#homme singe

[fredchabot]

HUMANMONKEY Acier brut

[godspeedmajortom]

I’m fascinated by how variations of Sea Power's “Want to Be Free (Remix)” provide a musical theme for death and endings that follows Harry and his foils throughout Disco Elysium.

The first place you hear it is as “The Field Autopsy” while inspecting the Hanged Man’s body. It's barely recognizable as the original song, though. It's sluggish and muddy and bilious. The piano melody has been lowered and sustained to an ominous funereal organ and combined with deep strings. A lilting viola line in the lush layers of the original "Want to Be Free" is isolated here and contrasts with the low organ, rising like the stench off a corpse. If you do the autopsy first thing as Kim suggests, Harry – freshly, grotesquely awakened from his apocalyptic bender – is not in a much better state than a corpse himself.

The music underscores a visceral scene of death and decay, our introduction to the Hanged Man, the first of Harry's foils. Both Harry and Lely are agents of state-sponsored violence as a cop and mercenary, respectively. They bear similar physical scars from the neglect of the systems they grew up in. They both desperately want to escape the horrorshow of their lives, using drugs and dark fantasies to cope with the terrible things they see and do but finding little more than self-destruction in the nihilism. The Bloated Corpse of a Drunk taking the Hanged Man's place in Harry's first night dream makes their connection explicit: you should be dead, Harry. This may as well have been you.

The next place you hear a variant of "Want to Be Free" is in the washerwoman's shack in the fishing village. “Live With Me” is wistful and melancholic. The gentle piano and cooing vocals evoke the wind and waves on the bay, an escape calling outside the salt-rimed shack. But this is a place of death, or at least its potential, as the return of the high viola from "The Field Autopsy" reminds us. This is where Ruby hid when Harry's arrival made her fear for her life, where she contemplated killing herself if things got even worse. This is where Harry can end up if no one vouches for him at the RCM tribunal finale, where his wounds will grow infected without medical care, where there is little left to do but return to drinking and wait to die.

But true to the song title, the shack also offers Harry the possibility of learning to with himself as he emerges from his bender. Here is a mirror free from the damage and trauma of attempting to destroy himself where he can reflect on who he was and who he wants to become. He can choose to keep or let go of his past coping/defense mechanisms like his facial hair and The Expression. He can choose to embrace or reject the self-defeating fantasy of fascism. The shack marks a midpoint of the game, when the hangover has worn off but before the case is closed. So "Live With Me" scores the balance between potential endings: abandonment or acceptance, relapse or recovery, death or life. Harry breathes in the sea air, breathes it back out, and takes another step.

I didn’t realize this until a recent replay, but “Live With Me” also plays when you visit the Working Class Woman to notify her of her husband’s death. Since this is an optional sidequest, I understand why they didn't create original music for it. But they didn't reuse "Rue de Saint-Gislaine", the song for the rest of the Capeside Apartments (including the Smoker on the Balcony's apartment when you talk to the Sunday Friend). The Working Class Husband is another mirror for Harry who has met his end, and "Live With Me" plays to mourn him.

Victor Méjean died from an accident while inebriated, a fate that also could have befallen Harry on a previous drinking binge. The striking thing about Victor's death is how easily he could have been overlooked and forgotten. He died at the end of a pier in a fenced off, abandoned part of town. His wife wasn't concerned about his days-long absence. It's only by virtue of Can Opening and Jamrock Shuffling that Harry will know about or find him. Victor literally and figuratively died slipping through the cracks – of the rotted boardwalk, yes, but also of any sort of social safety net. This is what happens to alcoholics in Revachol. This is what will happen to Harry if he continues drinking and hasn't built his own personal safety net with Kim or Cuno to prevent the RCM from abandoning him. As Harry informs Billie of her husband's death, it's only natural for him to think of his own possible endings, and the soundtrack reflects that.

The final version of the song you hear is “Burn, Baby, Burn” blasting from Sad FM on the boat ride to the Sea Fortress to find the Hanged Man's killer and Harry's last dark reflection: Dros, The Deserter. Dros shares Harry's penchant for clinging to political ideology to give meaning to his life and obsessing over women he can't be with. He lives in bitter isolation, refusing to move beyond the failures of the past, his personal shortcomings and the evils of the world alike. He's emblematic of yet another possible outcome for Harry: not literal death, but despair-induced stagnation that leaves one living like a ghost in the mortal realm.

By the time Harry gets in the boat to the island, his fate at the end of the game is set. The RCM (specifically Jean) has all they need to decide whether to accept or abandon their prodigal lieutenant-yefreitor. Should his former partners leave him, Harry can return to the shack and the circle of drunks who have also given up on life. Or he can return to the island, where he would take Dros' place as the creepy old man haunting the fortress, scaring children, and staring at the mainland with longing and resentment. But even if Harry returns with his unit to Jamrock, simply resuming his old life will not keep him from returning to the depths of despair. The RCM broke him; the RCM will not save him. Neither outcome helps Harry become a person he truly wants to live with.

"Want to be free/It will last forever/Eternally," croons the boombox on the boat. The lyrics echo the self destruction that Harry sought before the game's events: freedom forever from pain, the ultimate release of death. At least that's what the Ancient Reptilian Brain would see in those words. But there's tension in the lyrics as the desire for freedom and exhortations to "burn, baby, burn" repeat. The bridge offers an alternative vision of verdure not consumed by the disco inferno: "And the trees are green and overhanging/Feather-light, free, and everlasting." Perhaps a less moribund future exists for Harry, even if only in the next world, as a new person.

[wildoute]

[hvbris]

𝐂𝐀𝐍𝐎𝐍 𝐓𝐀𝐆 𝐃𝐑𝐎𝐏 with the beta editor not saving up any tags with caps in them, I'm saving them all again in lower cases only!

caesar (ladies and gentlemen; your master of ceremonies; caesar flickerman!) cassia (i'm the queen of nothing; i'm the king of the world) lucy gray (the show's not over until the mockingjay sings) effie (let's go show them what real beauty looks like) primrose (let me stay gentle) tigris (baby's all dressed up with nowhere to go) clove (vincere aut mori) clarice (have the lambs stopped screaming?) hannibal (i am having an old friend for dinner) wednesday (if i wanted to kill my husband i wouldn't get caught) morticia (black is such a happy color) scully (i'm afraid to believe) mulder (the truth is out there) eve polastri (they told me you were a killer) hélène (moi si j'étais un homme je serais capitaine) harley (i'm crazy but you like that i bite back) captain hook (it's not such a wonderful thing to be young) eleven (friend don't lie) viktor (i am not a villain) voldemort (there is only power and those too weak to seek it)

[europeansculpture]

Max Söllner (*1929) - Double tête (homme et singe) - Memento Mori, 2003

[texta-designs]

(via Sweatshirt épais « running evolution » par texta-designs)

[phillcspherstcne]

Tag dump: Relationships!!

[farfallasims]

"Well, my boyfriend's in a band, he plays guitar while I sing Lou Reed..."

Ft. "The Blaze Collection" & "Homme" by @sentate

[greenteabtch]

in disco elysium the only satisfying ending is helping ur community. It is not satisfying to put away the murderer, an old revolutionary man who is ill and frail and fallen through the cracks of the centrist government, it is not satisfying to be welcomed back into ur old precinct and rejoin the unfeeling hash and grind of your perpetual violence on the side of the trigger puller, it is not satisfying to interrogate and accost the suspects Klassje or Ruby or the Hardie boys and divide them apart when they are just trying to protect their orphaned own, it is NEVER satisfying to always follow Kim’s advice and it is certainly not satisfying to face down ur own personal ghost of idolization worship and perfection. it is not even satisfying to give up on all of this world and return to the primordial muck.

the only good ending in Disco Elysium is finding a home and musical passion for Andre Egg Noid and Acéle where they would have frozen or drowned in the ice, solving the “mystery” of the doomed commercial area and talking about cockatoos with Billie Mejéan, making sure Anette doesn’t have to stand outside in the cold and Plaisance doesn’t lose her daughter while cooking under the pressures of capitalism, learning about Gaston and René’s life long friendships and loves, cheering on Cuno’s fucking Night City of locusts, knowing the Hardie Boys will be checking on the Pigs, waiting on the swing sets and whistling a tune with your friend. Talking long enough with Little Lily that you feel Lamby pressed to your cheek, redeeming Fortress Accident under Soona’s guidance, spitting poetry with Tommy Le Homme and singing your heart out in the Whirling in Rags to a cafeteria full of townspeople who have only one place to gather at the edge of forgotten Revachol.

The worst part about Disco Elysium is being a cop 👉 hands down. It is an examination of many things, but especially what it means to truly change your Community for the better and how that is absolutely impossible as an agent of the status quo.

[birdieardley]

HEAR ME OUT!!

Regulus "I am french" black but he's a singer. He's trans and started singing before transition and got very famous, especially in France cause he's singing in French.

And he doesn't want to come out because he's a celebrity and scared and then slowly does, with Sirius helping him (he hasn't seen his brother for years) AND WITH JEGULUS!! (James and Regulus used to date when they were young and when Regulus hadn't transitioned and then slowly get back together)

And, Regulus sings Pomme's songs:

(click on the song title to open Spotify)

Adieu mon homme (Jegulus coded)

On brûlera (him being gay)

Dans mes rêves (black brothers angst/fluff)

De quoi te plaire (him being trans, thinking James cannot love him anymore)

Pauline (James dating girls)

Je sais pas danser (him struggling with everything cause he's trans)

Chanson for my depressed love (could be bartylus breakup)

Grandiose (thinking about his life with James when he was younger)

When I c u (One of his only English songs, about James) "I miss you, I miss the sun, I love you, more than I can say" JEGULUS!!!

I could do that for hours.

Please listen and translate the songs, I swear it's worth it!!!

I'm french so it's canon btw

[keepingupwithzaynmalik]

It’s past her bedtime. She doesn’t come to the studio, but she’s starting to understand that Baba sings and Baba does music. She asks everybody, whenever there’s a song on the radio, “Is my Baba singing?” But in front of me, she kind of gets shy about it. Khai has a lot of natural ability herself already. I know, it sounds ridiculous because she’s three, but her retention for language, especially when it’s formatted in a musical sense to her, has been amazing. She'll remember every lyric of every song that she likes. She remembers chord progressions and notes. She can do runs that have, like, three, four notes already. I look forward to seeing what she’s going to be capable of doing as she gets older.

Zayn on Khai being in the recording studio and her musical skills for L’OFFICIEL HOMMES.

Read the full interview here.

[daddy-long-legssss]

All My Own Stunts

Josh [Homme] comes and sings on this one. He’s very dominant, his voice. When you record his voice it just sort of leaps out, it’s great. What else can I tell you about that one? It’s got another reference to cowboy films. It just says, “I’ve been watching cowboy films on gloomy afternoons” which were something I were doing at the time. It’s also where we let ourselves have a bit of a wig-out.

[x]

[greedandenby]

Transcript of the French dialogue in IWTV S2 Ep6 - Like the Light by Which God Made the World Before He Made Light 

Attack at Madeleine’s shop:

[The song the attackers are singing here is the "Chant des Girondins", which was the short-lived French national anthem under the Second Republic (1848-1852). Here are the lyrics sung in this portion of the show:

"La France appelle ses enfants, – Allons dit le soldat, aux armes ! C’est ma mère, je la défends.

Mourir pour la Patrie"

Which translates to:

"France calls to its children,

- Come, says the soldier, to arms!

She is my mother, so I shall defend her.

To die for the motherland"]

Woman attacker: Bonsoir, Madame Éparvier !

Madeleine: Allez-y ! Faites vos dessins très ingénieux !

Bald attacker: Arrête de les laver et on arrête de revenir, hein !

Woman attacker: On l’a ! On l’a, la pute !... Madeleine est pas bien, elle a attaqué, t’as vu ?... Crie tout ce que tu veux, hein. Tes voisins s’en fichent.

Madeleine: Arrête ! Non !

Bald attacker: On va voir ce qu’elle a donné à l’Allemand !

Madeleine: Tu suces du sang… T’es un v…

Armand and Madeleine discuss her turning:

Armand: Tu aimerais être l’une des nôtres ?

Madeleine: Non, je veux être avec elle. Et toi, tu peux aller te faire foutre.

Armand: They always think they’re different. Stronger. Superior. Jusqu’à ce que la solitude arrive.

Madeleine: Monsieur, ça fait longtemps que je suis toute seule.

Armand: Tu seras un monstre.

Madeleine: Si tu fais de moi un monstre, tu feras que me transformer en ce que je suis déjà.

Armand: Tu vas manger des humains comme tu manges ta pomme ? Un par nuit, aucune pitié pour l’enfant, la mère, l’invalide ?

Madeleine: Je suis un humain et j’aime ma nourriture. Quand je serai un vampire, est-ce que j’aimerai ma nourriture ?

Armand: Comment choisiras-tu qui tuer ?

Madeleine: Je tuerai sur les bords. Les faibles d’abord, et occasionnellement je me livrerai à mes appétits.

Armand: Et quand les derniers vestiges de ton époque auront disparu ? Les voitures, les coiffures, les croyances ? Comment continueras-tu ?

Madeleine: Jeune homme… There’s been a war. Claudia! He thinks there’s something left of my era!... Mais quel con ! [not captioned, but she’s basically calling Armand a dumbass.]

Armand: Comment vas-tu survivre à l’éternité ?

Madeleine: L’homme qui vivait en face… La Gestapo est venue le chercher. On a entendu un coup de feu quand la voiture a tourné au coin de la rue. Et la femme qui habitait plus bas, elle est morte de faim dans sa chambre. Elle portait des vêtements très chics. Elle devenait de plus en plus maigre jusqu’à ce qu’un jour, je regarde par sa porte et elle était là, un squelette dans des vêtements chics. Parfois, je le voyais dans leurs yeux, quand ils étaient sur le point d’abandonner. Et moi, j’ai survécu. Moi, j’ai suivi mes instincts. J’ai trouvé l’amour dont j’avais besoin, même quand c’était un amour dangereux. And I have again.

Armand: Et que feras-tu dans quelques décennies quand elle se jettera dans le feu ? Parce qu’elle le fera.

Madeleine: Peut-être qu’elle le fera pas. T’en sais rien. Peut-être que je suis ce dont elle a besoin pour survivre.

Louis and Armand at the Sacré-Cœur:

Okay, this is a subtle one.

While Loumand kiss on the steps of the Sacré-Cœur, you can hear a man taunting them in the background.

He says: "Hé ! Mais vas-y hé ! Mais suce-le, tant que t’y es ! Sale pédé !"

Which translates to: "Hey! Well go on then! Why don’t you suck him off while you’re at it! Fucking faggots!"

This explains why Louis turns his head around for a second after kissing Armand...

Madeleine’s turning:

Madeleine: J’arrive pas à croire que mon dernier verre de vin soit un Chardonnay. J’aurais dû en prévoir plus.

Madeleine: La pièce tourne…

That's it for this episode! See you in a week for the next one!

Ep. 2 here

Ep. 3 here

Ep. 4 here

[nyxnightshade7656]

Hooked Master List

Since this is going to be something of a chapter story, I decided to try and round things up nice and tidy here. It starts innocent enough, but I'm thinking of trying to do a little NSFW content here, if the story leads that way. As for Gambit's accent, totally winging EVERYTHING. I'm typing things out how I pronounce words (I'm from South Georgia and have a thick accent myself) and trying to also incorporate (Terrible Google Translate) French in there. Bare with me please. Any comment/concerns/suggestions/constructive criticism is encouraged.

I'll be honest, I'm not sure what I'm doing, despite being on this site for years, I'm not fancy, and don't really know how to make things pretty.

OC Mutation: Empathy - (She was born with this one) The ability to sense and manipulate the emotions (including feelings, moods and their affects) for herself, people, animals and other creatures. Whether by increasing, decreasing, creating/causing or otherwise channeling emotions.

Siren's Song - (This ability developed at puberty) The ability to speak and/or sing and charm/hypnotize anyone/thing who hears her. This only works on flesh and blood creatures (IE humans and animals) who can hear her.

[xphaiea]

Leonor Fini, Homme Noir Et Femme Singe • 1942