#the rumbling vs the old testament | Explore Tumblr posts and blogs

harley-rose25 · 2 months ago

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AOT, the rumbling, the old testament, evil, the nature of evil and violence, philosophy

Ya'll Ive been wanting to make this post for a while but I just cant think of how exactly to word what I want to say; but i guess ill just start and see where this takes me. So, I want to explain why I love AOT and Erens character so much, also my moral philosophy behind supporting the rumbling.

I've made other post about the rumbling and why I support Erens actions so I don't wanna get all into here because you're probably tired of me talking about it. So basically to summarize; world hates Eldians because past Eldians = bad people, Big powerful neighbor attacks island Eldians for 100 years, commits a genocidal act of war against them. World gather to declare a genocidal war on island Eldians, launches attack on island. The Titans are island Eldians only defense. I support people acting in self defense. If you start a war and you get killed you're at fault. If you try to beat someone to death and they pull a gun on you you don't get to cry victim.

So if you've read my other AOT posts you probably could have already assessed that my thoughts run along the lines of the above statement. I wanna try to go deeper. Because we can say that Paradis had the right to defend themselves but killing 80% of humanity is taking it to far. People argue that Eren could have protected Paradis by taking out Marley's military; I disagree with that assessment but that not what this post is about.

I support the rumbling because the world of AOT is Evil and the people in it are evil. The only society in AOT that was shown to not be evil was Paradis and even they were quickly becoming evil once they were exposed to the outside world.

I liken the Rumbling to passages in the old testament where God destroys an entire city or an entire nation or the entire planet because humans have become evil and corrupt. and people will say what about the innocent people, what about the children, are they evil and corrupt? and they'll say that the God of the old testament is evil, but what I've come to understand of these stories, or at least my interpretation of them isn't that literally everyone in these societies that God kills is inherently evil and deserves to die, but that at some point a society becomes so corrupted that it cant be saved. At some point the spread and support for sick and evil ideas is so rampant in a society that while you can say the children are innocent you can also say that the chance they're going to grow up and fight against the system they're raised in is effectively zero; and of those that do they're quickly beaten back down. Look at Marley; we see scenes of Eldians being openly discriminated against, being kicked, being pushed to ground, being beaten, Eldian children being murdered. Eldians are forced in internment zones and spat on; and this treatment as well as the attacks against Paradis are largely supported by the populace. It's the people who hate Eldian's and hate Paradis. If there are people who don't, who believe that Eldians should be free to live like everyone else, who don't hate the people on Paradis, and I'm sure there are, there isn't enough of them to make a difference, they aren't doing anything about it so they don't actually matter.

Another point I'm drawing my moral conclusions from is, I think it was a ted talk, I cant remember sorry, but this guy talked about women and sexual assault and harassment we face, and he addressed the people who say not all men by pointing out that not all men but if you're silent when other men are harassing or assaulting women then you might as well not be there. So, even if the majority of people in the world were against the way Eldians were being treated it actually wouldn't matter because they didn't do anything about it and If you stay silent when other people are throwing racist abuse at someone that 'someone' isn't going to care about your silent support.

I think of the Rumbling and Eren as acts of nature. In AOT, during the rumbling a Marleyan military man says that "it is all the worlds hatred reflected back onto them."

I once heard another point from a source I don't remember, again sorry, which is basically that everyone, or nearly everyone, is evil, because if there's injustice in the world and you aren't using all you're power and resources to fix it you're evil. And I thought about this, about how I spend money on new clothes I don't need when there are people who don't have a coat for winter or have been wearing the same pair of shoes for 12 years but I have like 12 different pairs. I think about the homeless people I drive or walk by on my way to by a 6$ coffee and food when I have food and coffee at home. I think about people suffering under oppressive regimes and maybe I could do something help, maybe I could donate to something at least but I don't because I'm selfish and I want more for me.

AOT, the rumbling, Eren just like encapsulated all this in my head and it made me realize that I should and I can be a better person. I started thinking more about my place in the world and how I might benefit others; I started donating; I've started looking for volunteer work I can do near me (haven't found anything unfortunately, but I'm not sure how to really look for this stuff, my depression and anxiety disorders don't help); I try to speak out against injustice I see in the world instead of being silent and ignoring it. I'm not saying I'm a saint now or that I'm out here fighting tooth and nail for justice or whatever cause I'm really not; I'm sitting on a sofa in my dads living room; but, I'm more aware, and I actually try to help or bring awareness once in a while which is more than I was doing before.

So yeah hopefully this even made sense. I just wanted to actually talk about what this series has really done for me and why I'm obsessed. (I mean beyond Eren Jaeger being disgustingly hot) Lets be honest, I'm pretty obsessed with effing hot Eren is, actually. Ok I get distracted by his lean corded muscle and tall frame 🤤and stupidly beautiful face and oh no its happened again

#attack on titan #aot #eren yeager #eren jaeger #the rumbling #pro rumbling #pro eren yeager #morality #moral philosophy #philosophy of evil #everyone is evil #aot thoughts #aot philosophy #aot meta #the rumbling vs the old testament #the old testament

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epitome-the-burnkid-viii · 1 year ago

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I share the real news the mainstream suppresses and so much more! Please look for my show #SupplementalBroadcast 🎱#youtuberecommendedchronicles🔮 on YouTube & Rumble New episodes posted regularly!!! 🧩🙏🎟️ #prophesy #conspiracy #currentevents #extraterrestrials #TheGreatAwakening

#youtuberecommendedchronicles🔮

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avaliveradio · 5 years ago

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Rock Mania Rises Again with New Music hosted by Jacqueline Jax

The best new rock and roll hosted by Jacqueline Jax on AVA Live Radio

Show starts at 9 am et across all channels:

Anchor FM: https://anchor.fm/ava-live-radio Spotify : https://open.spotify.com/show/2toX0f3dPmI8gmUSOKZicx?si=TGb4QHaSRSu-JIcfWZ_WHQ

spotify:show:2toX0f3dPmI8gmUSOKZicx

iHeartRadio station page : https://www.iheart.com/podcast/269-AVA-Live-Radio-Musi-29336730/

Radio Public: https://radiopublic.com/ava-live-radio-music-6913mD

Overcast Fm: https://overcast.fm/itunes1307621014/a-v-a-live-radio-music

Pocket Casts: http://pca.st/0Skw

iTunes: https://itunes.apple.com/us/podcast/a-v-a-live-radio-music-marketing/id1307621014

Google Play: https://play.google.com/music/listen?u=0#/ps/Ixl4ww7zxmhv2mfymrzj3abikja

Sticher: https://www.stitcher.com/podcast/ava-live-radio

BTalkRadio: www.blogtalkradio.com/avaliveradio

Apple CarPlay: https://www.apple.com/ios/carplay/

Android Auto : https://www.android.com/auto/

Podbean: https://www.podbean.com/podcast-detail/5x3w7-61273/A.V.A-Live-Radio-Music-Podcas

Breaker: https://www.breaker.audio/ava-live-radio-music-marketing

Apple Podcasts: https://itunes.apple.com/us/podcast/a-v-a-live-radio-music-marketing/id1307621014

Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xNmUxNWY4L3BvZGNhc3QvcnNz

Artist: Vix 20

New Release: Hashtag Change

Genre: Power pop

Located in: London

‘Hashtag Change’ is a song that’s a tongue in cheek look at President Trump. Unashamed Power Pop that doesn't take it self too seriously. We love all music from Abba to Zeppelin and everything in between.

We have been in the music business for along time we have had releases in Metal, rock and pop. We now only release what we like and have no pressures from labels etc. Video for Hashtag has just been completed, can’t wait to show it to the world!

https://open.spotify.com/artist/01fEKKUsAN1pp9jguVrTQG?si=NFhUnkuCTJW9hmHE83nZXw

LINKS: https://www.vix20.com https://www.instagram.com/vixtwenty https://www.facebook.com/vixtwentymusic @vixtwenty (twitter)

Artist: Ugly Melon

New Release: 'If you're wrong'

Genre: Rock /Hard Rock

Located in: : Toronto Ontario Canada

Have you ever questioned your faith? The new single ''If you're wrong' by Candian band Ugly melons is a song that challenges your religious beliefs. It's telling 'believers' ...' if you're wrong about all this shit, then this is where you'll end up'.

The song can also be interpreted in such a way that it will force us to challenge all the things we think we believe in. Be open-minded. Look at things from many different angles, and be accepting of others, and their beliefs.

'If you're wrong' is saying, you're not always right. And we all need to accept that at some point in our lives.

Our brand is old school - new school Hard Rock Music. Music with yesterday’s melodic writing and vocal style with today’s modern production.

Ugly Melon is influenced by the best British Bands in the World, Black Sabbath Iron Maiden Judas Priest White Snake with today’s bands like Disturbed. If you are looking for a new band to listen to with the elements of great classic rock and today’s modern edge, then look no further, Ugly Melon is your band.

Lu Cachie Guitars, Tony LaSelva Lead Vocals, John Libs on Bass, JT on Guitar and our secret weapon Biagio Diblassi on keys.

"I used to try and create what was considered mainstream and had some great success but never felt it was me. In 2015, I called up Tony LaSelva my very first singer as a teenager. He would be the only singer I’d call cause we are always on the same page with our musical direction. In 2017 we released our first album self titled. In 2018 we released Just a man a real Gem in my ears. What makes this band special is we are all original members. From our first band in our teen years, we know each other like a book. All on the same page and that’s very important.”

New video coming out soon too if your Wrong, Concert coming this fall and We currently working on the third album.

LINKS: Website: www.uglymelon.com Music Video: https://www.youtube.com/watch?v=42Q2HbxK6CA Facebook: https://www.facebook.com/uglymelon/ Instagram: ugly_melons Twitter: https://twitter.com/Ugly_Melon

Artist: Heavy AmericA

New Release: Motor Honey (Peace)

Genre: Rock

Located in: : Boston, MA, USA

Calling out to an age of classic rock where heavy, fractured guitars and snarling vocals rallied like war-torn battle cries, ‘Motor Honey (Peace)’ speaks to the more primal side of rock, capturing the energy and sounds of bands like Guns ‘n’ Roses, AC/DC and Queens of the Stone Age. Offering glimmers at heartier heavy metal that are swept aside by a more pronounced, melodic edge. "Motor Honey (Peace)" is a bellowing, rumbling, pedal to the metal anthem.

This is track number two in a series of Singles we plan to release over the next year. It's also the first track we have released with an accompanying video.

The Single and the video were released within two hours of each other. It made a huge impact on the song's release and reflected in more traction among the fans. We plan on making this a habit for the rest of the releases in the series.

Right now we are in full-on work mode!

Most of our summer has been spent in the recording studio tracking our Singles Series. We've got four completed and two more to go. Then it's on to developing the videos for each Single. Most of the footage has been collected but there's still a lot of production to do. We'll be back into full-on gig mode in October starting with two benefit concerts in the Boston area. Release number three will soon follow!

LINKS: * https://www.reverbnation.com/heavyamerica/song/31047682-heavy-america-motor-honey-peace * https://open.spotify.com/track/1Vm2AW3kGdjYu1whRJKzVL?si=eaDi4j3bT7OmrJGmgPMBGg * https://www.twitter.com/heavyamerica * https://www.facebook.com/heavyamerica * http://www.heavyamerica.us

Artist: idly by

New Release: Concerned Realists Vs M&M's ft. Bec Stevens

Genre: Punk Rock, Indie

Located in: Adelaide, Australia

Lyrically weaving through the difficult terrain of maintaining meaningful human connection and keeping one's self afloat, this sonically bouncy track, much like the rest of the album, takes a journey through some darker places. At a glance, idly by are making some high energy, fun, and catchy punk rock. In a closer inspection, there are stories to be heard in the lyrics of personal struggle and deep dissatisfaction with the status quo.

The band hopes that “throwing a saddle on these dark and personal themes might help people find a commonality in their struggles and broaden the platform from which people can speak openly about their issues”.

This deeply personal album has been a stepping stone. After such intensive introspection, the band is now looking outward and creating music to help inspire the human race to stop being such mindless twats hell-bent on fueling their extinction and causing the collateral damage associated with this selfish, consumptive path we are on.

Right now we are set your phasers to party mode because Idly By are climbing aboard Lil' blue Betsy and rolling into your town with all the swagger they can muster from the inside of a hatchback.

Their dark lyrical overtones are something you’ll have to mull over in your own time because their live show is a vivaciously eruptive spectacle and you’ll need all your faculties for dancing.

They’ve hand selected supports around the country and look forward to being a guest in your scene. Check out @idlyby on FB and insta for their Australian tour dates - announcements coming soon - Album available NOW on all major streaming services and idlyby.bandcamp.com

LINKS: Reverbnation: https://www.reverbnation.com/idlyby/song/31058288-concerned-realists-vs-mms-ft-bec Spotify: https://open.spotify.com/album/1fJNO5DAjINY6GCyMWqFxL Facebook: https://www.facebook.com/idlybyband Instagram: https://publicinsta.com/user/idlyby

Artist: 6 Speed Supernova

New Release: Groovy Stars

Genre: Rock / Alt-Rock / Classic-Rock

Located in: San Francisco, CA

A testament to the notion that it's never to late. Age is just a number. If you want something bad enough, you'll find a way to make you're dream a reality.

https://open.spotify.com/album/6HReqwEeVNhH3PLZSmxPH6

The music we are creating is... a rock and roll explosion infused with flavors of jazz, punk, blues, metal and a little bit of this and that sprinkled in between. It is said that music in the soul can be heard in the universe. 6 Speed Supernova's galactic compositions will expand your mind, tug on your heart strings and throw you tumbling into the cosmos.

Right now we are... getting ready to go back into the studio to record our album in October. We will be taking a mini Southern CA tour in December and will be opening for Steven Adler of Guns 'N Roses. https://open.spotify.com/track/7hRLjs77RxMl5ipvXTgMYH?si=IiFn_7arRCqI95KtU-nizA

Website & social media links: https://www.6speedsupernova.com https://www.instagram.com/6speedsupernova https://twitter.com/6SpeedSupernova https://www.facebook.com/6speedsupernova

Artist: FireBrand

New Release: Single Eye (Recharged)

Genre: Metal - Industrial Metal

Located in: : Murray, Ky USA

Combining 90s style synthesizer dance grooves with aggressive guitars, drums, and vocals, I sing (and scream) about how our priorities direct the course of our lives and why it's important to focus on the right thing(s).

The song's lyrics contain loose metaphors and Bible references to eyes to convey that our lives will be well when our focus is on the truth and what is pure.

This song is a revamped version of the original song that I released on an album around eight months ago. Back then, the idea seemed to be in its adolescence, like some more work was needed to fully develop its potential. Since stepping up the track's arrangement, and recording and mixing quality, this song has come to be my favorite out of all the songs I've done so far. The influences of Circle of Dust, Klank, and Death Therapy come out in the groovy guitar riffs, harsh vocals, and the sporadic synth melodies.

The music...

I am revamping the songs I've released at the beginning of 2019 to make updated impressions as to how I sound before working on new material. The "Overcomer- Re: charged" EP will feature rearranged and re-recorded versions of songs found on the original "Overcomer" album, with also some mashups. I loved how "Single Eye (Recharged)" turned out and felt that it did such a great job making an impression that I decided to make it the opening track on the upcoming EP.

The full EP will be released on September 13th of this year! Pre-orders are available on iTunes, Google Play, and Amazon MP3.

LINKS: My website: https://www.firebrandcybermetal.com Facebook: https://www.facebook.com/FireBrandIndustrialMetal Instagram: https://www.instagram.com/firebrandmusic Song from Spotify: https://open.spotify.com/track/5vjJCtrdCxsXwrao2IUXrK?si=ZMeD-3QQTB-SX9orB2RPBQ

Artist: Tough On Fridays

New Release: Little Italy

Genre: Rock: Alternative Rock

Located in: Georgetown, TX

Tough On Fridays is a rising alternative rock duo from Georgetown, Texas. Comprised of best friends Katie and Caleigh, the two have turned their shared passion for music into an exciting blend of pop and rock sounds! Inspired by iconic alternative bands like Paramore, Green Day, Basement, and Nirvana, Katie and Caleigh work together to bring a refreshing new sound to the alternative rock genre.

The band’s unique attitude and exciting new sound have garnered serious attention from fans everywhere. As one of 10 songs recorded, the recording of "Little Italy" further defines Tough On Fridays sound as something unique. While many reviewers have tried to categorize the band, the one thing they seem to agree on is that Tough On Fridays, with their edgy, hooky, anthemic songs, may have the ability to bridge the gap between rock and pop in a way that hasn't been done in some time. They refuse to be categorized as a "female-fronted band" as these two can write and play every bit as well as the boys. They have the look, but refuse to let that be the stepping stone that takes them away from the music.

Right now... Tough On Fridays just reached its initial crowdfunding goal to fund the recording of an album in 2020 with the help of a contribution from a local radio station.

LINKS: https://www.reverbnation.com/toughonfridays/song/30698131-little-italy https://open.spotify.com/track/19ljJUXcw6D91AkxCZNDKf?si=SSJqc9XPRg6QF3hXp0qV5A https://www.twitter.com/toughonfridays https://www.facebook.com/toughonfridays https://www.instagram.com/toughonfridays

Artist: Black Cadillac Kings

New Release: Upside The Wall

Genre: Southern Style Rock

Located in: Klamath Falls, Oregon

This song is fast moving, quick pit stop structured song meaning it has the feeling of rolling down the highway at high speeds. Very catchy/bluesy guitar riffs and ultra southern slide Guitar lead licks mixed with thunderous drums and a stand-up bass that helps it keep a down-home southern rock groove combined with a rockabilly twist. The vocals lend a unique style in the originality of the sound of Shane Thornton (Lead) and Chris Garrett’s (Harmony) voices give them a sound all their own.

The name of this album is called 4 On The Floor. We took a harder, grittier, darker approach to this record both musically and lyrically. It is definitely the hardest rocking record that Black Cadillac Kings has released thus far compared to our 3 previous records 1. Self-titled Black Cadillac Kings 2. 2nd GEAR 3. 3 On The Tree

Right now we are gearing up for a mini-tour across the country starting off in our home town of Klamath Falls, Oregon at the Basin Brew & Que festival. Then we are off to Atlanta, GA to attend the 2019 ISSA AWARDS where Black Cadillac Kings have been nominated to the finals in 3 categories: Entertainer Of The Year, Band Of The Year and Single Of The Year!

LINKS: https://www.reverbnation.com/blackcadillackings/song/30902191-upside-the-wall

https://open.spotify.com/track/2J6lHCf1DhcvTIg1cgwbO6?si=ObXaRB4ZS9KLQCO95Cuq5g

Twitter handle @BlackCaddyKings www.twitter.com/BlackCaddyKings

www.facebook.com/BlackCaddyKings

www.Instagram.com/blackcadillackings

Artist: Black Rose Reception

New Release: Up jumped the devil

Genre: Hard rock

Located in: Indiana

The music we are creating is old and new school music mix. The message in this song is you can overcome the demons of depression, suicide, and stress that we all deal with. There are great and professional people out there who can help. Right now we are going in studio recording more new tracks.

LINKS: https://open.spotify.com/album/0HEOkTc5fXQyYCr1jwFSeF https://twitter.com/blackroserecept https://www.facebook.com/BlackRoseReceptionMusic https://www.instagram.com/blackrosereceptio https://store.cdbaby.com/Artist/BlackRoseReception

Artist: Radio Drive

New Release: Sweet Thing

Genre: Alternative Pop Rock

Located in: St Paul, MN

The song is a sweet, simple, catchy, pop, love song. I've always loved pop love songs, like the early Beatles and Monkees. My older friends played that all the time when I was a kid. I just released a music video for my song "Sweet Thing".

LINKS: http://www.radiodrive.net http://www.facebook.com/radiodrive http://www.twitter.com/radiodrivemusic http://www.youtube.com/RadioDriveMusic http://www.instagram.com/radio_drive

Artist: Paul J. Clark

New Release: Afterglow

Genre: Alternative rock

Located in: Nashville, TN, USA

The latest single from songwriter Paul J Clark, this song is about the longing to return home while searching for the fulfillment found in the responsibilities of life. Inspired by the Voyager space probe, the golden record it carries containing a time capsule of information about all of us, and a picture it took of Earth from over 4 billion miles away.

Written in the first person from the perspective of Voyager (a satellite of sorts), it’s an abstract metaphor grounded in very real human experience. This song is heavily influenced by the sounds from the ’90s. There are two conflicting emotions battling for resolution throughout the song. This is reflected in the song instrumentation and structure. It combines driving rock guitars with symphonic instrumentation to effortlessly weave together genres into something both nostalgic and new. Musically, it brings to mind guitar-driven songs from the likes of Collective Soul, Linkin Park, Train, Weezer, and Tom Petty.

LINKS: www.reverbnation.com/pauljclark/song/30867506-afterglow https://open.spotify.com/track/1Em507nTXfm2s2GsR5NZY7 Twitter: @PaulClarkMusic www.facebook.com/pauljclarkmusic www.instagram.com/pauljclarkmusic

Artist: Weather

New Release: Silent Approach

Genre: Indie Pop, Post Punk, Alternative Rock,

Located in: : Tabor (Czechia)

This song was written a month ago and it displays my feeling. It is an abstract form of writing lyrics. But the main theme of this song is the tiredness of our wasted society. There is a huge expectation of all of us that we can not fulfill during our short life. Weather is a one-man band whose music is influenced by the 90s DIY scene of Olympia, by new wave of post-punk and DIY hardcore punk from Czechia.

I made my studio at home and finally, I am completely independent to release my songs how they are coming out of me.

I am currently recording a full-length album probably released just online. If there is some independent record label which is interested in my music and wants to help me spread my music around, I will be very glad... Just contact me.

LINKS: https://soundcloud.com/amweather/silent-approach https://diederdasmensch.bandcamp.com/track/silent-approach https://www.instagram.com/mnsch._/?hl=cs https://www.youtube.com/channel/UCXAqbWmRkxzC0V_AMIOrr_A?view_as=subscriber

#Vix 20 #Ugly Melon #Heavy AmericA #idly by #6 Speed Supernova #FireBrand #Tough On Fridays #Black Cadillac Kings #Black Rose Reception #Radio Drive #Paul J. Clark #Weather

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flauntpage · 6 years ago

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Becky Lynch Vs. Charlotte Flair Was WWE’s Best Match of the Year

After a long month, WWE did something very right with Sunday’s Evolution show. It was the first all women pay-per-view in WWE’s history and it was probably the best show they’ve put on since Royal Rumble, and quite likely since last year.

Right off the bat, it must be said that WWE tried very hard to make the whole thing mawkish. Not by allowing the wrestlers on the show to speak about what it meant to them—they were all genuine and rightly proud of what they were involved with—but by insisting on placing the corporation at the center of a larger global feminist movement in more vaseline-lensed intrusions featuring Stephanie McMahon than necessary. The focus should’ve been kept on the workers doing the ringwork, rather than the extended McMahon family showing up to talk about the greatness of the WWE.

That said, it’s a testament to how good this show was that even the eyeroll-worthy insertion of McMahons into the proceedings didn’t dampen things a bit. It moved at a blistering pace, with fewer matches over about 3.5 hours than normal. This is the second pay-per-view in a row which has had fewer than 10 matches— Hell In A Cell had eight—and it is, perhaps not by coincidence, the second pay-per-view in a row which has been thoroughly enjoyable. Matches at Evolution had time to breathe, and so did the crowd. It’s remarkable what shows with very little fat can do for your quality.

One thing which persisted throughout was the lack of snickering at the returning older women. This is one of the subtler things which signals a real change, because it seemed so unscripted and natural in a company which doesn’t do that as well as it used to. Middle-aged and older women don’t have it easy in our culture; they’re too often considered used up and targeted for ridicule. Hollywood is notorious for disappearing all but the most acclaimed actresses after their 40th birthdays. WWE sure as hell used to do this, with Mae Young giving birth to a hand and female wrestlers usually disappearing in their mid-30s.

From the opener, where Trish Stratus and Lita were given their due, to the battle royal stocked with legends like Alundra Blayze and Ivory (54 and 56, respectively), there wasn’t a hint of condescension. They were just wrestlers, with their returns treated the same as any nostalgia return. On top of that, those who could still go at something approaching full tilt were allowed to; Ivory, in particular, can still wrestle like hell, and if the jumps were a bit shorter than they used to be, her timing and ring presence were impeccable.

The matches themselves, with the exception of the Trish/Lita vs. Mickie James/Alicia Fox, ranged from enjoyable to scintillating. When your show has a nostalgia pop tag match which is merely “perfectly fine” as its low point, you’re in good shape.

It’s impossible, given word count limitations, to go through every match in the good to great category. Kairi Sane vs. Shayna Baszler had a rematch which didn’t quite reach their NXT heights, but it was still up there with the best matches WWE’s put on recently. Io Shirai and Toni Storm faced off in the finals of the Mae Young Classic tournament, with both women announcing themselves to a broader WWE audience in what, on any other night, would’ve been the best match on the card.

The reason why it wasn’t the best match on the card is that Becky Lynch and Charlotte Flair had WWE’s best match of the year. I’m not certain it’s even close, and I thought the Sane/Baszler match was going to run away with it.

WWE has lightning in a bottle with Lynch, who’s so good at her job that they can’t turn her heel despite her best efforts (they dubbed in boos during the replay of her epic promo last week). Her feud with Charlotte is based on a sundered friendship. The women in WWE are invariably funneled through this lens, where everyone is friends and hatreds don’t last because of some combination of women being in touch with their feelings and mean girls just act like mean girls. After the first dozen times, it starts to fall flat.

Not here, though. The simmering resentment played perfectly for the camera in their last woman standing match and the violence started immediately. It wasn’t a technical masterclass, but it wasn’t supposed to be: it was a match where Lynch and Flair were supposed to beat hell out of one another.

It was delightfully, deliriously old school. The camerawork wasn’t WWE’s usual queasy standard, and something about the longer shots, darkened arena, and insane bumps made it feel like something out of Greensboro Coliseum in the 1980s. That sense of timelessness, that you’ve been here before and will be again, is the mark of a great match. This was it, and it was the first time that Charlotte Flair—who is usually booked like a monster—felt like Ric Flair’s daughter. She was wrestling a Ric Flair match.

I’m not joking about the insane bumps. There has never been a WWE women’s match where there was more physical punishment, real physical punishment, meted out. Over not quite 30 minutes, tables were broken, kendo sticks were swung, and Flair took a powerbomb to the outside, through a table.

It was magic. Ideally, WWE wanted this show to be so good that nobody operating in good faith could point at it and say the words, “It was good for a women’s show.” The wrestlers at Evolution made sure that happened.

WWE certainly likes to mess things up, though. Towards the end of the show, WWE flashed a hype video for Crown Jewel on their big screens in the arena. The crowd erupted in boos. It was a tone deaf moment: not only is Crown Jewel horribly unpopular on its own terms, but to bring up a show which the women putting on your best stuff of the year can’t go to is plain arrogance.

That it has to be noted how blinkered WWE is about all of the stuff outside Evolution is annoying, but it’s part of the story. But it cannot be, and won’t be, the story. The story is that Evolution was great, one of those events you’d show to people who aren’t wrestling fans to make them get it. Let’s hope they make it yearly and give this talented, irrepressible women’s roster its due going forward.

Becky Lynch Vs. Charlotte Flair Was WWE’s Best Match of the Year published first on https://footballhighlightseurope.tumblr.com/

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un-nmd · 8 years ago

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Recent listening—

The Mothers of Invention, Weasles Ripped My Flesh (1970) Strikes a somewhat psychotic balance between the whimsy of a Ween and the all-out avant of a Beefheart. The musicianship’s all there lest you fear that Zappa’s noisy conundrums were meant to hide a lack thereof—his magic band equivalents are able to don ‘general public’ masks and jam away just like any contemporary fellow, as they do on “Directly From My Heart To You” and “My Guitar Wants To Kill Your Mama” (note the electric violin on the former). But to those with ears of gentle predisposition: beware, and don’t be fooled, for the joke’s on you. The visceral beasts behind those vaguely satirical eye-holes are let loose more often than they’re contained. Take the two characteristic collages, “Didja Get Any Onya?” and “Prelude To The Afternoon Of A Sexually Aroused Gas Mask”: chaos, yes, but ritualistic chaos; Zappa, wielder of the wild. The sheer number of ideas, themes, and allusions introduced and just as quickly passed over in the space of, for each, less than four minutes, is nauseatingly impressive. E.g. about halfway through the latter, whose title suggests Debussy’s own ...d’un faune, some Satanic call and response gives way to the distant strains of the second subject of the first movement of Tchaikovsky’s Pathétique, over which some madman projects an uncanny valley imitation of a big cat growling—then final tremors from kit and a deep down electric rumbling to close. And if you thought music was one-dimensional (audio, you could argue, perhaps is) wait till you hear Zappa break the fourth wall on “Toads Of The Short Forest” which itself ends on a parodic consonance that’s rich with the same commercial irony of the album’s parting words— “Goodnight, boys and girls”—which follow one and a half minutes of some of the harshest noise you’ll ever hear. If you thought Penderecki was aggressive listen to this and reconsider.

Various artists, Planetarium (2017) You would think that with the extra personnel Sufjan would be somewhat protected from the subsuming ambition that fed Illinois and Adz to over an hour each—or that he’d personally outgrown it, as these mature words here would suggest:

A lot of those flourishes and gestures and aesthetic wanderings on earlier records were smoke and mirrors, a lot of obfuscation that were probably the result of me feeling either inadequate or feeling coy. There’s a lot of role playing and constructing facades.

But the 76-minute run-time indicates otherwise. Perhaps it’s the subject matter. These four gentlemen’s ode to the cosmos is as much about space as it is about substance—by which I mean: aside from the planet portraits they also craft sonic voids to match that of the great vacuum, and call it ‘ambient music’ so its justifiable. Is Muhly to blame? If so, its at least theoretically intriguing for its marriage of post-minimalism and popular music. It makes for dull listening though. You accept it the first couple of times but there’s no way I’m sitting through “Sun” or “Tides” or the “Moon” coda for a third or further. However with “Black Energy” the suspended dissonances are at least something for the ear to work on, and “Halley’s Comet” and “Black Hole” are short enough to accept as outros/intros to tracks preceding/following, with the latter also being interesting for its similarity to certain parts of Badalamenti’s score to Fire Walk With Me. But of the actual songs?—“Jupiter” and “Mars” quickly go from overwhelming to simply overcrafted. Likewise “Earth” is overcome by temporal grandeur, but it is defensible in the same way that the Mahler symphonies are, i.e. gushing Romanticism kills itself yet in doing so also transcends itself. “Pluto” and its interstellar string line provide the appropriate sappiness required of a work named Planetarium. The real gems, however, are “Neptune”, “Uranus”, “Saturn”, and “Mercury”—is it any coincidence that these are also the most Sufjan-esque?

John Coltrane, The Olatunji Concert (1967) This was all the Gods could muster: a cheap, dingy mic, a 30-sec intro, time for two jams with the latter cut off before the final hit—there the master laid down his pen. Like J.S. centuries ago it was, fittingly, on his signature move. Did he know it would be his last live recording? The notion would at least have been entertained as by then he was probably well into the throes of the cirrhosis that would eventually take him. Trane’s apocalyptic final will and testament, the culmination—if only chronologically—of a lifetime’s innovation, comes at you through an otherworldly haze, through cigarette smoke and spirit vapours, through half a century (exactly) of sonic decomposition of tapes that were at a poor enough quality to begin with. All that’s pretty is shed away, left behind for the blind and the shallow to fuck with. This is the primal essence. Trane, on the precipice, delivers a performance of catastrophic immensity. This was no Mahler 9, no sweet surrender—with one foot in the grave he raged.

Deep Puddle Dynamics, The Taste of Rain... Why Kneel? (1999) And re-calibrate again for the emcees in this realm require of the listener a completely different approach. Here the gamut of receptors is tuned less to harmony, instrumental skill, or ‘compositional rigour’ (in the Western art sense), and more to verse, cadence, dialect, timbre, rhythm, and so forth—it’s only empty if you ain’t looking hard enough. And four voices means there’s plenty of variety to go round. The interplay between the distinct bodies to their voices makes them stronger as a unit, à la Tribe preceding. E.g. I don’t think I could handle an entire full-length full of Doseone’s nasal delivery but on this the other three contextualise the texture space he resides in so that his grating-ness means something. (See his entry on “The Scarecrow Speaks”.) Another point of difference between this and the records surrounding: I’ve had genius.com open for probably half my listens. The pace, density, and abstraction of the ideas expounded deserve more comprehension than a fleeting ear’s able to discern; the work is the word, mostly, so read the libretto. We open with Slug: “Descending on the centre / from the outskirts of obscurity”. An apt heads up for such is how you approach the meaning to these tracks, most of which exceed five minutes. Within them the majority of time is spent dealing in Impressionistic strokes of free-verse, free-associative syllables strung streaming out to the potent symbology of, say, a candle flame (as on “The Candle”) or the psychological landscape of a peeling ceiling (as on “Heavy Ceiling”—distant progenitor to Courtney Barnett’s “An Illustration of Loneliness”). However at times a rhyme catalyses the crystallisation of these supersaturated abstractions—here’s Sole towards the end of “Thought vs. Action”:

Man, I once had an idea but it didn’t get me anywhere Read The Art of War when I should have been out fighting Why is it the mass is unexposed to so-called great thinkers until they die? And why do they live in fear Of the fighters afraid to leave their insides?

But wait! Don’t forget ‘compositional rigour’ just yet as a certain hook on the track just discussed, the chant chucking nouns at each crotchet (“catalyst, cataclysm, fallacy, fortitude, medulla...”), appears also on “Deep Puddle Theme Song” and “June 26th, 1998”, albeit with different words, and as different answers to different questions. And formwise you’ve got the partition between the ‘98 tracks and those from June 26th, 1999. There’s a palpable maturation from the former to the latter. In the year of ‘98 they had more answers than questions—see the noun chant above, see the youthful arrogance on “The Scarecrow Speaks” and “I Am Hip Hop (Move the Crowd)”. And even the cynicism that closes #1 has with it a little bit of nihilistic tongue-in-cheek. One year on and they’re a lot more tired of the world. That sly grin’s nowhere to be found on lines like these...

How is it I’m motivated to endure Eight hours of pure unadulterated boredom? Then sit in front of another computer for Four more hours using the same old drum set Trying different loops, can’t find one to fit Maybe this is why I sit in front of a pad of paper, pen in hand with a blank mind And I ask myself Is the writer’s slump the best form of meditation? Rhetorical, don’t have an answer And I also don’t expect one.

...and all that’s left is a deathly wit...

It ain't all love, it's confusion and a waste of time It ain't all time, it's confusion and a waste of love It ain't all waste, it's confusion and some time to love It ain't all confusion, it's love and some time to waste It ain't all that It's all of the above So scared into this And you are And you wonder from the shores how deep the puddle is.

...borne of the same fin-de-siècle dread that fed Radiohead’s OK Computer.

Alvvays, s/t (2014) Music that’s dense and complex and meticulous will never be difficult to write about, or, for some, even to listen to, because there’s always the task of ascribing theory to composition to hide in. Such an approach, however, can neglect what you might say to be the primary purpose of music: evoking a meaningful emotional response in the listener. This, to trained ears, can be tempered by knowledge and understanding of the underlying theory, but for the most part it is governed by right-brain perception; that is, the Dionysian response as opposed to the Apollonian. For example: I could write about how on “Dives” you can developmentally derive the verse theme from the prelude’s sinister synth line, or about the 3/2 bars on the refrain to the same and how Molly’s melody overlays a 6/4 structure in a sort of inverse hemiola to the colossal opening of Brahms’s 3rd—or, instead, I could write about the sweet, sweet ache I am immediately plunged into upon the first words to the first song (”How / Do I get close to you? / Even if you don’t notice / As I admire you / On the subway”), or the simultaneous melancholy of lyric and uplift of melody on the chorus to “Archie, Marry Me”, or the crack in my heart that accompanies, every time, Molly’s crack up to that high note on “Ones Who Love You”, that velvet vowel vocalise that’s recalled, in spirit, on the final seconds of their latest single when she, unexpectedly, epiphanically, goes up the register to a transcendent 5th scale degree falling to the major 3rd on what itself is a 6-3 on the I, i.e. a first inversion founded on yet another radiant, overtone-heavy 3rd. Point being, who really cares about the details when all you can think about is that it’s making you soar, or in some cases, sore (in the chest).

#planetarium #frank zappa #the mothers of invention #john coltrane #deep puddle dynamics #alvvays

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flauntpage · 6 years ago

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Becky Lynch Vs. Charlotte Flair Was WWE’s Best Match of the Year

Becky Lynch Vs. Charlotte Flair Was WWE’s Best Match of the Year published first on https://footballhighlightseurope.tumblr.com/

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flauntpage · 6 years ago

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Becky Lynch Vs. Charlotte Flair Was WWE’s Best Match of the Year

Becky Lynch Vs. Charlotte Flair Was WWE’s Best Match of the Year published first on https://footballhighlightseurope.tumblr.com/

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