#fe harold

[fe-smashorpass]

[real-fire-emblem-takes]

I had an OC named Felix ever since 2014 (their gimmick was that they had the worst luck imaginable, like fates Arthur/Harold) and I was about to make a FE au for them only for three houses to release, so I just transed their gender so now I'm hunting for a cool new name for her.

.

[kvetchlandia]

Uncredited Photographer Beat Poets Allen Ginsberg, Harold Norse, Jack Hirschman, Michael McClure and Bob Kaufman, Caffe Trieste, San Francisco 1975

I walked on the banks of the tincan banana dock and sat down under the huge shade of a Southern Pacific locomotive to look at the sunset over the box house hills and cry. Jack Kerouac sat beside me on a busted rusty iron pole, companion, we thought the same thoughts of the soul, bleak and blue and sad-eyed, surrounded by the gnarled steel roots of trees of machinery. The oily water on the river mirrored the red sky, sun sank on top of final Frisco peaks, no fish in that stream, no hermit in those mounts, just ourselves rheumy-eyed and hung-over like old bums on the riverbank, tired and wily. Look at the Sunflower, he said, there was a dead gray shadow against the sky, big as a man, sitting dry on top of a pile of ancient sawdust— —I rushed up enchanted—it was my first sunflower, memories of Blake—my visions—Harlem and Hells of the Eastern rivers, bridges clanking Joes Greasy Sandwiches, dead baby carriages, black treadless tires forgotten and unretreaded, the poem of the riverbank, condoms & pots, steel knives, nothing stainless, only the dank muck and the razor-sharp artifacts passing into the past— and the gray Sunflower poised against the sunset, crackly bleak and dusty with the smut and smog and smoke of olden locomotives in its eye— corolla of bleary spikes pushed down and broken like a battered crown, seeds fallen out of its face, soon-to-be-toothless mouth of sunny air, sunrays obliterated on its hairy head like a dried wire spiderweb, leaves stuck out like arms out of the stem, gestures from the sawdust root, broke pieces of plaster fallen out of the black twigs, a dead fly in its ear, Unholy battered old thing you were, my sunflower O my soul, I loved you then! The grime was no man’s grime but death and human locomotives, all that dress of dust, that veil of darkened railroad skin, that smog of cheek, that eyelid of black mis’ry, that sooty hand or phallus or protuberance of artificial worse-than-dirt—industrial—modern—all that civilization spotting your crazy golden crown— and those blear thoughts of death and dusty loveless eyes and ends and withered roots below, in the home-pile of sand and sawdust, rubber dollar bills, skin of machinery, the guts and innards of the weeping coughing car, the empty lonely tincans with their rusty tongues alack, what more could I name, the smoked ashes of some cock cigar, the cunts of wheelbarrows and the milky breasts of cars, wornout asses out of chairs & sphincters of dynamos—all these entangled in your mummied roots—and you there standing before me in the sunset, all your glory in your form! A perfect beauty of a sunflower! a perfect excellent lovely sunflower existence! a sweet natural eye to the new hip moon, woke up alive and excited grasping in the sunset shadow sunrise golden monthly breeze! How many flies buzzed round you innocent of your grime, while you cursed the heavens of the railroad and your flower soul? Poor dead flower? when did you forget you were a flower? when did you look at your skin and decide you were an impotent dirty old locomotive? the ghost of a locomotive? the specter and shade of a once powerful mad American locomotive? You were never no locomotive, Sunflower, you were a sunflower! And you Locomotive, you are a locomotive, forget me not! So I grabbed up the skeleton thick sunflower and stuck it at my side like a scepter, and deliver my sermon to my soul, and Jack’s soul too, and anyone who’ll listen, —We’re not our skin of grime, we’re not dread bleak dusty imageless locomotives, we’re golden sunflowers inside, blessed by our own seed & hairy naked accomplishment-bodies growing into mad black formal sunflowers in the sunset, spied on by our own eyes under the shadow of the mad locomotive riverbank sunset Frisco hilly tincan evening sitdown vision.

Allen Ginsberg, "Sunflower Sutra," 1955

--

my head felt stabbed

by a crown of thorns but I joked and rode the subway

and ducked into school johns and masturbated

and secretly wrote

                                     of teenage hell

because I was “different”

the first and last of my kind

smothering acute sensations

in swimming pools and locker rooms

addict of lips and genitals

mad for buttocks

                                that Whitman and Lorca

and Catullus and Marlowe

                                          and Michelangelo

and Socrates admired

and I wrote: Friends,

if you wish to survive

I would not recommend

Love

-- Harold Norse, "I Would Not Recommend Love" 1973

--

I ran down the street and into the house smelled of oregano and shook Mickey Monaco, said C'mon, Balaban's got a breadloaf climbing over old Gruber's fence, he thinks the mad dogs is doves.

But Mickey grew up in the bed till he was too old and besides Balaban was crazy, he sucked his tongue and got left back twice.

So I ran to Joey Bellino's house but his mother's black stocking said Joey was out early shoe shining. And besides a, that Balaban he's a crazy a kid, he suck a the tongue and Joey says he get lefback three times.

So I banged on Bitsy Beller's window yelled he was near the top, the mad dogs waiting down below he thinks is doves.

But when Bitsy stood up he turned into a stiff cue stick. And didn't want nothing to do with nobody cracked upstairs. And Dickie Miller became a semipro. And Howie Fish a doctor. So I ran down the street full of hope

by myself because I was on fire. But I got there too late for Balaban. Two of them had a stretch of skin between their teeth fighting over it,

and the foam of their mouths and Balaban's blood spattered in such a way, the most the greatest picture looked me straight in the eye, made me sit in the gutter and cry,

and when I got up vow to be Balaban from that day on

-- Jack Hirschman, "Balaban" 1969

--

for Jack Kerouac 

IN LIGHT ROOM IN DARK HELL IN UMBER IN CHROME,

     I sit feeling the swell of the cloud made about by movement

                 of arm leg and tongue. In reflections of gold

           light. Tints and flashes of gold and amber spearing

                     and glinting. Blur glass…blue Glass,

             black telephone. Matchflame of violet and flesh

                 seen in the clear bright light. It is not night

                and night too. In Hell, there are stars outside.

            And long sounds of cars. Brown shadows on walls

                                       in the light

                           of the room. I sit or stand

                 wanting the huge reality of touch and love.

            In the turned room. Remember the long-ago dream

          of stuffed animals (owl, fox) in a dark shop. Wanting

             only the purity of clean colors and new shapes

                                     and feelings.

                 I WOULD CRY FOR THEM USELESSLY

                   I have ten years left to worship my youth

                      Billy the Kid, Rimbaud, Jean Harlow

  IN DARK HELL IN LIGHT ROOM IN UMBER AND CHROME I

                                                                                            feel the swell of

smoke the drain and flow of motion of exhaustion, the long sounds of cars

                                                                                                     the brown shadows

on the wall. I sit or stand. Caught in the net of glints from corner table to

                                                                                                                       dull plane

from knob to floor, angles of flat light, daggers of beams. Staring at love’s face.

      The telephone in cataleptic light. Marchflames of blue and red seen in the

                                                                                                                            clear grain.

I see myself—ourselves—in Hell without radiance. Reflections that we are.

              The long cars make sounds and brown shadows over the wall.

                               I am real as you are real whom I speak to.

                   I raise my head, see over the edge of my nose. Look up

                    and see that nothing is changed. There is no flash

                            to my eyes. No change to the room.

                       Vita Nuova—No! The dead, dead world.

                     The strain of desire is only a heroic gesture.

                       An agony to be so in pain without release

                             when love is a word or kiss.

-- Michael McClure, "The Chamber" 1961

--

I have folded my sorrows into the mantle of summer night, Assigning each brief storm its allotted space in time, Quietly pursuing catastrophic histories buried in my eyes. And yes, the world is not some unplayed Cosmic Game, And the sun is still ninety-three million miles from me, And in the imaginary forest, the shingled hippo becomes the gray unicorn. No, my traffic is not with addled keepers of yesterday’s disasters, Seekers of manifest disembowelment on shafts of yesterday’s pains. Blues come dressed like introspective echoes of a journey. And yes, I have searched the rooms of the moon on cold summer nights. And yes, I have refought those unfinished encounters.       Still, they remain unfinished. And yes, I have at times wished myself something different.

The tragedies are sung nightly at the funerals of the poet; The revisited soul is wrapped in the aura of familiarity. 

-- Bob Kaufman, "I Have Folded My Sorrows" 1965

[deutschland-im-krieg]

Junkers Ju 290A-7 in flight post-war. Note the FE3400 painted on the tail. This was an American classification for captured equipment, FE meaning Foreign Equipment. The Ju 290 was significantly larger than the Boeing B-17 Flying Fortress and Avro Lancaster, and only slightly smaller than the Boeing B-29 Superfortress.

It was flown to the US by Colonel Harold E. Watson from Orly, Paris to Wright Field on 28 July 1945, via the Azores. The captured aircraft, with its German insignia repainted, was a frequent performer at air shows at Freeman Field and Wright Field. When the aircraft was scrapped at Wright Field in 1946, a plastic explosive device of German manufacture was discovered in the wing near to a fuel tank. For more, see my Facebook group - Eagles Of The Reich

[dreaminginthedeepsouth]

Song of the Day - “The Summer Wind” Today is the late Johnny Mercer’s 115th Birthday… Born in Savannah, Georgia, songsmith Johnny Mercer wrote some of the most iconic and fantastic songs in what gets called The American Songbook…

While he composed the music for many songs, Mercer was primarily a lyricist… and was paired in songwriting with the likes of Henry Mancini, Hoagy Carmichael, Harry Warren, Gordon Jenkins, Jimmy McHugh, Harold Arlen, Jimmy van Heusen, and Jerome Kern…. A list of Johnny Mercer hits boasts the likes of “Moon River”, “Autumn Leaves”, “Days of Wine and Roses”, “Hooray for Hollywood”, “Blues in the Night”, “Goody, Goody”, “Too Marvelous for Words”, “Jeepers Creepers”, “You Must Have Been A Beautiful Baby”, “Day In, Day Out”, “I Thought About You”, “Love of My Life” ,”Fools Rush In”, “I Remember You”, “That Old Black Magic”, “Skylark”, “Ac-Cent-U-Ate The Positive”, “Laura”, “On The Atchison, Topeka, and the Santa Fe”, “Something’s Gotta Give”, “Satin Doll”, “I Wanna Be Around”, “Charade” , and “One For My Baby and One For The Road” and “Come Rain or Come Shine”

This song “The Summer Wind” is one that Mercer tweaked from a German song by Heinz Meier, which Mercer had heard performed in Germany. Mercer wrote English lyrics for it and worked the melody into a swingy tune which made it into an instant jazz standard… Covered by several artists, the best version was Sinatra’s here… recorded for his “Strangers ing the night” album in 1966. The song has been used in numerous films, and is famous for being Mercer’s last charting hit…

Besides being the favorite song of sportscaster Bob Costas, Bruce Springsteen told Stephen Colbert, while on his show, that, asked to hypothetically pick only one song to listen to for the rest of his life, said unequivocally that it would be Sinatra’s cover of “The Summer Wind”… I get that…

“The summer wind came blowin' in from across the sea It lingered there to touch your hair and walk with me All summer long, we sang a song And then we strolled that golden sand Two sweethearts and the summer wind Like painted kites Those days and nights they went flyin' by The world was new beneath a blue umbrella sky Then softer than a piper man One day it called to you I lost you, I lost you to the summer wind The autumn wind and the winter winds They have come and gone And still the days, those lonely days, they go on and on And guess who sighs his lullabies Through nights that never end My fickle friend, the summer wind The summer wind Warm summer wind The summer wind…”

[Mary Elaine LeBey]

[ireneead]

I watched Frozen Empire yesterday. It was an OK movie, but then again, my expectations were really low.

I loved some things about it and hated others.

Seeing the ogs again was wonderful (I actually thought they would have an even smaller part in this one!) , and Janine joining them was the cherry on top!

They really pulled at your nostalgic heartstrings! Lots of references to the original films!

But... I didn't care for the new characters and I especially disliked that ghost girl... too annoying for my taste!

Trevor was absurdly underused again, which is terrible because he has SO MUCH potential (I like Finn Wolfhard as an actor!)!

And the worst thing... what the fuck have they done to Phoebe? She acted stupid in this one! She went from being basically the smartest one in Afterlife to the stupidest one in FE! Not to mention her personality! She was so annoying! I kinda feel bad for McKenna Grace, she's a great actress too! But her character... 🤦🏼‍♀️🤦🏼‍♀️🤦🏼‍♀️

My favourite character in the movie? Obviously... Ray Stantz, of course! The movie had another 'vibe', so to speak, whenever he or Winston was on... it shone!

But yeah, I still prefer Afterlife... it's a much, much better film.

And yeah, I still missed Harold/Egon. Very much so.

[dewitty1]

Cormac McCarthy, Pulitzer-Winning Author Of ‘The Road,’ Dies

Cormac McCarthy, Pulitzer-Winning Author Of ‘The Road,’ Dies

Cormac McCarthy, the novelist known for his Southern Gothic stories, died in his home in Santa Fe, New Mexico, on Tuesday at 89.

His publisher, Knopf, confirmed his death to Publishers Weekly.

McCarthy was one of the most celebrated novelists of his generation, considered by literary critic Harold Bloom to be as influential as Don DeLillo, Thomas Pynchon and Philip Roth.

[worldbuilders-blog]

Scandinavia - Old Norse Poetry - Structure and advice on writing imitations

(Some of this will be copy-pasted from my previous post on Old Norse literature and oral tradition)

OLD NORSE POETIC FORMS

Old Norse poetry utilizes a modified form of alliterative verse. In simpler terms, the metrical structure is not necessarily based on the last syllables of a line or phrase rhyming...

Ex: (lines from William Shakespeare’s Venus and Adonis) “And so in spite of death thou dost survive / In that thy likeness still is left alive”

... the structure relies on the repetition of multiple initial consonants in a line or phrase.

Ex: (from the Hávamál of the Codex Regius) Deyr fé // deyja frændr

SKALDIC POETRY

Primarily documented in sagas, skaldic poetry is usually about history, particularly the celebrated actions of kings, jarls, and some heroes. It typically includes little dialogue and recounted battles in dialogue. It has more complex styles, especially using dróttkvætt and many kennings.

DRÓTTKVÆTT (“courtly metre”)

- Adds internal rhymes and assonance (repetition of both consonants AND vowels) beyond the normal alliterative verse

- The stanza had 8 lines, each line usually having 3 lifts (heavily stressed syllables) and almost always 6 syllables

- The stress patterns tends to be trochaic (stressed, unstressed), with at least the last 2 syllables of a line being a trochee (usually...)

- In odd-numbered lines (first line, third line, etc.): 2 of the stressed syllables alliterate with one another; two of the stressed syllables share partial rhyme of consonants with dissimilar vowels (ex: hat and bet; touching and orchard)

- In even-numbered lines (second line, fourth line, etc.): the first stressed syllable must alliterate with the alliterative stressed syllables of the previous line (an odd-numbered line); two of the stressed syllables rhyme (ex: hat and cat; torching and orchard)

These requirements are SO difficult that oftentimes poets would mash together two separate lines of writing in order to meet the structure. It’s really hard to explain, so read the wikipedia link here for more info.

KENNINGS

Kennings are figures of speech strongly associated with Old Norse-Icelandic and Old English poetry. It is a “type of circumlocution, a compound  employs figurative language in place of a more concrete single-word noun” (source).

Now, when I first read that, I had zero clue what the hell that meant. But this is my current understanding: a poetic device where you dance around using a single noun by describing it with other words. It is similar to the poetic device of parallelism.

- “bane of wood” = fire (Old Norse kenning)

- “sleep of the sword” = death (Old English kenning)

- Drahtesel = “wire-donkey” = bicycle (modern German kenning)

- Stubentiger = “parlour-tiger” = house cat (modern German kenning)

- Genesis 49:11 “blood of grapes” = wine

- Job 15:14 “born of woman” = man

A beautiful resource for translated kennings is this article here from the HuffPost’s Harold Anthony Lloyd.

SIMPLE KENNINGS

Simple kennings would be used in both Eddic and Skaldic poetry.

The usual forms are a genitive phrase (ex: the wave’s horse = ship) or a compound word (sea-steed = ship). There is usually a base-word and a determinant.

The determinant may be a noun used uninflected as the first element in a compound word, with the base-word being the second element of the compound word.

OR the determinant may be a noun in the genitive case placed before or after the base-word, either directly or separated from the base-word by intervening words. The base-words in the above examples are “horse” and “steed”, while the determinants are “waves” and “sea”.

The unstated noun which the kenning refers to is called its “referent”, in the example a bit above: ship.

COMPLEX KENNINGS

More complex kennings are really only used in skaldic poetry.

In these, the determinant and sometimes the base-word are themselves made up of kennings. A matryoshka doll of kennings, if you will.

Ex: “feeder of war-gull (bird)” = “feeder of raven” = “warrior” (referring to how warriors kill people and leave their corpses for birds to eat)

The longest kenning in Skaldic poetry belongs to Þórðr Sjáreksson’s  Hafgerðinga where he writes “fire-brandisher of blizzard of ogress of protection-moon of steed of boat-shed”, which means “warrior” (source).

EDDIC POETRY

Eddic poetry is usually about mythology, ethics, and heroes, and is narrative (where both the narrator and the characters are speaking). They use simpler structures, like fornyrðislag, ljóðaháttr, and málaháttr, and use kennings more sparingly.

FORNYRÐISLAG (”old story metre”)

- Each line tends to be a whole phrase or sentence (or end-stopped), where a sentence won’t “run over” and onto the next line (or enjambment).

Ex: End-stopped, from William Shakespeare’s Romeo and Juliet “A glooming peace this morning with it brings. / The sun for sorrow will not show his head.”

Ex: Enjambed, from T.S. Eliot’s The Waste Land “ Winter kept us warm, covering / Earth in forgetful snow, feeding / A little life with dried tubers.”

- Each verse is split into 2 to 8 (or more) stanzas.

Ex: from Waking of Angantyr (structure provided by wikipedia)

- There are 2 lifts per half line, usually with two or three unstressed syllables. At least 2 (but usually 3) lifts will alliterate, always including the main stave (the first life of the second half-line). This means there are usually between 4 and 5 syllables per half line, and therefore between 8 and 10 syllables per full line (but it can vary).

MÁLAHÁTTR (“conversational style”)

- Similar to fornyrðislag, but there are more syllables in a line.

- It adds an unstressed syllable to each half-line, making the typical 2-3 per half-line and 4-6 per line into 3-4 per half-line and upwards of 6 unstressed syllables per line

LJÓÐAHÁTTR (“song” or “ballad metre”)

- Usually made up of stanzas with four lines each

- Odd numbered lines were usually standard lines of alliterative verse with 4 lifts and 2 or 3 alliterations. It was cut in half with a “cæsura” or “//”, which indicates the end of one phrase and the beginning of another.

- Even numbered lines had 3 lifts and 2 alliterations, with no cæsura.

Ex: from Freyr’s lament in Skírnismál (structure provided by wikipedia)

WRITING IMITATION

When writing an imitation of Eddic and Skaldic poetry, there are many workarounds if you don’t want to jump through these hoops.

Personally, I am putting forward my imitation as a “translation” of an Old Norse text so I don’t need as much concern for alliteration, rhymes, and exact syllables.

But I enjoy having a similar feel to the original poems, so I do try to put in some alliteration for words that are of Norse/Germanic origin and keep a similar syllable count.

Posted: 2023 May 29

Edited last: 2023 May 30

Writing and research by: Rainy

[wrongpublishing]

BOOK REVIEW: Elin Olausson's Shadow Paths

by Elizabeth Broadbent, Staff Writer.

Tales from Between knocked it out of the park with Ai Jiang’s Smol Tales from Between Worlds, so I walked into Elin Olausson’s Shadow Paths with high expectations. Normally, anthologies work like this: you love some stories; you like some stories; one or two don’t do it for you—they aren’t necessarily stinkers, but you dislike the topic, the tone, the prose. They might be someone else’s jam, but they aren’t yours. 

Not so in Olausson’s short collection. Every story in Shadow Paths slams it out of the park. “The Old Man” may be one of the best spec fics about body dysmorphia I’ve ever encountered. “Love” left me sick with shock (thanks for that image, Elin—it’s permanently etched in my brain cave).“Wishes” simply ached; “The Lion Game” is a master exercise in voice. But “Scar” — Christ on a tricycle. With spare, lovely prose, Olausson packs a wicked gut-punch. 

This prose distinguishes her writing throughout the collection. Quietly elegant, it seems an aesthetic’s art, intense yet gracile. Each story’s beauty intensifies its horror, and that counterpoint makes for a gorgeous, hard-hitting collection. 

Books in the “Tales from Between Presents” series each include an editor note, author notes, and an interview. Perhaps that sounds like padding, but the extra material adds context and flavor to the stories. Not everyone’s jam—new criticism, Harold Bloomish folk will find it tiresome and irrelevant. Eh. They should grow up and crawl out of Bloom’s shadow. 

I devoured this collection. Shadow Paths cements Olausson as a leading voice in new horror, and you’ll walk away wanting more. 

Twitter: @elin_writes Instagram: @elinolaussonwriter Website

Twitter: @from_between Instagram: @tales_from_between Website / Linktree

[thesorceressandthemagicx]

ㅤ⠀⠀⠀⠀ㅤㅤ⠀⠀ ──── .⃝ ༄

˚ㅤㅤ ㅤ ༄ El fin del verano ㅤㅤㅤㅤ⠀⠀⠀⠀ㅤㅤ

⠀⠀⠀⠀ㅤ⠀⠀⠀⠀ㅤㅤ ㅤ⠀⠀⠀⠀ㅤㅤ ㅤㅤㅤ

　　 *. 　　 「 Headcanon 」(1940) 　　　 　　 　　 　 HT: #Back2HogwartsS28 ⠀⠀⠀ ⠀⠀⠀⠀⠀ ⠀⠀⠀ ⠀⠀⠀ ⠀⠀⠀⠀⠀ ⠀⠀⠀ ⠀⠀⠀ ⠀⠀⠀⠀⠀ ⠀⠀⠀ ㅤㅤㅤㅤ ㅤㅤㅤㅤ ㅤㅤㅤㅤ ⠀⠀⠀⠀⠀✦. * ⠀⠀ ⠀.* ✦⠀⠀⠀ *.✦. ⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀✦. * ⠀⠀⠀.* ✦⠀⠀⠀ *.✦. ⠀⠀⠀ ⠀⠀⠀⠀⠀ ⠀⠀⠀. ⠀⠀⠀ ⠀⠀⠀⠀⠀ ⠀⠀⠀

⠀⠀⠀ ⠀⠀⠀ Perthshire, agosto 1940. 　　　 　　 　　 　 　　　 　　 　　 　 　　　 　　 　　 　 *.

　　　 　　 　　 　 　　　 　　　 　 　　　 　　 　　 　 　　　 　　 　　 　 　 　　 　 　　 　　 　 　　　 　　 　　 　 Durante su primer año, Elleadora experimentó la libertad de no sentir la presión de casa. Se sintió libre de sus padres, quienes tenían cientos de prejuicios sobre la feminidad, el primogénito, y sobre todo, a pesar de ser la mayor, ella tenía que servir a Harold, su hermano menor y el orgullo de sus padres. El verano para ella significaba tiempo en el que la vida se encargaba de no permitirle soñar sola, de pensar en la idea de olvidar a su familia. Ella era la mayor y hasta que Harold no entrara al colegio, ella podría tener muchas aventuras, por tal razón, quería disfrutar todo lo que pudiera.

Aunque a Elleadora no le gustaba quejarse de su vida familiar, sí tenía la esperanza de dejar de hacerse cargo de los deseos de su hermano. Ella solía sentirse implicada en renunciar a algo para que su hermano obtuviera lo que él quería en ese momento. Sí, a los ojos de la pelinegra, Harold era un malcriado.

Faltaban un par de días para que el verano terminara y ella regresaría al lugar que le daba más de lo que ella esperaría, estaba segura de que estaría agradecida por al menos darle meses de tranquilidad sin la presión de sus padres. El año pasado se liberó de ella cuando el sombrero seleccionador la apostó en la casa Slytherin. Se sentó en el escritorio de su habitación, tomó el tintero, la pluma, el pergamino y comenzó a escribir: 　　 　　 　　 　　 　　 　　 　　 　　 *.　　

Lucretia: 　　 　　 　　 　　 　　 　　 　　 　　 . 　　 No esperaba sentirme de esta manera en casa, es como si ya no perteneciera a Perthshire, como si ésta no fuera realmente mi hogar. Supongo que es parte de la magia de asistir a un lugar tan grande y maravilloso como lo es Hogwarts. Mis padres me han indicado que se sentían nerviosos de que no fuese seleccionada en Slytherin, debido a mis «pocas cualidades», a veces siento la necesidad de demostrarles que ponen mucha fe en un niño que les traerá más deshonra que yo, pero no podría ser tan cruel con sus esperanzas. Nos vemos en unos días. 　　 Elleadora.

　　 　　 　　 　　 　　 .* 　　 .

ㅤㅤㅤㅤ ⠀⠀⠀⠀⠀⠀ ⠀⠀⠀*.˙ ˖.*...ㅤㅤㅤㅤ ㅤㅤㅤㅤ ⠀⠀⠀⠀⠀

⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀350 palabras

⠀⠀⠀ ⠀⠀⠀⠀⠀ ⠀⠀⠀*.˙ ˖

.

. 　ㅤ⠀⠀⠀⠀ㅤㅤ⠀⠀ ──── .⃝ ༄

˚ㅤㅤ ㅤ ༄ amatista.txt ㅤㅤㅤㅤ⠀⠀⠀⠀ㅤㅤ

[haroldharrisoncollege-rpg]

Nos gustaría pensar que este es un edificio moderno con tecnología de punta, pero eso sería tener demasiada fe en nuestros estudiantes tecnológicos, quienes, por alguna razón, han convertido este edificio en una bodega de sus proyectos fallidos, casi como una tradición.

Está bien, estamos siendo muy duros. Algunos sí funcionan y han sido amablemente donados, como ese sistema que alguien vio en Back to the Future y decidió instalar en la cocina. Tal vez en ocasiones atrape a los estudiantes por la ropa, pero al menos el café siempre está listo.

Además, esto nos ayuda a distraerlos de los problemas que surgen al mezclar el futuro con el pasado. Sí, hablamos de esas tuberías tan sospechosamente ruidosas que nos han obligado a traer a un sacerdote secuestrado cuando creímos tener fantasmas.

No lo hemos descartado del todo, pero el sacerdote huyó y nos recomendó un plomero al que ya no llamamos porque resultaba muy caro.

Por si acaso, mantengan velas y agua bendita a la mano, ya que tanta tecnología hace que a veces se vaya la luz, ya sea en todo el edificio o específicamente en alguna habitación cuando has sido seleccionado como el mejor guerrero de Harold Harrison.

[uniquetyphoonmiracle]

Yo creo que todo se invento o estaba en Inventado en la música en los 80..con los SINTETIZADORES..luego nada sonó ni MEJOR NI DIFERENTE ...por ejemplo esa SONORIDAD que consigue la tal matia BAZAR con TI SENTO mediante unas computadoras de los 80..es la POLLA [justo detrás de la CACHONDA ITALIANA SABRINA con BOYS BOYS]..acaba con SMALLTOWN BOY de BROMSKY BEAT o grupo de JIMMY SOMERVILLE antes de THE COMMUNARDS tras LOCO_MOTION de KYLIE MINOGUE..es una canción sobre los problemas de un GAY en un pueblo pequeño [por cierto ..the COMMUNARDS solo publicaron su cd homonimo y el cd RED=cd de TAYLOR SWIFT que vi presentárlo en CC WEST_FIELD de LONDRES en 2012..Sus mayores éxitos fueron las versiones de dos canciones: "Don't Leave Me This Way", un viejo tema soul de Harold Melvin & the Blue Notes, así como "Never Can Say Goodbye" de The Jackson 5.)

Por cierto..me quedo con IT'S MY LIFE de TALK TALK que versiono NO DOUBT autores cd TRAGIC KINGDOM..no por la mejor sino como advertencia

Por cierto MATIA (=LOCA en genoves) o ANTONELLA RUGGIERO se unio al grupo JET (=AVION) en cd FE, ESPERANZA Y CARIDAD para formar juntos MATIA BAZAR debutando luego sola con cd LIBERA

[dweemeister]

“MGM Jubilee Overture” – performed by the MGM Symphony Orchestra; conducted by Johnny Green

This medley overture was performed in 1954 for Metro-Goldwyn-Mayer’s 30th anniversary. In the days of the old Hollywood Studio System, all of the major studios* – MGM, Warner Bros., Paramount, Columbia, RKO, and Universal – had their own symphony orchestras. These orchestras recorded every film score that each studio churned out (feature films and short films alike). As the studio best known for their musicals, the MGM Symphony Orchestra was arguably the best of them all, boasting world-class instrumentalists that rivaled all but the very finest orchestras in the world.

Needless to say, these studio orchestras took on a lot of work and the studios wanted only the best musicians they could get. The composers, lyricists, orchestrators, and musicians were all under contract to the studio. This set-up no longer exists in Hollywood as studios dealt with tighter profit margins in the 1960s, changing musical tastes during that decade, and the fact that modern Hollywood studios produce far fewer movies every year than they did during Hollywood's Golden Age. These days, studios prefer to hire composers/lyricists/orchestrators and musicians on an individual basis.

Almost all of the original conductors' and instrumental sectional scores to all of this music were destroyed in the early 1970s when then-MGM owner Kirk Kerkorian decided to slowly convert MGM into a real estate company. To save costs, he approved of the near-complete disposal of the studio’s music library – thrown into a landfill now underneath a golf course. Kerkorian, for copyright purposes, allowed MGM musicians to jot down piano reductions of one piece of music for every MGM movie before the original scores were to be disposed.

The songs featured in this overture are listed below along with the films they featured in: 1:20-2:09: “Singin’ in the Rain” from various films; first introduced in The Hollywood Revue of 1929 (1929), best known for its use in Singin’ in the Rain (1952) 2:09-3:19: “I’ve Got You Under My Skin” from Born to Dance (1936) 3:19-3:49: “Broadway Rhythm” from The Broadway Melody of 1936 (1935) 3:49-4:30: “The Last Time I Saw Paris” from Lady Be Good (1941) 4:30-5:11: “Temptation” from Singin’ in the Rain (1952) 5:11-5:47: “Baby It’s Cold Outside” from Neptune’s Daughter (1949) 5:47-6:37: “Be My Love” from The Toast of New Orleans (1950) 6:37-7:03: “The Trolley Song” from Meet Me in St. Louis (1944) 7:04-7:30: “On the Atchison, Topeka and the Santa Fe” from The Harvey Girls (1946) 7:30-7:58: “The Donkey Serenade” from The Firefly (1937) 7:58-8:57: “Over the Rainbow” from The Wizard of Oz (1939) 8:57-9:24: Conclusion

Composers: Nacio Herb Brown, Cole Porter, Jerome Kern, Frank Loesser, Nicholas Brodszky, Hugh Martin, Ralph Blane, Harry Warren, Rudolf Friml, Herbert Stothart, and Harold Arlen

* For those wondering where Disney is among the listed major studios, RKO distributed many of Disney’s films until the 1950s and Disney would not be a major studio until the late ‘80s/early ‘90s.

[denimbex1986]

'Oppenheimer, which was released on July 21, is winning the box office and people’s hearts. The biopic by Christopher Nolan about J Robert Oppenheimer, the father of the atomic bomb, has left people stunned. And it is no wonder that social media is filled with interesting posts related to the film. Among them is a tweet by Gašper Beguš that has left people amused. In his tweet, he shared how he accidentally walked into the set of the film during a shoot at the University of Berkeley.

“I was innocently walking on campus one day when I saw a bunch of cool cars and a few people dressed in 40s clothes. I thought a cool student group had a fashion show or something (Berkeley has awesome student groups). Until someone starts yelling at me that I should get out of the way. Turns out I was in the middle of the @OppenheimerFilm movie scene,” he shared. He concluded his post by sharing a picture of the set.

The post was shared some two days ago. Since being tweeted, it has accumulated more than 5.3 million views, and the numbers are still increasing. Additionally, it has gathered tons of comments from people.

Here’s how Twitter users reacted to the professor’s Oppenheimer-related post:

“I was wondering if they shot the movie at the universities they said they were at. That’s so cool!” shared a Twitter user. “They posted casting calls for extras on Craigslist here in Santa Fe. I regret not responding!” posted another. To which, Beguš replied, “Maybe if I wore more vintage clothes, the director wouldn't have noticed me and I'd be in the movie today!” A third added, “Something similar happened to me many years ago at UBC, except they asked ‘Are you an extra?’ Long story short, I am in an Al Pacino film.” A fourth commented, “I had similar experiences when they filmed a Transformer sequel in Downtown Detroit. Also, I walked through the set of the Harold and Kumar xmas movie completely unaware until I saw cameras.” A fifth wrote, “Cool, you should have asked to be an extra.”'

[fatrocka64]

March to April 2023 updates

I haven't made a journal in a while but here we go again. I am going to be attending furnal equinox on march 18th 2023. and then in April I will go see the mario movie in the movie theatre, but tomorrow I also have a dual diagnosis that's gonna be a chit chat about the furry fandom with my new mental health doctors due to the scrutinization from my previous doctors who gave me zoloft like it's candy, I had nightmares while I was on zoloft during the pandemic and it's pretty much their fault for letting me go back to furnal equinox despite wanting to control my dreams.. they were dumb enough to let me go back to FE despite having requested to BAN ME FROM THE EVENT! thanks to my behavior... but that never happened at all because they want to encourage excitement and more rebellion and peanut gallery comments against my ex employees. and there's a Zootopia sequel in the works so that I can hire myself to work with disney to manipulate my mother into thinking that Zootopia was all my fault for many years to come! My Mom never wanted me to join the furry fandom she would support me but I still remember when she did not treat me the nice way when I got a spark of negative energy which spiraled out of control and landed me into the furry fandom.

and then once that the Mario Movie comes out I will have the most severe mental breakdown if there is an explosion in the climax. I would perform the Harold Ramis Ritual in the summer because I have a trip near the End of May of 2023. the Ritual will be postponed in July or August of 2023 so I can go see Oppenheimer in the release weekend for my 26th birthday. this will end only one way... the Final Battle will begin soon

Fatrocka64

[jaumesclub]

Nou vídeo al canal JauTV de Youtube!!! Espectacular versió especialment editada per a youtube (hem tret mitja hora de palla, esperes i errors) del directe emès el dia 8 de gener de 2023 al canal de Twitch: JauFibla. Vine a gaudir la balleruca amb Peret el cubà! Avui presentem aquestes adaptacions i paròdies en català: Popular americana: la ressaca nadalenca (battle hymn of the republic). Donovan: colours. (nova traducció). Beth: dime. Nina: quan somniïs fes-ho amb mi. (dream a little dream of me). Shakira: inevitable. Chenoa: cuando tú vas. Billy ocean: get out of my dreams, get into my car. The beatles: here comes the sun. Jim carrey: cuban pete. Boney m: supersticions i manies (rasputín). Harold melvin & the blue notes: don't leave me this way. Limahl: la història interminable. Becky g & natti natasha: sin pijama. Billy joel: piano man. Johnny cash: walk the line. Marilyn monroe: i wanna be loved by you. Miguel bosé: aire. Nat king cole: ansiedad. Álvaro carrillo: sabor a mi. Bola de drac: vull viure d'aventures. Jim carrey: cuban pete. (reprise). Vídeo complert a: Youtube.com/JauTV Directes a: twitch.tv/jaufibla I molt més a: jaumesclub.com (en Barcelona, Spain) https://www.instagram.com/p/CnaRg7btq30/?igshid=NGJjMDIxMWI=