#salome/verse: main.

[idiotheart]

@nefariuus | i’m human, you know, like everyone else. - from Kipling for whoever u want 🤭

The move was exhausting - even four months later, she still feels the proverbial jetlag, and they didn't even require flying, just Damien driving there with so little in their collective luggage. Like their past, shared and separate, was nothing but handfuls dust, dirt, and air.

And all five of her pets, of course.

Damien said it'd be good for them, the move, a different country, while he still has the same job more-or-less, and she can find another truck driving job, "or something", here, something a bit more local. And she is looking, obviously, while hissing through her teeth at the cost of animal daycare, but she doesn't have the same connection here. No undead murderers luring her into apprenticeships, that's for sure.

Anyway, she's visiting his place of work - she could probably get in, bother him a little, because while yes, she owes him now, it's not like she can't still make him regret looking for her.

Yet she must wait. Sits where the journalists work, off to the side as if she belongs there. Apparently he's in a meeting.

There's plenty of people all a-buzz, busy as the worker bees. A guy in particular, no idea what his name is, but he's got freaky blue eyes, glances over. Once. Twice. Only in the past half-hour, but she still sneers at the second time he does it - same as she does to every passer-by, every other seated journalist.

He doesn't let it go by without comment. Bold. Unfazed. Willing to push.

She resists the urge to pout - that's something she saves for home when Damien tries to reason with her. "Fannn-tasss-tic," she says, drawing out the syllables with a final snap on the last. "Almost mistook you for a tabloid journalist." No need to tack anything onto the end, there.

Where the fuck is Damien? How long do meetings go on for?

[zorkaya-moved]

Enjoy my Virchemore Zarina lore bits I have no yet fleshed out since I sent them to my friends on Discord but the Virche Evermore verse is coming and I hope I'll be able to manage it tomorrow. There are some additions compared to Discord version but not too much.

1) A(n adopted) Daughter of the Balland family who is responsible for fine arts and design on Arpechele. She is a young prodigy but that remains unknown to others as they mostly see her as a 'Queen of Fine Arts' (aside painting). Adopted by Monsieur Balland from one of the orphanages. Will her parents ever be found out? Nah.

There are 4 families who 'support' the Royal family: Proust of Martial Arts (no longer active), Claude of Knowledge, Auric of Agriculture, Balland of Fine Arts + Design.

2) Since Royal family does nothing and the Institute is researching + creating Relivers, I assume the three (four) families act as a government system in terms of keeping the citizens’ daily lives somehow working as a society esp with agriculture and knowledge distribution. Zarina will get her little hands into every single family because she's that bastard and you know she is someone who gets the information for her schemes.

3) Zarina is - as she is in her main verse - a genius, specifically someone who learns and captures skill sets fast and adapts quickly. That’s the reason Monsieur Balland adopted her because he saw her potential. Judging by Salome’s words, said Monsieur Balland might be dead. However, Zarina as his heir is mostly known to the general public as the person who operates in fine arts and works closely with Claude family as literature/fine arts and knowledge go well together.

To those in the more authoritative sphere, she is known as the person who works as a united front in terms of proposals and improvements when it comes to political decisions and societal reforms. However, as we know, Royal Family sucks ass and it’s nigh impossible to pass any new laws that are benefitting society as a whole. 

4)I’m thinking of having Zarina and Claude family after Balland’s death to have a small conspiracy since Camille wasn’t acting as a proper heir after Rosaline which specifically allowed her to study the languages in pretense of using it for fine arts and design aspects (unique words, lyrics, inspirations, etc.) but it all stopped after they passed away. By doing so, she hid away some of the books that Royal Family wasn’t able to confiscate for her own study and learning to see if anything can be changed or done before she dies or if she must become a Reliever to continue her own interests and fulfill a promise to the one who acted as her father. She personally does not care about anyone in Arpechele aside from her 2 maids (Anais and Ines) who act as a family to her. She has an ambition and a twisted wish to see how far she can go as a human which goes along with her general behavior and goal setting from across all verses.

5) Judging by Salome’s mention, Balland family might be sponsors of the orphanage. Well, one of the sponsors, possibly. I’d keep that as a part that will bring Zarina over to Coene in disguise because ~yeah~ or something like that, which Salome personally knows or they too exchange letters especially after Balland’s passing.

6) [HIGHLY IN NEED TO BE WRITTEN OUT] I’m also thinking of Zarina’s manipulative charming ways and her getting on Royal Family’s [good side] through charms and seduction which gave her access to some possibilities and knowledge which makes Royal Family see her as a [pawn] without knowing her internal works and connections that she builds up to someday have Royal Family off the charts but she’s also aware her 23 years won’t be enough but she is still on edge about becoming a Reliver. People from the Institute may see her as a royal family’s ‘tool’ without a good look so she might be sharing some information here and there on their planning of assassinations or smth like that. But that’s smth I’m still thinking about.

[reedreadsgreek]

John 19:24b–27

24b Οἱ μὲν οὖν στρατιῶται ταῦτα ἐποίησαν. 25 Εἱστήκεισαν δὲ παρὰ τῷ σταυρῷ τοῦ Ἰησοῦ ἡ μήτηρ αὐτοῦ καὶ ἡ ἀδελφὴ τῆς μητρὸς αὐτοῦ, Μαρία ἡ τοῦ Κλωπᾶ καὶ Μαρία ἡ Μαγδαληνή. 26 Ἰησοῦς οὖν ἰδὼν τὴν μητέρα καὶ τὸν μαθητὴν παρεστῶτα ὃν ἠγάπα, λέγει τῇ μητρί· γύναι, ἴδε ὁ υἱός σου. 27 εἶτα λέγει τῷ μαθητῇ· ἴδε ἡ μήτηρ σου. καὶ ἀπʼ ἐκείνης τῆς ὥρας ἔλαβεν ὁ μαθητὴς αὐτὴν εἰς τὰ ἴδια. 

My translation: 

24b The soldiers, therefore, on the one hand, did these things, 25 but on the other hand, standing alongside the cross of Yeshua were his mother and the sister of his mother, Mary the wife of Clopas and Mary the Magdalene. 26 Yeshua, therefore, having seen his mother and disciple whom he loved standing alongside, says to his mother, “Dear woman, look, your son.” 27 Then he says to his disciple, “Look, your mother.” And from that hour the disciple took her unto his own. 

Notes:

19:24b 

μὲν introduces the protasis of a μὲν ... δὲ construction, the apodosis of which occurs in verse 25. The UBS text has a period at the end of verse 24, which obscures the antithesis of the construction: while the soldiers are busying themselves with the clothes, John, Mary and the other women approach the cross unhindered (so CGT, ICC). Alternatively, ZG says μὲν οὖν here is ‘summing up before beginning a new section,’ which is how it is treated by most translations (sim. EGGNT). 

The clause introduced by οὖν recapitulates the content of verses 23–24a. 

οἱ στρατιῶται is the subject of the aorist ἐποίησαν (from ποιέω) and the direct object is the substantival near-demonstrative pronoun ταῦτα referring to the division of the clothing and casting of lots. 

19:25 

δὲ introduces the apodosis of the μὲν ... δὲ construction introduced in verse 24. 

The pluperfect εἱστήκεισαν (from ἵστημι) is modified by the spatial prepositional phrase παρὰ τῷ σταυρῷ (“by the cross”, NASB, HCSB; “near ...”, NRSV, NIV; “beside”, NET). The genitive τοῦ Ἰησοῦ is possessive. The compound subject of the verb is four women: ἡ μήτηρ αὐτοῦ (Mary, never named in this Gospel), ἡ ἀδελφὴ τῆς μητρὸς αὐτοῦ (Mary’s sister, probably Salome, John’s mother), Μαρία ἡ τοῦ Κλωπᾶ (Mary, the wife of Clopas) and Μαρία ἡ Μαγδαληνή (Mary Magdalene). It is possible to read Μαρία ἡ τοῦ Κλωπᾶ as appositional to ἡ ἀδελφὴ τῆς μητρὸς αὐτοῦ, but this is less likely; four women are intended. That the first two women go unnamed is consistent with John’s reluctance to give details close to himself (those women being his aunt and mother, respectively; ICC). The pluperfect tense with ἵστημι has an imperfect sense. 

19:26 

Ἰησοῦς is the subject of the main verb λέγει below. The 2nd aorist participle ἰδὼν (from ὁράω) is temporal-antecedent and/or causal with λέγει. The compound direct object of the participle is τὴν μητέρα καὶ τὸν μαθητὴν. The antecedent of the relative pronoun ὃν is τὸν μαθητὴν. ὃν is the direct object of the aorist ἠγάπα (from ἀγαπάω) and the unexpressed subject is Jesus. The perfect participle παρεστῶτα (from παρίστημι) is predicate after a verb of perception. 

Ἰησοῦς above is the subject of the historical present λέγει (from λέγω) and τῇ μητρί (i.e., Mary) is the indirect object. 

γύναι is vocative singular (see note on 2:4); NLT: “Dear woman”. 

For ἴδε, see note on 1:29. 

The nominative ὁ υἱός, modified by genitive of relationship σου, denotes the object of attention after ἴδε. The reference is to “the disciple Jesus loved”. 

19:27 

The transitional adverb εἶτα (“then, next”; see note on 13:4) modifies the historical present λέγει (from λέγω) whose indirect object is τῷ μαθητῇ. Jesus is the unexpressed subject of the verb. 

For ἴδε, see note on 1:29. 

The nominative ἡ μήτηρ, modified by genitive of relationship σου, denotes the object of attention after ἴδε.

The temporal prepositional phrase ἀπʼ ἐκείνης τῆς ὥρας modifies the 2nd aorist ἔλαβεν (from λαμβάνω) whose subject is ὁ μαθητὴς αὐτὴν. The prepositional phrase εἰς τὰ ἴδια idiomatically means, “into his own home” (cf. 16:32).

[theundecider]

[ @halbermenschen​ / lyric starter call. / two door cinema: undercover martyn ]

“You hid there last time, you know we’re gonna find you.”

[magtitude]

“i love you.” / you know who,,,

3 little words ( and i’m all yours ) | accepting | @bestvictim

———

     “I love you.”

It feels like a dream to hear it, like the rug under her feet ready to be pulled out from under her by the waking world imposing it’s reality on her again. Salome knows that confession is a hard thing, even when it should seem easy; that talk of feeling, of this choice, is frightening. ( Is love a feeling? What is it, if it isn’t? A choice? A decision? A whim? Someone’s surely given the real name for it by now. )

“I love you.” A tense thing, muffled into Tegan’s neck, behind the shell of their ear. I love you, too, sounds bitter, sounds forced. Having this is frightening – normal loving life ( in as much as it could ever be normal ) is a foreign concept, in the way that she’s been bubbled away from it for the most part. Except for Clara, but even then that was stained by… If she thinks any more about this, about this good and wonderful thing she’s wanted for so long, she might end up crying, and never stop.

Even as her back begins to protest, she stays bent to Tegan’s height, and kisses them on the cheek – chaste and tender. “I love you,” she repeats, fright balanced with the growth of relief.

( This love does not need to be ‘holy’ to be good. )

[chaosmultiverse]

@hifimuses​​ Liked For A Starter

So The Prince had learned about a few people he wasn’t aware of before from Dimitri, people from the dark side which overall Prince had had better luck with befriending in the past.

So he appeared before one rather stormy lady “Hello my love! I’ve heard a bit about you, you are on the dark side if I am not mistaken! Well I am a lover of all things dark side so I thought I should introduce myself to you! I am The Interdimensional Prince!” He wasn’t really a lover of all things dark side, he just liked Dimitri but she sure as hell didn’t need to know that.

[kenkamishiro]

20210218 Jack Jeanne Creator Interview with Famitsu - Interview #1 with Ishida Sui

The Jack Jeanne staff (Ishida Sui, Towada Shin, Kosemura Akira, Seishiro) were interviewed by Famitsu, a Japanese gaming magazine for Jack Jeanne’s release. Someone was kind enough to let me read it, so I’ll be translating the 4 interviews. The interview with Ishida I’ll do a full TL, and the other three I may do more of a summary since I’ve been busy lately.

Ishida Sui

Creator / Character Designer / Script Supervisor

Mangaka. From Fukuoka Prefecture. Creator of “Tokyo Ghoul” and “Tokyo Ghoul:re.” 2021 marks his 10th anniversary in the art industry.

Characters that were created based on the idea of “personifying plays”

Please share with us how you honestly felt when you received the commission request for this work.

That it seemed kind of questionable but interesting nonetheless. “If others can do it, I can too,” I thought.

How did fans react after Jack Jeanne was announced?

I still get letters from the readers of Tokyo Ghoul to this day, but some of them would bring up Jack Jeanne, or mention that they like a character and are interested in them even before the game’s release, so it makes me happy seeing that reception.

Please share with us your thoughts about being in charge of the character design.

It was a good learning experience because it was something I’d never done while working on my manga, trying to finalize the 6-member cast of the protagonist and the main characters, and then completely focusing on them as an elite squad. I tend to make too many characters, so...

When coming up with a character, how do you develop their image?

Previously, I decided it based on the character’s name and face. But with Jack Jeanne, it was a trial-and-error process. At first, I envisioned each character as a personification of a play - for example, Fumi was modelled off of “Salome”, Yonaga off of “Shintokumaru”, Shirota from one of Yamamoto Shūgorō’s works... I dropped the idea after that...and that’s how they were developed. They were created in a peculiar way this time.

Which character did you have the easiest time drawing, and on the flipside, which character did you find yourself struggling to draw?

Kai was the very first character I created, followed by Fumi. Those two I was able to draw relatively quickly. I wouldn’t really call this a struggle, but Suzu, the one with the red hair, wasn’t part of the main cast of six at first. Ootori, the blond character with the prickly personality, was actually part of the main cast at first, but since I wanted a simple-minded character, Suzu ended up being promoted.

I’m sure you consider every character your favourite, but if you had to pick only one character, who would it be?

Probably the main character Kisa. She embodies everything I think of in a shoujo manga protagonist, and I’m very fond of her. But I really do love all the characters. They each have their own appeal, so I can’t settle on just one.

Was there anything you had to constantly keep in mind when designing the characters for Jack Jeanne?

Broccoli specially requested that I give every character a strong colour palette. It’s because if I’m left to my vices, I end up using only subdued tones...I also constantly kept in my mind that I was making them look good-looking as boys.

You were also responsible for the event illustrations in the game. Could you give more details about them, and any difficulties that you faced?

For the event illustrations, I had to be aware of what scene would best match the script. Towada-san also specified where the illustrations should be inserted, but if there was a better scene before or after it, I gave priority to it instead. The hardest part...was drawing them all by myself. There ended up being more than 160 illustrations.

I heard it was you who requested Touyama Maki to design the chibi characters. Please share with us the appeal of the chibi characters drawn by Touyama-san, as well as your thoughts when you saw the chibi characters in the game.

Touyama-san’s appeal...is that their art is great! The deformed characters are perfectly balanced and outstandingly stable. I’m also a fan of their art and I like their life-proportion-size characters. It’s really cute seeing them move their tiny limbs around on the game screen.

Despite his humble abilities as an amateur lyricist, he oversaw every song with a burning passion that was second to none.

You supervised the game and the script, but what was the most memorable part of working on this game for you?

For starters, I vividly recall talking with Towada-san all the time. It was common for us to spend 10 hours a day talking to one another, several times a week.

How did production handled between the two of you for the script proceed?

I come up with the general outline. I’d talk about the overall flow and the key developments during the meetings, and Towada-san would take that and organize it, adding descriptions and colour to the details. It would have been impossible to create Jack Jeanne without her.

You wrote the lyrics to all the songs, including the opening song “Jack & Jeanne Of Quartz.” Please share with us how you came to be in charge of the lyrics.

Originally, there were several candidates, and there was even one person that I thought, “This person might be the one.” But I realized that it would take an enormous amount of time to share the understanding of my work to them, so I decided to give it a try, thinking that even an amateur would be the best for the job as long as they were passionate.

How did you come up with the lyrics?

I’m embarrassed to say this since I’m a complete amateur, but I tried my best to associate it with the feelings and information related to the subject, and whether it sounded good when sung...at any rate, I did my absolute best.

Are there any verses in the lyrics that you’d like people to pay special attention to, or any phrases that you really liked?

Avu-chan from Ziyoou-vachi (a 4-member rock band) is a friend of mine, but when I met up with her, I had her look at the lyrics, and the part she liked I also ended up liking. It’s the phrase “charcoal night grey” in the opening song. I also like the last two lines of the ending song because they represent the entirety of the game.

What was the most memorable interaction you had with the composer Kosemura-san?

He was professional in that every time, he exceed my expectations in what I wanted conveyed. We also spent about a week together (?) during the recording boot camp for the demo songs, and the time I spent sitting next to him and listening to the same songs was surreal. I couldn’t believe the person sitting next to me wrote the songs that I listened to as a student.

I want readers to like Kisa. A cover illustration filled with strong emotions.

On October 9, 2020 on Twitter, you tweeted, “Makin’ games is hard.” What was it you found difficult?

I was given a lot of decision-making authority as a producer, but since I’m a company outsider, I had a hard time making decisions without seeing the actual situation or making choices in areas where I had no insight. It was a tweet vexed from my inability to understand due to lack of experience. I wish I had more power...

What do you want people to pay attention to when they play the demo version?

I’d like people to pay attention to the fact that the art and script were created by very few people (almost two people), much like an indie game. Something like, “Ishida really drew all these characters!” or “Towada-san really wrote all the script!”...there is more to come in the full version.

You drew the cover illustration for this issue of the magazine, but I’d like to hear more details regarding this.

I drew it while reflecting on how lucky I was, like, “I’m really drawing for the magazine I’ve read since I was a kid...!?” I drew both male and female forms for Kisa, in the hopes that people would come to love the main character.

Please leave a message to your fans and readers who are eagerly awaiting the release of this game.

I made it so that players of all ages and genders can enjoy the game. There is a lot more in store besides just the illustrations. I hope you will play it!

[whenitsdarkweilluminate]

Baku 2012 – Semi-Final 1

Host: Azerbaijan Slogan: “Light Your Fire!” Participants: 42 Voting method: 12-point system (50/50 system - combined) Format: 2 Semi-Finals / Grand Final = the top 10 of semi 1 & 2 + the Big 5 + host General Overview: 2012 sees Eurovision return to Eastern Europe! But there was one major issue with Azerbaijan hosting – they did not have a venue large enough to facilitate the contest. So the government funded the construction of building one – the Baku Crystal Hall. Also, there was all kinds of human rights violations and political tensions in the lead-up to this contest, because of course there was.

The presenters this year are Leyla Aliyeva, Eldar Gasimov (the “Ell” of Ell & Nikki) and Nargiz Birk-Petersen. And oh boy, this is one dry and awkwardly unfunny scripted hosting team. This year sees the return of Montenegro after a 2-year absence, while Poland takes a break. Armenia also skips this one for obvious reasons.

The 2010 and 2011 contests experimented with allowing televoting during the performances, but this year the voting window reverts back to its “normal” slot. Albania won the jury vote in this semi-final, while Russia dominated the televote, which was enough to win SF1 overall. In other news, the juries stopped Switzerland from qualifying, and we get Hungary instead. The interval act stars the Natig Rhythm Group. It's a showcase of Azerbaijani cultural music and dancing, featuring lots of high speed hand drumming. There's also some cuts to the artists dancing in the Green Room.

During the results reveal, the hosts carry a golden ticket to the stage to reveal the final qualifier for some reason (which was Ireland). This lead to Jedward cartwheeling their way to the main stage. × Montenegro: Rambo Amadeus - Euro Neuro Yeah... file this one under the long list of “try-hard” joke entries I don't find amusing. I've heard that “Euro Neuro” drawing first is why the EBU ditched randomized running orders after 2012. I can see why because this is not a good opener. An eccentric, politically-charged novelty entry with horrific rapping isn't going to hook an audience in. The performance begins with Rambo acting as a cloaked, dark wizard casting a spell. Then the song becomes an anti-conservatism rant, where Rambo talks in a drunk voice and completely disregards following the beat. Seriously there's no coherent melody or flow to this. It's also accompanied by a tepid funky bassline. The chorus involves some folksy strings and background chants, but it's not that effectively catchy. The staging is also weird. There's a Trojan horse and a bunch of slogans written on banners, which are eventually used to mummify a band member. The song's message, meanwhile, advocates for a more altruistic government agenda. The lyrics contain some funny wordplay, where Rambo shoehorns the most awkward rhyming choices (“analphabetic” “dialectic”, “bicyclism” and “reumatism” in particular). The “always stay cool like a swimming pool” line is pretty ridiculous too. But musically speaking, “Euro Neuro” is a clumsy mess. Even if that's the intention, I have little reason to seek it out. ✓ Iceland: Greta Salóme & Jónsi - Never Forget Jónsi returns from 2004, as he teams up with Greta Salome, who will reappear in 2016! “Never Forget” is a melodramatic entry. The song's atmosphere is ominous and chilling, kind of like a ghost story. The booming percussion in the verses is like a thunderstorm striking or waves crashing. It's tense and turbulent. While the pre-chorus builds nicely to the climactic “free-eee-eee-ee” hook. The violin solo is another highlight, where Greta gets quite into it. And the dark blue aesthetic, as well as Jónsi serious looks into the camera, completes the haunting vibe. The chorus, meanwhile, is powered by the duet's firm harmonies. It's somewhat theatrical though, which undercuts the dark atmosphere. But Greta and Jonsi's contrasting vocals blend well together. He's more solemn, while she's more wistful. And the song is still emotionally intense overall. The lyrics tell the story of a separated couple, both of whom are dwelling on memories at night, as they await to reunite at dawn. It's a powerful performance and a polished arrangement... and it's my winner of SF1! I wish it did better at the GF. ✓ Greece: Eleftheria Eleftheriou - Aphrodisiac The song that broke Greece's top 10 streak (which started in 2004), although it did finish 9th in the televote. Perhaps “Aphrodisiac” sounded too dated and unoriginal. It encompasses an early 2000s Euro-dance rhythm, with a bouzouki thrown in for good measure. Which basically describes Helena's entries. I also get J Lo vibes at certain points. But what truly brings this down for me is how Eleftheria sounds like she's suppressing a giggle when she says the word “aphrodisiac”. It makes the song seem immature. The lyrics are pretty lazy as well. That all said, “Aphrodisiac” does deliver some dominant and irresistibly catchy hooks (thanks to the Swedish songwriters involved). Namely the thumping build-up of “over and over I'm falling”, the “oh oh oh... oh” refrain, and the bouzouki riff itself. A bop is a bop! Moreover, the song follows a highly energetic pace, as the imposing dance-pop production steamrolls by. It never becomes annoying or monotonous though. And the choreography is serviceable, with all those hair flips. The staging also goes for a beach theme, with the oyster shell in the background and the dress colours. × Latvia: Anmary - Beautiful Song This just seems so amateur. Like....what are these lyrics? The song describes Anmary's aspirations to become a famous musician. She mentions Johnny Logan's name and proclaims she'll be the next ESC winner. And that her song will be heard everywhere... yeah, so about that. I assume “Beautiful Song” is referring to itself in a meta way. The second verse is even more of a "WTF", where she says she's can't take Mick Jagger's phone call because she's too busy writing songs for Paul McCartney. It's such a hilariously bizarre lyric. She's setting the bar high for herself. But the delivery is too earnest for it to be a joke. Also... what is this staging? The backing singers just walk around aimlessly with hammy reaction shots, as if they each had a glass of wine beforehand. Anyways, “Beautiful Song” contains an easygoing, inoffensive, unmissable melody. But in an annoyingly, nursery rhyme way. The instrumental is rather plain too, but I do like the victorious synth after the “make this a worldwide hit” part. The vocal performance is alright though. This is an obvious NQ, but it gets a laugh from me. ✓ Albania: Rona Nishliu - Suus This is Albania's best result to date (5th). It's the big moment for the most underappreciated country in the contest. “Suus” is such a unique entry. Rona delivers a stunning, emotionally raw and sincere vocal performance. Her long, explosive belting notes and her high-pitched screams are polarizing for sure; and while this is a difficult song to put on repeat, I do think she delivers a highly compelling performance. Just the way her voice rises and sharply cuts. It holds my undivided attention. The piano and the strings move at a depressing, methodical pace, allowing Rona to focus on every single painful word as she feels each present moment pass by. She's on the verge of tears, sounding broken and devastated. The bridge is a great climax too – with the descending piano notes, the swelling orchestra, and her whistle note. Lyrically, “Suus” sees Rona mentally process her heartbreak. The words are bleak and hopeless, and she concludes that crying is the only response she knows. And she does just that by yelling “LET ME CRY” over and over. Rona also keeps her eyes closed a lot, while standing hunched over, displaying weakness and vulnerability. Her dress, the hair bun and the hair strand snaking onto her chest is a memorable look too. “Suus” isn't the most melodic song, but there's so much emotional depth to it. ✓ Romania: Mandinga - Zaleilah I'm sorry, but this song is too cluttered and boisterous for me to fully enjoy. That “Za-la-la-la-la-lee everything everybody” hook (which I always misheard as “sudden-en-en-enly”) gets on my nerves. While the instrumentation is on the rambunctious side. There's marching band drums, bagpipes, and an accordion all moving to an antsy rhythm. And all three are noisy instruments in their own right. I also want to note that this entry came in the wake of a series of Romanian dance-pop hits sweeping across Europe at the time. Namely “Stereo Love”, “Mr Saxobeat”, and those Inna songs. “Zaleilah” is in a similar vein, with the summery vibes, the foot-shuffling rhythm, and the accordions. Although this one has Latin American music influences (including Spanish lyrics), and it sounds more like a World Cup anthem. It's like a party song performed in the streets. Still, the instrumentation is pretty dynamic. I like the drum section during the bridge and the accordion riff is hook-y. The choreo is well-executed too, where the instrumentalists provide joyful energy. There's lots of pyro on this one too lol. × Switzerland: Sinplus - Unbreakable Why does the lead singer sing like this? It's like he's channelling Alex Band of The Calling or Scott Stapp of Creed (without the brash early 00s rock instrumentation thankfully). I'm not sure if it's his accent or if he's making this funny gargling voice on purpose. Either way, it's distracting. So the song is about inspiring someone to not be their own barrier in achieving their goals. It's basically a supportive statement of “you got this”. The words themselves are pretty cliche, but the frantic chorus exudes some uplifting, invigorating energy. The rapidity of the “swim against the stream” line and the repetition of “following your wildest dream, your wildest dream” makes for passable hooks. Staging-wise, the guitarist on the right is a bit, but not in a cringey way. And there's lots of flashing lights. Ultimately, “Unbreakable” isn't the most remarkable rock song but it's endearing enough. × Belgium: Iris - Would You? BORRRRRRRRING. “Would You?” tells the story of how Iris has packed up, left her lover behind, and moved to someplace secret. And now she's wondering if he'll even care to go looking for her. Which, just sounds like she's playing mind games. She later claims it's a “two-way street”, and resigns to finding him instead. I dunno, maybe she should just accept he's not that into her? Some of the lyrics are grammatically awkward too. Beyond that, the arrangement falls flat. It's just a lukewarm piano ballad with a slight hint of country texture. It tries to build into that final chorus (with that “still I wonder...” bit), and Iris tries to make that “any other guy would do” hook land. But it all feels so underwhelming. Her performance presents a personable approach, but her vocals are too unrefined to solidify the emotion or the melody. I'd prefer something more bitter instead of this blandness. She seems shy as well? × Finland: Pernilla Karlsson - När jag blundar I can understand how this entry was overlooked, since “När jag blundar” eschews modern ESC music styles. But the song has such a peaceful, romantic and heartwarming texture to it. It's like a cozy embrace by the fireplace. The staging correspondingly involves a fire red colour scheme, as the cello and the twinkling bells set the mood. The melody (and the Swedish phonetic sounds) flow in an effortlessly pleasant way. Incidentally, I believe this is the only ESC entry of the 21st century to be in the Swedish language. The verses are more gentle and sporadic, while the chorus floats in a more continuous melody. The lack of a bridge allows that final chorus to grow, and to end on a subdued note. And the song takes me back to the older era of Eurovision. Lyrically, “När” involves Pernilla articulating what her relationship means to her via some metaphors of things that complete each other. It's a sweet sentiment, and it's a well-composed song that sounds pretty. × Israel: Izabo - Time So Israel dropped a “WTF” entry on us this year. “Time” is a psychedelic rock song that channels a bygone era. Both the song and performance feel like a slurred, hazy hallucination that warps your perception of time. In particular: the strings; the eerie chorus harmony; and the drawn-out “zmaaaaaan” hook which gives a sinking feeling. There's also a trippy visual effect where the background zooms in and out whenever the camera cuts to the dancing couple. And the LED screens feature some Salvador Dalí-esque liquid clocks. This quirky staging is completed by a lackadaisical keyboardist, an animated guitarist, and water drumming. Lyrically though... “Time” is a bit disturbing. The singer asks for more time as things are happening too soon. Between the “you're the man in my playground” line, the “I will obey” and “why are you pressuring me” comments, and the second verse suggesting he's being used.... the implications seem very dark. The singer's voice also sounds demented. Otherwise, the song has a consistently moving forward pace, and it's kinda catchy. × San Marino: Valentina Monetta - The Social Network Song (Oh Oh – Uh - Oh Oh) The birth of PC music? Lol. This song's production is filled with scratchy, digitized computer sounds to seem less human. The studio version also uses excessive auto-tune. The lyrics, meanwhile, address modern-day Internet addiction and how it's changed our communication habits; among other issues. The track was composed by Ralph Siegel, but the execution is too campy to render this as an “old man doesn't understand youth” situation. Instead, it's a harmless joke entry and Valentina has fun with it. She literally types on a laptop on stage (LOL). And the computer references are laughable, like “do you wanna play cybersex again?” or “click me with your mouse” or “you're loggin' in...”. The backing members are also dressed in random costumes from cheerleader to doctor to airplane captain. And then there's the camera and phone props, and floating profile pictures on the LED screen. The song itself has a bubblegum-pop flair to it as well, namely in the “uh oh” hook. It's one of the better joke entries this year. We will see Valentina three more times after this, including the next two contests.... a true sign that San Marino has limited options. ✓ Cyprus: Ivi Adamou - La La Love The production on “La La Love” is as 2012 as it gets. It sounds like something RedOne would've given to J Lo around this time. Although I should note that it was co-written by Alex P (along with some other Swedish songwriters), who was working closely with RedOne back then. But yeah, this type of commanding, robust dance-pop was a guaranteed recipe for a banger in 2012. From the squeaky beat in the verses, to the percussion claps that build anticipation in the pre-chorus, to the bustling, water-sloshing beat in the chorus... this song's arrangement is pretty standard. The drum breakdown in the bridge is a nice touch though. And there's no shortage of hooks here. From the “i-i-i” stutters; to the perk-ups of “in the air / take it there”; to the “oh-OH-oh” bit in the pre-chorus. And of course the titular “la la la la la”s... which there are plenty of. The choreography involves Ivi swaying on a bench made of books. But the dance moves during the bridge is the best moment. She has confident stage presence too. ✓ Denmark: Soluna Samay - Should've Known Better “Should've Known Better” is like a homage to late-90s soft rock/adult pop. It's sonically reminiscent of Paula Cole or Jewel or Lisa Loeb or something. Plus the “like Sahara misses rain” lyric seems oddly similar to that line from “Missing” by Everything But The Girl. Anyways, the melody flows smoothly. The backing vocalists add a sense of comfort, while making the melody sound richer. And the song exudes a bittersweet tone. Lyrically, “Should've Known Better” offers an introspective and mature perspective, where Soluna is sad her relationship is over but she accepts that it can't work anymore. Her lover is living aimlessly and lacking in stability, which leaves her feeling neglected and stranded. It's too one-sided to be healthy. The “Sometimes we have to lose a part of us to find the truth” line sticks out to me. The staging is weird on this one though. Soluna is dressed like a sea captain mixed with a Marshall? The cellist is casually wearing a purple hoodie. And the drummer overdoes it with her fake playing, although her enthusiasm kinda sells it. It's another entry I wish did better in the final, but the staging probably ruined its chances. ✓ Russia: Buranovskiye Babushki - Party for Everybody After 3 years of middling results, Russia is back in the top 2! They also match “Dancing Lasha Tumbai” as the highest that a novelty entry has placed in Eurovision. It's easy to see why though. “Party For Everybody” is so memorable and adorable. It involves six Russian grannies dressed in traditional attire, lightly dancing to a modern dance-pop beat, while looking forward to a visit from their children, as a giant oven spins in the background. It's just so wholesome yet absurd. Their harmonies aren't the cleanest, but the “amateur” vocal adds charm, and they're having the time of their lives on stage anyway. Including some banter in the bridge. Although it bothers me when the one granny grabs the cookie tray without wearing oven mitts. Musically, “Party” begins as a Russian folk song, but then it abruptly switches to that heavy dance-pop production. It's such a stark contrast to the traditional vibes of everything else, but that's kind of why it works? Because it's unexpected. Although there is Russian instrumentation present still, most noticeably during the bridge. The beat is a little too abrasive and eager for my liking (particularly those cutting transitions into the chorus). It's arguably overproduced. But the chorus is effective, thanks to the pauses that follow “come on and dance”, and the “boom boom”s. And the verses use repetition well, culminating in that “žon žon žon” hook. ✓ Hungary: Compact Disco - Sound of Our Hearts Looks like we're in the dubstep era of pop music now. For a genre that can sound very harsh and unpleasant at times, I generally prefer when it's used in a more subtle, unobtrusive, brooding way like it is here, or on Muse's “Madness” to reference a non-ESC example. The background dub creates a dark atmosphere for “Sound of Our Hearts”, matched by some black outfits on stage. The beat moves at a firm and taut pace, with the production peaking in the second verse. The keyboard notes, the stadium rock chorus, and the “oh oh” climax are some other highlights on this track. It's almost like a Coldplay single. But the overall song is lacking something. It comes off a bit... uneventful? The melody doesn't really build to an anthemic moment until that aforementioned “oh oh” ending. And lyrically, “Sound of Our Hearts” is a cliche message about peace, unity, and the power of love. The modernized production prevents it from seeming corny or contrived, though. And the singer does deliver that “zeal” mentioned in the chorus. × Austria: Tracks**ttaz - Woki mit deim Popo This is so trashy. I'm not surprised Austria placed last in the semi-final. The song involves two dudes rapping in a German dialect, as they walk into a strip club and get horny over the ladies shaking their “popos” (bums). They're more presumptuous than flirtatious though. And the lyrics are too... unabashed and objectifying to be sexy. The amount of hubris and self-importance is something else. They really think they're the s**t. The name “Noodle Soup Gang” will stick in my mind though. Also the staging is a bit shocking. There's three ladies pole dancing and twerking, while the ballcap guy gets distracted by them. It also goes for a night club aesthetic, including some glowing light strips on everyone's clothing. As for the music, “Woki” incorporates a “jittery motor” dance-pop production, similar to the Klaas remix of “Infinity 2008”, alongside some squeaky synths in the verses. More notably, the audience gets to shout along “OOH OOH” during the chorus, alongside a double percussion clash. Everything about this entry – the production, the rapping, the staging – is so aggressively in-your-face. But I don't entirely hate it? ✓ Moldova: Pasha Parfeny - Lăutar Moldova delivers a zany and engaging choreo routine here. Between the robotic marionette limb movements, the fist shaking, the slithering like a worm on the floor, and the mini-tantrums... the backing dancers are hilarious to watch. They supply the appropriate campy energy. Their lampshade-shaped dresses stand out too. As for the song, “Lăutar” channels a carnival entertainer theme in its instrumentation and lyrics. Pasha is a trumpeter who's entranced by fiddler girl he met a wedding (the song's title literally translates to “fiddler”). The lyrics imply that there's a significant class/wealth division between the two, but his trumpet playing charms her anyway. The instrumental correspondingly includes a trumpet riff, as well as a fiddle moment in the bridge. Moreover, the “YOU... HAVE NEVER... BEEN TO MY SHOW” hook is pretty instant, with that stop/start trick. And the chorus employs a bouncy rhythm. Otherwise, the line “...how looks the trumpet” is another example of awkward English grammar tonight. But yeah this entry is lighthearted in the best ways. ✓ Ireland: Jedward - Waterline So Jedward closes out another semi-final. Last year the twins finished in 8th place, but this time they will fall 11 spots lower than that – which is a sign of diminishing returns. I mean, the boys just repeat the exact same gimmick from 2011. They energetically jump around the stage as if on a sugar high while wearing the gaudiest outfits imaginable (this time it's silver and gold plated armour) and subject us to their limited vocal skills. Except this year there's a water fountain on stage to represent a lyrical metaphor (there a bunch of water metaphors in this one). But also, “Waterline” is simply a weaker song than “Lipstick”. The latter became a guilty pleasure bop because of its heavy, intimidating synths making a strong presence. But the melody on “Waterline” is so bland and flat. And the chorus ends on an anticlimactic hook (ie. the “down as the big one” part, which lacks emphasis). The rapid, jogging dance-pop beat maintains some energy, but it's not enough to compensate for Jedward's vocal flaws. They were never THAT funny of a joke act to begin with though. My Ranking: 01. Iceland: Greta Salóme & Jónsi - Never Forget ✓ 02. Albania: Rona Nishliu - Suus ✓ 03. Denmark: Soluna Samay - Should've Known Better ✓ 04. Finland: Pernilla Karlsson - När jag blundar 05. Cyprus: Ivi Adamou - La La Love ✓ 06. Moldova: Pasha Parfeny - Lăutar ✓ 07. Russia: Buranovskiye Babushki - Party for Everybody ✓ 08. Greece: Eleftheria Eleftheriou - Aphrodisiac ✓ 09. Hungary: Compact Disco - Sound of Our Hearts ✓ 10. Switzerland: Sinplus - Unbreakable 11. San Marino: Valentina Monetta - The Social Network Song (Oh Oh – Uh - Oh Oh) 12. Romania: Mandinga - Zaleilah ✓ 13. Austria: Tracks**ttaz - Woki mit deim Popo 14. Israel: Izabo - Time 15. Latvia: Anmary - Beautiful Song 16. Ireland: Jedward - Waterline ✓ 17. Belgium: Iris - Would You? 18. Montenegro: Rambo Amadeus - Euro Neuro The 10 qualifiers all make sense though.

[aion-rsa]

Cobra Kai Season 4: Inside The Return of Terry Silver

https://ift.tt/eA8V8J

This article contains Cobra Kai spoilers.

The return of Terry Silver (Thomas Ian Griffith) has been a major selling point in promoting Cobra Kai season 4. The teasers have focused on the silhouette of him tying back his signature ponytail like Rambo cinching up his headband. Unlike the season 3 teasers which only hinted at the return of Chozen (Yuji Okumoto), there was no mistaking that Silver was coming back to Cobra Kai.

For anyone new to the Cobra Kai universe, Silver was the main villain in the final film with Daniel LaRusso (Ralph Macchio) – The Karate Kid Part III. Only Daniel and Mr. Miyagi (Pat Morita) return for significant roles. Daniel’s mom Lucille (Randee Heller) and the Referee (martial arts master and choreographer Pat E. Johnson) reprise their roles too but only with minor parts. And while Kreese (Martin Kove) appears, Silver dethrones him as the maniacal caricature villain. 

This threequel was the weakest of the trilogy. It was critically panned as a disappointing rehash of the prior films, and has been only marginally referenced by Cobra Kai, until now. With an inferior script, Silver epitomized the cardboard cutout villain. He’s the CEO of DynaTox Industries, a sketchy nuclear waste disposal company, and he’s exorbitantly rich. He’s the money behind the Cobra Kai dojo, a self-centered egomaniac who commands his underlings whilst smoking cigars in his bubble bath and cackling with hackneyed “bwahaha” as he ruminates over his evil plans. When Silver was introduced in 1989, his character felt like a parody of Steven Seagal’s over-the-top debut as Nico Toscani in Above the Law the year before, right down to the greasy ponytail. 

Nevertheless, Griffith was the first main cast member that had a solid background in the martial arts prior to entering the franchise. He has black belts in Karate and Taekwondo and is well versed in stage combat. He also trained as an opera singer. The Karate Kid Part III was his major film role, and he continued acting in film and television until he retired in 2007. It took a tantalizing offer about developing the character to cajole him out of retirement to return to the role of Terry Silver. 

Unlike the midseason return of Part II alumni Chozen and Kumiko (Tamlyn Tomita), and end-of-season appearance of Ali (Elizabeth Shue), season 4 just went for it, bringing out Silver in the very first scene. His face isn’t shown, and his hair is loose (and silver), but we all know who it is. He receives that call from Kreese that ended the last season and then promptly hangs up on him, setting the tone for the tension between them.

When Kreese crashes a party at Silver’s beautiful seaside home, “Terrance” is still rich and privileged. He has a gorgeous partner, Cheyenne (Salome Azizi), the developer of a mindfulness app for kids. She’s painfully unaware of Silver’s past as a Vietnam veteran and sensei and her character that is quickly abandoned. Perhaps she’ll be more developed for season 5.

At first, Silver seems reformed. Reflecting upon his Karate Kid III villainy, he says “I was so hopped up on cocaine and revenge. I spent months terrorizing a teenager over a high school karate tournament. It sounds insane just talking about it.” 

DynaTox is referenced when Demitri (Gianni Decenzo) does a web background check and finds a “toxic waste scandal in Borneo back in the 80s” but it’s unclear how Silver regained his fortune. Nonetheless, Kreese is still a master at manipulation and cajoles Silver to come back. “Karate is not a phase,” goads Kreese. “It’s a way of life. You can leave it for a while but it never really leaves you.” However, the season finale reveals that it’s Silver pulling the strings. 

Cobra Kai has excelled at fleshing out the characters from the original films with plausible motivations and meaningful back stories. Season 3 delved into the trauma that formed both Kreese and Silver when they were P.O.W.s in Vietnam. Griffith imbues Silver new maturity, and we can see his slow burn as his malice intensifies. 

Silver buys his way into Cobra Kai, upgrading their gear and their uniforms (whilst providing an entire new wardrobe for cosplayers and expanding Netflix’s merchandise potential). His tossing money around foreshadows him crossing the All Valley Karate Tournament judge’s palm with silver. His vicious assault on Stingray (Paul Walter Hauser) is shockingly violent, but well within character when his ultimate treachery is revealed. That slow burn wasn’t directed at Miyagi-Do at all. It was all about Kreese and understandably so. “Turns out you disappearing was the best thing that ever happened to me,” Silver says to Kreese, setting himself up to be an even greater villain in season 5. 

Griffith and the writers of Cobra Kai have taken a corny ’80s Karate villain and evolved him into a complex major antagonist for this generation. We can’t wait to see what havoc he might wreak upon the valley’s Karate world next season.

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Cobra Kai season 4 is available on Netflix now.

The post Cobra Kai Season 4: Inside The Return of Terry Silver appeared first on Den of Geek.

from Den of Geek https://ift.tt/3FNurSC

[forevervobla]

The room was so small, everything could be placed here is the one bed and a little table with a smoked candle.Anyway, it was quite enough to stay for a night.The barkeeper looked suspicious, they always do when they have nothing to say against a couple paying only for a one bed.There was a big celebration in a few days,so,the small tavern was crowded with people who couldn't afford a luxury to be a Solitude citizen.Now, the owner of this glorious place was aggressively polishing the desk, looking askance at the dark corner of the room, where a dunmer, who was leaning close to the one of his clients, was gently smiling and giggling from time to time. The guy sitting next to him laughed and slapped boy's bottom. The barkeeper didn't like whores and would be happy to get these two out of this place, but dunmer was the one who paid rent and he didn't really wanted to mess with the other guy who looked like the one from the nobility.The next time the barkeeper looked at these two, only a part of dunmer's skirt was showing under the table. 

"How much for a bed?" The voice appeared, getting a man out from heavy thoughts.

"All beds are sold," the barkeeper saw a redhead elf with striking eyes.The lute on his back was showing his profession," but maybe, I can make an exception for you if you give us a good concert."

"Really?The deal, then. My name is Aurelius, have you ever heard about me? I'm going to perform on the main square tomorrow."

"So it wouldn't be difficult for you to impress me."

The bard made a face, but remained silent.He went to the centre of the hall and hit the strings in a major chord.The tune begun to flow so smooth like playing an instrument was easier than breathing.The crowd voices were becoming quieter and quieter, so everyone could hear an intro of the song. The bard took a quick pause before the first verse when everyone heard a loud hit on a wooden countertop. He took a breath, and everyone heard the charming tenor.

"Easier, beauty," in a muffled tone said the man, stroking the face between his legs.

One song was coming by another. Listeners became drunk and happy and were singing along, clinking their mugs on tables. Some of them were so tipsy this place became too cramped for them so they rushed outside to meet the friendly nature. After a few meetings with mother earth, the hero lover decided to set off in a search of new adventures, leaving his silver-tongued companion alone.

The crowd cheered and applauded after the last note was played.The owner of a tavern was really glad, he not only enjoyed the performance, but also sold the annual rate of booze.

"You deserved your stay!" he tapped on bard's shoulder: "Now, we just need to get out someone less profitable," he added, looking for a small silhouette in the crowd.

At this moment, the entrance door was opened slowly, and the desired persona appeared, looking around cowardly. As he closed an entry his eyes met with the barkeeper's and immediately switched to a bard. "Maurice!" an elf mumbled.

"I hear you already know what he is, don't worry, this freak won't be bothering you."

"Don't call him like that!" Aurelius exclaimed as the dunmer approached to them.

The owner changed in a face:"My apologies for getting you wrong.I see you two don't mind to share a... room."

Feeling the situation is heating up, Maurice stood between them two, took Aurelius's hand and retorted: "Yes, we do," then he whispered to the elf's ear:"Come on, sweet, I'll show you our clean and spacious room."

"This place is exactly as I imagined it!The only thing, I thought the bed will be smaller and less comfortable," Aurelius noticed entering the room.

"Fair enough, we don't know so far, how comfortable is this bed," Maurice answered, sitting down on the corner, expecting to find out.The bed sang a few sad notes.

Aurelius carefully placed his lute near the bed then sat next to his beloved.They were sitting for some time in a silence listening to each other's breath.Maurice felt nervous, he regretted he didn't take a shower immediately after he said goodbye to his last client.Dunmer knew for sure,in this small room even a person without a nose would notice this smell.

Aurelius carefully placed a hand over Maurice's: "Isn't it amusing, wherever we go, we always meet each other?"

Dunmer didn't know what to answer, but the usual smile appeared on his face again and this smile was contagious; bosmer felt how the corners of his mouth are raising. There was something special about this emotion.When Aurelius was a child, he didn't know how to smile;he was spending hours looking at people around him, trying to mimic their natural reactions.He noticed that people are usually friendlier to those who smile, so he learned how to do so.Every time he enters the stage he puts on the most expected emotions,he honed this skill to automatism,but in this case everything was different. He never felt a courage to tell how much he learns from Maurice's company, but he felt, without any words, he knew it already.

With a quiet squeak Maurice moved closer and snuggled up to him, planting a soft kiss on his neck. It was so common of him to start where nobody expects it. Bosmer held him tighter, breathing in the smell of cinnamon, mixed with sweat and a kaleidoscope of scents left by the day.He hadn't seen him before he played the last chord, but the feelings didn't lie; Maurice had a busy day. Meanwhile, mentioned lover was moving slowly down his cheekbone, titillating his skin with a trembly breathing. Bosmer's heart begun to beat faster when he playfully bit his chin, leaning out a little.Aurelius drew Maurice's lip line, then pushed his index finger deeper in his mouth.With his eyes almost closed, dunmer begun to move back and forth, tickling fingertips with a slightly rough tongue. It was something unexpectedly pure and innocent about these actions, he was like a cat looking for affection, he was trusting to Aurelius and was ready to do anything he wants."What about me?" the bard suddenly thought, "Do I deserve him? He used to act for someone's pleasure, but I know he deserves better than this. And I'm here, sitting and playing with him, like he was a toy."Smile faded out on his face,"Maybe, Salome was right," he took his hand off.

Maurice opened his eyes, looking worried:"What's wrong, sweetheart?"

"I don't want you to know."

"But why? I don't insist, of course, but... Aurelius, dear, I'm always here to listen! I love you. I will do anything you want, I'll do my best to be the one you need!"

Aurelius laughed quietly, closing his face with a left arm;"You don't owe me anything!You deserve better than me.How can't you see how precious you are,you don't deserve the life you're getting," he stood up from the bed, making a wide gesture, "All this hate,all this violence,all these terrible people including me,who only knows how to use you."

"Sweet, sugar, please, calm down and listen to me!"

"Your friend Salome was right about me. I'm not different from others,-"

"Listen!"

"-who just show up when they need it and get you how they wanted."

"Shut up and listen to me!" Aurelius got shivers, he never heard Maurice's voice so low and deep. "In one thing you maybe right.It's easier to you all to see me as a victim,a defenseless child you can help or use."

"It's not true!I see you as a complex person...",

Maurice interrupted him by taking his hand and pulling him to sit down again,he looked into his eyes and continued:"I can understand why Salome cares about me that much, but don't forget, I'm a grown man, I can decide for myself.I honestly don't understand what makes you so uncertain about yourself, we don't know who's the worst from us two."He giggled, and Aurelius didn't resist to smile back, saying:"If you only knew how much your smile means to me."

"Well, at least, I can guess.I love to see you smiling too.When we first met your face was so stern I started to worry you didn't like my company.When you started to write a song a few days later I've been convinced otherwise.Your music says more than your pretty face," he playfully stroked Aurelius's nose, adding more wrinkles to his face. The bard quickly bent his arm around Maurice's neck, giving him a deep kiss.Dunmer laughed, moving to his lap, hugging him tighter.With a cheerful squeak they laid on the bed.

"What do you think,"Maurice asked from below, "can these walls be less loud than this bed?"

"I honestly don't want to sleep with a hole in the wall."

"Who said you were going to sleep there?"

[nataliasecombe-blog]

The Fashionable Pop Music Sounds Rubbish But Nonetheless It Is The Most Profitable Genre Why

Initially of last month, an impressive assortment of standard music entitled Now That's What I Call Music! 9. The 60s !1960: Pete Greatest joins the Beatles, The group invited Pete Greatest tobecome their drummer on 12 August 1960. 4 days after hiringBest, the group left for Hamburg. The Beatles started a 48-nightresidency in Hamburg at Bruno Koschmiders Indra Club.1961: American country singer Patsy Cline becomes a mainstreampop music hit.Cline was the first feminine vocalist who adapted to thechange and have become a profitable pop singer.Ziggy Marley is born: David Nesta "Ziggy" Marley (born October 17,1968, Trenchtown, Jamaica) is a 4-time Grammy-winningJamaican musician and chief of the band Ziggy Marley and theMelody makers. Canada has an extended custom of singer-songwriters and that's partly in because of its own folksong laureate", Gordon Lightfoot. Coming out of the Toronto 60s folks music scene, Lightfoot's native country would become his lifelong muse, penning such classics as ‘Canadian Railroad Trilogy' and ‘Wreck of the Edmund Fitzgerald' and yet common sufficient to appeal worldwide, turning him into Canada's most profitable modern people artist. A beloved cultural icon, he's been the beneficiary of numerous awards and honours together with the Companion of the Order of Canada - Canada's highest civilian honour. Other issues are actually extra speaking factors than criticisms. What's of a greater worth, an overview or the near microhistory of one thing like Jon Savage's 1966: The yr music exploded. You want each after all, although the hazard with a survey is that it may possibly seem to shape history to its narrative. So for instance Andrew Loog Oldham was instrumental in getting the Stones rolling, however they didn't suffer as a result of leaving him as instructed here. They want on to report their biggest albums, and a number of the greatest in the style. I exaggerate, of course. No historical past can wholly keep away from classes. But Ross's place to begin is novel all the same. In Paul Griffiths's "Concise History of Trendy Music" (1978), fashionable music begins with the delicious flute solo that opens Claude Debussy's "Pr¿lude ¿ l'apr¿s-midi d'un faune" (1894), simply as for Griffiths the theories of Boulez (who first touted the idea of Debussy as founding father of modernism) are the important thing to music since World Warfare II. But Ross makes gentle, to not say enjoyable, of the "pseudoscientific mentality" of the Darmstadt summer colleges in Germany, the place Boulez and Karlheinz Stockhausen held court within the early '50s, "researching" ever more cerebral ways of writing music. Instead of Debussy, he opens twentieth-century music with the Austrian premiere in Graz in 1906 of Richard Strauss's "Salome," a piece subsequently admired for its daring and also hated for its vulgarity. As for "bad" pop, for me, there are multiple reasons. When you may have a first-tier pop artist they usually deliver a dud at the start of their album cycle (Ed Sheeran), that's an unforced error. There is also earwormy songs that quickly become tiresome, the "MmmBop"s and "Shots"s of the world, that start out annoying and get an increasing number of annoying the more it airs. Some music is just shit, there is not rather more you possibly can say about it. "Battle Track" is a pile of garbage, however it has found its area of interest viewers (divorce parties; ineffective political campaigns). More than 230 music genres is still too abundant to create a comprehensible structure that permits straightforward orientation. The necessity for a overlaying framework is a matter that can be addressed in this chapter. Certain (although few) visual genealogies choose not to implement such framework, and don't (or vaguely) display clusters of associated music genres. When coping with quite detailed genealogies similar to musicmap, omitting a visible framework would seriously hurt any sensible use the map may need. Thankfully, this framework already exists as almost all genres belong to higher, properly-known areas" in the musical community, what we will name super-genres. Super-genres are merely the mum or dad style of any given style; the next-level, overarching family. Pop music is the style of standard music that produces the most hits. Successful is a tune that sells many copies, and the latest hits are listed every week on the charts. To get on the charts, a music must be released as a single, magicaudiotools.com although most singles are additionally launched on an album. Songs that become hits almost at all times share sure features which might be generally known as the pop-music formulation. They've a very good rhythm, a catchy melody, and are straightforward to remember and sing along to. They usually have a chorus that's repeated a number of times and two or more verses. Most pop songs are between two and 5 minutes lengthy, and the lyrics are usually about the joys and issues of love and relationships. Pop songs are produced by groups like the boy band One Course and the lady group Women' Technology, and by pop singers like Justin Bieber and Madonna. It takes a strong debut track to knock the Queen of Pop, Taylor Swift, off the highest of the pop charts. And that is what Cardi B did with the historically profitable "Bodak Yellow." The swaggering hit marked the primary time a female rapper scored a solo No. 1 song since Lauryn Hill in 1998. It makes complete sense, too, as the music takes Cardi B's no-fucks-given approach to life that made her an Instagram and reality star. If that is not the right encapsulation of in style culture in 2017, then I don't know what's. You will have seen the popular video four Chords" by the Axis of Awesome wherein 4 guys cycle amusingly by means of 50 pop songs in six minutes, interweaving recycled harmonic constructions to nice impact. At any price, you've actually heard these chords earlier than, again and again. Utilizing the Roman numerals of music concept, we could label them I, IV, and V, the bread and butter of the blues, along with the minor chord, vi. In the key of C, that might be C main, F main, G major, and A minor. The 4 chords will be arranged in a number of methods, and the Axis of Awesome make use of this by shuffling by songs which include completely different orderings, using their widespread chords to pivot.

Based on a crack group of Spanish philistines (using a complex snarkhive referred to as the Million Music Dataset), over the previous 55 years there has been "a progressive homogenization of the musical discourse." Which means transitions between combos of notes and chords has diminished: songs have much less modifications in them, and are less completely different from one another. As well as, the researchers used sophisticated algorithms to prove that pop music has change into considerably louder than it was in the course of the first half of the twentieth century, as record producers ramp up the quantity throughout the recording process.

[the-christian-walk]

HE IS RISEN!

Can I pray for you in any way?

Send any prayer requests to Gods4all@aol.com In Christ, Mark

~~~~~~~~~~~~~~~~~~~~~~~~~~

** Follow The Christian Walk on Twitter @ThChristianWalk

** Like posts and send friend requests to the author of The Christian Walk, Mark Cummings on Facebook at https://www.facebook.com/mark.cummings.733?ref=tn_tnmn

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~~~~~~~~~~~~~~~~~~~~~~~~~~

The scriptures. May God bless the reading of His holy word.

After the Sabbath, at dawn on the first day of the week, Mary Magdalene and the other Mary went to look at the tomb.

There was a violent earthquake, for an angel of the Lord came down from heaven and, going to the tomb, rolled back the stone and sat on it. His appearance was like lightning, and his clothes were white as snow. The guards were so afraid of him that they shook and became like dead men.

The angel said to the women, “Do not be afraid, for I know that you are looking for Jesus, who was crucified. He is not here; He has risen, just as He said. Come and see the place where He lay. Then go quickly and tell His disciples: ‘He has risen from the dead and is going ahead of you into Galilee. There you will see him.’ Now I have told you.”

So the women hurried away from the tomb, afraid yet filled with joy, and ran to tell His disciples.

Matthew 28:1-8

When the Sabbath was over, Mary Magdalene, Mary the mother of James, and Salome bought spices so that they might go to anoint Jesus’ body. Very early on the first day of the week, just after sunrise, they were on their way to the tomb and they asked each other, “Who will roll the stone away from the entrance of the tomb?”

But when they looked up, they saw that the stone, which was very large, had been rolled away. As they entered the tomb, they saw a young man dressed in a white robe sitting on the right side, and they were alarmed.

“Don’t be alarmed,” he said. “You are looking for Jesus the Nazarene, who was crucified. He has risen! He is not here. See the place where they laid Him. But go, tell his disciples and Peter, ‘He is going ahead of you into Galilee. There you will see Him, just as He told you.’”

Trembling and bewildered, the women went out and fled from the tomb. They said nothing to anyone, because they were afraid.

Mark 16:1-8

On the first day of the week, very early in the morning, the women took the spices they had prepared and went to the tomb. They found the stone rolled away from the tomb, but when they entered, they did not find the body of the Lord Jesus. While they were wondering about this, suddenly two men in clothes that gleamed like lightning stood beside them. In their fright the women bowed down with their faces to the ground, but the men said to them, “Why do you look for the living among the dead? He is not here; He has risen! Remember how He told you, while He was still with you in Galilee: ‘The Son of Man must be delivered over to the hands of sinners, be crucified and on the third day be raised again.’ ” Then they remembered His words.

When they came back from the tomb, they told all these things to the Eleven and to all the others. It was Mary Magdalene, Joanna, Mary the mother of James, and the others with them who told this to the apostles. But they did not believe the women, because their words seemed to them like nonsense.

Peter, however, got up and ran to the tomb. Bending over, he saw the strips of linen lying by themselves, and he went away, wondering to himself what had happened.

Luke 24:1-12

Early on the first day of the week, while it was still dark, Mary Magdalene went to the tomb and saw that the stone had been removed from the entrance. So she came running to Simon Peter and the other disciple, the one Jesus loved, and said, “They have taken the Lord out of the tomb, and we don’t know where they have put Him!”

So Peter and the other disciple started for the tomb. Both were running, but the other disciple outran Peter and reached the tomb first. He bent over and looked in at the strips of linen lying there but did not go in. Then Simon Peter came along behind him and went straight into the tomb. He saw the strips of linen lying there, as well as the cloth that had been wrapped around Jesus’ head. The cloth was still lying in its place, separate from the linen. Finally the other disciple, who had reached the tomb first, also went inside. He saw and believed. (They still did not understand from Scripture that Jesus had to rise from the dead.) Then the disciples went back to where they were staying.

John 20:1-10

This ends today’s reading from God's holy word. Thanks be to God.

It’s Resurrection Sunday!

The darkness, sadness, and gloom of the cross has given way to the brilliant light of glory and hope today, the day when our Savior was raised up from the dead by His (and our) Father God to rule and reign and grant salvation to sinners like us forever. Alleluia!

Today, we immediately rejoice at the light of dawn on Resurrection Day because we know Jesus was raised from the dead to life but it was an unknown for those who lived in that time in AD 33. Each of the Gospels share an account with us from that early morning after the Sabbath and not surprisingly, there are differences but not on the main elements as we go back to dawn on the first day of the week after Jesus’ crucifixion. There are four of these elements and I’ll look at each.

1. Women were the first to find the empty tomb.

Collectively, we find there were more than a few women present that early Sunday morning. Matthew tells us that Mary Magdalene and the other Mary were there. Mark puts Mary Magdalene, Mary the mother of James, and Salome, the mother of James and John at the tomb. John only places Mary Magdalene there but when we look at the 10th verse of Luke 24, we find the number of women expanded. He posits Mary Magdalene, Joanna, Mary the mother of James, and the others at the scene.

So with this, we don’t really know how many women were present but that doesn’t matter as much as the fact that it was women who not only were first to witness the empty tomb but also to see the resurrected Jesus face to face.

2. The women had a supernatural encounter and received a message that Jesus has risen and was alive

The second consistent element found across the Gospel accounts is that the women had a supernatural encounter which provided information as to what happened to Jesus, the Savior they had come to anoint. Without some answers regarding why the tomb was empty, the women would have been left confused and concerned.

In Luke, we find the two men who appeared in dazzling clothes telling the women that they shouldn’t be surprised that Jesus was no longer dead in the tomb. This is because Jesus had told them what would happen to Him, making sure they understood at the time that it was all necessary. During this discourse, Jesus made it clear that He would be raised again on the third day and indeed He was.

The news had to bring great joy to the women but note they weren’t supposed to keep it to themselves and this leads to the third element of consistency within the Gospels.

3. The women were told by the supernatural messenger to go and report to Jesus’ disciples.

In the different Gospel accounts, we see where the supernatural messengers tasked the women to go and make report of the empty tomb to the disciples, the Eleven who had sequestered themselves after Jesus was arrested and brought to trial. Of interest, Luke’s Gospel tells us the disciples, minus Peter, refused to believe what the women reported. This was more societal as anything because women were subordinate to men in every way and even if a woman testified in court, their words were never considered credible. Nonetheless, they were obedient to what they were told to do.

4. Jesus was alive, resurrected from the dead.

This is why the Gospels bear their name because it is consummation of the ultimate good news contained within each account. In order for salvation to be possible, Jesus had to first die, a perfect atoning sacrifice to atone for the sins of all mankind, and then be resurrected from death to life, gaining victory over the cross and the grave. Because Jesus died and rose again, anyone who places their belief and trust in Him as Savior will be resurrected as well. Death has no sting for any Christ believer and Jesus made it all possible.

This is why we celebrate today on Resurrection Sunday. For we remember the day when eternal hope was born, the day when Jesus was risen and risen indeed. Thanks be to God for the gift of His Son and promise of everlasting life found in and through Him.

Amen.

In Christ,

Mark

PS: Feel free to leave a comment and please share this with anyone you feel might be blessed by it. Send any prayer requests to Gods4all@aol.com

[theundecider]

permanent plotting/starter call for salome l.i.l.

please specify for which muse(s) if you’re also a multimuse, thank you.

verse one: premain part one.

verse two: premain part two.

verse three: main part one.

verse four: main part two.

verse five: the magnus archives.

verse six: borderlands.

[havok-king]

@ihtiriekko tagged me to do this music ask thing!! thank u :D (I’m gonna fill this out trying to avoid classical/contemporary classical artists bc I’m not listening to enough stuff outside my degree atm)

List 10 artists you like before answering the questions below.

AFI

Steam Powered Giraffe

The Civil Wars

Die Antwoord

Ashenspire

John Cooper Clarke

Kimya Dawson

Manic Street Preachers

Mount Eerie

Nicole Dollanganger

What was the first song you ever heard by 6?

Salome Malone - I was about 9 or 10 and my dad had bought a new sound system. He played the Marcus Koenig remix and explained what ‘sartorial’ meant. I really like JCC’s voice, the Salford accent reminds me of a kind of home. 

What is your favourite song of 8?

Cliché as all hell, but 4st 7lb. Got me through some painful teenage years and I revisit it sometimes if stuff’s not going well; it serves as a reminder as to how far people can come in recovery, ya know? (I’ve been trying to learn the lead guitar part for maybe four years and I can’t)

What kind of impact has 1 left on your life?

AFI have been my favourite band for over a decade now. I’ve got one of their album covers tattooed, and I still listen to them pretty much every day. I saw them live last year, and met them after the gig; one of the best nights of my life. I explained the harmonic series to my favourite vocalist and he said, ‘oh, that? I call those the high lines’. Overtones. He meant overtones. Tbh I’m not sure I’d be doing a music degree if I hadn’t found AFI, my earliest audio transcription was Prelude 12/21. I bored my family senseless practising it for months!

What are your favourite lyrics of 5?

ALL OF THEM. Seriously. Ashenspire’s lyrics are just breathtaking. I may be slightly biased BUT my attention prior to the analysis/gig I performed in/dating of the main dood, so to speak, was held primarily by the lyrics and rhythms. I think the words to Grievous Bodily Harmonies are my favourite, the entire set of song lyrics; they elicit a strong response, and create such a vivid mental picture for me. I know the more popular ‘I’ll believe it, I’ll let it grow like plaque - when my head zips up at the back’ from Speak Not Of The Laudanum Quandary, the title track of the first album, is a strong contender, and I’m a big big fan of it, but for me, ‘a chloroform rag, over cold-sore lips; deathly thin, and typhus skin. A smog to smother her, the unwanted daughter.’ is just....pff. I’m waffling about this one, but sitting down with the composer and unearthing the thoughts and hidden meanings of the lyrics, consolidated that the words are just as awe-inspiring now as they were on the first listen. 

How many times have you seen 4 live?

Just the once! At the Ritz in Manchester, with Josh, after we queued for 8 hours to be right at the front. Both Ninja and Yolandi took their clothes off and crowd surfed, it was wonderful. Kinda wish DJ Hi-Tek had too.

What is your favorite song by 7?

I think Underground. It was the first one I didn’t automatically like, but it’s grown on me a lot over the years. I don’t play her stuff that often because I have different memories with different people for each song, but I’ve revisited the album Remember That I Love You recently, and I’m enjoying it! A lot of them make me think of Liz because our friendship was coined surrounding her music. I’m gonna go play Underground in my break today, got me thinking about the third verse (good one)

Is there any song by 3 that makes you sad?

Yeah quite a lot of them tbh!! Poison and Wine, Falling, and Marionette spring to mind, the first two for the lyrics, and the last due to the simple yet sorrowful chord progression that spans the whole demo. Their whole dynamic is/was pretty sad, which isn’t always a bad thing, but I get kinda low if I listen to them too much. 

What is your favourite song by 9?

Definitely Seaweed. Beautiful, murky harmonies, genuine and earnest lyrics. Mount Eerie is a harrowing musical project and this song is no different. The addition of the piano in the final verse almost makes me tear up; the bitonality is so effective and evokes a strange kind of pain.

When did you first get into 2?

I got into SPG in my first year of music school! Some singer introduced them to me in the common room, and I instantly loved the aesthetic, tonalities, lyrics, content etc, they’re really really good

How did you get into 10?

Actually through Tumblr! I was following her blog for a while and eventually clicked on her BandCamp and was captivated by the high, plaintive soprano lines with the sparse, static guitar. She released the Natural Born Losers album like two years after I found her stuff and it was so different musically to her first couple albums and there’s a place for all of it in my eccentric collection

This was really fun! If any of my followers wanna do this, please feel free :)) 

[windsweptlassie]

Queenie! Please tell me more about your ocs! Whomst are they??

Sure!! This got super long so it’s going under the cut:

So my current OCs belong to an as yet unnamed project that currently takes place (details might change so don’t take my word for it) in a secluded New England town in the 1840s. (I’ve toyed with setting it in a far earlier time period like 17th or 18th century or setting it in Appalachia or the Deep South, and the implications of setting it on the storm swept New England coast (this one I like I think) or deep in the woods- but I’m working at it, and I wouldn’t mind if you wanted to offer suggestions!). The story is centered around these three characters, and their interactions with the town and the supernatural and strange that surrounds it. It’s one of those gothic sorts of stories where the town has always been a little off and demons and ghosts and cryptids and the eldritch haunt the fringes. Like a ghost story wrapped up in a folktale.

Without further ado, the characters:

Ilya: Essentially, the main character. He’s haunted deep inside by a past he doesn’t remember, a guilt of something terrible he knows he did but can’t place. He’s the outsider who by a strange and unnatural turn of events becomes the town’s preacher. He wants to turn to religion as a way to be right and clear his mind, but he’s really, truly, actually haunted- there’s some spirit that’s latched itself in his chest and won’t let go, and what’s more, the town’s ghosts and demons have taken a liking to him. There’s a dark cloud hanging around him for sure. He came to the town by some mysterious event, washing ashore (or coming out of the river if this isn’t set by the coast) alone and unconscious and unable to tell anyone where he came from. Here’s some pictures of him:

This above picture is where it all started- my first drawing of him and my first anything for this project, done about 10 months ago.

And of course, you can find more pictures of him under #ilya. He has no face cast as of right now.

Gabriel: He’s well known in the town- his family is of some high position as town residents, and they’re well liked, but he doesn’t really have any friends. I’m thinking he’s kind of an unhappy privileged young man. He has a congenital condition that means he’s gradually been losing his sight as he ages, and it makes him feel that he has little control over his life- amplified by his controlling parents, whom he still lives with. He’s still young and hasn’t married. But something draws him to the haunted and haunting new preacher, and he’s often the bravest of the three, fiercely devoted to his newfound friends. He’s currently white or mostly white in my head, but I’ve debated changing his race.

Pictures:

And check out #gabriel.

Plus tentative, loosely based off of face cast:

Fu’ad Aït Aattou

and

whoever the guy is from the movie Caravaggio:

Salome: She’s the witch. No really, she is. She live on the fringes of the town, rarely interacts with the residents, and has whole lot of legend surrounding her. She’s wild and fearless and mysterious and whip-smart, and she knows perfectly well how to survive on her own. She’s probably not that old, but it’s hard to tell. She mysteriously offers Ilya a helping hand, and he’s either clever enough or stupid enough to accept it. She knows the land and she’s well versed in its tricks and its magic.

Pictures:

And of course, check out #salome.

Tentatitve facecast for Salome is Bjork:

But I’ve also been a little inspired by this mysterious lady.

Inspirations:

I Love You- Woodkid (the above music video specifically)

The Minister’s Black Veil by Edgar Allan Poe  (suggested by the always wonderful @athenasdragon)

Various folktales, ghost stories, and gothic lit (including Uprooted by Naomi Novik, the Wendigo legend, etc.)

The stories and art of @alexasharpe-art and @mortefran

My playlist for my characters

This playlist by @sh4tterstar

And many, many conversations with friends and mutuals, including but not limited to @starcallerstag, @vernalpool, @not-your-fancy-butler, @athenasdragon, @mortefran, and many others! (Thank you so much for keeping me inspired

[jatamansi-arc]

write a headcanon on Salome and her bedroom, maybe? what's in it, what size bed she has, if she keeps it neat, etc

There’s two bedrooms in Salome’s house! What one she’s using depends on the verse, though. Her main bedroom is upstairs, with the majority of her weirdly laid out house, and the guest room is downstairs with the living room and foyer. One of these days I’m really going to draw up the blueprints to her house, because I know exactly how everything is, but it’s likely confusing to everyone else...

Surprisingly, Salome’s main bedroom is pretty mellow compared to the rest of her fairly eclectic decorating style. It most verses, it’s a shade of light, warm grey with white beadboard. Her bed sits low to the ground and doesn’t have anything beyond a very basic frame.There’s a lot of blankets. Her bedding is a mess. There’s a simple dresser in a grey wash.The ketubah belonging to her paternal grandparents is framed, and is placed where a mirror would normally sit above the dresser. There is a simple floor length one, however, in the corner. Moroccan motifs and hamsa decorate the rest of the walls. The ceilings are slanted. A small fireplace that is useless pockmarks the wall next to the dresser and is filled to the brim with books. There’s one large window that lets in the late afternoon and evening sun. Plants line the recessed frame, the dresser, and any other space.

There’s always a stack of books on the right side of the bed, at least five high.

Salome doesn’t spend much time there beyond sleeping, and even sometimes that’s hard to come by. It stays neat because of this, unlike the rest of her house that has a tendency for clutter.

In her verse with @walridiing​, she gave Miles’ this room so he didn’t have to sleep next to the morgue given that he’d been through an absurd about of trauma. When Salome realizes he rarely sleeps, or preferred to do so near her, it was converted into an office on the down low. It’s weird because in this verse the ‘guest room’ is literally the master bedroom. All of things just get moved downstairs.

Likewise, when @blakeagainstthemachine​ is staying with her, that’s the room she puts him in and she sleeps in the guest room. 

Both bedrooms are not large by any stretch. The house is old, and the majority of it is dedicated to the business itself. They can hold a dresser and bed and a few other small things but that’s about it. I’ve referred to them as ‘cozy’ for pretty much the entirety of the time I’ve written her.

The guest room is a shade of green that’s almost dusty and artichoke-y. It reminds me of a color you’d see in the back of a floral wallpaper, except the flowers have faded after a hundred odd years of existence. The ceilings are white and not slanted, so they accommodate more elaborate furniture choices that upstairs will not. The curtains are thick and block out much of the light, and are a Jacobean floral. As for the decor? It’s much of the same as the rest of the house, with whatever weird trinkets make it in.