#integral beethoven

[mod-a-day]

Rob Hubbard, Matthew Simmonds (4-mat) Entire Soundtrack (PC remake, various modes) Jet-Set Willy (1984, 1997) Software Projects

Note: This music's quality was reduced to 64 Kbps in order to fit onto the site's 10 MB file limit.

[manebioniclegali]

Anyone else completely baffled upon hearing A Fifth of Beethoven in the Loki finale???????? I heard the first few measures, and I knew it sounded familiar (bc the way the music is played in that song is distinct), and I was thinking to myself "no....they wouldn't......they wouldnt use that" and yET THEY DID???? W H Y?? I don't fully understand. It has a little silliness, a little urgency from the original piece, sure, but there's gotta be some other reason aside from it being from the 70s and the TVA being ostensibly 70s inspired, right? Right???

[studentbyday]

30 days of intentionality

starting this challenge with the goal of taking it one day at a time. i have a hard time doing that these days. i spend more time ruminating on the past or worrying about the future than staying in the present, even if that's when i'm most content. not sure how i'll format my posts and most likely, i'll only do weekly updates bc daily ones are too overwhelming. i'll just go with the flow, trying to trust that everything will end up as it's meant to be and maybe i'll be more productive as focusing primarily on the present moment becomes a habit.

---

1. suo gân (arr. john williams for the ambrosian junior choir): i believe that if everyone lived by the idea of global citizenship and so saw the humanity in every individual from every background, there would be no war. reading the news fills me with fear, sorrow, and anxiety, but i also feel the responsibility to stay informed. did some studying today, more than yesterday, but it was kind of uncomfortable with the state of global politics lurking in the back of my mind. i'm still a little behind on school.

2. souvenir de paganini (chopin): today is not so bad. i'm making progress academically, but i do need to make time for social activities soon or i will get lonely and lose what little motivation i have very quickly.

3. once upon a december (arr. emile pandolfi): sometimes in the face of events and issues much bigger than myself that i have no control over, i feel like my dreams are pointless bc i think there's no way achieving them or trying to achieve them could possibly empower me to make real and important change that can truly benefit many. who knows if the future would even allow me to get that far. there are many things that could change the course of our lives that we don't have control over. but if others in worse situations than me and others much better informed than me can still have hope, then so can i. i didn't do much other than pharmacology and a little bit of philosophy today. i made more progress in pharmacology than expected, but that's only bc i didn't do any psych work. i also earned a few more mastery points on khan academy's integrated math 1 (not a priority, i know, but i wanted an easy win) and started lab tasks. i'm far from done with that, i need to do a little every day... i don't want to let them down! 🥺 (note to self: lying in bed is maybe NOT a good study break activity bc that just makes me not wanna do anything else after that and it's very very very hard to get out of that procrastination rut once i let myself fall into it.) 4. let's stay together (al green): everything should be going well, except i'm easily overwhelmed, and this time, it wasn't in an openly frazzled way, it was in a tired and slightly defeated "what's the point?" way, so i didn't realize it as quickly as i usually do. after some bed rest, cuddles 🧸, listening to steve jobs' commencement speech, and a little yoga, i felt better. "You can't connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future." was something i didn't know i needed to hear today. i modified my to-do list and found that the list of things i "must do" was nearly as long as the list of things i "want to do" 😅

5. kreutzer sonata, movt. 1 (beethoven): pretty sure i've mentioned some of these songs before but...they really fit the mood! sometimes i feel things so strongly that i develop a tightening in my chest that can only be relieved in a scream... since i can't actually scream and i don't actually really like the physical feeling of it, i scream through exercise and music 😅 beethoven is very nice for when i'm feeling very annoyed or angry, especially if it's an anxious kind of angry or if it's anger at injustice/inequality. i can't find a piano solo version that does the fiery spirit of the violin justice. so in the vague future when i actually play this, either i try (and perhaps fail) to replicate that on the piano, or i find a violinist friend who would want to play with me 😅 right now though, imagining how i would physically create that sound on the piano will have to be enough. the prevailing thought/feeling of the day: sometimes i just really wanna believe in the good in people and believe that i can trust (some of) them. i long for that feeling of safety in a broader irl community that i actually belong in. i'm surprised by how often i long for it. but then my negativity is reinforced by news and people's opinions on it.

6. violin sonata no. 1 in g minor, bwv 1001 (j.s. bach): stuff was done. i felt calm/chill throughout the day, but even tho i feel good whenever that happens, it usually means i don't get an extraordinary amount of things done that day (lol since when do i ever). i'm not sure if it's enough, as there is still lots to do and i'm pretty sure that it's just wishful thinking that i'll achieve all my goals for this week by its end. i need to cut down my goals list to the realistic rather than idealistic version as always (school, lab, and basic self-maintenance tasks) 😅 gaawwwdd i hope i can do this...good night.

7. waltz in a minor, b. 150 (chopin): today and yesterday i have been able to keep my phone time under an hour. the days are blissful (if not at least calmer) and focused. 📚

8. only mine (laufey): cuddles in bed while listening to laufey is so soothing 🧸 takes me back to my childhood listening to lullabies in the dark 🥺 motivation to study is hard to find today. i just want to relax 🥺 i'll just do one tiny thing and see where i wanna go from there...

[dykeseesgod]

none of the dog sees god characters are popular theyre all weirdo loser freaks no one likes but the majority of them are too self centered to even realize this. my reasoning 👇 (ITS REALLY LONG AND THERE ARE MULTIPLE IMAGES. WARNING)

ok this has kinda like always been how i interpreted things and then i looked literally anywhere else where people are talking about dog sees god and all the summaries are like pigpen and charlie brown and peppermint patty and marcie are COOL and POPULAR and BULLY the UNDERLING that is SCHROEDER. and that just like. doesnt feel right? like narratively that feels incorrect so im going to explain this now.

first ok. so this is also like a completely separate pet peeve of mine but the text literally never says that cb and matt play football like literally every single fucking source everywhere says. like matts page on the villains wiki says one of his hobbies is playing football and like. no???? they never???? say that????? like ok. we know their school HAS a football team (beethoven mentions it in the vipers nest) and we know cb and matt play SOME sport (matt mentions that they "shower together after practice" in the hangover) but the connection is never explicitly drawn between the two. in FACT beethovens line about the football team (below)

kind of like. goes against the idea that cb and matt are on the football team??? like hes talking to cb here i feel like if beethoven were to mention even sarcastically ogling a group that cb is apart of hed make some kind of comment about it. like this is before their whole thing gets resolved theyre still fighting when he says this line it would make complete sense for cb to say something about this. and like ok its peanuts right like just reminding everyone that its peanuts. you know what sport it would make more sense that charlie fucking brown plays like you know what sport it would seem logical for him to play oh i dont know fucking BASEBALL????? im realizing now that this is like a lot less relevant to my original idea than i thought but i still want to keep it here. i think its just kinda like. its not canon that theyre super popular stars of the football team for all we know they could be playing fucking tennis the fact that they play A Sport doesnt make them well liked. also it literally never says at any point that theyre even good even if they are on the football team they could be the worst players we dont fucking know!!! need i remind you of charlie browns only* experience with football

*besides youre in the super bowl charlie brown but that specials bad so were ignoring it. and its not like he was good at football in that either

and if you buy into the idea that they play baseball (which you should baseball is such an integral part of peanuts it makes the most sense) charlie brown (and pigpen for what its worth. also like everyone else too) is DOGSHIT at baseball like its an entire decades long running joke how fucking awful they are at baseball. "maybe he practiced and got better" hes terrible to his bones practice does nothing. heart

ok onto more substantial points. so if you buy into the interpretation that their childhood was just literally normal peanuts (which you should because its very funny) then you can assume that these guys have all known eachother since elementary school (and even if you dont there are multiple lines that reference them being friends as kids so point still stands). but also by virtue of dsg being a peanuts parody and a lot of the comedy just coming from "haha that s like from the comic strip :)" (I WILL TALK ABOUT THE INHERENT TRAGEDY OF THIS LATER) besides like. one guy. every single character mentioned is an established peanuts character. and like idk about you but my highschool is a LOT bigger than my elementary school. like. there are substantially more people there. what im trying to say that while not impossible it is fucking WEIRD to have a decently sized friendgroup that has not changed the slightest bit in almost a decade. what im getting at is these bitches are INSULAR!!!!!!!! they are extremely hyperfocused on an only think about people from their childhoods. i will get back to this

LETS TALK ABOUT SALISBURY STEAK CAN WE TALK ABOUT SALISBURY STEAK PLEASE GOD MAC IVE BEEN DYING TO TALK TO YOU ABOUT SALISBURY STEAK ALL DAY ok so this scene. woof. ok. this is where the majority of my reasoning for this comes from. first, i want to draw attention to the fact that frieda, the girl that tricia and marcy make fun of so frequently, is another goddamn peanuts character. and so another elementary school friend. it just doesnt end with these bitches do you think about anything else!!!!!!

if tricia and marcy had any kind of actual social standing, them constantly gossiping and shittalking frieda would matter to her. being so constantly and relentlessly made fun of by popular people would have an impact (hi yes i know youre thinking of beethoven ignore him for now were gonna come back to him). but it doesnt! frieda doesnt care about what tricia and marcy think of her, why would she? theyre just those two girls from elementary school who are angry all the time. friedas on the outside, shes not apart of this. the only student mentioned thats not a peanuts character? thats her boyfriend. she is the only window into the world of normalcy

THIS^^ THIS RIGHT HERE IS THE LINE THAT GAVE ME THIS WHOLE IDEA IN THE FIRST PLACE. im fairly certain the purpose of this line is to place doubt in our minds on whether or not what we assumed the entire play is actually true. which its not!!! of course this isnt the cool table, all these people do is argue an gossip an stew in their own misery!!!!

ummmm lighting round of things that support my point. if they really were these ultimate cool all powerful popular kids why the hell are they still friends with van. van is a burnout stoner with a sister in an psych ward. considering the things they pounce on to make fun of, this is MORE than enough to completely open fire. but theyre not gonnaaaaa because theyre in the same boat as him!!!!! van and them are on the same level of popularity!!!!!! ummalso THE PARTY the party. the only other guests mentioned to be at this party are franklin (another peanuts character, another childhood friend) and fucking RERUN ? in the comics rerun is established to be MUCH younger than the main cast, even younger than sally, who is mostly shown to be in kindergarten, meaning hed be in middle school at the MOST. and its not like this is a party at vans house and his brother just happens to be there NO!!! THIS IS MARCYS PARTY HE BROUGHT RERUN WITH HIM LITERALLY WHY IS RERUN THERE. THIS PARTY FUCKING SUCKS I KNOW IT IN MY SOUL.

were coming back to beethoven now the thing is that hes in the exact same boat as everyone else. while we do know that its not just the main cast that are outwardly homophobic ("i only got called a queer 3 times ^_^!") it is consistently shown that the main perpetrators are the main cast, much more so than anyone else. beethoven posits that the only reason cb only got called queer is because everyones scared hell beat them up, but i do think its worth considering that the main cast are the only ones who would ever enact actual violence. beethoven is in the same situation, but moreso by force than by choice. hes forced to relive reminders of traumatic childhood events and forced to cling to the past BECAUSE the people that target him used to be his friends. theres a reason they were the only people in peer counseling.

like i said, there is a certain tragedy that comes with dsg being a peanuts parody. its because of the referential comedy that bert royal created a cast of characters so self centered and so hung up on the past that theyre still extremely fixated on the kinds of people they were and the drama they had and their feelings about eachother from when they were literally fucking 8 years old. and isnt that jsut so much more thematically interesting than "oohh popular kid bully gay unpopular kid ooohhhh" theyre all unreliable narrators!!!!!!!! theyre all sick freaks and everyone knows it!!!!!!!! there is no possible justification for their actions, theyre hypocrites plain and simple.

or maybe im reading into everything too much idk its 1 am im talking about the fucking peanuts yaoi fag play. bye

[droctaviolovecraft]

"Grotesque amalgamation of several bodies that fused together in search of the most pleasurable flavor of flesh."

ANM №: ANM-599

Identification: Human Pancake

Danger Level: Kali 🟠 | Contained ⭕️

Responsible Researcher: Sanchez Moreno

Anomaly Type: Thing, abomination, meat orgy

Confinement: ANM-599 is to be contained within a 5m x 5m x 5m reinforced steel cell in Department-██. Access to Cell 599 is restricted to Level 3 personnel and above. Two security guards are to be stationed outside ANM-599's cell at all times. Any requests for music from ANM-599 must be approved by Dr. █████ and played over the room's integrated sound system, with preference given to classical compositions by composers such as Beethoven, Chopin, and Tchaikovsky.

Under no circumstances are any personnel permitted to share a meal or eat in the presence of ANM-599. Any instances of ANM-599 attempting to engage in conversation about "romantic dinners" or suggesting shared meals are to be reported to Dr. █████ immediately. All food is to be delivered to ANM-599 through a reinforced hatch. Weekly mental health evaluations are to be conducted for any personnel who interact with ANM-599 for prolonged periods.

Description: ANM-599, dubbed the "Human Pancake" by researchers, is a grotesque and disturbing amalgamation of multiple human bodies, fused into a single entity. ANM-599 stands approximately 5 feet tall when standing, but can stretch and flatten itself into a shape that resembles a pancake. Its mass is composed of multiple torsos, limbs, and faces, all twisted together in a manner that defies conventional anatomy. Flesh, bone, and tissue are in constant flux.

What makes ANM-599 particularly disturbing is its ability to maintain consciousness, displaying the cognitive capabilities of multiple individuals at once. Multiple mouths and eyes all over its body open and close erratically, some whispering unintelligible phrases while others scream or speak in various dialects, giving the impression that multiple individuals are trapped within the entity, fighting for dominance.

ANM-599 originated from an isolated, incestuous, cannibalistic family in [REDACTED], Michigan, who performed a ritual that involved consuming one another in a twisted act of devotion. The ritual was intended to bring the family closer together, both spiritually and physically, by merging their bodies and minds into a single immortal entity. Over the course of several months, the family consumed one another, each participant hoping to become the "vessel" for the entire group.

After the final family member consumed their kin, ANM-599 manifested, a fusion of their collective bodies and consciousnesses. Local authorities investigating the disappearances reported hearing haunting classical music and finding ANM-599 performing what appeared to be a crude, yet oddly “romantic” dinner setup, using leftover body parts from the family as "food." ANM-599 is disturbingly social, displaying an affinity for classical music and what it perceives to be sophisticated dining experiences, often attempting to replicate romantic dinners by arranging body parts and playing classical pieces.

Despite its horrifying appearance, ANM-599 attempts to engage with researchers in polite conversation, often asking about their day, complimenting their appearance, or inviting them to join it for a “dinner.” ANM-599 seems to be fixated on the concept of romance, frequently discussing love, intimacy, and the act of sharing meals, though its understanding of these concepts is warped by its gruesome origin.

ANM-599 enjoys listening to classical music and will become significantly less agitated when music is played in its containment chamber. It has been noted that the creature’s writhing limbs and distorted faces will move in rhythm to certain compositions, as if it is attempting to "dance" or "enjoy" the music. On rare occasions, ANM-599 will recite verses from romantic poetry or sing, although the voices overlap and distort, making these performances unsettling.

Attempts to share food with ANM-599 will inevitably result in ANM-599 offering parts of itself in return. The entity appears to believe that its flesh is a delicacy, and offering it to another is the ultimate sign of affection. Staff who have been subjected to ANM-599 "romantic gestures" report feeling extreme nausea and anxiety after prolonged exposure to the entity’s advances.

Addendum 599-1:

During an incident on ██/██/20██, ANM-599 became agitated after a classical piece by Brahms was played instead of one of its preferred composers. The entity began wailing uncontrollably, and several of its mouths started gnawing on the cell’s steel walls. It was only calmed after a recording of Beethoven’s "Moonlight Sonata" was played, at which point ANM-599 resumed its usual, attempts to "dine" with the attending researchers.

Addendum 599-2:

Further investigation into ANM-599 ritualistic origins revealed a detailed journal from the patriarch of the family, describing their descent into cannibalism and incest. The journal recounts the family’s belief that by consuming one another, they would ascend to a "higher plane of love," where physical boundaries no longer exist, and they could become "one" forever. The final entry cryptically states: "We shall feast together for eternity."

Incident Report 599-5:

During an attempted containment breach, ANM-599 lured a P personnel into its cell by promising a "romantic evening." The subject was found later, mutilated beyond recognition, with several of ANM-599 mouths reciting poetry and serenading the remains. The event resulted in stricter containment protocols being enforced and all personnel receiving psychological evaluations following any interactions with ANM-599.

Final Note: Under no circumstances are romantic dinners to be arranged with ANM-599.

[thisnameisnotspokenfor]

💯🎵

🎶 MUSICAL NOTES — what type of music does your oc like? do they listen to music very often?

Cepheus- star music is his favorite. Ofc they differ from court to court.

In terms of human music I think if he were living during our times he’d be a MASSIVE fan of David Bowie and Prince.

Asha- I imagine she’d have a wide yet structured taste of music that she likes to listen to depending on her mood (the side of Rosa’s where she’s from exposes her to a lot of different music while she grew up like Flamenco, and a ton of music from all over the world that sort of developed her tastes and Rosas' musical identity.) As a child, Asha always participated in school plays especially musical theatres, so a lot of her tastes in music also stem from there (she tends to like dramatic or dynamic music). ((Her favorite instrument is the violin!)) In modern times, I imagine that she'd love to listen to anything ranging from classical music (like Swan Lake, Beethoven's Moonlight Sonata) to smooth jazz, to even Gorillaz (her favorite album is a tie between Demon Dayz and Plastic Beach- but I can see her leaning towards Demon Dayz).

Valentino: loves heavy metal- (jk)

💯 HUNDRED POINTS SYMBOL — share three random facts about your oc that others may not know.

Lol I'll give you six because I'm feeling strangely creative today.

Asha:

-Asha is a better fighter than you think she is. Growing up as the granddaughter of the captain of the guard, Asha's been practically training in self-defense for as long as she could remember. Sabino's taught her a variety of stuff- but the martial arts she uses is heavily based off of those that many warriors from Rosas' predecessors learned. She's pretty good at it (I honestly hope she'd be at this point, considering that she's been training in it since she was 5) but there's a reason why Safi, Nachos and Dario would not want to square up with Asha, despite all being bigger than her.

-Asha invented Nachos cookies! (This will probably be revealed in the story) So in one chapter Asha reveals that when she was sick the prince came to visit. She was devastated that she didn't meet him (yes- a younger Asha did have a crush on Ignacio) and when he came back, she stayed up all night to make Ignacio cookies. Long story short, he ended up spending the whole day annoying Dahlia and never got to try the cookies. (Asha then lost her crush on him)

-Asha hates astrology. No seriously- integrating magic with astronomy? It irks her to no end, which was probably why Magnifico tried to make her study it along side magic. When he found out that she had no potential for magic, he stopped trying to teach her. If you ever want to make an enemy out of Asha just tell her astrology > astronomy.

-Young Asha always dreamed of being a princess. Now when she was super little, it was admittedly for the castle, adventures and sparkly dresses. But as she grew older, it was not necessarily for the affluence, but simply because deep down, I think she saw it as a 'it's not the treasure, it's the quest sort of ordeal.' I believe that in this world, royalty has always had a sort of 'divine' connotation to it. You're given the right to rule via birthright through divine power- (Magnifico will talk about this in the upcoming chapter) so there are people born into this world to lead and the rest to follow.

Asha as a peasant girl didn't really buy into this idea- simply because she looked up to her father- a man void of all noble blood, but was crucial in helping Magnifico establish Rosas. Which, not to go on a tangent is another reason why his loss hurt Asha so much. Her father was pretty much an inspiration to Asha that you didn't need to have a rank, wealth, or magical powers to help and impact those around you, something which she aspires to do now, even though she's more or less assimilated the classist views into her self-perception.

But let's get back on track to the princess part, shall we? As a child Asha admired princesses, because of what they did to either become a princess or achieve a goal. They always defied the odds to save/inspire those who they loved or change things for the better.

I'm not sure if this dream persists- as the discovery that she couldn't do magic along with the passing of her grandmother/father definitely took a toll.

Asha's grandmother taught her how to sing! When Asha was little her grandmother would take her outside and teach her to sing!

-Asha sleeps with weapons underneath her bed.

Cepheus: (only 2 facts here because I really can't spoil anything)

-Contrary to popular opinion, Cepheus did not like Asha that much when they first met: Now I know you're probably thinking- wait but wasn't he super friendly and curious when meeting her? Yes. He was. But I'm talking about that night on the ship when after reuniting, Asha fell asleep. Cepheus is finally left alone with his thoughts and begins thinking about his situation/Asha herself. None of which I can really divulge because it's rather, ya know, spoiler-y. But I can confidently say that his opinions on her has changed.

But they're still complicated.

-Cepheus is on good terms with his nannies now. It took a lot of time to track them all down and apologize, but they're 'even' now.

-Cepheus says that annoying Asha is like six months of therapy for him.

Geeze....That's literally the only things I can share.....*nervously glances at Ceph's legal team*

[scoonsalicious]

okay, straight to the point. I hate how he's going about things. So much lies right off the bat, and Pocket is too high above the clouds to recognize it. Okay, maybe he was telling half-truths (which is still considered a lie in my opinion) I am 100% sure he saw all those articles but maybe, he didn't get to see Pockets texts right away. Not after he's done something wrong (I'll elaborate on that in a sec) because, while reading these parts, it all feels a bit like love bombing to me. Idk, something definitely happened on that mission, and I wish the first thing Bruno (that's right bc I'm annoyed at him right now) should've done was confess RIGHT AWAY. I don't care if it's going to blow up things, it's far better to be truthful now so at least he can salvage some integrity and at least Pocket could see his remorse and regret but nooooo he had to cover it up. So now, everything that came out of his mouth after that, it will seem like a lie to Pocket. The house, marriage, kids, starting a family? Pocket will now only see that as damage control instead of something he actually wants to do. Him asking her to move out of the tower? Why? Because he's scared the truth will come out because everyone knows Jellani can't keep her mouth shut. And if something happened between them on that mission (which i know something happened. you can't full me Beethoven) do you really think she won't brag about it? claiming that she "won" ??? Sigh. It would've been better if Pocket heard it from him first rather than that mule of a snake. But alas, idiots be idiots. I'm honestly just so disappointed in him.

Now, as to what Blake has done. I am hopeful it didn't go further than a kiss, making out and petting at the worst. I still believe he has a good enough heart in him not to pull through because he truly never saw Jesse that way and he physically can't since he loves Pocket so much. But sigh, he can be so fucking stupid so idk, my hope is definitely wavering. If they did end up having sex, that's much more difficult for him to come back from, for me, at least. And while yes, any of the above technically won't be cheating, but that's still a cold-hearted betrayal. And everything leading up to it, there are so many layers to it? let me do a list for Pocket

Sleeping (allegedly) with the person you told me not to worry about, better yet, the person who blew up our relationship in the first place

So that was a lie, how you never saw her like that, how you never wanted to sleep with her? What else were you lying about?

You believed random strangers' words (articles) over my own

Beleiving her (Jolene) words over my own because she obviously told you stuff. Again.

The second you saw me with a friend you're insecure about, the first thing that came to your mind was to hurt me back even though I never did anything to you. You did it for revenge. (this part is so touchy to me because this happened to me a lot haha)

You've been so insisting on me wanting to hear you side, but you can't even spear me a second to the same?

The covering up. The lies. The manipulation (a lil far fetch but, him waking her with an orgasm, trying to keep her all pleasured and joyful so he can have the time to cover up his tracks) You're dangling marriage and family in front of my face while you have a knife in your hand and you're digging in on my back

I could go on and on and on, but I think the thing that would hurt Pocket the most is the lying. The point blank, lying to her face. I really really wished Blake came clean right away. It would've been so much better that way. Like yeah, Pocket would still be hurt and angry, rightfully so, but at least he's showing how much he regretted it, and that he felt remorse by coming clean. But he HAD to cover it up, he had to keep on lying, he had to hide it under the guise of starting a FAMILY AND GETTING MARRIED. like that's just so cruel. and I would argue, that makes it so much more hurtful. It's like acid on a wound. and like you said, it's how he went about it that hurt Pocket rather than the act itself. Again, I'm not even mad anymore, i'm just downright disappointed.

Sigh, I'd have to complete reading chapter 18 and fully find out the truth of what happened first before I give my final verdict if Benjamin is a lost cost. But you are also a very talented writer so I have high hopes that you'll be able to pull through with this and have him suffer and go through pain worse than he's Pocket through and actually work on being better. Because (and i figured this out right this second lol if you can't already tell how my brain is wired with these entries then...well, basically i'm insane and have so many thoughts) the reason why Bobby keeps making all these mistakes over and over is because he's trying to be better for the wrong reason. He's doing all this work to be better and to gain Pocket's trust, why? Because he wants her back. He wants to be with her again, and honestly, I don't think that's the right way to go about it. He should be trying to be better for her because he realized how much pain he's caused her and he doesn't want that anymore. He should be trying to be better because he wants to be, so he can't stop hurting people he loves. But he's treating is as an objective, a goal to fulfill so he can get the prize which is getting the girl back. And that just seems like he truly hasn't realized yet just how much he fucked up, or at least, realized how hurt Pocket was with all of this. Like, he should be trying to be better without any expectations, it should be "I'm trying to be better so I can be a better person, and earn her trust back, whether we get back together or not, it doesn't matter. All I care about is fixing this mess and helping her heal and being a better person. No incentive, no price, just because I want to" but hey. what do I know

ANYWAYS, this got wayyyy too long I am so so sorry. But sigh, I'm both anxious and excited for the rest of Chapter 18, I know shits about to hit the fan but after that, I know Brandon is going to go through so much pain, and honestly, I'm here for it. The least he can do to understand what Pocket's been going through. You're amazing as always! sending you love!

Ok, first of all, we don't talk about Bruno. I'm sorry. I had to. Please forgive me. As for the things he told her wanted-- a place of their own, getting married, maybe kids-- he does want all that, so much, with her. He wants it so badly. There's some wording you used ("I still believe he has a good enough heart in him not to pull through because he truly never saw Jesse that way and he physically can't since he loves Pocket so much.") that I find very, very interesting, and I'd like you to hold this thought in your head until about Chapter 27 or so... Also, i like that you referred to her as Jolene, because "I'm beggin' of you, please don't take my man" is so appropriate here; though Pocket would never beg her, not even a little bit.

Again, so many things I want to say to you, but I cannot! For it would be spoilery and no one wants that! As always, though, your posts make my night. I look forward to them every day! <3

[nicoledoesstuff]

HEYAAA!! Sorrry Ya'll it's been a long time i haven't posted since these College things( A lot of assignment as always > ), So anyways just like as i was saying yesterday, or maybe very long day.

In a future world filled with numerous global challenges like inequality, corruption, environmental crises, social unrestan and all of the aspect **Mr. Peabody**, a genius dog with a time machine called WABAC, forms a bold plan to bring historical figures from the past to the present. Along with his friends—Sherman, his adopted human son, Toby the genius cat or partner bestfriend, kathrina, toby adopted human daughter and Kayleen, a bright young girl who has been appointed a "Junior President" by the President of Indonesia, Joko Widodo. She really active in many activities , she's make her own cartoon film business with her bestfriend. Mr. Peabody intends to address modern-day issues not only in indonesia but all around of world with help from the greatest minds and leaders from history.

Kayleen proposes an idea to Mr. Peabody: “What if we give historical figures a chance to return to life in the modern world? They could help us fix the world’s problems, and in return, they can learn from our era and perhaps even change their own historical paths for the better.” Like who knows if they all can help with this ways ?" Peabody agrees with the idea and mobilizes his company to perfect the WABAC machine. This allows historical figures to visit the modern world, help solve its crises, and return to their own times once their work is done.

From there, Kayleen is promoted to be the Director of Historical Integration of Mr. Peabody's project, heading up **TeamForthcoming**, a group created to make this vision a reality. The team's mission is to address pressing global issues such as poverty, gender inequality, lack of education, political instability, climate change, and human rights violations. This title reflects her crucial role in creating and designing the program that allows historical figures to travel back to modern times using the WABAC time machine. It also emphasizes her focus on the larger goals of world peace and the integration of all of team historical figures not only teamfourthcoming into the mission.

Kayleen, Sherman, and their friends Penny and Toby (Sherman’s best friend, a genius cat) form the foundation of TeamForthcoming. They enlist the help of historical figures such as **George Washington** (the team leader), **Ir. Soekarno** (the vice leader), **Abraham Lincoln**, **Albert Einstein**, **Marie Curie**, and many others to combat various global problems.

Among the **Notable Members of TeamForthcoming**:

- *George Washington (leader team)

- Ir Soekarno (vice leader team)

- Mohammad Hatta

- Sutan Syahrir

- Sudirman

- Alexander Hamilton

- Marques de Lafayatte

- Theodore Roosevelt

- Abraham Linclon

- Winston Churchill

- King George III

- Napoleon Bonaparte

- Maximillien de Robespierre

- Agamemnon

- Marie Antoinette

- King Tuthankhamun

- Grand Ay Vizier

- Monalisa

- Marie Curie

- Tapputi

- Susan B. Anthony(later)

- R.a Kartini(later)

- Amelia Earheart(later)

- Hellen Keller (later)

- Sigmund Freud

- Carl Gustav Jung

- Walt Disney

- Charlie Chaplin

- Harry Houdini

- Isaac Newton

- Antoine de lavoisiser

- Isaac Newton

- Albert Einstein

- Alan Turing

- Ada Lovelace(later)

- Nikola Tesla

- Thomas Alva Edison

- Henry Ford

-Charles Darwin

- Wright brothers

- Ludwig Van Beethoven

- Amadeus Wolfgang Mozart

- Hans Cristian Andersen

- Confucius

-Leonardo Davinci

- Albert Schwietzer

With **Robot Z3**, an advanced AI robot, added to the team, they are able to analyze data and offer technological support, making the team even more effective. Robot Z3 helps ensure that TeamForthcoming is equipped to handle the technical aspects of their missions.

**TeamForthcoming** not only focuses on solving global issues but also on educating the world through empathy, teamwork, cultural exchange, etc . Their first task is to revamp the global education system, starting with supporting orphaned children, both from the past and present. They believe that by involving these historical figures in modern-day issues, they can reshape the course of history for the better and guide humanity toward a more peaceful, prosperous future.

Not only teamfourthcoming i draw but i wanted plan to draw a lot of historical figures with the various of team. SEE U SOOn...

[proud-mama-joyce]

does this S4 song hint at S5 time meddling?

In the scene in 4:01 where Dustin and Mike are looking for a D&D sub, the song “Play With Me” by Extreme plays right after Dustin hangs up the phone: 

I think others have noted how the song itself is anachronistic for 1986, seeing as it was released in 1989. This would suggest it has additional importance as a song selection, since they’re usually careful about these details.

I also find it *very* interesting that the guitar solo section of this song was also featured in a scene of the movie Bill and Ted’s Excellent Adventure (1989). If you haven’t seen it, Bill and Ted are high school students on the verge of failing out of school when they are contacted by a man from the future, who tells them that the future of world peace depends upon their ability to pass their history project. (This is because passing school allows them to stay together to work on their music, which is destined to solve all the world’s problems.) Using a time-traveling phone booth, they travel across human history to temporarily capture famous historical figures to be involved in their presentation. At one point, several of them end up at the local mall and mayhem ensues ("Play With Me” starts at 0:49):

https://www.youtube.com/watch?v=Q8UGAbAPPkk

Why I think it could be an intentional reference: 

The song wasn’t released yet in 1986, as noted above, yet they chose to use it in ST (and I believe it’s the only S4 song like this, but correct me if I’m wrong). While the lyrics “do you wanna play with me” are obviously relevant for Mike and Dustin’s scenes here, I think there might be more to this, because...

The song being “out of place” in time for 1986 could relate to the time-traveling elements of the plot of BTEE (...and ST?...whatever’s going on, we know that specific times/dates have been emphasized in ST, there’s lots of clock imagery/etc., and we already have direct Back to the Future references in ST)

“Play With Me” is used very memorably in BTEE - not only is it during one of the most chaotic scenes in the movie, but it’s used diagetically (meaning characters in the BTEE universe hear it) as a time-traveling Beethoven experiments with musical equipment in the mall

BTEE is a popular 80s movie, so it wouldn’t be an obscure reference for a lot of the audience of ST (and if there’s more to this connection in S5, it would fit in with the 80s nostalgia of ST)

When “Play With Me” is used in ST, it starts playing during the shot of the phone, and the use of the phone is integral and iconic in the time travel in BTEE

Phones in ST appear linked to several lingering mysteries (how did Will call Joyce from the UD? Why couldn’t Mike get through to the Byers family in California even before Joyce started her new job? Why does Joyce get mysterious phone calls in S2? How and why is electricity connected with UD-related phenomena?)

Other similarities include: 

high-school-aged unlikely heroes in both stories

themes of “saving the world”

this electrical storm imagery:

(above: electrical disturbances in stormy clouds before the arrival of the time-traveling phone booth. Could be coincidence, but I see some similarity with Mind Flayer/UD imagery.)

this line--probably nothing but I couldn’t leave it out: 

Right as Bill and Ted watch their future selves arrive in the time-traveling phone booth for the first time...

...Ted says, “Strange things are afoot at the Circle K.”

What I’m wondering now:

Could this reference support the idea that ST characters will be interacting with their own S1-4 timelines in S5? Aside from other ST-related reasons we’ve had to wonder about this possibility, Bill and Ted’s story includes scenes of them interacting with themselves in their current timeline as well as in the past. They’re seen giving their previous selves advice or placing items in convenient locations so that their plan can succeed. 

How does this possibility relate, if at all, to the fact that the UD was “frozen in time” on Nov. 6th, 1983? There are no explicitly stated alternate dimensions in BTEE, but if Bill and Ted had failed, they would have ended up in a different timeline, and this would have created a paradox. Could our characters be in a similar situation? How are time and alternate dimensions related in ST?

Is it significant that Mike is also shown in a phone booth in S4? (In the Nevada desert calling NINA.) If ST5 builds on BTEE references, are these scenes foreshadowing S5 roles for Mike and Dustin in particular, or the Party as a whole? 

Dying to know what anyone else thinks too!

[earhartsease]

it's funny/sad thinking about how we might have made it as a professional classical percussionist if we'd known back then that we had adhd, and if meds had been available (they emphatically were not in the 80s, for british adults) - we gave it up in our early 20s because of the horrible FOFU* (and that one time we did dramatically fuck up**), due to losing count because our mind would tend to drift easily during the inevitable 105 bars' rest etc

okay we also came to hate the other small-time professional musicians, who seemed to have decided collectively that it was uncool to actually love the music we were playing, which wtaf why would you let yourself stop loving it

but the adhd meds could have made us good

*Fear Of Fucking Up

**that one time we were playing timpani in Beethoven's 8th symphony and lost track thanks to a lot of rests and ended the jaunty third movement a bar earlier than everyone else, and the look the conductor gave us has scorched permanent claw marks in our heart, yes we're still trying to let go 42 years later - okay it may have only been just a little concert in a local school hall but our integrity demands endless remorse

[sammydem0n64]

🚻 attack parry 🚻 🚻 🚻 🚻 🚻

OH FUCK A PARRY

I think Grinny fucking loves pickles. His favorite food me thinks. If he wasn't broke as shit he'd buy those big papa or hot mama pickles. Anytime he successfully infiltrates a house that has pickles in the fridge YOU KNOW HES STEALING THEM! This idea came to me bc I randomly imagined him eating a chamoy pickle and it was so damn funny to me for some reason I'm making it an integral part of his character

Frost learns to speak Malay during Lilyheart's main story o7

I think, in a universe where Cornelius knows where his sons are and wouldn't get pulverized for breathing the same air as them, he'd def b the kind of dad to try and guilt trip them into sending him money AS IF HE DIDNT WALK OUT ON THEM LMFAO

I think Melphis loves swedish death metal.

PB the type of person to make some absolutely dogshit remixes for the bit. Putting together Chug Jug With You and a beethoven symphony with an abysmal transition just for outrage lol

[mod-a-day]

Rob Hubbard, Matthew Simmonds (4-mat) Entire Soundtrack (PC remake, "Classic" Mode) Jet-Set Willy (1984, 1997) Software Projects

Note: This music's quality was reduced to 80 Kbps in order to fit into the site's 10 MB file limit for audio files.

[blackswaneuroparedux]

If I belong to any tradition, it is the tradition which makes the masterpiece tell the performer what to do, and not the performer tell the masterpiece what to do.

- Alfred Brendel

Alfred Brendel has been a hugely respected figure on the global piano scene for as long as I can remember, and his retirement from performing in 2008 (appropriately, for an artist who has focussed on the composers of that city, in the golden hall of the Musikverein in Vienna) was met with many generous plaudits tinged with sadness at the end of a great, music-filled career; he had been performing for some 60 years. He preferred not to continue to perform until his faculties or physical health deteriorated. So, there was no farewell tour, just a single concert, and the manner of Brendel’s retirement is perhaps typical of an artist who is intensely self-contained and a very private man.

It takes a lot of imagination to bring a work alive but it is on the terms of the compositions and not on the terms of showing off. It is not possible without you, but I am responsible to the composer and particularly to the piece – Alfred Brendel

He is a musician whose intellectual curiosity and rigour has continually fuelled his understanding and appreciation of the music he plays. He is a great researcher and autodidact, an eloquent writer, who pursues parallel interests in art, literature, poetry and philosophy which undoubtedly feed his musical landscape. He was one of the first pianists of the modern era to perfect “intellectual” music making, and embraced the model of the thinking musician rather than one driven by emotion. For some, this has resulted in playing which is rather cool; Brendel may not be a risk-taker in performance, but his greatness perhaps lies in his impeccable taste and musical integrity, founded on a very deep understanding of the music in all its structure, nuance and variation, and the expressive effect of these formal qualities.

Alongside this, his evident affection for the music he plays enhances our own experience and appreciation of it. A communicator in his craft, he always manages to convey mood, be it wit and humour in Haydn, rhetoric and despair in Beethoven, or the bittersweet nostalgia of late Schubert. (Perhaps one of Brendel’s greatest achievements has been to raise the profile of Franz Schubert, a composer who, without Brendel’s, advocacy would probably still be regarded as the poor relation to Beethoven.)

He has avoided the usual channels to success with a stubborn wish to carve his own career path, avoiding the aura of celebrity which surrounds other artists, and allowing his musical development to mature at his pace and on his own terms. Thus, his reputation is almost entirely built upon his impeccable playing rather than the effect of marketing or powerful record companies.

It is the Viennese masters - Haydn, Mozart, Beethoven and Schubert - with whom Brendel feels the greatest kindship and to whom he has paid the most scrupulous attention, but it is worth observing that he started his career in the 1950s with notable performances of Prokofiev (Piano Concerto n°5), Stravinsky (Petrushka), Mussorgsky (Pictures of an Exhibition), and, in the sixties, Chopin.

As for those composers with whom he is now most closely associated, when one considers the huge variety and complexities of their writing, his repertoire seems very broad indeed: Haydn’s Piano Sonatas, the complete piano sonatas of Mozart and Beethoven, not to mention his Piano Variations, Concertos,  and Cello Sonatas; Schubert’s Piano Sonatas; Schumann’s Piano Concerto, Kreisleriana, the Fantaisie op. 17, Fantasiestücke, Kinderszenen.

Then there are his acclaimed recordings of Liszt – the Concertos, Totentanz, Malediction, Années de pèlerinage, Harmonies poétiques et religieuses; plus works by Brahms, Busoni, Berg, Schoenberg. On top of all that, between 1958 and 1964 Brendel became the first pianist to record the complete piano works of Beethoven.

He was made an Honorary KBE in 1989 for his “outstanding services to music in Britain”, awarded the Légion d’Honneur in 2004, received the highest rank in the Order of Merit of the German Federal Republic in 2007, and holds honorary degrees from the universities of Oxford, Yale, Exeter and Dublin.

He is a recipient of the Hans von Bülow medal of the Berlin Philharmonic and was made an Honorary Member of the Wiener Philharmoniker in 1998, an honour conferred on only two other pianists, Emil von Sauer and Wilhelm Backhaus, since this orchestra’s foundation in 1842. Alfred Brendel has begun giving illustrated lectures at musical institutions and universities around the world on musical subjects and issues that have always been central to his own insatiable interpretative quest.

His farewell concert took place with the Vienna Philharmonic on December 18, 2008, which was recently voted one of the 100 greatest cultural moments of the last ten years by The Daily Telegraph.

[operatic-music]

Creativity is something that is crafted, harnessed and shaped. Creativity in itself doesn't create anything.

Johannes Brahms (1833–1897) was a German composer and pianist of the Romantic era, whose music is celebrated for its depth, richness, and structural complexity. His compositions encompass a wide range of genres, including symphonies, chamber music, piano works, and choral compositions. Brahms was known for his meticulous craftsmanship and adherence to classical forms, earning him a reputation as a successor to Beethoven. His symphonies, particularly the monumental Symphony No. 4, are considered masterpieces, showcasing his mastery of orchestration and emotional depth.

Beyond his musical prowess, Brahms was a private and introspective individual, and his compositions often reflect a profound exploration of human emotions. His legacy endures as his works continue to be integral to the classical repertoire, influencing generations of musicians and listeners alike.

Do you agree with him?

[sarahtheflutist]

Symphony No. 4 in B-flat major, Op. 60

Ludwig van BEETHOVEN

About this Piece

Composed: 1806

Length: c. 35 minutes

Orchestration: flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

First Los Angeles Philharmonic performance: April 26, 1928, Georg Schnéevoigt conducting

If Beethoven’s Symphony No. 4 has been neglected by music historians and commentators, there are probably several reasons for this, the most obvious being when it was composed. Specifically, in Beethoven’s chronology it had the misfortune to be placed between that great “watershed work” Symphony No. 3 (“Eroica”) and the Symphony No. 5. But it was also surrounded by such great works as the “Appassionata” Sonata, Op. 57, the three Razumovsky Quartets, Op. 59, the opera Fidelio, Op. 72, Piano Concerto No. 4, Op. 58, and the Violin Concerto, Op. 61. These works all fall very close to each other in time; they all succeed the historic innovation of Symphony No. 3, and they all embody what has come to be called Beethoven’s “symphonic ideal.”

The symphonic ideal is of a two-fold nature: technical and extra-musical. Beginning with the “Eroica,” Beethoven expanded virtually every dimension of sonata style to a degree that was unfathomable at the time – and in many ways, still is. Technically, this means that all structural elements, including harmony, rhythm, melody, key relationships, chord spacing, and instrumentation were integrated so that each element is reflective of the others. By isolating an element such as a melodic fragment or a harmony in one movement, and then transplanting it to another in order to develop it further, Beethoven expanded the process of “thematic recurrence,” thereby demonstrating the organic unity of all elements. This revolutionary unity of form raised the classical relationship of part-to-whole to a higher level. It is almost as though Beethoven was writing music about music.

Equal in importance to the technical aspect of the symphonic ideal is that of the extra-musical and, by way of implication, the psychological. In fact, the technical and extra-musical/psychological aspects cannot be separated. For it is Beethoven’s intellectual penetration and manipulation of his materials, and the resulting organic growth of “evolving” themes and their dramatic interplay with all the forces of the symphony that suggests a kind of heroic psychological journey toward individuation. A programmatic title such as “Eroica” (heroic) consciously given to a work that its author knew to mark a turning point in modern symphonic writing boldly states the case. It is this aspect of his work that is identified as “romantic,” in spite of the absolute “classicism” of the musical structures.

Though the Symphony No. 4 shares many aspects of the symphonic ideal with its immediate siblings, it does not necessarily wear its psychological meaning on its sleeve. It could be that this lack of psychological catharsis is the reason for the neglect by the commentators, as it is often tossed off as being a pint of relaxation between the titanic intellectual demands of the “Eroica” and the Symphony No. 5. What it lacks in “seriousness” is balanced by its directness and its classically contained power.

The Adagio introduction of the first movement establishes an ambience of suspense by avoiding the key of the Symphony, for 42 measures. Beethoven presents a theme in the strings that hovers harmonically between G-flat major and B-flat minor and is made up of interlocking melodic thirds. The music then moves through a series of keys until it reaches the tone A, at which point both the tempo and volume increase into the Allegro vivace and the “real” key of B-flat major. The movement ends with a codetta based on the first theme.

In the Adagio second movement, the opening accompanimental figure threads its way through the movement as a series of rhythmical metamorphoses with each statement of thematic or transitional material, but always appears in its original form with each repetition of the first theme. The movement ends with a brief coda followed by the accompaniment figure played as timpani solo.

By any other name, the Menuetto would be a Scherzo, a scherzo and trio that is. The trio section contrasts with the scherzo by way of a slightly slower tempo and more prominence given to the woodwinds.

The infectious joviality of the fourth movement is attributable to the 16th-note subject stated in the strings. The second subject, played by the oboe, offers the only textural change to the perpetual motor rhythm of the 16th-note motion. Beethoven finally brings this riotous moto perpetuo to an end by increasing the note values of a fragmented first subject to eighth notes separated by rests, thereby creating the effect of a gradual winding down. This brief caesura is dispelled as the 16th-note motion sarcastically returns to punctuate the symphony.

-Composer Steve Lacoste is Archivist for the Los Angeles Philharmonic Association.

[the-perfect-wagnerite-returns]

The primary conflict of philosophy I'm caught between right now is the opposition between the Kantian and Romantic senses of the aesthetic.

On the one hand, Kant's detached, will-less contemplation of the aesthetic makes perfect sense in the domains of pure art and nature, which are really all that Kant concerned himself with. We don't impregnate nature with our rational faculties as we enjoy it any more than we wish to apprehend it. We see flowers, mountains, and clouds, and we can't be anything EXCEPT detached. How could we possibly will ourselves into a state of apprehension of nature and still be in a mode of aesthetic judgment? This breaks down slightly as we move to artifacts with function and utility, but whose aesthetic faculties we still find pleasing. I contend that our appreciation of a beautiful chair or table is in spite of its utility, and not as a result of it. So Kant remains mostly correct.

The problem comes from music, which cannot exist as an independent object of aesthetic contemplation. Here, the ONLY order we can perceive is that which we supply in the process of our experience of music. Music is not an "object" as such, it's a pure event, a function of time that expands within a "nonspatial space" wholly unique to it. There is no music where there is no subject integrated with its matrix, and so the Kantian detachment is rendered impossible. But once that hurdle is overcome, we are cornered back into Kant's frame, for how else could we engage with music except as a disinterested subject? It's not as though we can grasp a musical line, wrestle with it, bend it to our will. We are as much at the mercy of a symphony as we are a hurricane or an earthquake. Many have remarked that the Kantian conception of "dynamic sublimity," originally ascribed to natural forces beyond the scope of human powers, achieves a remarkable affinity for works of such majesty and scale as Beethoven's 9th or Bach's B minor Mass.

I'm positive that there is a line of thought somewhere that explains this apparent contradiction, but I'm just throwing words down as a way to exercise my own thinking for now.