#song lins

[thefugitivesaint]

Jill Karla Schwarz, 'Tam Lin', ''Fairies and Elves'', 1984 Source I'm going to use this post as the perfect opportunity to direct you to my favorite song from the folk band Fairport Convention from their 1969 album 'Liege & Lief', Tam Lin (which, I'm sure, I've posted about at some point)

[gossippool]

it's after their first mission together that wade and logan share their first kiss.

the fight leading up to the time ripper took place right outside their apartment with barely any witnesses around, so the journey back home was short and quiet with no prying eyes. after that, it took a while for logan to get out of the house on the regular, but when he eventually did, it was just to walk or carry out errands, and in civilian clothes, he blended in with everyone else. it's different when they get called on a mission for the first time.

it's not a hard mission by any means, but it's brutal. he and wade subdue a dozen men on the streets, chase a final one down to the underground, and turn him over to the police. by the end of it all, the sun is going down, and people are travelling home from work. logan's suit is torn, and his bare arms are caked with dirt and dried blood.

a cab would be the typical mode of transport for them after a mission, but they're already at the station, anyway, so they decide to take the train. a busker sings at the platform with a guitar, a lulling, bittersweet thing, like the soundtrack to a life not deserving of such a melody. in the exhaustion and setting sun, it makes logan long for something he can't name. but they'll be home soon.

they board the train. he leans against one of the poles, feels the cool of the metal seep through his suit and into his spine. the music fades out, and what fades in in its place is the conversation and laughter of the others in the train car. a group of teenagers out having fun, businessmen in suits off work, older people with their grandkids or their shopping bags. wade's warmth opposite him, mask moving as he chatters.

he tries to listen, he really does, but as the train speeds through the tunnel, he feels stares turn slowly towards him from all sides. he smells their slight fear, their judgement, over the odour of him and wade. he realises all at once what he must look like, dirty and covered in blood that can't be his for his lack of open wounds. his exposed knuckles a darker red than the rest of his hands. he covers one hand with the other, unclenches his fists.

he's not one to care about what others think. not before, at least. he's used to glares of resentment and pity for what he did, eyes following him everywhere he went like the phantoms of those he killed. but these people don't know what he's done, and they stare at him all the same. it's almost worse.

for a brief moment, just a moment, he feels a stab of hopelessness. coming to this world felt like a second chance, a chance to start over without the world having to bear the knowledge of his inadequacies. but what if that isn't possible? what if this is all this world ever sees of him? the aftermath, the bloodstained hands, the aged lines of his face that tell them what they want to know. he's no one here, except when people remember him like this.

"peanut?"

wade's voice snaps him out of it, and when he looks up, wade has pulled his mask off. he's about to apologise for not listening when wade smiles slightly at him. it's enough to take the words out of his mouth. wade doesn't ask if logan's okay, but his eyes flicker almost imperceptibly over the other occupants of the train car. then he places a delicate hand on logan's waist and steps closer to him, until he can feel his breath ghosting his lips.

logan just looks up at him, breath caught in his throat. what? he thinks of asking. he doesn't.

wade's other hand trails up to cup his cheek. "let them stare," he says. "they don't know anything."

then he leans down and presses his lips to logan's. the train emerges out of the tunnel and bathes the car in golden light, and all the rest of it fades away.

wade steps back eventually, and logan wants to chase his lips, but instead watches as the shadows of his scars dance across his face with the path of the dying sun. he's so beautiful, logan thinks. he's home.

wade is right; let them stare. all he wants is to find his way home, just like everyone else. that's all anyone wants. and they're all on the same train home.

[jack-kellys]

hey if you liked hamilton ever. like ever at all. can you go listen to the warriors musical album lin just dropped? thank you.

[justanon-believer]

The problem of reading danmeis with power couples is that you won't be able to read normal dynamics couple (which takes maximum place in danmeis) anymore. Because what do you mean by one of them is a delicate flower and another is big bad alpha ? What do you mean by the big bad alpha tortures the flower, the flower runs away, then yields cryingly when big bad alpha saves them from some low-life thugs? WHAT DO YOU MEAN BY YOUR LEADS DON'T FIGHT SIDE BY SIDE, DON'T SCHEME TOGETHER, ISN'T A MENACE TO THE SOCIETY, DOESN'T GO ABOVE AND BEYOND FOR EACH OTHER???? You don't stan & obsess over couples like that ? That's....cool (disrespectfully)

[goldengroovy]

i hope this comic hurts u like how writing text hurts me

[kaysdenofchaos]

Rewatching Hamilton

Extremely funny how the entire second half of the musical is politics politics and oh also FUCK John Adams

[artist-issues]

The reason I think the song bodes so well for Mufasa is that they got Scar and Mufasa right. I was talking with @doverstar about this and so some of these thoughts are her thoughts

Mufasa, as a character, is the kind of guy who turns everything into a lesson when we meet him as Simba’s father. Even though Simba is apparently his only son. That means he’s got a reflective, old soul when he’s still a just a relatively young King—to be ready to give great fatherly lessons. And obviously we know he got that from his own father.

So in the song, to have him be the kind of guy who goes “You see that tree? Those birds are watching the world unfold!” is perfect. He points out the tree and the birds and their place in the world, their unique perspective, like it’s an exciting thing, the kind of thing any little boy should be excited about—he points it out and starts to wax philosophical the same way other ten year-old boys would point out a superhero or cool animal to their friends.

An old soul, already gleaning lessons out of the world he’s growing up in, and likes talking about them. Like he’s a young dreamer with his head in the clouds. But when Taka sings “No one looks down on me,” Mufasa responds in this patient tone, “They look down on us, brother. Some things you chase but cannot hold.”

He’s not going to let Taka change his mind, even if (from my understanding) he’s relying on Taka as his only friend right now. He’s not insecure. That sounds like the kind of strong-willed kid who could grow up to be as powerful a character as Mufasa.

And then there’s Taka.

In The Lion King, we know Scar wants everything his own way. (That’s what makes him a great foil to Simba, “we’ll-do-it-all-my-way”)

And that’s in the song. “When I am King they will do as they’re told / Those are the laws for my brother cuz I say so /“ He’s entitled, he thinks life should be ordered according to what he says.

But I think the way more interesting part of his characterization in the song is when he sings, “No one looks down on me,” and he sings that right after Mufasa says, “where they (the birds) go can’t be controlled.” Controlled. A no-brainer response, for a songwriter, would be to have the future-villainous-usurper get his feathers ruffled. The low-hanging fruit would be to have Scar respond with something about how he can control the birds because he’s going to be King, the boss, the authority.

But Lin-Manuel Miranda did not go for the low-hanging fruit. He had Scar respond, instead, with something that almost feels off-topic: “No one looks down on me!”

But it’s NOT off-topic if you know who the character, Scar, really is. Scar is all about how he’s perceived by others.

He is insecure. His life is lived hoping that others will give him everything. The throne, the food, the power, yes—but more importantly, he wants them to give him respect, idolization, adoration, and admiration. He does not want to be looked down on. That’s what’s most important to him.

He’s the total opposite of Mufasa in that way, because Mufasa gives his life for others, while Scar hopes others will give him everything.

He doesn’t lash out at Sarabi until she mentions Mufasa—specifically, until she unfavorably compares him to Mufasa. It’s all about not wanting to be looked at as less-than. Instead, the very essence of Scar is selfish narcissism. He wants everyone to treat him like he’s the best there is, like he’s worth giving up everything for.

That’s why at the beginning of the song, he says “When I am king…my brother, you’ll always take my side.” Because he believes that he should be seen as the always-right wonder child. That’s what he wants. Even when he sounds protective of Mufasa, it’s protective by association with himself. It’s sweet, but if you listen, Taka is saying Mufasa’s whole status as his “brother” is dependent on Taka’s decree that that is what he is. So if someone denies that Mufasa is his brother, they’re defying Taka’s little princely will!

Meanwhile Mufasa is all about being a vessel of lesson-sharing and selflessness. So they really got the characters right, at least in that one song. I hope the whole rest of the movie will be like that too.

[mo-mode]

Lin Manuel Miranda: He’s everywhere but no one really likes him. People think he’s selfish and annoying. A little shit

Hermes: ALSO everywhere but no one really likes him. People think he’s selfish and annoying. A little shit

Everyone: WHY IS LMM IN THE SHOW, NO ONE WANTS HIM HERE

Listen buddy, you wanted accurate casting-

[thewhizzyhead]

like the whole warriors concept album does things to me but like I can't aptly describe the extreme chills felt in a light or something's "The light at the end of the tunnel's got nothing on you!"

[q33rwitch]

The biggest problem with making a Warriors animatic is that every song includes like ten characters or something 😭

[strwbryfeels]

Wild Life (1971)

Mumbo

I don't see any number I don't see an old lady

Bip Bop

Treat me like a good boy Treat me like a man

Love Is Strange

My sweet baby, love is strange Many, many people seem to take it for a game

Wild Life

You're breathing so hot A lot of political nonsense in the air You're making it hard for the people who live in there

Some People Never Know

I'm only a person like you, love And who in the world can be right, all the right time I know I was wrong, make me right

I Am Your Singer

You are my love, you are my song, linger on... You are my one, you are my own melody, You are my song, I am your singer

Tomorrow

Through the week, we beg and steal and borrow Oh, for a chance to get away tomorrow

Dear Friend

Dear friend, throw the wine I'm in love with a friend of mine Really, truly, young and newly wed Are you a fool, or is it true?

[godzilla-reads]

I do love Judy I. Lin’s books and the cover art is amazing, too.

[g3othermal3scapism]

MERCY, WHAT DO YOU WANT ME TO SAY, THAT YOU’RE BEAUTIFUL?

CAUSE I THINK WE BOTH KNOW THAT YOURE BEAUTIFUL

YOU’RE MORE THAN BEAUTIFUL (MORE THAN BEAUTIFUL?)

YOURE MORE THAN YOUR BODY,

YOURE MORE THAN THESE LIPS OR THIS FACE,

AND IF WE EVER SOMEHOW GET OUT OF THIS PLACE,

THEN YOU’LL GO,

THEN WE’LL GO.

FIND SOMETHING NEW,

ITS ALL NEW.

MERCY,

THE LIGHT AT THE END OF THIS TUNNEL’S GOT NOTHING ON YOU.

[one-time-i-dreamt]

I went on a boat ride with Lin Manuel Miranda and he shot me whilst singing My Shot from Hamilton.

[chicademartinica]

The Taiwanese crème de la crème. IF ONLY SAM LIN GOT OUT OF HIS HOUSE TO GO TO A PREMIERE ONCE IN A WHILE. (Charles and Kai know that we think they are brothers)

Bonus :