#ilm i love music

[yoki-doki-then]

FFXIV Write 2024 - M O R S E L

Step, pivot, yield, twirl, step, stop, step, step, hold. Hold. Hold.

Theuchet stares down at his practice dance partner from behind his auburn locks, careful curls broken with sweat and labor. Etiquette classes were meant to break down one's bad habits, but there was nothing to be built back up here. His routinely paired partner, a significantly shorter lady with half the full Elezen blood of his, pulled him this way and that every session. The others stared, giving him sympathetic or chiding looks, dependent to their moods.

There's some comfort in thinking his partner was a challenge sent from Halone. The gods giving pain for sake of growth? An easy narrative to sell. But when are the results? When does a god come down and say 'well done'? It certainly doesn't in the form of Theuchet's parents, who've stopped paying attention to his efforts in dance. His instructors have none of the Twelve's love, their own attentions go to those who can grow from it. And his partner's father seems a voidsent in how singular his devotion to his daughter comes across, staring with the hate of the hungry dead if Theuchet's hands should slip an ilm out of place. She was radiant only because the light fed into her core could pierce through the thin nothing shielding all her wrong.

With each step, he dreads the next time her heel stomps his toes. With every turn, he sucks air tight and waits for her cutting elbows. Maybe these errors were accidents when they occurred, but it's hard not to think of someone as malicious when it happens again and again and again. Even the most loyal hounds learn to fear the downturned palm when they know it can bring pain, even if this time it means a stroke of love.

She commands his dance, as she always does. Going against the grain, pulling into other groups, breaking the rhythm of an overworked musician. He can feel the apology bubbling in his chest, said so many times before he can't let it out again. Sorry. Sorry. Sorry. The muscles to form the 's' into 'o' broke ages ago. He feels his fingers twitching from the shame.

"I can't," he hears himself silently whine aloud, the spoken failure bringing fire to his ears. His face pulls so tight that they stiffen. The faces of his watchers bore into his mind. They're waiting for him to fail. The world would witness another needless third-born son falter, prove as meaningless as those without station. He'll hear their jeers from the Pillars on high as he sinks into obscurity, droning in the dregs, curling homeless at the statue of a goddess that surely must still be testing him. Perhaps dying would get him his answer.

If he is to die here, in a damnable etiquette class, then he will die as any true Ishgardian would. Clad in steel, brandishing spite.

His once-trembling hands find themselves so strong they can barely move, but he forces his will upon his own body. His partner feels digits dig, not like claws, but as authority. No. This time I lead. This time, this one time, I dance, and you are my accessory.

He's not sure if she yields to this, but that thought is far from his mind. He knows her strength perfectly. Parry, riposte, thrust, step in, feint, grab, hold, check, laugh. Laugh! This is the rhythm he knows in his heart, crackling heat blossoming from the ash once known dead. A war beats its drums to the tune of their heelfalls. He's heard this song a hundred times and never known its routine, why try now? Why try when the world is his? No. He holds he as he wants. Does a sword protest its soldier's swing? It works until it breaks.

Time loses its meaning, as the only measure of it becomes his hammering heartbeats, tune ill-matched to reality. The music in the room stills. It matters not. This is his. He will break her as she's broken him. He will-.

He pauses. Break her?

The stop comes mid dip. He looks in her eyes, less for her and more for his own reflection. Break someone? ... Was this how little it took for a monster to be born? Was this him?

He almost drops her in the thought, and his fumbling hands reach fast to scoop her. "... Sorry," he says. "I don't know what came over me."

His heartbeat comes back to its normal rest beat as he returns them both to what once was, but the sound is not the same. The drummer has found his instrument's center. With each hit, a thrum echoes through. And quietly, imperceptably, a more focused tune lurks. Snare drums lead the way.

[twolizardsfromkugane]

Welcome to this blog! Here you’ll find my two Au Ras, Valcius and Harukage.

This blog is 18+ only!!!

Any thing about them will be shared here because I want to scream about them non-stop.

Any art that I do will be posted on my main (@cosmicvoidance) and reblogged here.

Anyway, time to meet them! Information on them below the cut. Their information will be updated as I flesh them out more and more.

~~~~~ The Boys ~~~~~

*** Valcius Cresthill ***

BASIC INFORMATION

Nicknames/Other Names: Val, Brute (Haru only), Daitari Dotharl (birth name - no longer uses), my moon (Haru only), Vallie (Haru when he’s being annoying)

Race/Clan: Au Ra/Xaela

Age: 23 (ARR) — 33 (DT)

Height: 7 fulms 1 ilm

Gender: Cis Male (he/him)

Nameday: 7th Sun of the 6th Umbral Moon

Guardian: Ralghr

Birthplace: Azim Steppe

Current Home: Mist

Sexuality: Polyamorous Homosexual

Main Job: Monk/Reaper

Occupation: Warrior of Light, adventurer

PHYSICAL TRAITS

Hair: Black that fades into white towards the ends. Usually kept in braids with his bangs being swept upwards. When not in braids it reaches to his mid-back.

Eyes: Smokey grey

Limbal Ring Color: white

Skin Color: lavender

Scars: 1) The most obvious scar is on his back — a section of scale was ripped off by his biological older brother in an attempt to kill him when he was almost 8. This has left an area of scale that has not healed properly on his left shoulder blade and is now deformed. He used to keep it covered at all times. 2) one near his left eye that goes back into his hairline (barely noticeable) 3)various other ones from battle

Piercings: both of his nipples, certain NSFW ones

FAMILY

Parents:

Biological: he doesn’t care to remember them since they only cared about him because of his battle potential. They treated him coldly. Mother was a Dotharl mage and his father was a Dotharl spearman.

Adopted: two Elezen scholars who were documenting the cultures of the various tribes of the Steppe when he was left for dead by his brother. Took him in and back home to Kugane. They raised Valcius as their own son and gave him his current name. Valcius considers them as his actual parents more than his biological ones.

Siblings:

Biological: one older brother. Was jealous of how quickly Valcius was able to take to different kinds of physical combat quickly and thought he was a threat to his own glory. Tricked Valcius into following him outside of the village where he attacked Valcius and left him for dead, ripping out part of his back scales as poof of his “death by wild animal.”

Adopted: one older brother and one older sister, both Elezen. They both treat Valcius as if he was their real brother. Love to tease Valcius about his crush on/relationship with Harukage.

Other: Harukage’s family, especially his parents, treated him like their own. They never judged him for any reason.

His adoptive grandparents — they own a shop in Kaugane’s market and are always happy to have Val help with the heavy lifting. Treat him as their own grandson.

The scions are like a family to him. There are some that he’s a bit wary about (mainly Thancred and Urianger) but is for the most part good friends with all of them.

Children: none at the moment. Maybe adopt one or two children with Haru if and when they are able to settle down.

Pets: none

RELATIONSHIPS

Harukage Daitou: childhood friend. Now boyfriend/lover. Was the first one to talk to him after he first arrived in Kugane and had recovered enough to wander the city. Valcius thought he was annoying at first but they grew to be inseparable.

SKILLS

Abilities: since he was a child, he could pick up on any type of melee combat easily, especially hand-to-hand. He relies on his speed to out maneuver his enemies.

Hobbies: cooking, reading (massive bookworm), training, music (singing and playing instruments), fishing and mining

TRAITS

Most Positive Trait: he’s loyal. May not look it but has a heart of gold. Extremely protective of Harukage.

Most Negative Trait: emotionally constipated. Way too prideful and will not ask for help when needed. Way too confident in himself and leads to situations where he gets hurt.

LIKES

Colors: deep dark colors, black

Smells: vanilla, the sea, campfire

Textures: furs, leather, and metal

Drinks: tea, water, ale, mead, coffee

OTHER DETAILS

Smokes: maybe when around friends as a social thing

Drinks: mostly around friends. He does have a drink with Haru once and awhile when they are home alone to relax

Drugs: never has.

Been Arrested: beside canonically in game. He has gotten into trouble with the bakufu mostly for things that he never did.

** Harukage Daitou **

BASIC INFORMATION

Nicknames/Other Names: Haru, Ru (Val only), my sun (Val only)

Race/Clan: Au Ra/Raen

Age: 22 (ARR) — 32 (DT)

Height: 6 fulms 6 ilms

Gender: Nonbinary (he/they)

Nameday: 29th Sun of the 2nd Astral Moon

Guardian: Thaliak

Birthplace: Kugane

Current Home: Mist

Sexuality: Polyamorous Homosexual

Main Job: White Mage/Summoner/Dancer

Occupation: Warrior of Light, adventurer

PHYSICAL ASPECTS

Hair: Blond that is dyed green towards the ends. Goes down to his hips when not put up. Usually is up in a high ponytail.

Eyes: Purple

Limbal Rings: lavender

Skin: Tan

Tattoos/scars: intricate tattoo on forehead. Minimal scars that are too light to notice on his skin. Has a crack in the scales of his left ankle.

Piercings: his bellybutton

FAMILY

Parents: own a tea house and a bathhouse/inn in Kugane. Had Haru help around the businesses as a kid.

Siblings: an older sister and brother and twin younger sisters. All of them are very close. The older siblings tried to get Haru to confess to Val many times. He likes to gossip with his younger sisters about boys and they tease him about his crush on Val before the two are together. They still tease him about their relationship because the boys are sappy with one another.

Other: the Scions are like a family to him and so are Val’s adoptive family. Still has his grandparents on both sides of his family and various aunts and uncles.

Children: none because of their hectic lives. Would love to adopt with Val if and when they can.

Pets: none

RELATIONSHIPS

Valcius Cresthill: childhood friend. Now boyfriend and lover. Met on one of Kugane’s bridges when his mother sent him to the market on an errand. Saw Valcius looking over the railing into the water and was curious about him since he had never seen a Xaela before. He forgot about the errand and came back to his parents’ tea house with Valcius in tow. They have been inseparable ever since.

SKILLS

Abilities: has an affinity for magick. Can quickly learn spells from multiple disciplines

Hobbies: painting, cooking, music (singing and playing instrument), dancing, botany

TRAITS

Most Positive Trait: he can make a joke about anything to lighten the mood. Loyal. Always willing to lend a hand. Will try to comfort anyone who needs it.

Most Negative Trait: is a stubborn asshole. Once he has made up his mind, good luck changing it. Is a horrible liar. Can be forgetful. He can be unsure of his abilities and sees himself as a burden at times.

LIKES

Colors: bright colors, greens and pinks

Smells: lavender, anything Val cooks

Textures: silk, furs

Drinks: tea, wine

OTHER DETAILS

Smokes: not even when he’s around friends

Drinks: usually only drinks when around friends and when relaxing with Val

Drugs: none

Been Arrested: never has and he would like to keep it that way.

[the-littlest-kojin]

Hearing the steady breathing of the Xaela behind her, Odori grins. Throwing her hair back to free her face, she twitches in place, waiting for the hired musician to count them in.

On the first beat of the drum, she steps to the side, moving her hand behind her - feeling Shuri brush against her as she mirrors the movement perfectly.

The Xaela raises one hand, entwining it with Odori’s, as the drum’s beat fills the air. The two dancers slowly step around each other, beads jingling and silks rustling, until-

Another beat sounds, and the pair whirl away from each other. The very tips of their tails brush as they turn on their heels, facing one another and slowly dragging their gaze around the colonnade. 

The tempo of the drum’s beat increases, and the dancers increase their steps to match. Crossing their feet back and forth, the two step closer again, the beat in the air all they can hear.

Beat, and step, and beat, and turn. Whirling around each other, seeming like they will strike each other at any second, their arms and clothing within ilms - but never making contact.

Completely beholden to the beat, both of them turn to face the same direction - their arms swirling in movements, each zenith matched to the beat.

Moving in a line, back and forth, each dancer barely seems to notice as the tempo of the beat increases again - but for their movements increasing to match, they would seem deaf to the beat. Tails ticking like metronomes, the beat sounds as they sway their hips, hypnotic and perfectly aligned.

The music reaching a crescendo, the pair steps, their heeled sandals underscoring the beat as they cross, in front of and behind each other. Each beat seems to have them alternating in position, their movements fluid and impossibly swift - yet always, always matched to the beat.

With one final flourish, the beat stops - and the pair seem to come back to themselves, chests heaving. Looking at each other, sweat sheening their brows in the Thavnairian sun, they bow, grinning widely. The musician, staring at the scantily-clad pair, stands and claps, laughing and wide-eyed. Turning to face him, the only audience other than the sky, Shuri and Odori link arms, bowing extravagantly to the Matanga.

~

Much too long ago now, the lovely @unbloomingmoonflower took these screens for a bit of collaborative creation! I just got around to finishing up my half. I am very sorry for the delay, Moonie!

[teenageascetic]

“Wisdom falls into three divisions.

The first division is the science of nature, called in Arabic, "Al-Ilm al-tibi". This branch of knowledge deals with the essential and incidental properties of material bodies.

The second division consists of the practical sciences, called in Arabic, "Al-Ilm al-riazi. These comprise arithmetic, engineering, astronomy, and music.

The third division, called in Arabic, "Al-Ilm al-ilahi. is the science of theology, which deals with the knowledge of G-d, knowledge of His torah, and other spiritual things, such as the soul, the intellect, and spiritual beings.

All these divisions of wisdom, and their respective branches, are gates which the Creator has opened for men through which they may attain a comprehension of religion and of the world. Only that some sciences are more needed for religious matters while others are more needed for secular interests.

The sciences whose use is closest to worldly matters is the science of nature, which is the lowest science and the practical science, which is second. These two sciences instruct on all the secrets of the physical world, its uses and benefits, its industries and trades and is conducive to physical and material well-being.

The science which is most needed for religion is the highest science - Theology.

We are under duty to study it in order to understand and obtain a knowledge of our religion. But to study it in order to attain worldly benefits is forbidden. Our teachers said (Nedarim 62a): "[expounding the verse: to love the L-rd your G-d, to hearken to His voice, and to cleave to Him' [This means that one should not say, I will read Scripture that I may be called a scholar. I will study mishna, that 1 may be called Rabbi, I will study [Talmud, to be an Elder, and sit in the assembly of elders; but learn out of love, and honor will come in the end". And "Do [good] deeds for the sake of their Maker, and speak of them words of torah for their own sake. Make not of them a crown wherewith to magnify yourself, nor a spade to dig with" (ibid). And "Fortunate is the man that fears the L-ord, that delights greatly in His commandments' (Ps. 112:1),

R. Eleazar expounds thus: In His commandments' but not in the reward of His commandments. This is just what we have learnt. He used to say, Be not like servants who serve the master on the condition of receiving a reward; but be like servants who serve the master without the condition of receiving a reward." (Avodah Zara 19a).”

-Rabbeinu Behaye, Chovot HaLevavo.

[inktober-of-a-fan-girl]

Day 11: Jason Isaacs

So this is my favourite version. Since seeing it, I own a copy of it, I make fan art of it, and I have fanfiction based on it….It is the one I dream of when I see Captain Hook. I also have @oh-my-favourite-piratee which has a lot of this version sliding into it.

It is from 2003.

This is mostly just a rant about why I love this version…

This movie is mentioned later in the inktober too.

More in Keep Reading.

Peter Pan directed by P. J. Hogan (2003), is an authorized live-action movie adaptation. This version is notable for its directness in addressing the romantic elements between Peter (Jeremy Sumpter) and Wendy (Rachel Hurd-Wood). Captain Hook was portrayed by Jason Isaacs (who also plays the role of Mr. Darling), and Tinker Bell was played by Ludivine Sagnier. The $100 million film boasted state-of-the-art special effects by ILM and took nearly a year to produce in Australia, but was not a financial success for Universal Studios (USA/France/English countries) and Columbia Pictures.

It didn't become a financial success because...

Peter Pan had the misfortune of being released a week before another fantasy book adap - a little film called The Lord Of The Rings: The Return Of The King. This means audiences saved their pennies for that trilogy closer, and Pan only made $122m worldwide on its $130m budget.

To me, Lord of the Rings is another rabbit hole but it came after Peter Pan.

This is the beautiful version of Captain James Hook we got, played by Jason Isaacs. Blue-eyed, with long black hair and facial hair plus he has his hook on his right-hand cause the actor is trained in sword-play with both hands.

This is what fans are comparing live actions to cause Captain Hook here has the right amount of everything to him. I don't think the new version (with Jude Law) will come close…but we will see. Tumblr and Youtube with the trailer here:

has videos and gifs like this cause it is a fan favourite.

It is what made Captain Hook turn into a sexy bad boy. (Spotify has a playlist with this version as a cover). I mean I feel I agree with this when thinking of this version. This is probably why…

...who's idea was that?

Granted I was like 5 years old in theatres when I saw this. Why did 5-year-old Emily see this in theatres? Cause she asked her dad and he said yes.

Also, I spy the Eton crest (talked more about in my @music-meme-of-365-days)

Then he plays the piano (technically it is a harpsichord) for Wendy in this version and also sings. And also this caused so much older Wendy Darling x Captain Hook fanfiction/fan art/etc (looking at @darlinghooklove-blog and bloggers of that group) to appear and I get why so I have a blog called @emily-s-otp for more Captain Hook x Wendy Darling stuff.

This version has a theme about Wendy growing up/learning about herself and it seems creepy when you think about it, due to him playing her father. This is probably why Jason Isaacs is unsure about it.

Now thinking about it, I know this was part of my sexual awaking as a teen (cause I saw it again as a teenager…and many times after…)

Speaking of Spotify, it only recently readded this version to it…just as Netflix removed it. (Like why? Add it back again)

also this song from the trailer…

I might keep hunting for stuff relating to this...or finding a Tumblr post like this...

This connects into another inktober...guess who?

Also, ratings for this come up this...

IMDb - 6.8/10

Rotten Tomato - 77%

Common Sense - 4/5

I wish they were better.

Also, Jason Isaacs has mixed feelings about it. Someone tell him that "You are born to play Captain Hook." cause it is true and many fans agree.

Also there is an extra that I need to show you.

Jason Isaac probably did have fun making this movie....this video proves it.

I think he did a lot part of the documentary for this movie.

Also, this has more than one thing with the person who plays Peter Pan:

Just look up Jeremy for more. (this channel has a lot of him.)

He and Rachel did a Neville Longbottom on us.

So there is that article with Jason Isaacs part saying:

Apart from giving no fucks on Twitter, Jason has also appeared in the likes of Harry Potter and Star Trek. You've probably never heard of them.

…Jason Isaacs also does that apparently. I meant the "no fucks on Twitter" part, and not the others.

https://twitter.com/jasonsfolly

…this is his username. Just look at the bio. No fucks here.

TV tropes are another go-to for me and this movie.

[savage-kult-of-gorthaur]

HOW DO YOU HUMANIZE A SITH LORD? REMOVE HIS ARMOR AND PLACE HIM IN A BACTA TANK.

PIC(S) INFO: Spotlight on film stills of the Darth Vader/bacta tank scene from "Rogue One: A Star Wars Story" (2016), directed by Gareth Edwards. Cinematography by Greig Fraser -- visual FX by ILM.

"I'm jealous of moments like in "Empire Strikes Back" where you see the back of [Vader’s] head and you just go, "oh my God, that is so cool," and wanted to try and find something like that in our film. [The bacta tank scene] was actually a Chris Cunningham-inspired thing of the idea of being in milk [like in the Björk music video] "All Is Full Of Love." He’s really a burns victim, and it’s not going to be fun for him when he’s not in the suit – he’s going to be uncomfortable. I love the idea of showing that he’s vulnerable as well. Vader’s very, very bad, and so you try and just glimpse something of him that gives him some humanity, or it makes you empathize with him. Just seeing those scars and realizing that he’s, you know, an amputee, and just reminding you of that before he does all his stuff, it makes you torn, I think. He’s just such a rich character, in so many ways."

-- GARETH EDWARDS (writer/director) on "humanizing" Darth Vader in Rogue One's "bacta tank" scene

Sources: https://screenrant.com/star-wars-rogue-one-bacta-tank-vader-humanize, Industrial Light & Magic, Pinterest, Slash Film, Inverse, various, etc...

[sisterssafespace]

السلام عليكم 💐✨️

I wanted to ask what kind of channels on youtube can we muslim start? I saw the music videos are most loved and viewed on YouTube but Nahhh!!! I won't do those haram thing.

Like .. what typa channel can we start

و عليكم السلام و رحمة اللّٰه و بر��اته 🍃

Such a beautiful heartwarming question Allahuma barik I love it !!!

Well, we can start channels to explain Islam to non-Muslims in simple terms or in the daily manifestation of Islam like in our daily life, or I dunno a YouTube channel depends on what skill do you have, can you design or story-tell or draw or .. ? Are you good at movie-making? Is it one person or a group of people? .. I see these videos of a group of friends quizzing each other on Islamic knowledge and it is so fun to watch! But there is also the serious ones.. and it also depends on your knowledge, if you have some Ilm and knowledge on the Quran and/ or sunnah you can share that, for example narrating stories of iconic events in the sunnah or making episodes about tafseer of some surahs or ayat, or talking about the character of Prophet Muhammad ﷺ..... Or a series to explain the names of Allah swt ..... It really depends on what you can do best .. if you are a more confident person who has the means to go onto the street and ask people about Islam that's also cool..

I hope these ideas helped ☺️!

May Allah swt help us and guide us all to do what pleases Him. Ameen.

- A.Z. 🍃

[globalworship]

Khaaki banda/A Mere Mortal Made of Clay, Sufi song

“Khaki Banda” is a Sufi-Rock song written and composed byShuja Haider, incorporating some of Bulleh Shah’s phrases, sung by Ahmed Jahanzeb and Umair Jaswal.

A live version was recorded in Season 9, Episdoe 3 (2016) of "Coke Studio Pakistan." This production is absolutely one of the best live music shows highlighting musics of South Asia. I view many of the show's uploads on Youtube, and have purchased some of the CDs and DVDs.

While this song was composed with Sufi sensibilities, almost all of the lyrical themes can be appreciated by Christians, so I'm featuring it on this blog. See below for analysis of the religious themes.

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The basis of the Punjabi lyrics were written by Syed Abdullah Shah Qadri (1680–1757), also known as Baba Bulleh Shah. He was a 17th-century Punjabi philosopher and Sufi poet. 

Shuja Haider, the music director of the song, added some additional lyrics.  https://discover.hubpages.com/literature/Khaki-Banda-a-soulful-Sufi-rock-song

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English subtitles are on the screen, and an English translation is below.

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Khaaki banda Karda phire khudaayi Lau la baitha dunya naal  Rabb ton kare judaai

A mere human made of clay Goes around acting as if he’s as invincible as God He’s lost himself completely to this ephemeral world And does not ponder his relationship with his Lord

Na kar bandya meri meri Na teri na meri Chaar dinnaan da e mela  Dunya fer matti di dheri

O human, leave off this battle for worldly possessions Nothing here can ever truly belong to us The glittering spectacle of this world lasts but a few days And then everything turns to dust

Padh padh kitaabaan ‘ilm diyaan Naan rakkh liya ee qaazi Makke Madeene ghum aaya te  Naan rakh liya ee haaji

You’ve filled your head with mere bookish knowledge And smugly titled yourself a grand authority You’ve done a round of Mecca and Medina And smugly titled yourself a holy pilgrim

Satrangi re na-daani teri  Nautanki re man-maani teri

You are fooled by the bright spectacle of this world Your proud willfulness is driven by nothing but conceit

Deen dharam di gallan baataan kar kar ke wi samajh na aayi Firqe wande ‘ilm na wanbya  Wich weeraan boyi ladaai

Your never-ending religious debates failed to create a deeper understanding You spread people into conflicting camps, but failed to spread real knowledge All you did was sow seeds of dissension among friends and brothers

Na kar bandiya heri pheri Na teri na meri Chaar dina da e mela  Dunya fer matti di dheri

O human, don’t get caught up in worldly matters Nothing here can ever truly belong to us The glittering spectacle of this world lasts but a few days And then everything turns to dust

Khoti neeyat khote sikke Na dewan saccha haani Badlega tu badle ga sab  De nafs apne di tu qurbaani

False intentions, deceit, and duplicity Can never win you sincere companions All will change if you only change yourself Slay your own base desires

Sat-rangi re na-daani teri Man-rangi re na-daani teri Satrangi re na-daani teri Nautanki re man-maani teri Ae zaat magar faani teri  Aa dil de raste te chal

You are fooled by the bright spectacle of this world Your proud willfulness is driven by nothing but conceit But your being is ephemeral Come, follow the path of Love!

Chadhde sooraj dhalde Bujhde deeve balde Jinna da na jag te koi Oh vi puttar palde vekhe Loki kehnde daal ni galdi  Main te patthar galde vekhe

I’ve seen the sun that rises also set I’ve seen flickering lamp blaze anew The orphans who have no one left in this world I’ve seen them also find the means to flourish People say that success is beyond reach But I have seen the impossible become possible

Satrangi re na-daani teri Nautanki re man-maani teri Satrangi re na-daani teri Nautanki re man-maani teri Ae zaat magar faani teri  Aa dil de raste te chal

You are fooled by the bright spectacle of this world Your proud willfulness is driven by nothing but conceit But your being is ephemeral Come, follow the path of Love!

Sona chaandi heere moti kha lai tu Ucche makaana kamre bhaven saja lai tu Laazim nahi hai keh khushiyaan saari ki saari kama lai tu Raataan ‘ch kalliyaan ro ro  rabb apne nu mana lai tu

Dhokkhe-baazi vich guzaara dekhe na sajjan bhaayi Raaz tere raaz mere jaane Khuda di khudaayi

You can gobble up pearls, diamonds, and all the riches of the world You can construct grand mansions and adorn them beautifully But true happiness is something difficult to buy So spend your nights in solitary vigil, weeping for your Lord’s forgiveness

Those who live by dishonest means don’t hesitate to harm even their loved one God in His infinite power is privy to all our secrets

Satrangi re na-daani teri Nautanki re man-maani teri Satrangi re na-daani teri Nautanki re man-maani teri Ae zaat magar faani teri  Aa dil de raste te chal

You are fooled by the bright spectacle of this world Your proud willfulness is driven by nothing but conceit But your being is ephemeral Come, follow the path of Love!

Khaaki banda  Karda phire

A mere human made of clay Goes around acting…

Khaaki banda Khaaki banda  Karda phire…

A mere human made of clay A mere human made of clay Goes around acting…

Translated by Zahra Sabri  With special thanks to Asim Raza

Lyrics and translation from https://www.lyricsmint.com/coke-studio/khaki-banda

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Coke Studio Pakistan has 700+ music videos online! If you want to learn about some of the very best musics being made in this part of the world, start browsing. :-) I have been on a ministry trip within Pakistan, and highly value my friendships made there, the creativity of Christians there, and the centuries of expert musicality in what is now Pakistan. https://www.youtube.com/@cokestudio https://www.facebook.com/cokestudio

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Misbah Sheikh provides a detailed analysis of the lyrical themes in an excellent (2021) post at https://discover.hubpages.com/literature/Khaki-Banda-a-soulful-Sufi-rock-song

Here are a few excerpts from his lengthy analysis of the song lyrics:

The song describes how man lives in this world and how he should live. It says that a man is nothing more than a clay-sculpted person. He wants to rule the world but has lost sight of reality. He acts as if he is God.

A person sculpted out of clay. He's lost himself in this ephemeral world, acting as if he's as invincible as Lord, and he's not thinking about his Master...

The song reveals another nature of man. He does good deeds and then thinks of himself as he worth all praise. Here the writer of the song referred to Mecca and Madina (the holy pilgrimages of Muslims as the writer of this song was a Muslim so he is referring to the Islamic world here but it is a universal message to the whole of mankind. Going to churches, mosques, temples are not the deeds that make us good people. It requires much more effort and hard work.)

He says you've made pilgrimages to Mecca and Medina and declared yourself a holy pilgrim. You've been duped by the world's dazzling entertainment, and your arrogant tenacity is fueled solely by conceit.

Only going to Mecca and Medina is not what makes you a holy pilgrim. It needs more hard work than just traveling there. Here the lyricist encourages us to do good deeds and asks us not to forget death.o is always loving and forgiving. Knowing all of our sins. He never fails to forgive and bless us. Because God is the source of all Love. He teaches Love, which is all we need. Sadly, Love is the only thing we have forgotten. I believe, Love is the answer to every question. Only love has the ability to soften even the hardest of hearts...

Finally, the lyricist claims that anyone could get pearls, diamonds, and all of the world's wealth. Man has the ability to build large mansions and can lavishly adorn them. True happiness, on the other hand, is more difficult to get. He encourages us to spend our nights solely in prayers, requesting God to forgive us. He says our Lord is merciful and listens to our prayers; He will forgive us as He loves us very much.

He then says that God, with His Infinite Power, is aware of all our secrets. He is aware of all of his and our secrets. He is the One Supreme Power, and nothing is hidden from Him. He claims that the world's glittering display has misled man. Man's arrogance stems solely from a sense of self-importance. The dazzling display of this world has misled him. He is just arrogant because of his ego.

In concluding words, the song tells us that we (the human) are only here for a brief time. So, we should put aside our disagreements and don't allow our egos to rule our life. He encourages us to come and walk on the path of love, for we are nothing more than clay sculptures, and one day we all have to return to our Creator.

Read more of his analysis of the lyrical themes at https://discover.hubpages.com/literature/Khaki-Banda-a-soulful-Sufi-rock-song

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[dalt20]

Tooning In 16. Craig Clark part 3 of 7

DL: In 1983, you worked at a Company called Tigerfly.

What was that?

CC: That was and is Arnie Wong's company. I met him at Duck Soup in 1974. Arnie now lives in Hawaii. Tigerfly was in Santa Monica. We did commercials, development on a Möbius feature, Internal Transfer, Automan VFX etc. Superman director Peter Ramsey worked theirs as well as Disney FX sup. Marlon West. Also surf artist Rick Griffin.

DL: how was the environment at the studio?

CC: Creative , hip, funky , family of westside surf artists

He sends me a teaser of an project which ultimately never got made which was the collaboration with French comic artist Moebius, Internal Transfer, which he worked as an animator

Also some Sunkist and G.I. Joe commercials he sends me, also worked on as an animator. I’m surprised the latter one wasn’t done by Sunbow.

DL: You were on The

Philadelphia Experiment as a special effects animator, how was that?

CC: Cool, that was at New World in Venice at Roger Corman Studio......later became Digital Domain. hand drawn electro fx. There was a lot of work west of Sepulveda at the time. The guy on the bed with the electro fx https://youtu.be/WAmpXDi53YQ?si=vrhhlmW1wD0-u5n9

He sends me a trailer for The Philadelphia Experiment (1984)

DL: What was My Science Project, as you were

Special effects animator.

CC: My Science project was done at Namebrand FX in Santa Monica off the lot. John Scheele produced the FX, we shot the elements at his studio. The T rex at the end was my shot sequence.... https://youtu.be/nB2ToxVtoc4?si=21cPOJqje2orJAuX

He sends me a trailer for My Science Project (1985).

A bunch of electro fx not pictured there. Boy that was some cheesy 80's synth music on there lol!

DL: Well I guess you’re the electricity guy who drew the electric on paper than scan them into the film.

CC: Exactly. I would do the same over at Boss Film on Poltiergiest 2, Big Trouble in Little China, and SolarBabies. But it was all 70mm. Huge 22 field paper, later hand inked.

DL: You were special effects director for the TV series, Misfits of Science for NBC. And How did you felt being moved to

VFX director and what role does

he or she does.

CC: That was a Namebrand again, that was my day job, the night job was at Boss film from 6pm to 1am. Universal trusted me since I did a good job on Automan. So much so I was on call for other Universal shows like Miami Vice. The fx producer were David Garber and John Green. David Garber was famous for Battlestar Galactica so he was in good standing at Universal. I still love that show. Misfits was part of the Universal power line up on Friday Nights. we got good numbers but Knight Rider was already 3 seasons in and was closer to Syndication so we lasted one season. We did some cool stuff like slitcan stretching high speed fx with the characters. When ever my hand drawn electricity came on the the ratings went up, so they called for more of it. The Producer was James Parriot who later did Grey's Anatomy, It was also Courtney Cox's first show before Friends.

He sends me a compilation of the series where one of the main characters uses his electric powers.

DL: Ah, thought it was Mac and Me but I remember that was Jennifer Aniston!

I send him a laugh out loud emoji 😂

DL: You Worked as FX Assistant Animator for Boss Film company, did you felt like that was a downgrade from your previous Title?

CC: Yeah, but it was a feature with some IlM guys so that was cool. I met Wes Takahaski who helped me get into ILM later in 1994. Boss had just finished Ghostbusters at the time.

DL: How was the environment of Boss Film company?

CC: Fun, like an fx nightclub. Music playing, free popcorn. The day crew was more serious I think, but we just had a good time and did great work. Some Disney guys were there too like Scott Santoro, who I later worked with at Amblimation in London on Fievel Goes West.

DL: That's awesome!

CC: We were nominated for a VFX Oscar on Poltergeist 2. https://youtu.be/mjhr8EdGyD0?si=RldZcwzw_9-rMM0V

He sends me the trailer for Poltergeist 2 (1986)

DL: You was assistant special effects animator for Poltergeist 2.

CC: Yes, Following up of Mauro Maresa who later worked with me on Bill and Teds Excellent Adventure.

Sends me a clip from the film featuring all the times the characters use the iconic phone booth.

I did fx on it, phone booth.

DL: You were an

Special effects animator on Big

Trouble in Little China. How was that?

CC: Yeah , I think we already went over the Boss film stuff, part of the night crew when I was working on Misfits of Science during the day. Mauro Maressa, Scott Santaro, Kevin Cachaver, Ed Coffee, Wes Takahashi all on the show. There were Ghostbusters fx model sheets sitting around ....

He sends me the climax to Big Trouble in Little China (1986)

DL: So as we talk about previously, how worked

at Dream quest Images.How was

the enviroment at the studlo before the

company got bought by Disney in 1997?

CC: Dream Quest was a small but active studio stated by 5 UCLA students in Culver City. They did Vistavision work as well as 35mm work. They got all the fx shots that Boss Film could not do since they were all 70 mm.  The first Predictor movie was done there as well as Nightmare 3. I animation directed a few commericials, Taco Ball ,Golden Grahams, etc. https://youtu.be/aFwKhPnBs3Y?si=OtpjisO0bot3et6_

He sends me a commercial for Golden Grahams which he animated on.

DL: Is that supposed to be sonny? The Golden Grahams mascot?

CC: he didn't have a name....just called him dollop. I animated it solo. no assistants.

DL: Wow! That’s impressive!

CC: Thanks. I think I was 26 with a few credits so they gave me a shot.

DL: So, personal thoughts, I

Wanna spill on you that I find it strange that Disney would go on to buy Lucasfilm, which owns ILM, which you worked for later in 1994. Why did Disney bought the studio only to shut it down and buy Lucasfilm? (That’s a question for you, I forgot to mention.)

CC: Disney is a corporation looking for quarterly profits for their shareholders. It is no longer a company run by their family as you know.

DL: Yeah, I mean they own ILM now, so they own all the great special effects in the world! But anyway, you worked on Nightmare of Elm street 3 as a special effects animator, an upgrade from storyboard artist. How was the experience?

CC: Good, hears the shot do your stuff. This time we finished the plasma animation using watered down inks that were shot and comped. We went over that as well.

DL: What’s your thoughts on the Elm Street franchise ?

CC: Surprised it lasted. I've outgrown it but my kids love it. The horror genre has exploded over the years. There was a crew fan based  meeting at Notre Dame high school in the Valley in the 90's. Kids asked questions to the old crew. I forget most of it.

DL: You worked on My Demon Lover as a special effects animator, what was that about?

CC: That was through Chris Cassady's Roto FX of America studio. Quick fx job, I remember some faces or masks exploding. I did the animation over at Chris' studio, he shot the elements over at his place. I think he sent it our for opticals some were else. The studio was a Saward in Hollywood behind the old Bob Clampett building where we did the first Simpsons series. There were lots of Film labs there , CFI, Glenn Glenn sound. Old Republic Pictures and the Columbia Cartoon studio was there a long time ago. Historical street for film. Seward st.

DL: Your claim to fame, Bill Melendez Productions, how was the environment of the studio?

CC: Wow I'm famous for that? I'd like to work on the new ones in Canada... I worked directly under Bill Melendez for a week in studio. Then I just worked at home animating four Peanuts specials for him, as well as Cathy and Frosty Returns. And later another Peantuts one in the 2000's.

DL: What was the studio like? Was it magical?

CC: It was like a little house, actually two houses together. Folks were very nice. I love working there.

DL: Ah, so I think it was the only studio besides filmation who were doing TV animation in the US. And I believe the last.

CC: maybe so, but a few months later I started working on the first season of the Simpsons down the street in totally in house. 1989. Melendez was 1988 during the last bad writers strike.

DL: Ah, did you met Bill or Lee? The other guy who owns the studio. Lee Mendelson?

CC: Never saw Lee, just Bill. Shep Menkin also did voices but I did not know it at the time. (Forgive and Forget movie 1968)

DL: Ah, ok, so your friend was also on Peanuts.

CC: This is America Charlie Brown,yes.

DL: Did he did the adults? The “waa waa” voice?

CC:no?

[ziracona]

Some things I couldn't fit in the comment: So. What do you mean this is act 1?? just act 1??? How long do you plan to go on for? Also in the tags you mentioned that any killer tagged will likely have survivors too so Cheryl? muh girl??? Who's video games I haven't played but feel very attached to because I used to listen to a lot of their music?? Will you be diving more into other characters povs now? Also I really like how you dive into the lore of the game, does that require a lot of research?

Okay so yes! Act 1. Sometimes I do shorter stuff but NDF, FtEoNR, and ILM in my heart are kind of full alternate timelines. Although ILM is the longest.

It’s hard to do, because you don’t want to tell the same story twice. Part of you does, but like. Anna isn’t going to have a Quentin and Min subplot, because it wouldn’t happen in NDF, and because I already wrote it. I love that and it’s important to me, but I don’t have a good enough reason to write the same story three times. So they don’t give the same endings. Because ILM is the most ensemble—it was the story I wanted to tell, entirely—it’s the longest. NDF is about other things, so it’s more focused down. I found another story I wanted to tell, but it’s less about the whole world, and more about these two people. Similarly, FtEoNR is much wider in scale, with a spiritual and cosmic kind of focus, so it also diverges in the kinds of stories for individuals you get.

Bc of this, I probably will give other POVs more now that the action has more actors in it, but nowhere near as much as ILM. ILM was an ensemble cast. It was built around Claudette and Philip’s action, but everyone was main billing. NDF is a romance. It’s about the way loving someone forces you to change, and being loved forces you to change. Other people are big parts of that, but at the core, it’s much more focused down.

God I forgot I said that huh. I’ve thought about it—I could include Yui or Zarina or Cheryl. Idk if I will though. Zarina canonically is in the realm, just not the group (Frank has mentioned her) so she’s fairly likely, but idk. If I was doing an ensemble like before, I would, but I’m less sure I want to bring them in if I don’t have time to focus on them. I guess I’m not really sure yet. Do love her through—she’s one of my bestie’s faves. : )

Yeah, the research for everything takes so long 😭 but it’s fun a lot of the time do. The time I take fact checking makes me insane. I’ll never be as mad though as that time I made myself check every Akkadian bit I wrote in FtEoNR, which took a week, only to find 94% was already exactly right. Suffer for art or smth 😔

[bluetigerdillo]

Words that are the same in Arabic & urdu-

Bas (enough)

Kitaab (book)

Insaan (human)

Dunya (world)

Sabr (patience)

Shukr (thankful)

Qawm (nation)

Niyat or Niyah in Arabic (intention)

Ijazat - permission

mawt - death

Haq - truth, rights

ilm - knowlegde

gareeb - poor

jayb = pocket

7aal = condition/state

imti7aan= examination

khabeeth (urdu pron khabees) = evil/wicked

akthar (Urdu pron aksar) = most

yaqeen = certainty

taqreeban - about/approximately

ya3ni = that is/in other words

waqt= time

mushkil = problem/difficulty

3aql = sense/brain

da3eef (urdu pron zaeef) = weak

awlad = offspring

qareeb = near

qabd (Urdu pron qabz) = constipation

qanoon = law

tarjama = translation

intizaar = waiting

khala = mother's sister

jawab = answer

qabool = to accept

shatranj =chess

i3tiraaf = acknowledgement/recognition

inqilaab = revolution

shadeed = severe

shiddat = severity

mukhtalif = different

3ilm = knowledge

mithaal (Urdu pron misaal) = example

shamaal = north

jaahil = ignorant

qaatil/maqtool = killer/killed

tarbiyyat = upbringing (no shaddah on ya in Arabic?)

tarteeb = arrangement

intikhaab = election

3ajeeb = strange

majnoon - "crazy"

intiqal - "change" or i think it's "transfer" in Arabic and "death"/"decease" in Urdu

ma3loom - "something known" (Ara) and "to know something"

ziyada - "excess" in both

su-aal- question ....pronounced as sawaal in Urdu

kitaab- book

mazeed = more

mash'hoor = famous

shohrat = fame

shart = condition/stipulation

museebat = misfortune, calamity

la3nat = curse

raghbat = inclination

mu7abbat = love

tanaazu3 = dispute

ta3aawun = cooperation

tafseel/tafseeli = detail/detailed

ta3ajjub = astonishment/amazement

mawsim = season, mawsimi = seasonal

mawdoo3 = subject/topic

maa'il = inclined

maydaan = large open area, field etc

shak = doubt

shareef = honourable

shu3oor = perception

i3tiraad (Urdu pron i3tiraaz) = objection

ghizhaa' = food/nourishment (Urdu pron ghizaa)

shorbaa = soup, broth

lazheezh = delicious (Urdu pron lazeez)

za3faraan = saffron

murabbaa = jam

tayyaara = aeroplane

wizaarat = ministry, wazeer = minister

fard/afraad = individual/s

shakhs = person/individual

khaas = special/particular

aqalliyyat = minority

janoob = south

3adad = number

7ikmat = wisdom

nasee7at = advice

qawl = saying

ijtimaa3 = gathering

jama3= plural (Arabic jam3?)

jism/jismaani = body/bodily

badan = body

jild = skin/outer covering

ghilaaf = cover/covering

khaymah = tent

mareed (Urdu pron mareez) = ill/sick patient

thulm = injustice/oppression

firaar = escape

farq = difference

fadaa' (Urdu pron fazaa) = open space/atmosphere

fawwaarah = fountain

fakhr = pride

faqat = only

quwwat = power/strength

dimaagh = brain

lahjah = accent/dialect/tone of speaking

tareeqah = way/method

mawjood = present

wujood = existence

qay = vomit

shay' = thing, plural = ashyaa'

3ayb =fault/defect

3aadat = habit, 3aadatan = habitually

nuqsaan = loss

nuqta = dot

ra'y = opinion/view

jaa'iz = permitted, allowed

jaasoos = spy

jurm = crime, mujrim = criminal

jur'at = courage, boldness

nazhar = sight (Urdu pron nazar)

mashwarah = consultation, advice

dukkaan = shop (Urdu pron without shaddah)

difaa3 = defence

nabd = pulse (Urdu pron nabz)

dafn =burial

may'oos = lost all hope, despaired (Urdu maayoos)

munaasib = suitable, proper, appropriate

ma3loom = known

majboor = compelled/constrained

saabiq = previous, preceding, former, ex-

tasweer = drawing, painting, picture

ghuroor and takabbur = pride, arrogance, conceitedness etc

ghaar = cave

7aywaan = animal, beast, brute

3ilaaj = treatment

sabab = reason, cause, means

firqah = group, faction

faarigh = unoccupied, free

darajah = rank, position, status, step (Urdu pron darjah)

ذخيرة = stock, store, hoard, treasure

ذات = self, person, being

ذاتي = personal, self-

salaamat = safety

siwaa' = except (Urdu without the end hamzah)

mooseeqi = music

raqs = dance

rawand = rhubarb (Urdu = raywand)

shaljam = turnip

qeemat = price, value

shaamil = include

eejaad = invention, creation, production

3adam = non-existence, nonbeing, nothing, lack

aadami = man

ahamiyyat = importance, significance

ahliyyat = capability, aptitude

عرض = width, suggestion, proposal

3izzat = honour, glory, diginity, respect

taraqqi = advance, progression

ishaarah = sign, indication, gesture

saf7ah = page

mas'alah = problem, issue, matter, affair

mi3dah = stomach

mi3yaar = standard

watan = homeland, native country

tarannum = song

7ikaayat = story, tale,

7amaaqat = stupidity, foolishness

siyaasat = politics, siyaasi = political

nadaamat = regret, remorse, repentance

7arakat = movement, motion

7aajat = need, necessity

7aadithah = accident

7asad = jealousy

7aqeer = contemptible

7alf = oath

haybat = fright, panic, horror, dread. awe

himmat = energy, courage, determination,

suhoolat = facility

Sohbat = companionship, friendship, company

Sandooq = box, chest

Sa7n = courtyard, dooryard, open space

fauran = immediately

3umr = age

3aam = general

[glenngaylord]

Thank You For The Magic – Concert Review: ABBA Voyage ★★★★★

Growing up, my sister used to blast her records in our family living room. She’d walk back and forth as she’d listen, a ritual I guessed allowed her to really take in the music. I recall her playing “S.O.S.” by ABBA repeatedly, its pop fizz undercut by the melancholy of the lyrics. One of my favorite things to do would be to sneak up on her as she paced and scare the living bejeezus out of her.

As a kid, I was greatly influenced by my older siblings, I took quite an interest in this Swedish supergroup, one of the bestselling artists of all time. I loved Agnetha’s straight blonde hair, gorgeous blue eyes and that piercing, aching quality to her singing. Frida, with the curly red hair and huskier voice, while equally as stunning, was the cheeky, saucy one to her co-vocalist’s often more somber approach. Surrounded by their husbands, Bjorn and Benny, who wrote the brilliant songs, they all wore outlandish, skin-tight costumes while delivering some of the most iconic songs in music history. No wonder the queer community embraced them. With their Scandinavian beauty, bouncy, infectious melodies, and a glimmer of something else going on below the surface, ABBA seemed born to entertain us outsiders.

It would take me years to realize that beneath those nonstop pop hooks, they explored intensely adult subjects. Think of “Mamma Mia”, which seems to contain one ear worm after another you could bop around to forever. Still, listen closer and you have a song about someone desperate to get back with their cheating partner. “The Winner Takes it All” may have an infectious beat, but let’s face it, ABBA are educating us on the devastation of divorce. These two formerly married couples know from whereof they sing. This unexpected mix of effervescence and sadness led me to the conclusion that ABBA are my favorite pop band of all time. I had the opportunity to get tickets to see them live in concert in 1979, but being young and broke at the time, I opted out and thought I’d catch them on their next tour. Then they called it quits and, well, say goodbye to that dream.

Consider my surprise and elation when they reunited all these years later to release a brand new (and first ever Grammy nominated) album, Voyage, and accompanying show. But being the iconoclasts that they are, this wouldn’t be just any concert. With all of the members in their 70s, they simply didn’t want to hit the road, and God knows they have nothing to prove, ABBA have broken new ground once again. In collaboration with George Lucas’ Industrial Light & Magic (ILM), the band gathered together in a studio to have themselves motion-captured as they performed their set list. Afterwards, the animators de-aged their digitized likenesses to return them to their prime, circa that fateful year of 1979. This would then get projected onto a giant LED screen in a purpose-built, 3000 person capacity arena in London. Add a live 10-piece band playing to the side of the stage along with an integrated light show, and you’ll find yourself convinced you’re witnessing the real band returned to their former glory.

Needless to say, I could not get a ticket to the U.K. fast enough, and just as my sister passed along her love for ABBA to me, I paid it forward by taking my English nephew and his wife. You may wonder why I didn’t take my sister, but she lives in Australia, which presented a coordinating nightmare. So after a long flight across the pond, I found myself reunited with family in the eastern part of London to watch music history get taken to the next level.

Excuse me while I pick my jaw up off the floor. Yes, this is a staggering achievement. With not a bad stadium-style seat to be found and a large dance floor below, one can choose their own adventure. We were glad to be raised up and set back a bit as it allowed us to take in the lighting effects and the giant scope of this event.

When you enter the arena, a wintry forest fills the screen, setting a bucolic and yes, Swedish tone. Any type of recording devices are strictly prohibited from this point forward with violators informed they could be ejected from the theater. How absolutely refreshing it was to attend a concert with everyone forced to engage with the music instead of uploading it to their followers. Extra points go to the audience members who dressed up in their best spangly or boa-centric outfits or the groups of friends who you could tell were forming unforgettable memories with this experience. People danced, swayed, hugged and cried with those they loved.

Then the lights went down and there they were. I won’t spoil the set list, a wonderful combination of the hits and some surprising deep cuts, but I will discuss how it felt to be there. They did not look like holograms. These ABBA-tars, as they’ve been dubbed, cast shadows on the stage. Their sequins shimmered brightly and when they sang and moved, you felt that they were truly three-dimensional and very much in the room with you. Only when the screen would display close-ups, as one sees at most arena shows, could you detect a bit of that uncanny valley sensation, but those were merely fleeting moments. Because they recorded themselves, you feel the heart and emotion in these performances. Sure, they could look a bit dead-eyed or have jerky movements here and there, but haven’t we all?

The word “astounding” does not begin to describe this. To sell that live feeling, each member gets a chance to speak to the audience, sometimes hilariously and sometimes movingly. Benny shouting, “Hello, London!” at the outset tickled me endlessly. Although they’ve used the original vocal recordings and some of the existing instrumentation, the live band augments this, giving these classics a punchier quality. The talented backing band get the occasional projected close-ups as well, further convincing you that everything is happening in real time.

Every song gets presented differently, taking you on quite a journey. Some feature the band as life-sized figures where others turn them into giants. A couple of songs get the anime treatment and literally turn the quartet into bronze Gods. The lights on the screen have been synchronized with those built into the arena to dazzling effect. A particular transition from one song to another shows the women up close from overhead with the shot suddenly swooping down and going impossibly wide to fill up the entire screen. I wanted to hit rewind a dozen times on that moment alone. I kept turning to my nephew and his wife, both of whom seemed blown away. By the end, you’ll know you’ve been on an emotional journey. More than just the nostalgia of it all, you really come to feel these songs, happy and sad. You may also find yourself moved by the fact that despite the double divorces and the certain trauma that must have come with that, these four extremely talented musicians have come together again to reinvent that magic. Not known for doing little more than side-step shuffling in their day, the women sometimes used dance doubles for this performance, which brings incredible energy to the upbeat songs while still staying somewhat true to their actual movements. On some of the ballads, a gorgeous stillness prevailed, with one song using the different phases of a solar eclipse as the only movement you see. It’s hypnotic. I’m so grateful that I got to finally see ABBA live, or more accurately, I saw them live at their absolute best.

You don’t even have to be an ABBA fan to be awestruck. The technology alone should be enough to blow anyone away. Could Elton John, Madonna, or any number of living legends be far behind? Come on Stevie Wonder! Call George Lucas right now!

Although this event is currently only in London, the arena itself can ship anywhere. I understand other locations are being explored. Additionally, the band recorded more songs that what are currently in the set list, and that the ILM wizards have enough 1s and 0s on ABBA to animate any additional songs they choose. All of this makes the idea of repeat viewings quite appealing. I’ll keep my passport up to date. Who knows? Maybe some day I’ll find myself in Australia. This time, I’ll happily sneak up on my sister and surprise her with ABBA Voyage tickets. I hope it’ll make her cry tears of joy instead of jumping in fear.

Voyage is currently playing at the ABBA Arena in London.  Tickets and information available here:   https://abbavoyage.com/

[docrotten]

DRAGONSLAYER (1981) – Episode 222 – Decades Of Horror 1980s

“You’ll be dead Galen Bradwarden, Sorcerer’s Apprentice. You’ll be dead, the dragon will still be alive, and I’ll still be a virgin! You’ll be dead, and I don’t care!” Sounds like a good foundation for a lasting relationship, right? Join your faithful Grue-Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr  – as they check out probably the most realistic dragon (did I hear someone say wyvern?) set to film in Dragonslayer (1981).

Decades of Horror 1980s Episode 222 – Dragonslayer (1981)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

A King has made a pact with a dragon where he sacrifices virgins to it, and the dragon leaves his kingdom alone. An old wizard, and his keen young apprentice volunteer to kill the dragon and attempt to save the next virgin in line, the King’s own daughter.

  Director: Matthew Robbins

Writers: Hal Barwood, Matthew Robbins

Music by: Alex North

Cinematography by: Derek Vanlint (director of photography)

Film Editing by: Tony Lawson

Visual Effects by:

Sam Comstock (animation supervisor: ILM)

Alan Maley (matte painting supervisor: ILM)

Dennis Muren (supervisor of special visual effects: ILM)

Ken Ralston (dragon supervisor: ILM)

Thomas G. Smith (effects production supervisor: ILM) (as Thomas Smith)

Phil Tippett (dragon supervisor: ILM)

Gene Whiteman (equipment engineering supervisor: ILM)

Selected Cast:

Peter MacNicol as Galen Bradwarden

Caitlin Clarke as Valerian

Ralph Richardson as Ulrich of Cragganmore

John Hallam as Tyrian

Peter Eyre as King Casiodorus Ulfilas

Albert Salmi as Greil (dubbed by Norman Rodway)

Sydney Bromley as Hodge

Chloe Salaman as Princess Elspeth Ulfilas

Emrys James as Simon (Valerian’s Father)

Roger Kemp as Horsrick, Casiodorus’s Chamberlain

Ian McDiarmid as Brother Jacopus

Dragonslayer is Bill’s pick. Surprise! He had read about the technique called go-motion and really enjoys it, calling Vermathrax Pejorative one of the greatest dragons ever put on film. It is also one of his favorite kinds of fantasy movies; one where the world is messy and dirty, and a noble character does not get rescued despite audience expectations.

Crystal labels Dragonslayer as one of her all-time favorite movies. It would not be nearly so memorable for her without the special effects and the dragon. She also points out that technically, it is a wyvern, not a dragon.  Not a big fan of pure fantasy movies, Jeff loves seeing Dragonslayer for the first time, especially the work from professionals like Phil Tippett & Dennis Muren. The Grue-Crew is universally impressed with Caitlin Clarke’s performance as Valerian and wishes that she was given much more work as a female lead.

If you’re in the mood for a great fire-breathing wyvern, née dragon, you can’t do better than Dragonslayer. At the time of this writing, it is available to stream from Kanopy, Prime, and Paramount+. As far as physical media, a Blu-ray version of Dragonslayer is scheduled for a 21 March 2023 release from Paramount.

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Crystal, will be Pet Sematary (1989), directed by Mary Lambert from the novel and screenplay by Stephen King. Sometimes, dead is better.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the gruesome Magazine Youtube channel, on the website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[tawakkull]

ISLAM 101: SPIRITUALITY IN ISLAM: PART 66

Technical Terms in Sufism

Hubb vs. Ishq: Two Arabic words which are both translated into English as ‘love.’ Hubb, however, is more like affection, an emotion one might feel towards one’s parents or siblings, whereas ishq is what one feels when one is in love with someone. Ishq may be translated as ‘intense romantic love.’

Zikr: the practice of chanting God’s name rhythmically, often accompanied with rhythmic breathing and rhythmic movements of the head, but without the accompaniment of musical instruments.

Sama (vs. Quran recitation): The practice of listening to God’s name in the company of others and with the accompaniment of rhythmical musical instruments as well as dance. Typically, in a sama concert musicians don’t just recite God’s name, they sing a song that is usually not in Arabic and may be a song of praise to Allah, but also to one of the Sufi saints. The goal of sama is to evoke ecstacy (hal). Once a person enters the state of hal the singers are expected to keep on repeating the verse that caused a person to experience the ecstasy in the first place while others stand by in respectful silence. Sama may be contrasted to the practice of the recitation of the Quran which is done without any musical accompaniment but is nonetheless ‘musical’ since the reciter uses musical ornamentation to embellish the syllables being chanted.

Haj vs. Ziyarat: Haj is the pilgrimage to the cities of Mecca and Medina, and in particular to the Kaaba complex in Mecca that is recommended for every Muslim. Ziyarat is the other type of pilgrimage that is performed by Muslims, and it is to the tomb of a revered saint. The saints vary from region to region, some may only be known locally in a city or its immediate environs; other saints are known throughout Islamdom, a famous example being the 10th century Baghdadi Sufi, Mansur Hallaj who became famous for his bold statement “I am the Truth.” (ana al-haqq)

Dargah and Mazar: Literally ‘the court,’ a dargah is the entire complex in which a famous Sufi Saint lived and taught and in which he is buried. After the death of a particularly revered teacher his tomb (mazar) becomes the focus of pilgrimage (ziyarat). The mazar is surrounded by gardens, a library, a kitchen for feeding the poor, dormitories for housing pilgrims, concert halls for performing both zikr and sama, and finally homes of the saint’s descendants who are the caretakers of his tomb. This entire complex is called a dargah. Famous dargahs are endowed by local politicians and, in the past, by rulers and donations from pilgrims.

Shariat vs. Haqiqat: Shariat is the Islamic law about social matters like marriage, divorce, inheritance, property, etc. It is based as far as possible on the actions of the Prophet (sunnah) and on his sayings, or from inferring what he would have done or said had he been confronted with an issue. Thus, for example, the shariat stipulates that a man shave all hair on parts of his body that may be moist and covered with other skin because moist hair was considered filthy. This means that Muslim men shave their armpits and genitals as a matter of cleanliness. Haqiqat is the inner essence of something that is gained by direct experience, and disciplined intuition. Sufis compare shariat to the tough outer skin of a nut and haqiqat to its soft inner flesh. The flesh needs the tough outer coating, but the outer coating by itself is just a hull, lifeless and useless.

‘Ilm vs Irfan: Two words for knowledge, but very different kinds of knowledge. Ilm can be acquired by education and training and through the exercise of reason. Irfan is higher knowledge, or gnosis, that can only be acquired by, first, education, and then contemplation under the guidance of a master. The guidance would include spiritual training in zikr, music (sama), and meditation. Ilm is expected to lead to the sober contemplation of God as both Creator and Judge—his awesome power– whereas irfan may lead to ecstasy as a person is simply overwhelmed by God’s immense beauty and falls in love with that Beaut

Jalal vs. Jamal: Two characteristics of Allah. Jalal is the awesome power and force of God, faced with which a person feels insignificant and powerless. Jamal is God’s beauty, faced with which a person falls in love. Jalal reminds us of the distance between God and us, Jamal reminds us of how intimate and tender he is. ‘Alim or Shaikh vs Sufi: An ‘Alim (or shaikh) is a specialist in ‘ilm or the use of reason, the study of the Quran, and the shariat or the Islamic law. Alims approach God through ilm which leads to a sober contemplation of God’s authority (jalal). A Sufi is a specialist in irfan, or a higher spiritual knowledge cultivated through religious practice, music, zikr and contemplation. A Sufi approaches God in his aspect of Beauty and typically expresses himself or herself in ecstatic, mystical absorption in God. The tension between the ‘Alim and the Sufi has characterized Islam since its very beginning, with each group claiming it is the true Muslim. The plural for an alim is Ulama.

While the Kings and ulema often remained aloof from the day-to-day problems of the people, the Sufi saints maintained close contact with the common people. The Sufi movement encouraged equality and brotherhood. It fact, The Islamic emphasis upon equality was respected far more by the Sufis than by the ulema. The doctrines of the Sufis were attacked by the orthodoxy. The Sufis also denounced the ulema. They believed that the ulema had succumbed to the world by temptations and was moving away from the original democratic and egalitarian principles of the Quran. This battle between the orthodox and liberal elements continued throughout the sixteenth, seventeenth, and eighteenth centuries. The Sufi saints tried to bring about social reforms too.

[demifiendrsa]

Swedish pop group ABBA has announced its return after nearly 40 years with a new studio album and a digital concert that will see singers Agnetha Fältskog and Anni-Frid Lyngstad and instrumentalists/songwriters Benny Andersson and Björn Ulvaeus performing digitally via avatars with a live 10-piece band in a purpose-built arena in London, beginning on May 27, 2022.

The “Voyage” album will be released worldwide on November 5, 2021 via Universal Music Group’s Capitol label. The two newly released songs, “I Still Have Faith in You” and “Don’t Shut Me Down,” were recorded by the group at Andersson’s Riksmixningsverket studio in Stockholm and will both feature in the concert. The songs are the first new material from ABBA since the release of the “Under Attack” single in December of 1982.

According to the announcement, the digital versions of ABBA have been created “following weeks and months of motion-capture and performance techniques with the four band members and an 850-strong team from Industrial Light & Magic,” the company founded by George Lucas.

“ABBA Voyage” will open the ABBA Arena, a state-of-the-art 3,000 capacity arena located at Queen Elizabeth Olympic Park in London on May 27, 2022. Pre-registration for tickets opens on September 2, 2021 at 6pm on abbavoyage.com with tickets on general sale from September 7, 2021.

ABBA Voyage - Album & Concert trailer

The Journey Is About To Begin

Live coverage

New singles

I Still Have Faith In You

Don't Shut Me Down (Lyric Video)

Press statement

It’s been a while since we made music together. Almost 40 years, actually. We took a break in the spring of 1982 and now we’ve decided it’s time to end it. They say it’s foolhardy to wait more than 40 years between albums, so we’ve recorded a follow-up to The Visitors. We simply call it Voyage and we’re truly sailing in uncharted waters. With the help of our younger selves, we travel into the future. It’s not easy to explain but then it hasn’t been done before.”

“To all of you who patiently have followed us in some way or another these past decades: Thank you for waiting — it’s time for a new journey to begin.

“We simply call it ‘Voyage’ and we’re truly sailing in uncharted waters. With the help of our younger selves, we travel into the future. It’s not easy to explain but then it hasn’t been done before.”

Agnetha Fältskog said:“When we got back together in the studio I had no idea what to expect… But Benny’s recording studio is such a friendly and  safe environment, and before I knew it I was really enjoying myself! I can hardly believe that finally, the moment has come to share this with the world!”

Björn Ulvaeus said: “They’re such amazing singers, those two, I was completely floored by the way they delivered those songs. They’re true musicians; totally unimpressed by pop star glamour but still having a great time being creative in a recording studio. The “Voyage” project has injected new life into us in more ways than one.”

Benny Andersson said, “It’s hard to say what’s been the most joyful thing for me with this project, if it’s the involvement in creating the concert together with everyone or being back in the studio together again after 40 years. I think hearing Frida and Agnetha singing again is hard to beat. When you come to the arena you will have the four of us together with an absolutely glorious 10-piece band. And even if not in the flesh, we will be right there, thanks to the work of the creative team and ILM.”

Anni-Frid Lyngstad said: “Those first sessions back in 2018 were such fun and when Benny called and asked if I’d consider singing some more I jumped at it! And what songs!! My respect and love go out to these exceptionally talented, truly genius songwriters! Such joy it was to work with the group again. I am so happy with what we have made, and I dearly hope our fans feel the same.”

“So, again, thanks for waiting! We hope to see you in the ‘ABBA Arena’ and yes — see — because we have infused a good deal of our souls into those avatars. It’s not an exaggeration to say that we’re back.”

[sezja]

Happens shortly after this.

He leaves - retreats, more like, but he'd just as soon not think of it that way - from the garden after a time, leaving Sanson and his father to catch up on several weeks' worth of goings-on. Left to his own devices, Guydelot wanders through the large house, driven by curiosity: so this is where Sanson grew up, then. What sort of childhood did he have?

Guydelot's own upbringing had been haphazard at best; he'd been taught to use a bow as soon as he could walk, and left more or less to his own devices. He'd spent much of his childhood roaming the Shroud with a shocking lack of supervision - horrifying in retrospect, but at the time, he'd not questioned it. He'd learned the ins and outs of the forest, learned all the best hiding spots, learned where it was safe to wander, learned where the poachers set their traps, learned where the more territorial beasts made their lairs.

He'd listened to hunters and travelers and Quivermen alike, snuck into taverns to hear their tales - aye, and their songs. He'd first learned a love for song there, hiding overlooked in the corner of a tavern.

How different must it've been for Sanson Smyth, then, growing up in a place like this?

It's surprisingly homey, for a manor - lots of little touches that keep it from seeming cold and empty. Vases of flowers, paintings, woven rugs on the hardwood floors. The furniture in the little study is nice: well-used, but well-tended. He trails a hand over a bookshelf filled with what is unmistakably journals, wondering whose they are; wondering how old they might be - some look as though they might fall apart if he draws them from their resting place, but the spines have been kept dust-free.

So perhaps it's a family tradition, then, journaling.

He smiles, letting his hand fall as he drifts onward. Sooner or later it will occur to Sanson that he's gone missing, and then he'll lose his freedom to explore the house as he chooses. Pity it's so big; inevitably there'll be so much he doesn't get to see...

He pauses in one doorway, surprised - though perhaps he shouldn't be.

A music room.

A grand piano is the centerpiece of the room, sitting softly lit by the early evening light streaming in through the windows. Other instruments line the walls, gleaming silver and mahogany, and a glass-paneled cabinet holds what can only be sheet music, bound and tucked safely away. Dimly, he recalls that the Smyth family was meant to have been patrons to bards for generations. Small wonder if there happened to be a musician or two among the bunch, eh? Guydelot lets himself in, looking around in surprised awe; does anyone use all these anymore? It's all kept nice and shiny, but-

"Oh, there you are!"

He nearly jumps out of his skin. Whirling, he takes in the sight of a woman in the doorway - neither of the sisters, this one, and a good deal older, which means...

"You'd be Sanson's mother."

She laughs - a quiet, fluttery sound, quickly stifled. "Oh yes, though I understand if my husband's reputation overshadows me. Lisbeta Smyth," she introduces herself, eyes sparkling with a quiet mirth that reminds him uncannily of Sanson. "Though you may call me Lizzie, if you like."

"Lizzie," he repeats. She's pretty enough - not hard to see where Sanson and the girls get their good looks. They've got her coloring, too: that same rich dark hair, those too-blue eyes. She's tall and sturdy for a Midlander lass, same as Melody; she must be only an ilm or two shorter than Sanson. "Hope you don't mind me snooping about. I reckoned I'd let Sanson and his dad chat."

"Not at all," she replies, folding her hands before her. "I'd hoped to show you the music room, in fact! I don't know if you're aware, but my family-"

"Have a long history with bards." He bites his tongue. Don't make an arse of yourself now, idiot.

"Yes!" If she minds being interrupted, she doesn't show it, instead sweeping past him to perch upon the piano bench. "I'd long feared the art would die out entirely, but here you are. Matron bless Jehantel."

Curious despite himself, Guydelot asks, "So you know Jehantel, then?"

"Sandre did, of course," she replies. "Before he left the Twelveswood. 'Twas Sanson who introduced me, not so very long ago, when he'd returned - I feared he didn't mean to train any new bards, but it seems Miss Himaa persuaded him. I simply must meet her someday; she sounds delightful-"

"I'm sure Sanson'll introduce her sooner or later." He tries not to imagine Eve meeting Sanson's mother. Fails. Tries not to laugh. Fares only slightly better. "She'll love you all, I wager."

"I won't insist upon a performance from the two of you," she promises. "Although I'd not decline if you chose to bestow a performance upon us..."

That does make him laugh. "Aye, I reckon we could arrange something. Don't leave it up to Sanson, though; he'll not want to impose on her."

The woman smiles fondly, shaking her head. "Our Sonny," she says, warm and affectionate. Guydelot doubts his own mother has ever said his name half so fondly.

"I've been curious about you," Lizzie says suddenly, making him tense. "Sanson said much of you after his return from Coerthas, and I confess, I found myself startled by his change in opinion. The letters he wrote home at the start of the quest were... less than flattering."

"He wrote letters," Guydelot repeats, unsurprised. "Aye, so you know what a pain I was."

"And what a change! He sang your praises upon your return, and confessed that you'd grown... close." Her voice drops, meaningful. "I wondered at the change in him, and at what sort of man you must be, to have so thoroughly and swiftly changed his mind."

The bard shrugs, feigning a nonchalance he doesn't feel. His hands feel sweaty. "I'm myself."

"So you are," she agrees, smiling faintly. "And I must thank you for it. I don't believe I've ever seen my boy smile so much."

He blinks. "Aye, well, we did successfully complete that mission of his, more or less."

"It's not only that," she assures him, standing again, pacing to the window. "He's always been..." Lizzie glances at Guydelot briefly, then back outside; in that brief glance, he recognized the pinch of her eyebrows, the pursing of her lips. Sanson makes the same face when he's thinking too much. "Guarded," she says at last. "Guarded, he has always been guarded. As though he fears showing any weakness at all will ruin everything. Melody was haughty, Lyrica was restless and reckless; Sanson was our wary, serious child."

"I can see that," Guydelot says, softly. "Too much pride."

"Pride," she repeats, nodding thoughtfully. "Yes, he's very proud, but under it-" She pauses, then laughs quietly, shaking her head. "Ah, but I don't need to tell you."

"I'll take care of him," he says, unsure where the words come from. "Whether he likes it or not."

"You already are." Lizzie smiles, turning from the window. "Ah, but we ought to go find the others, dear; Sanson must be beside himself, wondering which of his sisters has chased you away."