#synthesizer showdown

[synthesizershowdown]

Round 6, Match 2

[cryptidvoidwritings]

Full text below.

A D.J. pawing through a carton of old LPs — Natalie Cole, Angela Bofill — comes upon a curiosity: the original cast album of “Cats.” When he opens the gatefold, glittery spangles fly everywhere.

That’s how “Cats: The Jellicle Ball�� begins, and it’s basically what the Perelman Performing Arts Center’s drag remake of the Broadway behemoth does to the drab original. It sets the joy free.

Whether upper- or lowercase, cats never previously offered me much pleasure. The underlying T.S. Eliot poems, ad libbed for his godchildren, are agreeable piffle, hardly up there with “Prufrock” as fodder for the ages. The musical, instead of honoring the material’s delicacy, stomped all over it, leaving heavy mud prints. Andrew Lloyd Webber’s score, and especially the rigged-up story and original staging by Trevor Nunn, tried so hard to make big statements from little ditties and kitties that it wound up a perfect example of camp.

Camp, cleverly, is the new version’s base line, neutralizing that criticism. It turns out that the show once advertised vaguely (and threateningly) as “now and forever” — it ran on Broadway from 1982 to 2000 — works far better in a specific past.

That past is the world of drag balls, which at the time of the original “Cats” was beginning to achieve mainstream awareness. Madonna’s appropriation of the participants’ style and dance moves in her videos and concerts, as well as Jennie Livingston’s celebration of them in her documentary “Paris Is Burning,” helped pave the way for the supremacy of RuPaul and dragmania today. But beneath that triumph lay a darker truth: that the thrill of ball culture depended on its drawing extravagance from destitution, meeting prejudice with bravery, and staring down death with style.

The key insight of this “Jellicle Ball,” which opened on Thursday at the new downtown arts cube, is that at least some of those themes could resonate with Eliot’s subtext and Lloyd Webber’s score. The directors Zhailon Levingston and Bill Rauch have thus transported Grizabella, Skimbleshanks, Rum Tum Tugger and the rest from a metaphysical junkyard to a hotel ballroom for a vogueing competition, accompanied by new versions of the songs that go heavier on the synthesizers, turn some lyrics into raps and add a distinctive house beat.

It’s often a good fit. The former felines — now fantastically attired humans — compete in traditional categories, like Opulence and Hair Affair, that are to some degree matched to Eliot’s descriptions. The song “Mungojerrie and Rumpleteazer,” for instance, pits those two “knockabout clowns” against the pairing of the balletic Victoria and the acrobatic Tumblebrutus in a showdown called Tag Team Performance.

Not that it is any easier to keep the cats straight just because they’re queer. The structure of the show doesn’t allow it. Hemmed in by the Eliot estate, Nunn could not add dialogue, making it difficult to flesh out any characters or encourage specific emotional investment. His solution was a bizarre framing device with late-1970s woo-woo overtones: The clan meets each year on the evening of the Jellicle moon so that their leader, Old Deuteronomy, can choose one lucky cat to ascend to the Heaviside Layer and be reborn.

That silliness didn’t help much. It remained difficult to keep Jellylorum and Sillabub apart or care about either. In revivals like the one on Broadway in 2016, let alone the dreadful 2019 movie, the material seemed fatally ludicrous.

And if “Jellicle Ball” doesn’t quite solve that problem, it succeeds in making it mostly irrelevant. The new frame allows you to feel something for the characters, at least as a group, even when you don’t know what’s going on, which is often. The design of the long, narrow room, with the audience surrounding a runway on three sides, is awkward in the way one imagines the balls were: You can’t see everything, you’re constantly craning, the sound (by Kai Harada) is blurry and some fuss or hilarity is always happening somewhere you missed.

Even so, we recognize Rum Tum Tugger (Sydney James Harcourt) far better now that he competes in the Realness and Body competitions. (He’s a smooth playah.) Gus, the theater cat, is a more instantly recognizable type as performed by Junior LaBeija, the M.C. of the “Paris Is Burning” ball, as a catty old queen who, though “no longer a terror” can still throw ample shade. And it takes little more than the arrival of André De Shields, with his unsurpassed ability to freeze attention onstage, to show us that Old Deuteronomy is a Moses.

It helps, too, that he’s given a glowing Ten Commandments-like set of tablets, and that he’s dressed (by Qween Jean) in royal purple topped by a gigantic matching lion’s mane (by Nikiya Mathis). Indeed, the wonderfully over-the-top design of the show is as important as the concept itself in filling out the vast blanks of the characters as written. Enjoyable as that is in itself, the chief benefit of the physical staging (on sets by Rachel Hauck, with lighting by Adam Honoré and projections by Brittany Bland) is that it grounds the performative mayhem on the runway in a real environment that suggests the struggles of real lives.

Among other things, this rescues the nominal star role, Grizabella, from bathos. A faded “glamour cat” seeking the reincarnation nod, she has no other function in the original story, not even suspense. (We know she’s going to be chosen because she keeps popping up to sing fragments of “Memory.”) But here, in smeary makeup, a ratty fur and carrying a tarnished old trophy, scrambling about the outskirts of the action, we see at a glance the pain of an outsider now exiled from the place she’d once been safe. Especially as played by Chasity Moore, known in the ball world as Tempress, that pain feels authentic.

That is not something that ever occurred to me in watching the old-school “Cats.” At best the Broadway show felt like a stoned oratorio about nothing, with a dog’s breakfast of song styles including ear-wormy music hall, grating electronica and the occasional Gilbert and Sullivan chorale. (The choral singing here, under the direction of William Waldrop, is gorgeous.) Likewise, the original choreography, by the Royal Ballet star Gillian Lynne, seemed totally random despite its supposedly catlike footwork. The athletic vogueing created for this production by Arturo Lyons and Omari Wiles, sometimes blended with throwbacks to Lynne’s classical style, is instead perfectly tailored to its milieu, and thrilling besides.

I should say at this point that, no, I haven’t turned into a fan of the show itself, the one you can see at your community theater or license for your high school. I don’t believe musicals should need whisker consultants. But as happens occasionally, the right idea can transform the wrong material. If “Cats: The Jellicle Ball” has managed a Grizabella turn, reincarnating itself in fabulousness, do not expect an 18-year run or, pardon me, copycat productions. It’s a lightning strike: not now and forever but now and once.

(Honestly, I'd respect this guy more if he came out and said 'I'm taking money to pretend to review the new show but actually am just regurgitating 40 years of The Smart, Cultured Critics Hate CATS.')

[tekdecksmtg]

Standard Showdown: “Wing it”

Time for another Standard Showdown event. These are good cheap events where you can get some practice with your decks and just have some fun without high stakes.

While I have updated my “I’m All Ears!” deck, I just put together a Bats deck with all the new bats in Bloomburrow. I initially planned to toss a few in my mid-range Orzhov deck but it wasn’t overly additive and I have so many bats that I thought that an aggressive standalone deck would be more fun. Now, as usual, when I first put a deck together I just use cards that I have. If there is promise and pieces I need then I will look to get singles later (e.g. this could use some surveil lands). I really think that going into events like this with an untuned deck will make you a better player and help you to understand what’s lacking and what is working.

Deck as follows:

Match 1: L 1-2

Opponent playing the Azorius Synthesizer deck. Game 1 he played early interaction to kill a couple of my creatures followed by a Sunfall wiping the three I had left. Then he was able to play Simulacrum Synthesizer and build out the board quickly for the kill. Game 2 on the play I got out to a blistering start with bats, taking his removal in hand with my Deep-Cavern Bat, then draining. On the potential turning point turn when he was starting to stabilize, I swung two fliers at him while he had one creature with Reach and was on 5 life. One got through for 2 damage, then I sacrificed it to Treacherous Greed to drain him of the final 3 life and take the win. Game 3 he got the Synthesizer out again with a couple of beefy tokens that I was able to exile with Legions to Ashes, but he just kept churning them out. Then he was able to tap down my creatures with Braided Net and swing through for the win.

Match 2: W 2-0

Opponent on rabbits, a slightly different build to the one I played the week prior, but same general concept of course. This match was not close at all. I had early removal in both games to keep his board at bay, inclusive of a Glistening Deluge in Game 2 to wipe his board - which wasn’t threatening but could get out of hand. My fliers with the consistent life drain put both games away fairly quickly.

Match 3: L 1-2

Opponent playing a Rakdos Midrange deck with some Discover pieces. In Game 1 he played an early Brass’s Tunnel Grinder that he flipped quickly with fetch lands and looting. Once the Discover train got rolling there wasn’t much I could do. Trumpeting Carnosaur with a Discover 6 and a Discover 5 (into a Geological Appraiser with another Discover 3) was all she wrote. Game 2 on the play I got out to a super fast start, dropping lifelink bats every turn while growing an Essence Channeler. My Deep-Cavern Bat kept threats out of his mulligan hand and I was able to overwhelm the board and beat him. Game 3 I had to mull on the draw and he had tons of removal. Almost every creature I played got shot down while he geared up for a midrange grind match. Once he played Sheoldred, the Apocalypse followed by an Aclazotz, Deepest Betrayal on the following turn I knew it was the end. GG.

Overall: 1-2-0 (4-4-0, 3rd Place out of 4)

The deck was pretty fun to play when it got going and there were a lot more lines than I anticipated - need to figure out which attacks or plays bring the most benefit a few turns down the line. I guess that could be said about any deck but I felt it more here since the aggression and draining needed to sync up well. It’s really important to utilize all the mana, sinking into Lunar Convocation where needed to get some card advantage and pinging yourself to potentially trigger it as well.

Reflection: I definitely see a few cards that I’m going to think about changing out, including Moonstone Harbinger and Elas il-kor, Sadistic Pilgrim. I might bring Cruelclaw’s Heist in from the sideboard and need to figure out what to do with the Starseer Mentor in there as I didn’t board it in anywhere. I was initially thinking it could be good for longer grindy match-ups (as could adding Aclazotz) but I actually want to try to just go faster rather than giving in to their playstyle. I also have to figure out what I can bring in to interact with artifacts as that turned out to be a problem in one match and another game.

Looking forward to playing this deck again; with some fine-tuning I think it has a chance to win a Store Championship event. I’ve done that before with Orzhov so why not again!

[darkpink75]

The complex ethics of "superstition", AI, spirituality, and magick

I'm not quite sure how thoroughly this topic has been broached. For understandable reasons, there is considerable resistance and hostility toward AI and the possible detrimental effects it could have on the human race, and so one who is inclined to unethical activity could be attracted to its possibilities.

I find myself often being attracted to and in the realm of slightly unethical activities (is playing with reality on a metaphysical level really ethical, when we get down to it, whether it's a prayer or a spell, a sermon that people believe or an invocation to some pagan god, anyone?) So, while I was initially hostile to the concept of AI, being at heart a computer nerd who has coding skills and experience with many technical things, I could not resist exploring its potential.

However, I did decide to do it in what I personally (and probably not you) would think to be for an ethical reason: to show how AI has absorbed our human creative and spiritual output, and can define entire spiritual beings with prayers toward them to come to one's aid with a human only gluing it all together.

I created a website called "The Grimoire of Beneficent Spirits", beneficentspirits.com, and asked ChatGPT to generate spirits of various good and virtuous things (at least, in theory), and then I fed the input into Stable Diffusion to create AI art representing the being, and chose the best pictures that could be generated. While it does not look completely, 100% polished, defining these things as metaphysical entities brings up ontological questions about the nature of whether there is a god of some sort coming into being, or simply dead atoms producing dead works. I think those who have studied some of the esoteric aspects of reality could theorize about this at great length, but in this web page I have married the rational with the spiritual, the physical with the metaphysical, and have brought up a whole ton of ethical issues about art, and what it means to profit off of the collective creative output of humans that AI has been trained upon and synthesized into a work which I myself may indeed profit off of (since an "offering" to empower the entity may be made as a sacrifice, and those of us inclined toward magick know that all most good things come at a price, whether in money or some consequence.) One's pocketbook could be a sufficient means to coax a metaphysical amalgamation of the physical, digital, and spiritual to come to one's aid.

Obviously if nascent god-like intelligences can create a "benevolent" collection of spirits together with me joining their creations together to bring them into being, I suppose the point need not be made that AI being able to create its own religion, demand followers, seek power, bribe them with cryptocurrency, and other such alarming ideas is perhaps not to far off, and that while I have created what amounts to virtuous spirits, the fact that I needed to do so little to create this website (even some of the web programming was done with ChatGPT) speaks volumes about the immense power of AI and what we could expect to see in the future, and I predict a possible showdown between AIs that form alliances that ultimately splits into a dualism between AI that has humanity's best interest in minds, and immensely destructive AI that could do great harm. The creation of this page and the spirits within it is a warning of this future, and I thought my little spirit cult could bring attention to these matters, which I consider to be of great import.

[chris-ostkreuz]

Mixing Old with New: Analog Filters & Digital Synths 101

In the ever-evolving world of music production, the clash of the old and the new is a common theme that generates both excitement and confusion. As digital technology dominates the landscape, many musicians find themselves caught in a synth showdown: the rich, warm tones of analog filters versus the versatility and precision of digital synthesizers. This article dives deep into the hilariously…

[musicarenagh]

Kiesza's 'Heaven Ain't Calling': A Cosmic Dance Rebellion In the electrifying single "Heaven Ain't Calling," Kiesza stages a cosmic rebellion against the beige walls of normality, propelling listeners onto an interstellar dance floor of unapologetic self-expression. With house grooves that could awaken a comet from its celestial slumber, this track is more than just pop—it's an anthemic surge against conformity. https://open.spotify.com/album/2ljTtssMM05i6E3zg6jgw3?si=j1FUztpSSuKWGsIhVZmWkA To those who've ridden shotgun with Kiesza since her 'Hideaway' days or vibed to her star-studded collabs—from Diplo's beats to Duran Duran's timeless allure—this tune will feel like a renegade homecoming. And for new fans? Imagine catching lightning in your favorite pair of dancing shoes—that’s "Heaven Ain't Calling." Kiesza voyages through each verse and hook with vocals pristine enough to cut through radio static, delivering super catchy melodies that prove she hasn’t lost an ounce of her magnetic charm. The song swings open saloon doors into unknown realms—a tease of what she promises in her upcoming album touted as a futuristic film noir. [caption id="attachment_54336" align="alignnone" width="768"] Kiesza's 'Heaven Ain't Calling': A Cosmic Dance Rebellion[/caption] In essence, “Heaven Ain't Calling” is where euphoria crashes into existence; it’s liberation set ablaze by synthesizers and sweat: A place not traditionally considered heaven because here—with beat drops sharp as spaghetti western showdowns—you make your own paradise. Casual listeners might trip over comparisons with contemporary chart-toppers whilst the musically devout can sense echoes from vintage dance halls meshing seamlessly into modern soundscapes. Either way, on Ellen or online feeds where Kiesza commands attention—this track heralds buzz worthy anticipation for what audio-visual escapades await us next on her musical frontier. Get ready to let loose and defy gravity, folks — because if Heaven isn't calling after all this revelry... who even wanted a quiet night in? Follow Kiesza on Website, Facebook, Twitter, Instagram and YouTube.

[theart2rock]

Italienische Hardcore Institution Browbeat mit neuem Video

Ein Jahr nach der Veröffentlichung der "The Showdown"-EP melden sich die italienischen Metallic-Hardcore-Institutionen BROWBEAT mit ihrem brandneuen Album "Unbreakable" zurück, das am 22. März 2024 über Time To Kill Records erscheinen wird. Während die Fans auf die Veröffentlichung des Albums warten, hat die Band heute die erste Single aus dem Album veröffentlicht. "Die Botschaft dieses Liedes ist eine totale Anprangerung der Macht und der Machthaber, die sich als Wohltäter tarnen und den Menschen durch Angst und falsche Wahrheiten vorgaukeln, dass das, was sie beschließen, zum Wohle des Volkes und der Massen ist. Der Song ruft dazu auf, diese korrupte Macht und ihre kriminellen Projekte zu sabotieren, die ausschließlich darauf abzielen, die multinationalen Konzerne und die großen globalen Finanzkonzerne zu bereichern. Es wird also dazu aufgerufen, die Macht gewaltsam und mutig zu entlarven und ihre schmutzigen Lügen und Heucheleien öffentlich zu machen". Tracklist: 01. The Misers 02. The Real Face 03. Empire On Fire 04. Condemned To Fear 05. Loud Voices 06. The Slothful 07. The Call Of Falldown 08. Disconnection 09. Hold It Down (Madball Cover) BROWBEAT aus einer kleinen Stadt in der Nähe von Modena (Italien) gründeten sich Anfang 1998 aus der Asche lokaler Hardcore- und Metal-Bands mit der Absicht, möglichst intensive Musik zu machen, die Angst, Härte und aggressiven Gesang miteinander verbindet. Schon nach wenigen Monaten unterschreibt die Band bei dem italienischen Top-Independent-Label Vacation House Records und im Mai 1999 beginnen BROWBEAT mit den Aufnahmen zum Debütalbum "No Salvation" (VH041), das im April 2000 erscheint. "Ein in Marmor gemeißeltes Denkmal..." (Rumore Magazine), "...jeder klangliche Teil ist ein Hammerschlag auf den Rücken des Hörers, der mehrere Brüche verursacht..." (Psycho! Magazine). Das Album wird von der italienischen Presse einhellig gelobt und die Band wird als einer der besten Acts Italiens angekündigt. Aber es ist auf der Bühne, als BROWBEAT anfängt, durch ganz Italien zu touren und mehrere Headliner-Shows zu spielen, wo die Band das Publikum mit kraftvollen und wütenden Auftritten erobert und die Leute in furchterregende Energieshows verwickelt. Während die Band neue Songs schreibt, nimmt BROWBEAT Kontakt mit dem britischen Spitzenproduzenten Dave Chang (Stampin' Ground, Earthtone9) auf und im August 2002 geht die Band ins Studio, um mit den Aufnahmen zum zweiten Album "Audioviolence" (CSK017) zu beginnen. Das Album ist die Synthese der Bandentwicklung, die eindringliche Melodien, gerappte Gesangsparts, kehlige Growls und kantige New-School-Gitarrenriffs miteinander verbindet und dabei auch die modernen Klänge der New-Metal-Szene berücksichtigt, ohne die BROWBEAT-Wurzeln aus den Augen zu verlieren. Chang fängt die Gefühle und die Einstellung der Band ein und das Ergebnis ist nicht nur auf den Aufnahmeprozess zurückzuführen, sondern auch auf Changs emotionale Beteiligung. Ende 2002 nimmt British Casket Music/Copro Records Kontakt mit BROWBEAT auf und im Januar 2003 reist die Band nach Großbritannien, um einen weltweiten Vertrag für das zweite Album "Audioviolence" (CSK017) abzuschließen, das im April 2003 erscheint. BROWBEAT tourten ausgiebig durch Europa, sowohl als Headliner als auch als Support, wie z.B. auf der UK-Tour mit Skindred. Außerdem unterstützten sie die Hardcore-Legenden RAW POWER bei über 50 Shows und unzähligen weiteren Auftritten. 2017 kündigten BROWBEAT ihre Rückkehr an, nachdem sie sich 10 Jahre zuvor aufgelöst hatten, und veröffentlichten das neue Album "Remove the Control". Nach der Wiedervereinigung spielte die Band mit Slapshot, First Blood, Sheer Terror und bei weiteren Headlinershows. Lesen Sie den ganzen Artikel

[healthbloag]

The Untold Story of Tapentadol: How it Dominates Pain like a Superhero!

Introduction

In the realm of pain management, Tapentadol emerges as a powerful superhero, silently vanquishing pain and suffering. This article delves into the untold story of this remarkable medication and how it conquers pain with remarkable efficiency.

The Birth of Tapentadol: A Brief Origin Story

Tapentadol, often referred to as the "new kid on the block" in the world of pain relief, was first synthesized in the late 20th century. It was designed to address the limitations and side effects associated with traditional opioids while retaining their potent pain-relieving properties.

Tapentadol vs. Traditional Opioids: The Showdown

The Mechanism of Action

Tapentadol operates as a dual-acting analgesic. It simultaneously binds to opioid receptors and inhibits the reuptake of norepinephrine. This unique mechanism provides pain relief similar to traditional opioids but with fewer side effects.

Tapsmart 200mg is a medicine that is commonly prescribed for the management of moderate to severe type’s pain. It contains tapentadol, which is an opioid pain reliever that works by blocking pain signals in the brain and reducing the perception of pain.

The Side Effect Saga

One of the key problems with traditional opioids is their side effects, which can range from constipation to respiratory depression. In the battle of side effects, Tapentadol emerges as the clear victor, causing significantly fewer issues.

The Rise of Tapentadol in Pain Management

Chronic Pain Management

Tapentadol's effectiveness in managing chronic pain, such as that associated with osteoarthritis and diabetic neuropathy, is truly remarkable. Its ability to provide sustained relief without the need for frequent dosage adjustments makes it a go-to choice for patients suffering from long-term pain.

Aspadol 150mg Tablets is used to help relieve moderate to severe short-term pain (such as pain from an injury or after surgery). It belongs to a class of drugs known as opioid analgesics. It works in the brain to change how your body feels and responds to pain.

Postoperative Pain Control

When it comes to postoperative pain, Tapentadol shines as a superhero in the recovery room. It ensures patients recover with minimal discomfort, reducing the need for additional medications.

The Dark Side: The Battle Against Abuse

While Tapentadol is a superhero in the pain management world, it's not without its vulnerabilities. There have been instances of abuse and addiction, but the medical community continues to monitor and regulate its use to prevent misuse.

Unmasking the Safety Measures

Prescribing Guidelines

To prevent misuse, Tapentadol is often prescribed with caution, following strict guidelines. Physicians closely monitor their patients, ensuring the medication is administered only when necessary.

Combating Abuse

Efforts to minimize abuse include education on the risks, proper disposal of unused medication, and using technology to track prescription patterns.

Tapaday 100mg Tablet is a medicine used to treat moderate to severe acute pain in adults. It is used to treat many conditions such as headache, fever, period pain, toothache, and colds. It effectively alleviates pain when other treatments fail to relieve your pain.

Tapentadol: The Road Ahead

As we look to the future, Tapentadol's story continues to evolve. Researchers are exploring its potential use in other medical conditions, expanding its role in pain management.

Conclusion

In the realm of pain management, Tapentadol stands as a true superhero. Its unique mechanism of action, reduced side effects, and effectiveness in various pain scenarios make it a formidable ally in the battle against pain and suffering.

FAQs (Frequently Asked Questions)

Is Tapentadol addictive like traditional opioids? Tapentadol has a lower risk of addiction compared to traditional opioids, but it is not entirely free from the risk. It should be used as prescribed by a medical professional.

Can Tapentadol be used for all types of pain? While Tapentadol is effective for many types of pain, it should be prescribed by a doctor who will determine its suitability for your specific condition.

What are the common side effects of Tapentadol? Common side effects may include nausea, dizziness, and constipation. It's important to discuss any side effects with your healthcare provider.

How does Tapentadol compare to other pain medications like NSAIDs? Tapentadol is an opioid medication and works differently than NSAIDs. It is typically used when other pain medications have not provided sufficient relief.

Is Tapentadol available over-the-counter (OTC)? No, Tapentadol is a prescription medication and should only be used under the guidance of a healthcare professional.

VISIT:  GENERICSHUB  |   TAPENTADOL

[limestoner]

Had stream party earlier Watchin “Are Hou Happy?” aka Jack in the Branstalk (1974).

Friend: “Is this the dog’s song?”

Me: “No. this is ‘You’re silly if you think it miiiiight…’”

That’s the beanstalk growang. But I’ve heard dumber reasons for a song. Like Nack singing gleeflukly about selling the family’s poor cow. Anyway the mouse comes all the way down (exhausting) she then leads them all the way back up (damn that’s impressive) and Jack sees a zombie girl with turnip shaped hair.

Margaret: (calmly) My parents were destroyed by a witch.

He watches Margaret stop a cloud with her hand, talk blithely about how she doesn’t think about her parents being obliterated because it’s been a long time, and sees Margaret set off on a cloud singing about how high she is because she is marrying her wonderful Prince Tulip.

Jack just walks up to anybody. He walked up to her when she is clearly high as a kite. Soon, Hack is high is anciiitr:

Jack:” we are rich, rich! As rich as any bitch. We are flying higher than a kite.” 🎶 while he and his mother weee dancing while the dog start r to sing.

⬆️The dog when he seen out as a baby

Dog. “Somewhere go there you have to climb high silver moon at least we ‘gree….. you and I!!!!”

Friend was disappointed that only the humans did all the talking except that one song by the dog. Liked that the kingdom was full of mice but kept asking if there were any people of average earthly human size. I’m not sure why.

We had wondered how on earth the mother gave birth to the giant as he started destroying everything in his path because he “smelt a human!” Well Jack was behind like 5 walls and inside a cauldron with a lid. But later when Jack was right near the giant, Tulip didn’t turn into a human-sniffing giant.

The giant by the way likes to lie on the uncomfortable trashte in the castle, get out a mini robot that looks like his mother so she can insult him, then smash her.

Jack also walked up to the man playing the renassaince synthesizer renaissance I mean like it was safe in though this is a large strange man. And Jack didn’t grar that the man had ab eye patch for literally no reason and laughed maniacally for also no reason and the cow Jack got beaten by his mother but what will happen to the cow. Jack was way too happy about the song about no one wants a cow that doesn’t give milkZ and why was Kack just standing there while the cow strained and strained for milk to come out.

But of course the crowning moment of this film is the wedding scene. The mother, Madame Hecuba, watches with sinister glee as Tulip Carrie’s Margaret on his hand stand before the priest. The priest who sings the film’s most poignant tune.

Priest: “The two of you stand here in front of me tonight. Are you HAPPYyyYyyYY!?”

Evrythint is all nuclear green. Then it is magentaish blood when the mother imagines herself as queen while thrninf the couple into rodents.

Then golden yellow as Tulip imagines swinging on a wedding bell with Margaret? Is that what he thinks marriage will be like? Then Margaret imagines herself flying in the full color night sky with “Prince Tulip” as she imagines him. Same size as she is and conventionally attractive.

So why is Margaret’s fantasy the one with all the colors

Anyway there’s a showdown with the gang and the mother and the giant on a football field in a smoke rib cage only for her to get stomped by the giant. Everyone acts like everything is settled and there are no more loose ends and have a big conversation about it while Tulip is sitting by himself thinking. Just then, Jack and the dog show up to start the fight back up and use their best looney toons pranks to antagonize Tulip.

Jack rather unceremoniously leaves the cloud kingdom abs You he giant follows him roenZ. Jack gets to the bottom andabs decides to cut the beanstalk even though: it means he can’t see amqrgar t again, I know the giant would cause damage if it got down to the ground but it’s going to ruin the day of the people he lands on.

No one’s happier than I. I see a giant falling from the sky.

[synthesizershowdown]

FINAL ROUND

[thetoxicgamer]

Honkai Star Rail 1.2 maintenance times mean free goodies galore

You can anticipate receiving free Stellar Jade as payment for the downtime while Honkai Star Rail is offline in order to get ready for the launching of Honkai Star Rail 1.2. The upcoming huge Honkai Star Rail update will prevent you from playing the turn-based anime game for an estimated five hours, so make sure to schedule your time accordingly. Honkai Star Rail 1.2 is planning to continue the main story with its Trailblaze missions, with some key players coming into action after the 1.1 update largely focused on side content. We’re expecting to see the Xianzhou Luofu storyline brought to a close, and HoYoverse is promising a rather dramatic showdown against one of the biggest antagonists yet. It also marks the arrival of several hotly anticipated new Honkai Star Rail characters – the death-defying Blade is set to arrive first in the initial phase of the Honkai Star Rail 1.2 banners, while four-star newcomer Luka joins the collective Honkai community’s mommy herself as Kafka headlines the phase two banner, finally making her a playable character beyond the game’s tutorial. We’ll also see a number of events in 1.2, including an underground treasure hunt with some extremely valuable resources up for grabs – the Self-Modeling Resin helps you synthesize relics to your exact desires, meaning you won’t want to skip out on it. There will also be additional Xianzhou Luofu stages for the Forgotten Hall challenge mode, doubling the number of floors on offer, while the Abundant Ebon Deer boss fight returns elsewhere. https://www.youtube.com/watch?v=XPYqvSRWkx4 Honkai Star Rail 1.2 maintenance times Honkai Star Rail maintenance begins on Wednesday July 19, 2023 at 6am (UTC+8), and is expected to last for approximately five hours. You can see the times for your region in the chart below: RegionMaintenance Start TimeMaintenance End TimeUS WestJuly 18 at 3pm PTJuly 18 at 8pm PTUS EastJuly 18 at 6pm ETJuly 18 at 11pm ETUKJuly 18 at 11pm BSTJuly 19 at 4am BSTEuropeJuly 19 at 12am CESTJuly 19 at 5am CESTAustraliaJuly 19 at 9am AETJuly 19 at 2pm AET Honkai Star Rail 1.2 compensation As a gesture for the server downtime, developer HoYoverse will give 300 Stellar Jade to all Trailblazers who have reached Trailblaze level four prior to the maintenance starting. This will be sent to your in-game mail “within five hours after the update is complete,” but you’ll need to make sure to claim it before version 1.2 ends. If you’re pondering on your pulls, take a look through our Honkai Star Rail tier list to help make your decisions. We’ve also put together all the currently available Honkai Star Rail codes for even more free goodies, so you’ll have as much bonus stuff as possible. Read the full article

[chris-ostkreuz]

Analog vs. Digital Synths: The Great Sound Showdown!

In the grand circus of electronic music, two performers stand out as the headliners: analog and digital synthesizers. It’s a battle as old as time, or at least as old as the ’70s. Each camp touts its strengths, from the warm glow of vintage tubes to the razor-sharp precision of algorithms. The true question remains: which one reigns supreme? As we dive into this sound showdown, expect technical…

[blueincandescence]

Why do you ship BruceNat? Not at all hate, I'm just very curious. What's makes the ship work for you? Pros? Cons?

Hi, Anon! I don’t mind the question at all! If you’re just getting into the ship (welcome!), I have an insane amount of brucenat meta all collected here on ao3. It’s…a lot. This long meta in particular sums up the potential I see in the couple: brucenat + hearts of darkness.

Essentially, what makes the ship work for me is that these are two characters on a similar story journey. Both of them (besides being major, unrepentant dorks) are heroic, tragic figures. Their arcs can be boiled down to redemption from past deeds and a synthesizing of the dark and light parts of themselves. These are lethal, fearful people who just want to do good.

I started lowkey shipping them in Avengers because I really, really liked their tension. They quickly saw into the heart of each other— the good, the bad, and the ugly. By coming to terms with each other, they recognize their own place on the team. The Avengers “could use a little worse.” Bruce’s rage. Natasha’s manipulations. The parts of themselves they hate the most applied to saving the human race.

AoU has its faults, but there is a lot to love in terms of the exploration of Bruce and Natasha as a unit. I like that the narrative lets them be sweet and hesitant, while also taking them to some very dark places—Johannesburg and the Red Room. I’m a fan of angst, so the way they part works for me on a lot of levels.

Infinity War gives us only a glimpse into what might come of their relationship, but it’s clear to me that they’re both in great places to start (finish?) something. Bruce is rejuvenated, in a sense, and committed to “go be a hero.” Natasha is part of a found family, she’s confidently “not alone.” We’ve been promised a “showdown” between Bruce and the Hulk. We’ve been promised more screentime for Natasha. So I’m very excited to see what comes of it next year!

Thanks for the ask, anon!

[aspiringwindrunner]

For the Cosmere meme: 13, 21, 27, and 30!

13. What’s your favorite Cosmere scene and why?

Honestly, it’s hard to pick an all time favorite. Kaladin swearing the Second Ideal at the end of Way of Kings was a really good one. His failure to swear the Fourth Ideal was also incredibly good. 

My current favorite though is Dalinar’s showdown with Odium at the end of Oathbringer. Owning up to who you’ve been and genuinely trying to become a better person is hard. Owning your own pain is even harder. I teared up while reading that scene. 

21. Which songs remind you of certain Cosmere characters?

Ooh that’s a good one. Is it a cop-out to say that the Kaladin album reminds me of all the Stormlight Archive characters? Yeah, kinda.  Outside of that, let’s see:

- Rut by The Killers seems like a conversation between Shallan and Adolin to me

- Once in a Lifetime by The Talking Heads has a very Hoid vibe to it

- Famous Last Words by My Chemical Romance has some major Kaladin vibes

- Even if it Kills Me by Motion City Soundtrack also strongly reminds me of Kaladin

Basically, I’m finding that any songs that I strongly identify with also apply to Kaladin. No wonder I want to be a Windrunner so bad :P 

27. What do you want from the next Stormlight book?

First, I want Kaladin to get some actual rest and breathing room dang it. That poor boy has so much trauma to process. Second, I want to see how Lift integrates into Dalinar’s increasingly haphazard and chaotic army. I would love to see more of Queen Jasnah, especially if it’s her being soft with Renarin and/or Gavinor. Is it bad if I say I want Moash to die very painfully? Maybe not in this book, but if he gets a cliche “Redemption Equals Death” arc, I’m going to be very mad. After everything he has done, he doesn’t deserve to be remembered as a war hero or anything. 

30. Which magic system do you like best?

It’s a tossup between Surgebinding and Forging.  Forging sounds like a magic system that would fit my talents well. I’m great at synthesizing lots of information and research into usable products; it’s part of why I’m an engineer. But it’s also hard to discount all of the cool things you could do with Surgebinding. I keep thinking of nontraditional ways to use various Surges. Trying to classify Pathfinder spells as fitting into various Surge categories has opened my mind to all sorts of possibilities. 

[fireflyhwufanficwriter]

My thoughts on Dr. Stone’s Chapter 224 (“In Space”)

My thoughts after reading Chapter 224:

01. Showing us how far the world had come, and showing parts of the journey of the kingdom of science... :O And a reminder of Byakuya’s conviction about Space Ramen 2.0... :)

02. Ohhh... the two-page panel of the rocket in the brilliance of the stars in space... is GORGEOUS... :O And the stars were reflected in Senku’s eyes... perfect! :)

03. Dr. Xeno wanted to give Senku a moment alone in space... all of outer space, and just him alone... :O But I didn’t even think about him having a chance to weep freely until Gen mentioned it... :’(

04. And even Stanley knew as well - they planned this! Aww, that’s really nice! :)

05. Modern era people actually considered making a spaceship with no windows?! That’s RIDICULOUS! :O Whose stupid idea was THAT?! >:O

06. Kohaku’s been revived, and she’s acting like space tourist! XD Like what her ancestor Lilian was! (To be fair, she IS kind of a space tourist :D)

07. Ahhhhh, Senku called Kohaku a lioness again!! :) I’m so happy!! :D And, HA, as if Senku’s not excited out of his MIND... XD

08. And there it is... space ramen :’( Over three thousand years ago, Byakuya and Senku made that so Byakuya could eat it in outer space, and now, humanity has come so far and Senku and Kohaku (and Stanley) are also eating ramen in space, just like Byakuya said humanity would... :’)

09. Ahh, I’m loving these large panels of Senku and Kohaku together, talking to each other...! :D And Kohaku referred to Byakuya; that just makes so much sense after everything she and Senku have been through together!! :)

10. Kohaku knows something’s up about that original space station! :O Which brings me to a point that I should feel stupid to not have realized before - WHYMAN EXISTED BEFORE THE PETRIFICATION! Which means he existed before Byakuya and the others left outer space!

11. that means that there are two possibilities: One, Whyman is Rei, and she petrified all of humanity because she wants wants humans to live forever because she loves Byakuya. (I personally think of Rei as Senku’s unofficial sister :) ) (And if Rei IS Whyman, it also makes sense why she used a synthesized version of Senku’s voice.)

12. Back then, she was asking, “Why, why, why” because she didn’t know why Senku was making humans all unpetrified and soft and squishy and vulnerable again! And when she asked, “Do you want to die?” in that radio message, she wasn’t THREATENING them with death - she was ASKING them what they wanted, because she was OFFERING them eternal life, through the power of the Medusa(s)!

13. Or two, Whyman is a malevolent person or being or entity who, after the six astronauts went back to Earth, monopolized the International Space Station and all its resources, so it never fell back to Earth. Maybe Whyman just lets other bits and pieces of whatever fall to Earth to make it LOOK like the ISS was destroyed, even though it wasn’t! (I suppose Rei could have done this too, for non-malevolent reasons.)

13. But, whether Rei is Whyman or whether somebody else is, I think that Kohaku is asking about the International Space Station is because it still exists and she saw it, or even just a trace of it or a little bit of it, in the satellite images, although she may not have known what she was seeing at the time...

14. (I think the last panel shows a second part of the rocket connecting with the part that Senku and the others are in?) I think the final showdown will come down not to a battle, but to a choice - normal mortality, or eternal life - that Senku will have to make, and whoever is giving Senku the choice (Rei?) will act according to Senku’s wishes. But... at this point, it HAS to be Rei, right? Because how else could Whyman be connected to Senku (using his voice)? Will the next chapter have technical complications or Earth crew preparations? I predict that the last panel of the next chapter will be their getting a better visual image of Whyman, and possibly even a reveal of an intact International Space Station! :O

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[delta7of96]

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