition is saying “Look, see how far we’ve come, what we’ve done to get here. How we’ve changed and grown.” All this to say, it’s an amazing story and an amazing composition. If you made it this far, I’m glad you came along in this musical journey with me and feel free to add anything I may have missed (or possibly mistaken). 

[djuvlipen]

saw someone saying I derailed my own post about the Romani genocide and that I appropriated the holocaust by bringing up the sex trafficking of Romani women that's currently happening in Europe... ohh some of you are unredeemable fr

[shattteredvisage]

he literally cast a spell over the west eighteen years ago. by the way. if you even care.

[weareravershq]

Incredible shot of Rema at his show

[yea-baiyi]

i just posted but i feel INSANE hua cheng’s entire appearance in the ghost groom arc is just symbolism.

when xie lian is alone (having sent everyone away, in danger but perfectly capable of fighting his way out), hua cheng steps in front of xie lian, offers his hand, and guides xie lian through the woods to where he needs to be. monsters cower before him, magical barriers don’t stop him, he steps on the skulls of enemies and crushes them so thoroughly that xie lian behind him feels like he is walking on flat ground. he doesn’t just swoop in without asking — he offers his hand, and waits, and xie lian willingly reaches out and lets himself be guided. and his grip is featherlight, even as he steers xie lian through danger and darkness. his blood rain warns away all who would dare harm them, but xie lian doesn’t get hit by a drop. and hua cheng does this all in his true form, not in disguise, because he’s not playing a character or trying to achieve anything, this is just him. despite not being confident enough to face xie lian directly, hua cheng has already shown him exactly who he is.

(now excuse me while i gnaw through an entire wall because how was this not glaringly obvious to me all along)

[pleasedontcareaboutme]

Some silly on this regular thursday - since it's halloween everyday in Buck-Tick land

| The Parade ~35th anniversary~ Fly Side / Kyouki no Deadheat

[millenari]

whatever the hell is going on here