#further commentary ..forthcoming

[inmyjaws]

I'll be real with you folks I had one too many pink whitney shooters at the cinemark yesterday and I don't remember if saw x was good or not

[homestuck-archive]

HOMESTUCK NEWS UPDATE!

"Hi, James here. Hope you had a good holiday! New year, new me! New you! Whatever, man! We got the usual patreon updates for you. Wahoo! Did you know that's a kind of fish? I watch a lot of fishing videos. If everything goes right and nothing goes wrong we should have something very exciting very soon: a new website! What does this mean for you? Stick around and find out!

Thanks for coming to our AMA, I hope we were able to answer some questions. I especially liked the one where Haven said he was going to fill Dirk full of Milk and slap him against a wall. Great job team. In other community news, the folks over at SAHcon are having their New Year's showcase around 5 pm PST today. Wow! I'm excited to see what the community is cooking.

We got another great comic update coming mid month, and in the next few we're letting some of the new writers shine. I'm excited for you to read them!

Speaking of updates on things… some of you sleuths may have noticed some changes. I'd like to go into a little more detail about them to the extent that I am able. I also wanted to do this in an official newspost, and not on socials etc, so that there is no question about it.

The contract with VIZ media has been restructured. What does this mean? Well, let's start a little further back. We have gotten a lot of questions about Andrew's involvement with HS:BC and Homestuck as a whole. I mentioned before that Andrew approached me to finish HS:BC. As many of you know a few years ago Andrew stepped back from having a creative role. This has allowed him to focus on oversight, and some behind-the-scenes stuff. A large part of that was regaining a sort of legal control of the brand as a whole.

So who "Owns Homestuck?" Well Andrew still does. Who has the publishing rights? We're working on that! The HICU has a license to do what we want with the property, which is what has allowed us to do some of the more creative things we are trying to do. Is the Website going to be fixed? They're working on that! I have very little to do with that, personally, but once there is something solid to announce there and the concerned parties are comfortable with it I'll let you know. What does this mean for the commentaries? Behind the scenes, some ideas about how to handle the issues with the way Homestuck is going to be published are being discussed. Some of these ideas may include a new way to release the future book commentary in absence of the books themselves. Wow!

With regards to VIZ, as some of you have correctly surmised this is good news for us. It has allowed things like HS:BC and HICU licensing etc to happen, as well as the SAHcon license. Hopefully, this can also include some additional fan-friendly licenses Andrew is considering. This all will take time to fully unfold so more details will be forthcoming about what this means for Homestuck as a whole. All in all, I think we are in for an exciting year.

Man what else is goin on? Some good news on the Vinyl is that I talked to the printer and with such an overwhelming response from you guys, instead of a simple Best Of EP, we actually want to try and do a print of Vol. 1-4. This makes all my very scientific and organized data gathering completely useless. I am humbled by something new and mundane every day. Anyway, this represents a completely different beast logistically, but as a fan of those tracks I am very very excited about that. I will Literally buy a Record Player for this. "James, you don't own a record player?" No! What do I look like, an old man? Please don't answer that. (Yes James, you do. -Homestuck Archive, 2024.)

This month (January 2024) we are also going to start seeing some of the bonus content go public. I ran a poll for the Patrons, and the general consensus is that after 2 months, they're ok with the bonus content going public. This includes Bonus strips, the Illustrations, and the commentary. They're really fun to do, so I hope you guys are into it. If you want to see these as soon as they go up, they are available to subscribers. Thank you for that, btw. It means the world to be able to pay some of my team's bills. Look at me, getting all sappy on New Year's Day. Maybe it really is a new year and a new me..."

SUMMARY -

New HS:BC Website in the works, with some new features.

Update mid-month as usual. Some of the newer Team Writers.

VIZ deal has been "restructured." (that's good for us)

Andrew still "Owns Homestuck."

Working on a solution to homestuck dot com debacle.

There are plans for commentary.

Homestuck Vinyl will be Vol. 1-4, pending some light Logistical Upkeep.

Patreon Bonuses from November will be going public this month.

[liketwoswansinbalance]

Rafal the Unethical Psychologist - Part 2

Further clarification on what exactly this actually is:

These posts are part of a loose AU collection that will consist of exactly what the title implies. The posts also kind of slice-of-life in a perverse way.

Most of the posts are headcanons, little snippets of scenes, or conversations, but they don't have enough plot or a structure to be a full-fledged story. It's just a vision, a collection of Rafal's musings, mishaps, misadventures, and miscalculations, concerning himself, the students, and his dubious teaching methods.

Also, these posts are largely intended to be humorous and satirical/hyperbolic in tone, sort of. You'll see.

⸻

There will be some posts alluding to "experiments," trials, trial runs for new innovations, among other exercises in scientific rigor, all in order to sate Rafal's curiosity, and suit his personal interests—at least, according to the man himself.

At the discretion of Rafal's brother, "experiments" has been flagged with quotation marks, as he would've preferred the term: "criminal acts" or perhaps, "crimes against humanity."

The psychologist himself however has chosen to override this request, in what will be his latest publication, as according to him, Rhian is a "melodramatic pearl-clutcher," and constantly emits stricken gasps at a high frequency, especially for someone who should be accustomed to his brother's standard operating procedures.

Furthermore, to clear the air, Rhian isn't to be trusted as a reliable narrator of any forthcoming events. As such, readers should take Rhian's interjections of: "Horror. Oh, the horror" lightly.

Next, the term "mishaps" should be taken as "minor misunderstandings," "differences of opinion," or "split-perspectives."

Sophie herself refers to conflicts as: "a clash between you [Rafal], the epitome of sound judgment, and the Woods-Wide Scientific Institute's good sense. Your little tiffs and rows with them are absurd. They can find reason to quarrel about anything!"

Update: It's purported that Sophie has appended more to her previous statement: "Quite frankly, my role is exhausting! Storian knows what you've forced me to witness, stand trial to, mediate and mitigate. I've just about had enough of it, darling!"

Rhian Mistral was unable to comment during the time of the referenced press conference as he was too nauseated to speak. Thus, a written submission by him is pending.

⸻

Bypassing dissenters' commentary, what could possibly go wrong? Nothing. Especially not with the victims, [hacking, wheezing cough, clears throat] ahem, students. My apologies.

Rhian: [with a long sigh] Freudian slip.

[iviarellereads]

The Wheel of Time Post Index

For a primer on the purpose of this blog as a whole, give this a read. Just to reiterate one piece of that: this project is spoiler-free past the chapter you click on. In this case, the TV show has more or less covered the first 3 books. I will not be putting TV show spoilers in the commentary, but I may make some reference to it, and maybe a second weekend spoiler-post once in a while to compare and contrast how each medium interprets the story. I will definitely have some additional weekend posts for full-book-series spoilers, but they will be marked as such, with all spoilers under a read more.

For the reasons I chose to cover the Wheel of Time, check this out. I will reiterate a part of that here as well: I highly recommend you start with the TV show's first two seasons to get a feel for the world and the main characters and the magic setup and see if this is a world and a story you want to explore further.

We'll be doing this in publication order, because the prequel placement is very controversial.(1) I won't be including much information from the encyclopedias, except where lore/worldbuilding details are particularly relevant but not forthcoming, but know that there exist two encyclopedias (one written as an in-world document with inaccuracies and art of questionable accuracy, one written as a proper for-readers encyclopedia), as well as a book about the origins of a lot of RJ's references for things like names and cultural elements (which range from real world mythologies to appliance brand names).

Book index

1 The Eye of the World 2 The Great Hunt 3 The Dragon Reborn 4 The Shadow Rising 5 The Fires of Heaven 6 Lord of Chaos 7 A Crown of Swords 8 The Path of Daggers 9 Winter's Heart 10 Crossroads of Twilight (Prequel) New Spring 11 Knife of Dreams 12 The Gathering Storm 13 The Towers of Midnight 14 A Memory of Light

=====

(1) For real, debates still rage. My personal stance is, if you started with the TV show, you can read the prequel at any time, even first, and it was written to be a good onboard point. But, if you haven't seen the TV show, well, I highly recommend it, but if you REALLY don't want to or can't watch it, I think publishing order is a good compromise for prequel placement because it's right where the author put it.

[lovelysublimeconnoisseur]

Das Buch Jezira, die älteste kabalistische Urkunde der Hebräer, Nebst den zweyunddreyßig Wegen der Weisheit. /Hebräisch und Teutsch, mit Einleitung, erläuternden Anmerkungen und einem punktirten Glossarium der rabbinischen Wörter. Herausgegen von Joh. Friedrich v. Meyer, Leipzig: C.H.Reclam, 1830.

[The Book (Sefer) Yetzirah, the Oldest Kabbalistic Document of the Hebrews, along with the Thirty-Two Paths of Wisdom./ Hebrew and German, with Introduction, Commentary, and Glossary of Rabbinical Terms by Joh. Friedrich Meyer, Leipzig: C. H. Reclam, 1830.]

This is the book that German philosopher G.W.F. Hegel mentions as forthcoming in his concise entry on "Kabbalah and Gnosticism" in his three-volume History of Philosophy (on this tumblr post below).

Meyer's translation of the Sefer Yetzirah was the first translation into a European vernacular language. Prior to 1830 it had only been known in Latin and Hebrew. ---SJT

******

The American, Isador Kalisch, whose translation of Sefer Yetzirah in 1877 was the first in English, translated the following paragraph from Meyer's 1830 German preface.

"This book is for two reasons highly important: in the first place, that the real Cabala, or mystical doctrine of the Jews, which must be carefully distinguished from its excrescences, is in close connection and perfect accord with the Old and New Testaments; and in the second place, that the knowledge of it is of great importance to the philosophical inquirers, and can not be put aside. Like a cloud permeated by beams of light which makes one infer that there is more light behind it, so do the contents of this book, enveloped in ob scurity, abound in coruscations of thought, reveal to the mind that there is a still more effulgent light lurking somewhere, and thus inviting us to a further contemplation and investigation, and at the same time demonstrating the danger of a superficial investigation, which is is so prevalent in modern times, rejecting that which can not be understood at first sight." ––Joh. Friedrich v. Meyer, 1830 (trans. Rabbi Isador Kalisch, –Studies in Ancient and Modern Judaism, New York, 1928, 345-346).

[accapitalmarket]

Japan election shock just a taste of the week ahead

Japan's ruling LDP lost its majority in yesterday's election, according to multiple exit polls. USD/JPY has gapped higher to 153.10 from 152.30 close. Having broken out of its channel last week, USD/JPY is testing resistance at these levels which would open further gains to 155.30. Japanese equities are also likely to slump later this morning.

USDJPY H1

China also released ugly Industrial Profits data yesterday, slumping by -3.50%. However, with the Finance Minister hinting at forthcoming fiscal stimulus, and markets still wed to the stimulus measures announced so far, the fallout should be limited in Mainland equity markets.

Oil prices could open lower as well as Israel conducted retaliatory strikes in Iran over the weekend. Despite Middle East tensions, the language from both sides suggests they may both be "one and done" for now, easing geopolitical risk.

GBPUSD H1

Markets face a massive week of data and political risk this week, before the US presidential election next week on Tuesday.

US mega caps Alphabet, Apple, Amazon, Microsoft and Meta all release earnings in the first half of the week. US data includes the JOLTS Job Opening tomorrow, ADP Employment Wednesday, Personal Income and Spending Thursday, and US Non-Farm Payrolls on Friday. Oh, and there's a US election next week. Phew!

In Asia, we have a Bank of Japan policy meeting and China official PMIs on Thursday, with Asia-wide private PMI surveys on Friday. Watch out for the Australian Q3 CPI on Wednesday as well. Markets have bet heavily on inflation falling back into the RBA's preferred band. Expect AUD and ASX volatility if it hasn't.

In the UK, Wednesday's Autumn Budget will be the most closely watched in a decade. Downside risks are building for sterling as markets wonder how Labour will close its inherited fiscal gap and get out of the taxation corner it backed into. Support at 1,2900 remains crucial, failure hints at much deeper losses.

Disclaimer: The information contained in this market commentary is of general nature only and does not take into account your objectives, financial situation or needs. You are strongly recommended to seek independent financial advice before making any investment decisions. Trading margin forex and CFDs carries a high level of risk and may not be suitable for all investors. Investors could experience losses in excess of total deposits. You do not have ownership of the underlying assets. AC Capital Market (V) Ltd is the product issuer and distributor. Please read and consider our Product Disclosure Statement and Terms and Conditions, and fully understand the risks involved before deciding to acquire any of the financial products provided by us. The content of this market commentary is owned by AC Capital Market (V) Ltd. Any illegal reproduction of this content will result in immediate legal action.

[eligalilei]

Aion notes pt. 2

[2]

With this definition we have described and delimited the scope of the subject. Theoretically, no limits can be set to the field of consciousness, since it is capable of indefinite extension. Empirically, however, it always finds its limit when it comes up against the unknown.[2]

(limit is to be understood here as in the so-called ‘calculus’: mathematic, fractal, and, with any hope, progressively infinitessimal)

Here, empiricality is assumedly subjective in its heterological senses, as the notion of the unconscious places one’s own limits under erasure. Perhaps there is a different use of ‘empiricism,’ not merely sensory, but it will then tug at the boundaries of the heterological through only the flexure of notation.

[2] The Ego’s capacity cannot be delimited; it is expandable, and mutable. It, however, has two limits:

An external unknown, or horizon. This is not named explicitly and can have no foundation.

The internal unknown: by this we refer to the unconscious and its agents.

The Origo, [in its relation to the unconscious only] on the other hand, at least so far as the named elements are concerned, and their sensory traces and traceures, might be said to have access via the Ego,  which, I think, has a phenomenological essence here neglected by Jung, namely, its self-conception, which is not the same as mere access in the purely phenomenological sense, or, rather, relates to other fields of access based on self-relation. The Subject-Object schema here dominates, though it may be (/that) focus elides other domains of givenness. This is an open field of recollection/investigation.

(we might say that the Origo is, in fact, *blind* in the domain of the symbolic, though it is, itself, the very *space of seeing*.

This is a very important direction for the progress of consciousness studies, as consciousness-without(-a-)trace (or tarnish; the ‘tain of seeing itself’) does should not seem electrologically possible.

CF: Heidegger and the critique of the S-O schema, which seems here to have been moved indoors, i.e, out of the reach of philosophy proper, contra phenomenology, which must be nomadic, even evasive, so as to remain operant.

(Fellow phenomenologists! Resist well the sonorous notations of the invader and its notaries!)

(see my forthcoming (re?)translation of Heidegger’s early lectures from ‘Ontology, Hermeneutics of Facticity’, and addended commentary)

It is unclear here what Jung means by 'indefinite extension,' but this clarifies my conceptual gloss: 'Origo of perception (and presumably apperception(‘s traces?)’ [‘thought’/noesis] is oddly absent from the discussion) = 'Ego' (=\= 'subject?) for Jung.

This would mean that the Self is closer to what elsewhere is designated as the 'Subject.' This seems to summate most of what is found in the first chapter.

…

This lacunam demands another theory of the Ego, which is to yet be borne out, and we expect to find after the symbolic fold of narrative and its mythemes, which seem to be the primary occupation of the rest of Jung’s text.

…

This unknown is further specified as being of two limits: internal (unconscious) and unmediated, and external: mediated by the senses (why is there no analogous concept? Given preoccupations with the collective unconscious…. this is of course considered to be internal, but, as I not elsewhere, it is difficult to divide that to which one, constitutively, has no access…even temporal divisions gain, if any, a secondary, but preliminary, sense, or simply their [pr/e-]erasure.).

There is, thus, to the Origo, accessible, to extend the above, two domains of available data: psychic and somatic. Not all endosomatic stimuli breach the horizon of consciousness, but insofar as they are accessible to consciousness, they are also psychic in nature. (This strikes me as just a bit of a muddled explanation, but alas, the idea is clear enough, which is, perhaps, the inherent muddlement)

Note: this changes very little, but I have found a (very bad, admittedly) reference mentioning the possibility that ‘endosomatic’ refers to phenomena which actually have their origin in the body and are not ‘sensory’ in the manner elsewhere meant.

I have therefore suggested that the term “psychic” be used only where there is evidence of a will capable of modifying reflex or instinctual processes. Here I must refer the reader to my paper “On the Nature of the Psyche,”

<< n.b.; not to be confused with my paper by the same name, which I translated around the same time., lol >> Jung makes this remark in response to a theory mentioned in passing that all life-processes are to be designated as 'psychic.' Somatic/endosomatic belong to the data, the psychic are 'autodata': modifiable, or at least their modificational causes can be seen as internal/potentially relative to the Will. ((This is interesting, but also may require further explanation at some point.))

… I am not sure if this is what he’s actually saying.

[3]

[3] As implied already by its sources, in what is essentially a restatement of [2] the Ego has two domains of access, though Jung makes the point of their both being in essence psychic and ultimately unmediated in their being as presentation: Mind has access only

to its internal object as also Mind, though there are processes which are not-Mind, or, rather, there is, to such perceptions, a thing-in-itself. These bases are:

The somatic/external. A further mediation is here invoked: the external is arrived at by the ‘endosomatic’: stimuli within the body. They are, in fact, subordinate (given that we can, and do, often ignore the body, in itself, on a regular basis, thus pushing it out of consciousness as such) to a field which Jung does not name: the ‘(endo)somatic subject’ and/or its unconscious. This would encompass automatic reactions, things usually tuned out, but technically available, &c. The fact that they may  be available to consciousness is enough for Jung to assign them, still, a psychical nature. 

(pre-note on (��)the collective unconscious and Lacan’s Real(‘): this, which is also the demonic, must be the domain of the former’s resilience, to the extent which it per and transists to any substantial distance)

The fixed horizon here, which would, really, blend into the world, is, perhaps, the purely physiological, which is to say, that portion of the somatic unconsciousness corresponding to the non-somatic unconscious without possibility of presentation to the Ego. The psychicality of this domain, like the physical absolute Unknown, or, really, any absolutely unknowable: the ‘unknown unknowns which cannot be known,’ is, of nature, undecidable. It is worth mentioning here that the notion of ‘subject’ is potentially complexified by these alterior ‘things’-that-view: the endosomatic is ‘psychic,’ and reacts, but is not a subject. It perceives. The notion of the ‘subject’ hereto invoked seems, to me, to be circular: the subject is that to which things appear, all things appear to subjects, which are consciousnesses and in each case equivalent (for the prior author) to Egos…. However, the endosomatic has internal operations which to not present, in full, to the Ego. The Unconscious has contents which do not present to consciousness. It is suggested that the Ego is the gateway to the Self (I… think?), but what is to suggest, as in the Truth <-> Production relation in Lacan, that the unplumbable depths of the somatic do not connect to the Unconscious? Why is there no Subject of the unconscious? Is the Body not a subject? How would one know? It seems to have, by Jung’s own conception, those properties particular to one….

The Psychic: I have … suggested that the term “psychic” be used only where there is evidence of a will capable of modifying reflex or instinctual processes. The psychic is defined as unmediated by senses, and the above, which is in no way clear to the present commentator.

A moment is then spent on the notion that all life processes are in fact psychic, which is dismissed as a ‘nebulous’ idea, and the above quote is offered as a rejoinder. Consider both extraordinary acts of somatic control, and the issue of the interactions of different essences.Cybernetics offers an alternative to this sort zoetic pan-psychism, with, I would argue, a less nebulous form and purpose.Consider also, relative to Jung’s definition, ‘expanded’ understandings of the Will.

[4]

The Ego ‘rests’ on two fields of access:

All of consciousness

All of the Unconscious

The Unconscious can be divided thusly:

That to which there is voluntary access (Jung equates this with memory).

That to which there is involuntary access

That to which there is no access

It is worth asking whether there is any difference in ‘essence’ between 2. and 3., or if it is simply an occurrential divide: 3. is that which is not accessed. Consider the models and suggestions below regarding energies, resistance, &c., and the division as probabilistic, or, even, non-existent, and more a matter of what can be considered simultaneously. Some thoughts may be unthinkable, but whether they exist, as such, in the unconscious, is perhaps an open question at best. 

Perhaps this is merely a matter of impossible thoughts which can be imagined as possibles by an external viewer. In this sense, the Unconscious, or at least that of which it is inaccessible, might be said to, in fact, exist in the Other. Multiple senses of this may be worth unpacking

They are improbable or ‘dissatisfying’/dysphoric to the Ego, or even to any possible viewer in a given domain, at least as wholes, even if their parts are satisfying.

They exist as ‘extimate’ possibles satisfying as conceptions (only) to the viewer modeling a given Self.

They are able to act as causal actants in some sense, and produce efferents which do in fact have an effect or are satisfying, but are not themselves so. In this , it is possible the zone exists to model Others, and thus relates via affects supplied to the conscious appended to the actually-thought; this suggests a Subject of the Unconscious It is worth wondering what role creativity plays here, and whether the Unconscious exists as the Virtual of the Ego’s production. 

Herethroughout, the emphasis is on access, and not production, so, in that, one wonders if all possibles exist in the Unconscious, a notion which would collapse the distinction, as well as open a field unto the entirety of the Umwelt and Other… This suggests interesting readings of the text going forward…

[jewel010]

Renowned Singer and NFT Celebrity Danjo Capital to Collaborate with Legend American Rapper Mcmixson for a Groundbreaking New Year Song

As the world eagerly awaits the dawn of the New Year, the music industry is set to be electrified by an unprecedented collaboration between two influential figures—verified singer and NFT luminary Danjo Capital and acclaimed Black American rapper Mcmixson. The dynamic duo is poised to release a groundbreaking song that promises to captivate audiences worldwide.

Danjo Capital has established himself as a dominant presence, captivating audiences across various platforms, notably through songwriting for his band - Bt007, which led to viral hits such as "NFT King" and "Long Distance," amassing over 1 million views across music venues. Danjo Capital, celebrated for their enchanting vocal prowess and innovative contributions to the NFT space, has garnered widespread recognition for their musical artistry and digital creativity, which combines love and crypto.

Joining forces with Danjo Capital is Mcmixson, a highly respected figure in the rap scene renowned for his impactful lyrics and compelling stage presence. His influence extends far beyond the music realm, making him a cultural icon revered for his artistic vision and social commentary.

This unprecedented collaboration marks a milestone in the convergence of music and digital innovation. With their combined talent and visionary approach to artistry, Danjo Capital and Mcmixson are set to release a song that will undoubtedly push creative boundaries, appealing to fans of diverse musical genres and cultural backgrounds.

The forthcoming release, scheduled to debut on January 1, 2024, promises a fusion of captivating melodies, thought-provoking lyrics, and a groundbreaking component that will revolutionize the music industry.

Anticipation is running high as fans worldwide eagerly await this historic musical event, poised to redefine the boundaries of artistic collaboration and digital creativity. Stay tuned for more updates and exclusive insights into this monumental collaboration between Danjo Capital and Mcmixson.

Who is the girl behind Danjo Capital Songs?

In a recent interview, Danjo Capital revealed that the inspiration behind their songs stems from personal connections. Previously dedicated to his Romanian girlfriend Paula-Alexandra, Danjo Capital's upcoming song is a heartfelt tribute to his current girlfriend, Aya, residing in Tokyo, Japan. This exciting revelation has generated immense anticipation and enthusiasm for the upcoming collaboration.

You can follow Danjo Capital Master and Mcmixson on their social media pages:

Danjo Capital Spotify: https://open.spotify.com/track/6tyjrUsLsuhujlVilKsfbe Bt007: Youtube Channel: https://www.youtube.com/c/DanjoCapitalMaster/ Instagram: https://www.instagram.com/itsmycapital/

Mcmixson: Spotify: https://open.spotify.com/artist/2sO4dPwvG3EArbxxWNYPN7 Instagram: https://www.instagram.com/mcmixson/

For media inquiries, interviews, or further information, please contact: Published by: News Influencers International, +33778637843

[ibpublishers]

The clear Quran By Dr. Mustafa Khattab | Islamic Book Online Store

The Clear Quran by Dr. Mustafa Khattab is a modern English translation of the Quran that aims to capture the elegance and vigor of the original Arabic text.

The translator, a Canadian-Egyptian scholar and imam, has used the most celebrated works of classical and contemporary tafsir (Quran commentaries) to ensure accuracy and clarity.

The translation has been officially approved by Al-Azhar, the highest authority in Sunni Islam, and endorsed by many Muslim organizations and scholars worldwide.

The Clear Quran is written in a simple and accessible language that can appeal to a wide range of readers, especially young Muslims who may find other translations difficult to understand.

The translator has avoided archaic and obscure words and phrases that may confuse or alienate the modern reader.

Instead, he has chosen words and expressions that reflect the beauty, flow, and power of the Quranic message.

The translation also uses headings, footnotes, and parentheses to provide additional information and context where needed.

The Clear Quran is divided into 114 chapters (surahs), each with a different theme and style. The chapters are further divided into verses (ayahs), which are numbered according to the standard system.

The translation also follows the chronological order of revelation, as indicated by the abbreviations Meccan or Medinan at the beginning of each chapter.

The translation also provides the names and meanings of the chapters in English, as well as the number of verses and the place of revelation.

The Clear Quran is a translation that aims to make the Quran accessible and understandable to the modern reader, while preserving the authenticity and eloquence of the original text.

It is a translation that hopes to inspire and enlighten the reader with the guidance and wisdom of the Quran.

You can buy The clear Quran By Dr. Mustafa Khattab at IB Publishers Online Islamic Bookstore.

About The Author: Dr. Mustafa khattab

Dr. Mustafa Khattab is a Canadian-Egyptian authority on interpreting the Quran.

He was a member of the first team that translated the Ramadan night prayers (Tarawih) live from the Sacred Mosque in Makkah and the Prophet’s Mosque in Madinah (2002-2005).

Dr. Khattab memorized the entire Quran at a young age, and later obtained a professional ijazah in the hafs style of recitation with a chain of narrators going all the way to Prophet Muhammad -Lr. He received his Ph.D., M.A., and B.A. in Islamic Studies in English with Honors from Al-Azhar University's Faculty of Languages &Translation.

He lectured on Islam at Clemson University, USA (OLLI Program,   2009-2010), held the position of Lecturer at Al-Azhar University for over a decade starting in 2003, and served as the Muslim Chaplain at Brock University and the University of Toronto (Mississauga) UTM, Canada.

He is a member of the Canadian Council of Imams and a Fulbright Interfaith Scholar.

He has served as an Imam in the U.S.A. and Canada since 2007, and is the translator of The Clear Quran (2015), the author of The Nation of Islam (2011), and Outfoxing Fox News (2017), and contributor to the Encyclopedia of Muslim American History (2010).

His forthcoming works include: Qamus-ul-Quran (The Dictionary of Quranic Vocabulary) and Shukran (an illustrated story for kids).

About IB Publishers Islamic Book Store New York City

IB Publishers Inc. is an Islamic Book Store In USA that specializes in providing a vast range of Islamic books and resources to the Muslim community and anyone interested in learning about Islam.

Offering an extensive collection of books, IB Publishers Inc. aims to meet the educational and spiritual needs of individuals seeking knowledge about Islam.

As an Islamic bookstore, IB Publishers Islamic Book Online Store understands the significance of providing authentic and reliable Islamic literature.

They carefully curate their collection to include books on various subjects, including Quranic studies, Hadith collections, Islamic jurisprudence, biographies of the Prophet Muhammad and prominent Islamic figures, Islamic history, and Islamic philosophy.

You will get Muslim books and other accessories at best price.

[boardcastsblog]

"Beyond the Buzzer: Decoding the NBA Broadcast Experience"

Unveiling the NBA Broadcast Magic

The National Basketball Association (NBA) isn't just about the games played on the court; it's an immersive experience brought to life through the artistry of broadcasting. The NBA broadcast isn't merely about showcasing the match—it's an intricate blend of technology, storytelling, and entertainment that brings the electrifying energy of basketball straight into our living rooms.

The Pregame Prelude

Before tip-off, the broadcast sets the stage for the forthcoming showdown. From pregame analyses and player spotlights to expert predictions, viewers are offered a comprehensive preview of what's in store. This segment not only builds anticipation but also educates and engages the audience, making them part of the game even before the first jump ball.

Courtside Commentary and Analysis

Once the game begins, the broadcast's commentary team takes the reins. These seasoned professionals are more than announcers; they're storytellers, painting a vivid picture of the action with their words. Their insights, analysis, and play-by-play commentary not only inform but also captivate, adding depth and context to every play and strategy nba중계.

Beyond the Game: Engaging Segments

The broadcast isn't confined to the court. Engaging segments during breaks provide an inside look at players' lives, team dynamics, and off-court stories. Interviews, analysis, and behind-the-scenes glimpses offer viewers a deeper connection to their favorite teams and players.

Technological Marvels: Enhanced Viewing

Technology has revolutionized the NBA viewing experience. Advanced camera angles, slow-motion replays, and augmented reality graphics bring an unprecedented level of immersion. Whether it's a jaw-dropping dunk or a crucial game-saving block, these technological marvels ensure that no moment goes unnoticed.

Fan Engagement: Interactive Features

In the digital age, fan engagement is key. Broadcasts often integrate interactive features like polls, trivia, and social media interactions, allowing viewers to participate actively. This real-time engagement transforms watching the game into a shared experience, fostering a sense of community among fans worldwide.

Halftime Show Extravaganza

Halftime isn't just a break; it's an entertainment spectacle. From analysis of the first half to musical performances and entertaining segments, the halftime show keeps the audience engaged, ensuring they stay tuned in even during the intermission.

The Global Reach

The NBA's broadcast isn't confined to one corner of the globe. With its widespread popularity, the league's games reach millions worldwide, transcending geographical boundaries. Language localization, international commentary teams, and cultural adaptations ensure that the NBA's magic resonates across diverse audiences.

Evolution of Broadcasting: Streaming and Beyond

Streaming platforms have redefined how audiences consume NBA games. The shift towards digital platforms allows for more personalized viewing experiences, with on-demand access and additional content. The integration of VR and AR technologies promises to further revolutionize how fans interact with the game.

The Uniting Power of NBA Broadcast

Beyond the dribbles and dunks, the NBA broadcast serves as a unifying force. It brings together fans from different backgrounds, cultures, and ages, creating a shared space where the love for basketball transcends differences. It's not just about the game; it's about the emotions, connections, and shared moments it creates.

Beyond the Final Buzzer

The NBA broadcast is a symphony orchestrated to perfection, blending technology, storytelling, and community engagement. It's more than just watching a basketball game; it's an immersive journey that captivates, educates, and unites fans around the world. As the final buzzer sounds, the broadcast's impact lingers, leaving an indelible mark on the hearts of basketball enthusiasts everywhere.

[ailtrahq]

Six whale wallets accumulated tokens worth more than $15 million at going market rates. TRB pumped 47% over the last week. Decentralized oracle protocol Tellor [TRB] defied bearish sentiments to emerge as one of the shining spots in the crypto landscape in the recent weeks. According to CoinMarketCap, the token exploded 270% over the past month, exchanging hands at $52.18 at the time of writing. Source: CoinMarketCap Realistic or not, here’s TRB’s market cap in BTC’s terms Whales to decide the tide? With an enormous rise in the midst of a bear market, speculators looking for a quick buck hurried to get their hands on the coin. However, much like many other mid to small cap cryptos, the forthcoming movements in price could be dictated by a handful of powerful investors. According to data from Lookonchain dated 28 September, six whale wallets amassed as many as 286,375 TRBs of late, amounting to more than $15 million at going market rates. Source: Lookonchain It was further revealed that all of these addresses were profitable, with a combined profit value topping $7 million. Lookonchain said that they could liquidate their holdings anytime. Given that they control 11% of the supply, the sell-off might put significant downward pressure on the value of TRB. While whale movements are often seen as a precursor of what to expect in the future, it’s always advisable to tread with caution and DYOR. Social buzz shoots up As per Santiment, the bulk of the profit-taking took place around 17 September. Evidently, this was the time when most of the TRB holders transferred their stashes to exchanges to dump them. Since then, supply on and outside the exchanges has been flat. Despite this, price pumped by a staggering 47%. Source: Santiment TRB has greatly benefitted from the positive talk happening around the coin. As indicated, the amount of mentions in crypto-specific social media groups surged as the coin breached past the $50-level. Is your portfolio green? Check out the TRB Profit Calculator Cryptocurrencies in general ride high on word of mouth and hype. Therefore, the social buzz might continue to fuel the influx of more traders. Source: Santiment Additionally, weighted sentiment was in the positive territory, indicating that the amount of positive commentary around TRB eclipsed the negative publicity. This boded well for TRB in the short term.

[prnanayarquah]

Rocky Dawuni drops New Single “Shade Tree”, OUT NOW on all platforms!

New Post has been published on https://plugzafrica.com/rocky-dawuni-drops-new-single-shade-tree-out-now-on-all-platforms/

Rocky Dawuni drops New Single “Shade Tree”, OUT NOW on all platforms!

International musician, songwriter, producer and activist, Rocky Dawuni releases his new single “Shade Tree” worldwide on September 12, 2023. The single will be the first from the 3x GRAMMY Nominated musician’s forthcoming new album set to drop in 2024. “Shade Tree” is a timely new global anthem of empowerment and unity from the Ghanaian star.

The song is based on the concept of the tree that provides shade for all of the various “shades” of humanity. It is a convergence point and an oasis for all people. The shade tree is where conflicts and disagreements can be resolved; it provides “a shelter from the rain” which is shared amongst everyone. Humanity shares this common destiny because we are nature and our destiny is intimately entwined with each other and with all of life just as the roots of the tree. Under the tree we are a community in our individuality.

  Listen Here: ​https://distrokid.com/hyperfollow/rockydawuni/shade-tree​

As the lyrics say “we are one, but we are not the same.” Just like the leaves of the tree, we are not all of the same as we represent different textures, colors and shades but we all share the same roots. The song is from a perspective of a lonely soul, seeking connection and community which is found in various manifestations in everyday life where people gather, celebrate and find connection from isolation. At a time when Africa is awakening to new political realities and the wider world is grappling with further geo-political divisions, this is a poignant song that reminds people of our shared humanity.

Rocky Dawuni’s own unique “Afro Roots” sound mixes Roots Reggae, Afrobeat, Highlife, Soul, Pop & more. A galvanizing performer, Dawuni has shared the stage with luminaries including Stevie Wonder, Ozomatli, Peter Gabriel, Angelique Kidjo and many more. Rocky was named one of Africa’s Top 10 global stars by CNN having showcased his talent at prestigious venues such as The Kennedy Center, Lincoln Center and The Hollywood Bowl. Rocky is a dedicated activist serving as a UN Goodwill Ambassador for the Environment for Africa and a Global Ambassador the World Day of African and Afro-Descendant Culture as well as running his own Rocky Dawuni Foundation. Through these and other designations he uses his music to shine a light on crucial issues facing humanity across the globe with live concerts, speaking roles, panels, youth empowerment and much more.

  “Shade Tree,” written by Rocky Dawuni, has additional production by GRAMMY Nominated engineer and musician extraordinaire, Anthony Brewster as well as renown engineer Michael Vail Blum. The song was mixed by multiple GRAMMY Award winning engineer and producer, Qmillion aka Keith Lewis, known for his work on the Robert Glasper “Black Radio” albums, Seun Kuti and more. Drawing from diverse influences and vocals stylings that sometimes recall classic soul singers like Curtis Mayfield and D’Angelo, with a production approach that merges elements of Hip Hop, Reggae and soul stirring social commentary,” Shade Tree” keeps things moving with its irresistible conscious groove heralding a new world of hope.

“Shade Tree” is NOW AVAILABLE worldwide on all platforms at: ​https://distrokid.com/hyperfollow/rockydawuni/shade-tree​ ​

Rocky Dawuni Links:

​http://www.rockydawuni.com ​

​http://www.instagram.com/rockydawuni​

​http://www.facebook.com/rockydawuni​

​http://www.twitter.com/rockydawuni​

​http://www.youtube.com/rockydawunimusic ​ ​http://www.rockydawunifoundation.org 

[sideblog-666-thousand]

A long bitch of an interview with Euronymous, from Orcustus zine in early ‘92.

What is Orcustus? Orcustus was an early 90’s black metal ‘zine run by none other than Bård “Faust*” Eithun— murderous pretty-boy, and o.g Euronymous simp. I think he might have also played drums in a band called Emperor... but I’m not sure! Its full name is actually “Orcustus— The Shadow of The Golden Fire”, and no, I’m not making this up.

This particular issue here opens up with a quote from a short story called ‘The Doom That Came To Thomas Parkes*’.

Assuming the reader hasn’t read the story, Faust explains that the quote is in reference to what happened to the titular ‘Thomas Parkes’ when he tried to raise spirits. Faust then admits that he’s unsure of his own ability to ‘raise spirits’, but says he hopes that he’ll raise some fists in agreement that there’s something wrong with the underground scene. Ironically (you’ll see why this is ironic very soon), he doesn’t like that certain bands, namely Entombed, are selling so many copies of their LPs.

After a brief diatribe on just that, he goes on to explain that he was in a rush to get this mag out because of problems with the printer. Then, he tells anyone who doesn’t like the fact that this ‘zine only features black metal that they can fuck off, with three exclamation points.

Finally, we get to the end of the opening page, where Faust pulls what can only be called an early form of the Twitter exposed thread. It reads as follows, with absolutely no changes to the text:

“I would suggest you to not do any business with that sucker Evil Ludo from France. He have riped me and several others off, by not return what we ordered. I suppose he’s a medical sensation, as I didn’t know it was physical or psychical possible to live without a brain”

Why am I telling you all of this, when this is only meant to be a transcript of an interview with Euronymous, you may be asking? Because I find it funny, that’s why.

Anyhow, the Euronymous here acts and feels very differently from the Euronymous of the last interview I posted. However, I hope you’ll still enjoy it, and I hope you’re able to appreciate the tiny glimpses of humanity talking to a close friend allowed him, even though they both behave like complete asses. Even though it’s hard to sympathize with him at points.

Like last time, any (sparse) commentary will be between (parenthesis) and in bold. Without further ado, let’s get into it.

.

F: Well, how in hell shall one be able to come up with an intro worthy enough for this band? The words I wanna describe Mayhem’s music with, is not yet created, and it won’t be created either, because no one has really experienced the real darkness and pure brutality with lays behind Mayhem’s hellish sound, but I suppose you all are familiar with this band anyway. Well, in the first place, I hadn’t really thought to enclose this band in this issue, because if we look away from rereleases of old demos (“Pure Fucking Armageddon”) and live tapes, it’s a pretty long time since their last release (in ‘87 that was). I thought I rather should interview them when they released their forthcoming album “Dee Mysteriis Dom Sathanas”, but due to the circumstances, I realised the time was right for an interview now. I won’t bother you with any history shit, but I could tell a bit about what has happened last year. You all know that their vocalist Dead comited suicude in April ‘91, that was a bigg loss for the underground, and I suppose I don’t need to say that this mag is dedicated to the memory of that infernal man. Anyway, Dead was replaced by Cultòcùlus (back then called Occultus), but due to different problems within the band, he left the band in January ‘92, but let’s not say more about that, as Euronymous didn’t want me to say anything about it at all (but Euronymous, you must admit that it has sounded pretty artificial if I hadn’t mentioned it at all). So now, the band consists of Hellhammer (drums) and Euronymous (guitar (and probably bass too)). I know the singer of Tormentor (rip) from Hungary (Esihar Attila) is interested in singing on the album, and also even moving to Norway, so it seems like Mayhem got some sort of predilection to foreign vocalists, but this Hungarian guy happend to be a good one as well, so never mind that. But I don’t think this is official, so don’t tell anyone you read it here, ok? Well then, it’s an honour for me to dedicate the next following pages to one of today’s most legendary and infamous bands......... THE TRUE MAYHEM!!!!!!!

F: First of all Euronymous, I know you and Dead live/lived totally for the old black metal attitude. Is your hate now total to young and trendy bands after Dead’s suicide?

Euro: YES, we have declared WAR. Dead died because the trend people have destroyed everything from the old black metal/death metal scene, today “death” metal is something normal, accepted and FUNNY (argh) and we HATE it. It used to be spikes, nites, chains, leather and black clothes, and this was the only thing Dead lived for as he hated this world and everything which lives on it. If we had the economic possibility to do it, we should meet up at concerts and beat up ALL trend people ALL the time untill they would be too scared to go to concerts at all, now we need to suck their money instead. It’s impossible to stop the trend no matter how much we want, we have to do the best out of it and sell lots of trend shit to them. (I don’t need to tell you that that’s totally not why Dead killed himself, right?)

F: In the spring of ‘91 you started up a shop in Oslo which sells all sorts of music within metal. Is there anything you can tell us about the shop (ideas? plans?)?

Euro: Well, the original idea was to make a specialist shop for metal in general, but that’s a long time ago. Normal metal isn’t very popular anymore, all the children are listening to “death” metal now, I’d rather be selling Judas Priest than Napalm Death, but at least now we can be specialized within “death” metal and make a shop where all the trend people know that they will find all the trend music, this will help us earning money so that we can order more EVIL records to the evil people. But no matter how shitty music we have to sell, we’ll make a BLACK METAL look on the shop, we’ve had a couple of “actions” in churches lately, and the shop is going to look like a black church in the future. We’ve also thought about having total darkness inside, so that would would have to carry torches to be able to see the records.

F: Well, how is the situation all in all in the Mayhem camp right now?

Euro: Difficult as usual, but we’re closer than ever to record the Mayhem lp. Almost all the material is completed, then I and Hellhammer will record the whole thing with 3 guitars, 2 basses and so on. It will be very massive. Who’s to sing on the lp is not yet decided, we’ll wait and see what happens. We have several people who can do the job very well.

F: As Metalion of Slayer mag* said: “it seems like you at certain times lives on the edge of starvation”. Have you ever been on the thought to just give up the whole band and become a normal 9 to 5 person, or is this a completely stupid question to ask?

Euro: It has been very hard at times, but I am not a normal person anyway so it would just not be possible to do that. I’ve been thinking a lot lately about why things are as they are (this answer will be long) (that’s okay for me/Ed). The reason why we don’t have any money, is because of hardcore. We have for too long been following the “underground” rules, which say that you must hate money, you must not think you are anything, you must be open-minded, you might have a lot of attitudes and so on. Extremely stupid. But the situation has been that if you don’t follow these rules which are made by hardcore pigs, you are not accepted as a death metal or black metal band! Then you MUST be signed by some big label to be able to make some money, and we’ve never wanted to do that. Then you would anyway be labelled as “commercial” by the HC pigs. This has caused that after 8 years, we are still as broke as ever, while the HC pigs themselves are controlling all labels, and they sign only the bands which fit into their own idiotic world, that means “death” metal bands with society lyrics and jogging suits, and this is what the people see when they grow up. They don’t see any EVIL bands with spikes, as we did. Well, I’m tired about being broke, just to be “underground”. I’m tired of not having money to eat for just because tons of people will call you a “rip-off” if you don’t write 20 letters each day. It’s time to say fuck off to the whole system, which is built to strangle the evil bands in the birth. We must start taking inspirations from the ancient ones, from Venom and their likes. They did their thing BIG, and they never had to think about any idiotic underground rules. They did it big and so must we, but it must never become a trend, it must become a CULT. This is why we have started on a brand new policy with the band and the record label. It’s about time that someone makes a label for black metal and other grim music, and STRIKE BACK. There is NO reason why DSP shouldn’t be as big as Peaceville or Nuclear Blast, if we can just get the business on its feet again and get good distribution. That’s the only way to compete with the HC labels. It’s about time we start taking control over our own scene. We must spread the EVIL bands and pervert people’s souls.

F: What about the Norwegian scene then? Don’t you think that something is terribly wrong when it have gone so far that we have a christian “death metal” band here (Crush Evil)? Advices on how we should kill them?

Euro: First of all— the Norwegian scene is the BEST. There are a lot of GREAT bands (yet with no album out) and of course some shitty trend bands, but nothing as in Sweden. There you have 2-3 good bands out of 100, while here we have a few shit bands who hardly have made even a demo, while all the great bands will make records in the near future. Such as Darkthrone, Burzum, Immortal, Thorns (I’m flattered/ED*), Arcturus, Enslaved and newer bands like Malfeitor and others which I have not yet heard. BUT— when it comes to bands like Crush Evil, we must take serious action. It’s bad enough to have a couple of society bands, but a CHRISTIAN band is too much. But don’t worry, we have plans. They will not continue for a very long time.

F: And now over to something more humouristic....yes.... snuff movies. Who had been the perfect actor for a snuff movie, and why the hell aren’t they legalized? Don’t you think that every video-store should have its own section with snuff-movies?

Euro: Actually I think it’s great that movies like that are forbidden. If they were legal and easily accessible, all the small trend children would be watching them, and then it would not be something extreme anymore (I’m not sure if I agree with you here Euronymous. Snuff movies are usually too raw and brutal for the people with their “peace and life” infected minds. Remember the HC rules/ED) (shut the fuck up, Faust*) It’s just the same what happened to death metal— it became something everyone could buy in every store, something normal and accessible for everyone. All the mystic and evil atmosphere is GONE. I do not think snuff-movies are funny, I think they are DARK. I’ve seen people laugh at them, but that’s probably because they will not be mentally able to take the PAIN and EVIL on over themselves. That is the best way to watch such a movie, to try to FEEL the actual pain of the victims. It becomes much more gruesome then, and that’s great. One must be alone in the darkness and suffer with the victims, if you watch it with other people, they will often talk, laugh and so on, and then you get more distanced from it, it’s not supposed to be funny (death to fun), it’s much better when it’s depressive.

F: Through the years you have been talking about releasing bands like Samael, Rotting Christ, Master’s Hammer, Tormentor, Matricide, Imperator, Massacre etc. on Deathlike Silence Prod., but now some of these bands have released lp’s on labels which only have money in their eyes and know that black metal sells. Doesn’t that frustrate you, and don’t you feel it like the time is running out for you?

Euro: It’s a bit frustrating, but it is also a result of trying to be “underground” which is a suicide policy. Anyway, the main thing is that these evil records get released at all, and not who’s releasing them. We will probably release a record with Tormentor, they’re split up, but they still want to make their Anno Domini demo on vinyl, and we’ll try to fix it within the summer. The time is not running out, because there are a lot of really evil bands around. — most of the Norwegian bands which other labels haven’t heard about. Burzum is ten times better than all the bands on Earache together, and so are Thorns and Arcturus. So there is no problem, really. As for bands like Rotting Christ and Master’s Hammer, we might do something in the future instead. I’ve never been talking with Samael about any deal, but I wish I had as their album is FUCKING GREAT.

F: Almost all bands in the underground today says that they think they got their own style and originality, but the fact is that 95% of the bands sounds totally the same. What is an original death metal band today?

Euro: There exists no death metal bands today. There are only a handful of (mostly great) bands (in case someone hadn’t got it right— black metal has nothing to do with the music itself, both Blasphemy and Mercyful Fate are black metal. It’s the LYRICS, and they must be SATANIC. If not, it is NOT black metal) and what we choose to call LIFE METAL bands. Take a band like Therion. Their music is quite ok, it’s actually one of the best Swedish bands (even though that doesn’t say much) but their lyrics STINK. They are about society and pollution, what the fuck has that got to do with DEATH? If a band cultivates and worships death, then it’s death metal, no matter what KIND of metal it is. If a band cultivates and worships Satan, it’s black metal. And by saying “cultivates death”, I don’t think about thinking it’s funny, or being into gore, I’m thinking about being able to KILL just because they HATE LIFE. it’s people who enjoy to see wars because a lot of people get killed. How many bands think that way? Not many. I can’t think of one.

F: You’re maybe not the most active band when it comes to gigs, but at least you’ve managed to tour Germany and Turkey. What can you tell us from the tour, and is there any new gigs planed?

Euro: That tour was a big mess, we’ll NEVER take the train again! We lost quite some money, but still it was great to get to East-Germany and Turkey. The memories of the tour consist mostly of the starvation and idiotic custom officers, but still I wouldn’t like to have missed the opportunity. We don’t have any concrete plans, we’ll see happens in the future. We don’t like to play for a lot of trendies in jogging suits, so we prefer to leave it be.

F: What do you think of the fact that death metal has been on MTV?

Euro: It sucks. But it isn’t death metal anyway, so....

F: I know that you will soon release the debut album of Abruptum on DSP, so, what can you tell us about it?

Euro: It’s EVIL. It’s PURE EVIL, they were torturing each other in studio DURING the recording and you can HEAR on the music how they SUFFER. It will be the most demented record EVER, and it’s NOT for normal people. This is music which NEVER can become trendy, because normal people won’t be able to understand it. And that’s great. The price for the album it’ll be the same as for the BURZUM lp, which should be somewhere else in this ‘zine*. It’s called “Obscuriratem Advoco Amplèctere Me”, and stay away from it if you don’t like pure DARKNESS.

F: Don’t you think that people in the underground should respect others ideas and views more? I mean, it’s not accepted to spread unpopular thoughts. It seems like there is some sort of guardians of morality and most people keep in mind not to say or do anything which is not accepted by the public.

Euro: I don’t think people should respect each other. I don’t want to see trend people respecting me, I want them to HATE and FEAR. If people don’t accept our ideas as their own, they can fuck off because then they belong to a musical scene which has NOTHING to do with ours. They could just as well be Madonna fans. There is an ABYSS between us and the rest. Remember— one of the HC rules is that you must be open-minded (except for themselves), so we must be careful and avoid being open-minded ourselves. The HC pigs have correctly made themselves guardians of morality, but we must kick them in the face and become guardians of anti-morality.

F: You say you want your riffs to have a dark mood and really sound evil, but what if you came up with a riff which just sounded good, but not evil. Would you use it then?

Euro: Well, if a riff sounds good to me, it mostly means that it sounds evil too. At least when I make the music myself. Haven’t really thought about this about this before.

F: Do you think you’ve been playing this sort of music today if it weren’t for those old bands like Mercyful Fate, Venom and Hellhammer?

Euro: It’s impossible to say. Venom and the other ancient ones have been fundamental influences on Mayhem, and also the direct reason of the band’s existence. We like to think that if they hadn’t started up this, we would have, but who knows? Doesn’t really matter anyway, we hail ancient Venom as the CREATORS.

F: Ok, no more questions at the moment. End the interview in what way you want......

Euro: Perhaps it should be mentioned that well re-release the MAYHEM mini-lp “Deathcrush” VERY soon. We also have t-shirts available now. People should write for prices on things. Be EVIL, not open-minded.

Ok, I suppose some of you already know that Euronymous started up a shop in Oslo in the spring of ‘91. The shop is called “HELVETE” (which is Norwegian and means “HELL”) and are specialized within underground stuff and death metal in general (though he also have some other styles of music there). As he said in the MAYHEM interview, the shop really have a black metal look, so if you ever visit Oslo, I really recommend you to visit “HELVETE” as well. I think it’s good that people take the initiative to start up with such things, because if everyone were just passive, we would all get ruined by poser-shops like Hot Records where they take 140 NKR for the Earache albums (which you in “HELVETE” can get a CD for the same price). Euronymous also sells though mail, so write and ask for a list or something: HELVETE, Schweigaardsgt. 56, 0656 Oslo. NORWAY.”

That’s all! :)

And now for the things I put in asterisks, in order of their appearances.

*If for some reason you actually don’t know who Faust is, he was the drummer on the Emperor LP and “In The Nightside Eclipse” but you might also know him from other great hits such as “threatening to kill Mortiis from prison whilst simultaneously attempting to plead murder of the secondth degree”, “I’m glad the people Euronymous ripped off won’t get their money back because he’s dead hA hA!”, “I got fourteen years for murder because I’m a socially inept virgin— oops” and “bad... bad lyrics who’s quality somehow don’t improve with the passing of time”. All jokes are done in good humour— if it seems like I dislike him, it’s not that at all. I just find him easy to make fun of.

Here is another short bio, this one less sarcastic: he was born in Trondheim, lived around Kvikne, and Lillehammer, worked at Helvete, was a close friend of Euro’s, and has his sun in Taurus.

He also beefed with Glen Benton for dissing the Party City cape (Note: of course I’m being extremely reductive) he and Euronymous seemed to share. Here are a few pictures of Faust:

Here is the infamous Party City cape:

*This was surprisingly hard to find. I think he read it in a mag or something. Here’s a link to where you can find it: https://issuu.com/davidgamble/docs/paranormal37/3 page 64-65.

*Slayer mag was another zine, this one by a bloke named Metalion, who was Euro’s best friend.

*Faust (who felt the strange need to make a distinction between himself, the editor, and himself, the interviewer) also played in Thorns (well, Stigma Diabolicum), under the hilarious moniker: Fetophagia✨

*He’s being a fucking idiot, what was I supposed to say? It should be noted that Faust actually went down for the snuff films too.....

*In case you’re interested, for whatever reason, the prices for the Burzum LP were as follows:

Norge— 130 NKR

Norden— 100 K

Finland— 60 FN

Island— 1000 IK

Europe— 15$

Outside Europe,

Overseas— 15 $

Air— 22$

East Europe— 10$

By ‘norden’ he presumably meant ‘northern Norway’, and “Island” is the Norwegian word for Iceland. Notice the way he doesn’t include Sweden! (Edit: Originally I thought he didn’t include Finland because there was a black metal war with them as well, but it seems as though that feud came a bit later or had already passed)

That’s all, for real this time!

Legal disclaimer: I am absolutely, in no way shape or form, claiming that the stupid cape you see them wearing is literally from Party City. From my limited research, I’ve gathered that the Party City chain hasn’t yet opened its doors in the beautiful and glorious country we know as Norway— Norge. However, I am saying that the cheap, dinky piece of cloth covering their backs and shoulders are of the same kind of shitty quality you’d expect from a Party City Count Dracula costume and that maybe Glen had a point about how stupid Euronymous (and Faust) must’ve looked.......

[90363462]

Kendrick Lamar’s New Song ‘The Heart Part 5’ Is a Heart Wrenching Tribute to the Power of Forgiveness

Daniel BridgestoneMay 10, 2022

Kendrick Lamar is back with new single “The Heart Part 5��, the newest installation in his recurring The Heart series. The release marks the announcement of his forthcoming album ‘Mr Morale & The Big Steppers’ and his return to music since the critically acclaimed DAMN! was released in 2018. The anticipation has been high and the 34 year old Los Angeles based artist gifted his fans a 5:32 record accompanied with a powerful video. 

With production duo Beach Noise providing instrumentation, Kendrick raps over a chopped sample of Marvin Gaye’s “I Want You,” a song originally released in 1976 that served as a romantic tribute to Janis Hunter, Gaye’s wife. The video, both starring and directed by Lamar with longtime collaborator Dave Free, is minimal and performance based. Lamar stands afront a red screen, wearing a white shirt and blue bandana around his neck, passionately rapping along with the record. 

The twist is, as the lyrics progress, Lamar, using deep fake special effects, morphs into a cast of black male cultural figures such as OJ Simpson, Kanye West, Jussie Smollett, Will Smith, Kobe Bryant, and Nipsey Hussle. Lamar, known for lyrical depth and symbolism, matches the lyrics with the history of each respective celebrity that appears on screen, making a larger statement about the current climate of North American culture. With this in mind, one could assume that the intention for the record came hand in hand with the visual concept.

Kendrick Lamar’s Perspective

Lamar begins with the statement, “as I get a little older, I realize life is perspective and my perspective may differ from yours.” In The Heart Part 5, this perspective extends beyond himself and onto the men who appear via deep fake, all of whom have made a cultural impact in recent history. Lamar both pays homage to leaders, such as Nipsey Hussle, and questions the integrity of egoists, such as Will Smith, all while empathizing with the pressures of celebrity. 

There is much to unpack in Lamar’s new record, a social commentary that could be analyzed from a variety of different angles. This article will focus specifically on verse three, when Lamar and the late Nipsey Hussle exchange moments; riffing on fate, community, forgiveness, and hope. 

Nipsey Hussle, a famous hip-hop artist and community activist was fatally shot in front of his own store in South Central Los Angeles in 2019. Lamar reflects on finding out Nipsey had passed, “I’m in Argentina wiping my tears, full of confusion, water in between us another peer has been executed” he pauses and further professes, “but that’s the culture, hard to deal with the pain when you’re sober, by tomorrow we forget the remains and start over.” 

This is an extremely vulnerable moment as Kendrick brings forth the idea of a cultural cycle within his own community, one that is desensitized to gun violence, turning to drugs to mourn loss. 

Nipsey Hussle: The Immortal Empath

Similar to Lamar, Hussle grew up in South Central, and like Lamar, is known for fighting injustice and addressing socio economic issues within his music. Both artists were community leaders in their respective Los Angeles neighborhoods, donating money back to the streets they grew up on, providing young men with opportunities to break out of a poverty cycle that has negatively impacted people of color in the United States. Later In the video, after reflecting on his passing, Kendrick deep fakes as Hussle; speaking from his perspective;  “To my brother, to my kids, I’m in Heaven, to my mother, to my sis, I’m in Heaven, to my father, to my wife, I am serious, this is Heaven.” 

Kendrick, as Hussle, is speaking directly to his family and letting them know that, not only is he in heaven, in fact, heaven does exist, professing that beyond death, there is peace. Kendrick has chosen to paint the picture of a utopian afterlife, one that juxtaposes the violence of South Central Los Angeles. Kendrick views Hussle as a man of empathy and righteousness, one that, even in his own death, would forgive his murderer, “and to the killer that sped up my demise, I forgive you, just know your soul’s In question, I seen the pain In your pupil, when that trigger had squeezed, and though you did me gruesome, I was surely relieved.” 

Kendrick recognizes that the senseless violence, which has taken so many people he’s known, as well as Hussle, is rooted in anger, connecting to a larger issue of institutionalized racism in America, a systemic pattern that has made it difficult for people of color to afford higher education, access healthcare and seek job opportunities. Hussle forgives his killer, seeing the pain in his eyes, attempting to understand the struggle he’s gone through, blaming a system instead of an individual. Hussle’s murderer was in the same gang as him, Rollin’ 90s, and was also a rapper, although his music never caught on in the same way Hussle’s did. 

Some speculate that the reasoning for the killing was out of jealousy for Hussle’s success. This brings us back to the sample featured on the record, Marvin Gaye, who, similarly, faced his demise at age forty-four, when his own father shot him in 1984, echoing the situation that Hussle faced, as Gaye’s father was fueled with jealousy and resentment. 

Hussle goes on to say, “I completed my mission, wasn’t ready to leave, but fulfilled my days, my creator was pleased,” expressing that he lived a good life, one where his “mission” was giving back to the community he grew up in, positioning his priorities as giving back to his family and community. 

Last Thoughts

Kendrick as Hussle, ends the track with this powerful sentiment, “and to my neighborhood, let the good prevail, make sure them babies and them lead us outta jail, look for salvation when troubles get real, ’cause you can’t help the world until you help yourself,” explaining that change must come from within and begin locally. 

Show love to your community and to your family first, work on yourself, and the rest of the world will follow. Kendrick paints an incredible picture of Hussle, one of forgiveness and empathy, one that individuals should follow as a model for themselves. 

https://www.youtube.com/embed/uAPUkgeiFVY?feature=oembed

[curiositys-cat]

Burn Up The Light: Chapter 7

Sandstorm keeps a careful eye on Fireheart these days, though maybe that’s nothing new. Even when she hadn’t wanted to, back in the beginning, she’d always been  aware  of him and his bright coat, the way his voice cut through crowds, the-- just about everything, really. No matter what he did, he had a way of filling the space.

Maybe that wasn’t accurate. Other cats didn’t seem to notice it, so maybe it was this-- no matter what he did, Fireheart had a way of filling her thoughts.

But she watches him now, because he watches her-- because he  knows  her, and she’s going to get him right back.

Dustpelt had just scoffed when she’d told him this particular plan. He does that whenever she mentions Fireheart. He’s been doing it a lot lately.

“Fireheart looks off today,” Sandstorm murmurs over the rabbit she and Dustpelt are sharing. She keeps her voice down, but his ears prick in acknowledgment. “Do you think something happened with Cinderpaw?”

Fireheart plods across the out of the medicine cat’s den, coming to a rest at the base of highrock, where a shadow stretches for just a few tail lengths. When he lays down, it’s more of a collapse. Sandstorm frowns.

“Does anything new need to happen?” Dustpelt asks.

“Hm. Maybe not. He looks exhausted, though,” Sandstorm says. “More than normal. And he looks like he hasn’t had a proper groom in a moon.”

“Someone should fix that. Why don’t you go over and share tongues, hm?”

Sandstorm almost chokes on her rabbit. “What?”

“You said he looks ungroomed. Offer to do it for him, if it bothers you so much,” Dustpelt says with a roll of his eyes, and Sandstorm gets the definite feeling that she’s missing something. She’s quick to shake her head and follows the impulse to leap to her feet, legs suddenly jittering with nervous, buzzing energy.

“I’m not doing--  that -- but I can do something else for him.”

“Suit yourself,” Dustpelt says, looking at her with unimpressed half lidded eyes. “Make sure to get a good sniff of him while you’re over there so you can describe how he smells to me again.”

“It was important to the story!”

“Sure was. I’m not saying I was  glad  when Tigerclaw interrupted to give me dawn patrol, but...”

Sandstorm resists the urge to box him around the ears like she would’ve when they were apprentices-- she’s a warrior now, and she’s got more important things to do than tumble around camp with her best friend, no matter how much she’d like to see his face if she took him down right now. If Bluestar saw, she’d fix Sandstorm with one of those  looks .

But. Bluestar isn’t around.  

Sandstorm sends herself hurtling at Dustpelt, eyes gleaming with sharp light. They’re laughing before they hit the ground.

--

Cinderpaw’s accident lays like snow over the clan, the kind that melts during the day and freezes thicker at night, trapping everything beneath it in sickly ice. No one knows what to do. There’s sympathy, of course, and hope, and a sense of relief and heartbreak in equal measure from the nursery, where Frostfur minds Cloudkit with an almost obsessive fervor. She stinks of guilt and grief and a fear that hasn’t gone away since the day Cinderpaw came off the Thunderpath.

In it all, no one else seems to notice how badly Fireheart is doing. Maybe they do, but with all eyes on his apprentice, Fireheart’s pain seems smaller. It is. But that doesn’t mean he isn’t hurting, and Sandstorm hates seeing the way his steps grow heavier with each passing moon. He’s a creature meant for crowing, not for this slinking half-sleep.  

Sandstorm, once she’s brushed herself off, heads over to him, on a warpath to make his life easier. She gets his murmured permission, and then goes to hunt down his old apprentice, and the extra one he seems to have taken on these days with Graystripe’s absences. She’s noticed those too, of course, but that’s none of her business. For now.

Cinderpaw and Brackenpaw meet her at the thorn tunnel. “Are you both ready to head out?”

“Yep! Weather’s great!” Cinderpaw chirps. Sandstorm gives a look at the heavy clouds and shakes her head.  

Her brother is more subdued. He always is, but he seems even quieter in the shadow of his lightning crack of a sister. It’s slow going, but Cinderpaw keeps a steady pace, and a steady stream of infectiously good natured commentary as they go.

“I think we should hunt here,” Brackenpaw starts before they’ve gone far, tail twitching nervously.

Sandstorm look at him curiously. “We’re too close to camp. Prey won’t linger this close to cat-scent. Has Graystripe not--?”

“No, he has!” Brackenpaw asserts, a little too quickly. “It’s just that I haven’t been going out as much, and it’s pretty cold, and I guess I just think I don’t want to go too much further.”

“I see.”

“Sandstorm’s too nice to say it, so I will,” Cinderpaw cuts in. “That’s a mouse-brained idea if I ever heard one. Let’s go.” She doesn’t wait for them to reply, pushing off deeper into the woods.

They continue in silence. Cinderpaw no longer seems to want to chat, eyes trained in front of her, jaw set as she pushes the pace. Brackenpaw scrabbles behind, hovering uncomfortably as he goes.

When they arrive at the spot Sandstorm’s picked for hunting, a shaded grove near the Riverclan border, Cinderpaw’s breath is puffing out hard in front of her. Sandstorm makes no comment. Let her be the judge of how hard she wants to push. When someone hurts like that, sometimes exhaustion is the best you can do-- wear yourself to the quick and when the night tries to haunt you, at least you can escape to sleep.

“Yellowfang said you’d be able to collect some herbs for her out here,” Sandstorm offers. “You know what you’re doing?”  

“I do,” Cinderpaw says. “Catmint and dock grow in wet, shaded areas like this. I’ll have a sniff around and see what I can find. You two enjoy hunting.” Her eyes flash as she says the last bit, but she turns before Sandstorm can see any more.

“We’ll be nearby.” Sandstorm touches her tail-tip to Cinderpaw’s shoulder before the apprentice starts away. She wishes she could do more, but saying it aloud would be worse. If Cinderpaw doesn’t want to acknowledge that she might need accommodation, she certainly doesn’t want anything that Sandstorm could tell her about grief.

Sandstorm’s heart aches for the apprentice, but she’s smart enough to keep that to herself.

“Shall we hunt?” Sandstorm turns to Brackenpaw.

“Yes!”

A few beats pass. Sandstorm cocks her head when no further response seems forthcoming. “Brackenpaw, can you tell me what prey is around?”

Eyes going wide, Brackenpaw drops his mouth open so far to scent she’s surprised it doesn’t hit the ground. “I think there’s a vole over in the roots there,” he finally says. “Sorry.”

“No need to apologize. Different warriors do things differently, I suppose. I just assumed Graystripe had taught you like my mentor did me.”

“I think he might’ve,” Brackenpaw squeaks. “I just-- I guess I forgot.”

“Why don’t you see what you can do with that vole?” Sandstorm prompts.

She watches him drop into a hunting crouch-- not a bad one, all things considered. But it’s clumsy, and he’s only getting as far as he is on natural talent, not training. She’s not surprised when he overshoots, only barely managing to avoid bonking his head on the tree-trunk.

“When was the last time your mentor took you out hunting, Brackenpaw?” She asks.

“Sorry, I know I jumped too far. I think I could’ve gotten it if I’d been a little more careful.”

“Probably,” Sandstorm agrees. No point in lying to apprentices. “When did Graystripe last take you out here?”

Brackenpaw looks away. “Not that long ago.”

“The half-moon?” The moon will be round in the sky tonight.  

He still won’t look at her.

“The day before the last gathering,” he says. “But it was really good! We caught enough prey for all the elders-- and Dappletail said my mice were extra plump!”

“She knows good prey when she sees it.” A full moon since his mentor had last taken him out-- maybe there’d been a patrol or two since then, but it's worse than she’d thought.

“I’ll get the next one,” he says. After a pause. “I’ll try.”  

“Yes, I’m sure you will,” Sandstorm says, shaking her head as she tries to drive her wonderings away. Graystripe’s business is his own business, and if Bluestar feels he’s neglecting his warrior duties, that’s for her to say. Sandstorm has a job in this clan, and minding everyone else’s apprentices isn’t it. “Let’s find you something warm to sink your teeth into.”

It’s the middle of leafbare, and there isn’t much to go around to start with. Between Brackenpaw’s earlier attempt and the way her thoughts wind round her head like honey-suckle vines, it’s slim pickings. Brackenpaw does his best, but when all he has to show for his efforts is a half-starved mouse, it’s hard to miss the sag of his shoulders, the shame that slicks down his ears.

“We should find your sister,” Sandstorm meows around her blackbird. It’s not much, but it’s something.

“Can we just hunt for a little longer?” Brackenpaw casts a look around, as if prey is just going to wander into his paws. “I’m not ready to head back yet.”

“The prey’s all bolted to their holes.”

“Then we’ll find some more birds! There are always birds, even in leafbare,” Brackenpaw protests. Then, seeing Sandstorm’s unmoved expression, he adds, “please, I can’t head back with just this.”

He scuffs a disdainful paw over his mouse, turning it onto its stomach. It’s barely enough to feed a kit, and they both know it. What an earnest little cat he is, all rushed apologies and open worry. Sandstorm shakes her head, but before she knows it she’s agreeing.

“Fine. We’ll stay for a little while longer, but I want to see you working hard-- we need something more than fluffed fur to show for a whole day’s hunting.”

He nods solemnly, like she’s said something profound rather than muttered an instruction.

“Do you think that you could-- I know that I’ve been an apprentice for a while, but, could you just remind me about hunting?”

“What, in general?” Sandstorm asks, blinking.

“I mean, or just birds, or whatever we find!” Brackenpaw hurries to add.

Stars above. “Yeah, okay.” She drops down into her best hunting crouch and walks him through the basics-- stuff he should’ve had down moons ago, but from the way he’s drinking it in, it seems like at least some of it’s completely new to him.

He copies her, body low to the ground and almost deathly still. He starts padding forwards. His ears angle towards a scuffling that she hadn’t noticed until he’d started towards it. Another mouse maybe. Even if he misses, she’ll commend him for getting wind of it before she had.

His steps are light on the frost-crusted ground, quiet enough that even a mouse won’t notice his approach. He’s a quick learner, despite everything.

Just a tail-length away, one puffed breath between him and his prey, Sandstorm notices him slow. The next trembling paw he puts down slips on an ice-slick leaf, and all at once he’s a scrambling frenzy as he tries to hook the mouse before it manages to retreat. From the way his tail  thwaps  against the tree, she knows that he’s failed.

“Fox-dung!” Brackenpaw curses. “If I hadn’t  slipped --”

“It happens to the best of us,” Sandstorm says.

“But now we’re just taking back  this  , and everyone’s going to be hungry because I  slipped ! It was a stupid mistake!”

Sandstorm takes a step towards him, ready to try and comfort him-- she’s no stranger to a hot-blooded outburst after a bad hunt. “We learn and do better next time. What did we learn there?”

“That I’m a useless hunter,” Brackenpaw spits. “Can’t even catch a mouse.”

“The evidence to the contrary is in a hole with my blackbird.” Sandstorm keeps her tone even. “What else?”

Tail lashing, Brackenpaw looks away in frustrated silence before he finally breaks. “To pay more attention to where I’m putting my paws, I guess,” he says. “But I already knew that. I just forgot, because I’m  always  forgetting.”

“We learn by doing,” Sandstorm says. “And it seems to me that you haven’t had much practice.”

“Because I’m not good enough for Graystripe to mentor!” Brackenpaw returns, with more fire than she's ever seen in the calm apprentice's eyes. “I’m just-- not good enough.” His voice breaks, softens. “I didn’t understand it at first, but now I know. He doesn’t want to train me because he knows it’s  useless. ” There's a lower venom in that hiss, the kind that only the young really feel, self-revulsion big and loud enough to break the banks of a frozen river.  

“Brackenpaw,” Sandstorm says.

“I miss going hunting with him,” Brackenpaw continues. “But he’s so busy, so it’s not really surprising that he doesn’t want to make time for it, you know? It’d be okay if I were learning faster from Fireheart, but--”

“Mentors don’t get to choose whether or not they  want to train their apprentices, Brackenpaw-- it’s a duty, just like hunting and patrolling. If Graystripe’s not doing that, it’s a reflection on him,” she meets his eyes, “not you.” She knows before she’s finished saying it that it’s useless. Platitudes, no matter how true, are as good here as a twig in a forest fire. They only make it worse.

Brackenpaw snorts. “It’s not his fault his apprentice has three left paws. And Cinderpaw doesn’t want anything to do with me either, and I just-- I don’t know how I’m so  bad  at  everything .”

“I can’t make Graystripe a better mentor, but I can let you know-- you might feel lonely right now, but you’re not alone.” Brackenpaw’s shoulders climb high and tight. “Brackenpaw. Look at me. I mean it.”

Begrudgingly, he meets her gaze, but he breaks it almost immediately.

“If you want to be a good warrior, that’s the first thing that you have to know. No one in a clan stands by themselves. From the day we’re born to the day we die, we’re always just one part of something bigger,” Sandstorm says.

“I know all of that,” Brackenpaw shoots back. “But that doesn’t mean I want to be the weakest part of it! Cinderpaw’s going to be a medicine cat and save lives, and I’m just going to be-- here.” He looks around the empty clearing, to the scrap-pile of prey. “I just want to know what I’m doing  wrong .”

Nothing, she wants to say. You’re too young for these mistakes to count. Even with his sister-- and she can see what’s happening there, his overbearing concern coming hard on a cat who wants nothing more than to live freely-- it’s an honest mistake, an easy one, and it’ll all be salvageable when they figure it out.    

Instead, she finds herself thinking of Fireheart.

“Fireheart’s done worse than you ever have.”

Brackenpaw snorts again, but he can’t hide the way his ears prick in interest.

“You may be too young to remember it, but I was an apprentice with him,” she says. “And the  list  of things he got in trouble for-- it goes on. I’m not exaggerating when I say he spent half  his apprenticeship picking ticks off of elders-- you can ask Dappletail yourself later.”

“I’m just good at pretending,” Brackenpaw says. “Nobody but Graystripe has noticed how useless I am out here--”

“And what am I? A tree trunk?”

“You’re just being nice,” Brackenpaw shoots back.

“You and your sister-- when did I get nice?" She mutters. "Look, I’m trying to make a point. Fireheart was an  awful apprentice. He was always sleeping in late for patrols, and going off wandering in the night doing Starclan knows what-- he talked back to the senior warriors, and he couldn’t catch birds for a moon longer than the rest of us. And Bluestar was his mentor.”

This gives Brackenpaw pause. “Bluestar?” he asks.

“He was a kittypet mess, and she didn’t give up on him. Because she knew that he was a warrior at heart-- that he  wanted it.”

“Wanting catches no prey. It doesn’t matter”

Sandstorm flicks him with her tail. “Wanting got Fireheart to a warrior name, and plenty more besides it. He wanted this life so badly that he rebuilt himself around it-- burnt everything that he was down to the ground and grew again from that little wanting root. And for a little while, he was really, truly alone.”

“What did he do?” Brackenpaw

“His best,” Sandstorm said. “That’s all he ever does. I really don’t think it’s anything more than that-- he’s just got a good heart and this infuriating tendency to follow it further than anyone with his head screwed on right would do.”

“Is that-- a good thing?”

“Unfortunately.”

Brackenpaw’s face twists in confusion. Sandstorm changes tack.

“What I’m trying to say is that you just have to keep trying, with all of it. No one knows it better than Fireheart, and it sounds like you’re going to have to learn it well too. You have to figure out what you want, and if the answer really is to be the best warrior you can, you’ll do it. You just have to decide,” she says, tasting Fireheart’s words on her tongue.  

“You said he was lonely,” Brackenpaw says. And it’s that part that he cares about more than the rest of it-- he doesn’t just feel useless, he feels  abandoned , alone in a way that no clan cat was ever meant to be. Alone in the way that so many felt, with the way that the forest seemed to claw youth out of its apprentices, leave them scarred and grown before the kittenfluff had left them. “But he’s not anymore.”  

“I should hope not!” Sandstorm gives a laugh.

“And now he has someone like you,” Brackenpaw murmurs.

Sandstorm’s eyes go wide. “Well-- and Graystripe and Yellowfang and the rest. He has all of us. But--” she gives a hasty lick to her fur, “I suppose he does have me, too.”

And where had all that come from? Why was Fireheart her first idea when she tried to think of a good warrior? Was he that much on her mind?

But how wouldn’t he be? Fireheart’s the brightest star in any sky-- you’d have to be blind not to see it, willfully ignore him, like she had when she was younger. And the way it feels to think about him, too, like catching a rabbit racing across a clearing, exhilarating and all-consuming. Like waking up to thunderclap, jolting into blood pumping wakefulness. Like--

A rustle of the bush at the edge of the glade and Cinderpaw bursts through, crying out around a bundle of dark leaves in her mouth-- but Sandstorm realizes quickly she’s not running away from anything. Instead, she’s  herding , a fat vole scuttling just before her paws.

Sandstorm could snap its neck in a single move, but she ignores her rumbling stomach. “Brackenpaw!” she calls.

He freezes, startled for a single suspended heartbeat, and then he snaps into action. Brackenpaw leaps, landing squarely on the creature’s back this time and sinking his teeth into its skin. One solitary squeak and that’s it.

“Thanks, Brackenpaw!" Cinderpaw pips, muffled around her herbs, eyes shining.

“That was great-- you drove it right into my paws,” Brackenpaw says.

A moment of hesitation, and Cinderpaw’s eyes flick over her brother, searching for a trace of insincerity. She doesn’t seem to find it, though, and when she purrs it’s with her whole chest. “I just saw it and thought--”

“Good catch, the two of you!”

Sandstorm starts off towards camp, leaving the siblings to exclaim over their catch without a warrior looming over them. On the way back she thinks of Fireheart-- and the fact that she can’t stop thinking about him.

[dwellordream]

“…The use of the wafer, the Host, outside the context of the celebration of the Eucharist did not become part of the practice of the Western Catholic Church until the fourteenth century. From then on, though, the custom developed of holding separate services, known as the ‘Exposition of the Blessed Sacrament’, in which a previously consecrated Host was displayed on the altar in a vessel called a monstrance. This enabled Christians to spend more time gazing at the Host, and praying and meditating in front of it, than was possible or permitted during the Mass. There might be hymns, prayers and readings to assist worshippers, and the service of Exposition commonly ended with a priest blessing the people with the Host enclosed in the monstrance. This ceremony became known as Benediction. 

The details of Mary’s personal arrangements for worship are still rather uncertain, despite some fragments of evidence given by chroniclers and ambassadors, who were not apparently experts in formal Christian worship or liturgy. It does seem, however, that, during the period between her mother’s death in 1536 and her accession to the throne, she was rarely if ever without the wherewithal for Catholic worship, including the Mass and other Eucharistic devotions. The houses in which she lived had private chapels, she employed chaplains of a similar persuasion to herself, and she thus participated in the kind of ‘privatized’ devotion which until then had been traditional among the upper classes of England and other countries. Once she became Queen, observers sometimes remarked that she took this devotion further than many of her devout contemporaries.

…It would be very easy to see an attachment to Ludolf and Thomas’s books as an example of what tends today to be called ‘traditional’ religion. Both texts are ‘medieval’ in date, an anachronistic concept which is of little use in understanding the religious life of Mary and her contemporaries. Looking forward, though, it is clear that the founder of the Society of Jesus (Jesuits), Ignatius of Loyola, a friend of Pole, was deeply influenced, in particular, by Ludolf’s Life of Christ, which he read when he was recovering in his family castle of Loyola, in 1521, from wounds acquired in Charles V’s army while defending Navarre against the French.

Thus Mary, far from being out of touch with the forthcoming Catholic ‘Counter Reformation’, was at least indirectly influenced by one of its founding texts. Ignatius’s ‘Spiritual Exercises’, which are a major inspiration of the order he founded and of innumerable retreat houses to this day, copied and developed, from his own experience, the vivid imagining of Christ’s life and death, as described in the Gospels, which are characteristic of Ludolf and Thomas’s works. Given what is now known of Mary’s religious life, it seems clear that she was convinced that she had a personal relationship with her Saviour Jesus Christ, such as the reformers and evangelicals of her own time, and of subsequent centuries, have generally claimed for themselves. This is the perspective from which her excellent Renaissance humanist credentials should be viewed

…As a young adult in the 1540s, Mary made a more notable contribution to religious development in England through her association with her father’s last Queen, Catherine Parr. Despite coming from conventional gentry stock of no great academic distinction, Catherine seems to have taken to the humanistic atmosphere of her new husband’s court with enthusiasm. Notably, in 1545, she produced a devotional work entitled ‘Prayers or medytacions wherin the mynde is styrred patiently to sufre al afflictions here’. Intended for distribution among her ladies, the book contained prayers from various sources, including the executed bishop of Rochester, John Fisher. The ‘meditations’ referred to in the title came from the Imitation of Christ of Thomas à Kempis. It has often been suggested that Catherine Parr and her circle showed evangelical sympathies which heralded the reforming zeal of Edward VI and his advisers, but whatever the truth of that, in the main her devotional collection represented a certain kind of mainstream Catholic spirituality.

In this, Mary herself was deeply involved. Catherine seems to have regarded her stepdaughter as an academic mentor, and it was at this time that Mary undertook an important project, the translation from Latin into English of Erasmus’s ‘Paraphrase’ of St John’s Gospel. The Dutch humanist’s lengthy paraphrases of, or commentaries on, the New Testament were all to be thus translated and, although she had to drop out of the project, apparently because of ill-health, Mary’s initial participation involved her directly in work on a text which would be much favoured in the following reign. On the advice of Cranmer and others, the Erasmus Paraphrases in English were ordered by Edward’s government to be placed in all parish churches. Like their author, they both predated and cut across the growing denominational divisions of sixteenth-century Europe. 

Thus it appears that, up until her accession to the throne in 1553, Mary represented both a kind of Catholic humanism which contained the values of the previous generation, and the influence of what happened at the Council of Trent between 1545 and 1552, which affected both Catholics and Protestants. Significantly, when Queen herself, Mary immediately took into her own library a large number of Catherine Parr’s books, and continued thereafter to be a strong patron of Christian humanist publication. It is certainly arguable that, until July 1553, Mary showed no sign of special devotion to the Papacy or to traditional activities of which her father had come to disapprove, such as  pilgrimages to shrines and the veneration of saints’ relics. The Christian humanist circle in which she was brought up, which was greatly influenced by Erasmus and Vives, had little use for such things. It remained to be seen whether her own ideas would be put into practice, now that her ‘good cousin’ Pole had arrived to advise her.”

- John Edwards, “Battle for England’s Soul.” in Mary I