#// these lyrics are from the song Providence by Poor Man’s Poison

[the-craftsman-and-mover]

oh sweet providence, save us from ourselves.

[north-heats-stronghold]

(So after listening to "Sleep Well" by CG5 and the animatic of a MLP song from @novalizinpeace. I began to look for other songs that I felt goes well with the setting of Poppy Playtime. Nova's animatic linked below.)

(Here's what I found so far, we got two from the same band Poor Man's Poison. Providence and Feed the Machine.)

(Providence feels like it fits for the factory both before the hour of joy and after it. Sorta telling what happened. Feed the Machine feels like it perfectly matches for the toys that follow and worship the Prototype.)

(Next up Wolf in Sheep's Clothing.)

(This one just sounds like it's being directed right to the Prototype. Just calling out all the stuff it's done.)

(Next Blood in the Water)

(Could be about the Hour of Joy? Could also just generally be the toy's being killed and fed to the Prototype.)

(And lastly a honorary one, cause I feel like it's a stretch but I just enjoy putting the two together.)

(I did a previous post of potential Poppy Playtime crossover au's, and the Metro Series was one of them. Just the tone, the somber melody with hints of hope, the lyrics. To me it fits, but I'm sure others would disagree.)

(That's all from me for now. I'll probably find more, and if I find enough I might make a second post similar to this.)

[margindoodles2407]

Margin's Zelda Playlists

I am reposting this because I've added like. 50 new songs and deleted at least 10. Call this the ship of theseus i guess

Anyway, these are each their own separate playlist but I have them all on one playlist to save room. :) Enjoy! And if you have any songs that remind YOU of a specific game let me know- I'd love to listen to them, especially if they're related to one of the games with only a few songs on the playlist! All of these songs can be found on Youtube; not sure if you can find them all on Spotify or Apple Music though :(

The Legend of Zelda (the series; also my Pre-Skord Playlist)

Gate of Time/Zelda's Lullaby by HyruleOrchestra

Ballad of the Lonely by trashyinferno

Rule #15: Four Aces by Fish in a Birdcage [EXPLICIT]

This Tragedy of Mine by Knight of Endale

They're Only Human from Death Note: the Musical

Nothing Changes from Hadestown: the Musical

I Lived by OneRepublic

The Call by Regina Spektor

No One Lives Forever by Oingo Boingo

Skyward Sword

Washing Machine Heart by Mitski

When You're Evil by Voltaire (it's a ghirahim mood)

Bruno is Orange by Hop Along

Curses by The Crane Wives

Anchorage by Marian Call

It's Alright by Mother Mother

Ophelia by The Lumineers

Icarus by Bastille

Something I Need by OneRepublic

Minish Cap

Dandelions covered by Bet

All the Small Things by Blink 182 (don't ask me why)

Flowers in my Hair by Wes Reeves

Four Swords

Open Up Your Eyes covered by Daniel Ingram

The Friend You Need from My Little Pony: the Movie (please ignore that these are both from mlp the movie okay. first of all i unironically enjoy mlp and secondly they remind me of shadow)

Ocarina of Time

The Boxer by Simon and Garfunkel

Treehouse covered by Eric D

Little Lion Man by Mumford and Sons [EXPLICIT]

Small Hands by Keaton Henson

King by Lauren Aquilina

You Don't Get to Know Her Anymore by Pedals on Our Pirate Ships

Achilles Come Down by Gang of Youths [EXPLICIT]

Emperor's New Clothes by Panic! at the Disco

Providence by Poor Man's Poison

You Turn the Screws by CAKE

Good Night, Demon Slayer by Voltaire

Go the Distance covered by BYU Vocal Point

River from the Sky by The Weepies

Time/Space by Alex G

Keep You Safe by The Crane Wives

Majora's Mask

Turn the Lights Off by Tally Hall

Twin-Sized Mattress by The Front Bottoms [EXPLICIT]

Home by Cavetown

Best Friend by AJJ

Rule #9: Child of the Stars by Fish in a Birdcage

Slow Down by Poor Man's Poison

Listen When You Miss Me by Naethan Apollo

Twilight Princess

Be Nice to Me by The Front Bottoms (the lyrics aren't EXPLICIT but someone does drop an f-bomb in a spoken background track)

Wagon Wheel by Old Crow Medicine Show

Hell's Coming With Me by Poor Man's Poison

Arsonist's Lullaby by Hozier

Sundown and Sorrow by Hank Williams

Hermit the Frog by MARINA [EXPLICIT]

Shadows and Regrets by Yellowcard

When the Wolf Meets the Moon by Confused Crow

Drinking Song by Haley Heyndrickx

Wind Waker

Rule #23: Birds of a Feather by Fish in a Birdcage

Joli Rouge by The Dreadnoughts

Kokomo by the Beach Boys

"That's got to be the best pirate I've ever seen" from Pirates of the Caribbean (yes. the meme. not "He's a Pirate" the song, i specifically mean the meme.)

Rule #28: Sand by Fish in a Birdcage

Stand By You by Rachel Platten

If We Have Each Other by Alec Benjamin

Abandon Ship by Fin Argus

Welly Boots by The Amazing Devil [EXPLICIT]

Captain's Call by Derivakat

Leave Her Johnny by The Longest Johns

Phantom Hourglass

The Flying Dutchman by The Jolly Rogers (i am sorry that the playlist is only 1 song long :'{ )

Spirit Tracks

Stickshifts and Safety Belts by CAKE

Opening Up from Waitress: The Musical [EXPLICIT]

Ghost Grinder by Steam Powered Giraffe

A Link to the Past

Ghosting by Mother Mother

Welcome Home Son by Radical Face (PLEASE give me recommendations i need more songs for my beloved :'{ )

Link's Awakening

Dream Sweet in Sea Major by Miracle Musical

Hidden in the Sand by Tally Hall

Mary by Alex G (there is a clean version please look it up)

Dream a Little Dream of Me by The Mamas and the Papas

Bones in the Ocean by The Longest Johns

Oracle of Ages/Seasons

Shadow Stalker by Mercedes Lackey (again PLEASE i need song recs)

A Link Between Worlds

Mona Lisa by Mxmtoon

Banana Bread by Sarah Maddack

Tri Force Heroes

Fashion by Lady Gaga

Puttin' On the Ritz by Taco

The Hyrule Fantasy

Rule #33: Pyre by Fish in a Birdcage

Fairytale by Alexander Ryback

Parables and Primes by Danny Schmidt

Zelda II: The Adventure of Link

Snow by Ricky Montgomery

Seven by Sleeping at Last

Hyrule Warriors

Villains Aren't Born (They're Made) by PEGGY

The Red Means I Love You by Madds Buckley

OKAY THAT'S ENOUGH CIA MOVING ON

I'll Make a Man Out of You from Disney's Mulan

She's Kerosene by The Interrupters

Ain't No Crying by Derivakat

Burned Out by Dodie (@unclemoriarty I blame you for this one :] )

That Unwanted Animal by The Amazing Devil [EXPLICIT]

Inkpot Gods by The Amazing Devil

Battle Cries by The Amazing Devil

The Fall by Half Alive

Choke by I Don't Know How But They Found Me

Blossoms by The Amazing Devil

Breath of the Wild

House of Memories by Panic! at the Disco

Amnesia Was Her Name by Lemon Demon

The Distance by CAKE

The Cost of the Crown by Mercedes Lackey

The Mute by Radical Face

A Moment Forever Ago from Central Park

Waiting on a Miracle from Disney's Encanto

Rule #31: Calamity by Fish in a Birdcage

Frank Sinatra by CAKE

Seventeen by MARINA [EXPLICIT]

The Family Jewels by MARINA

Expert in a Dying Field by The Beths

Everglow covered by Remedy A Capella

Stella by Cereus Bright

She covered by Rob Wilson

The Horror and the Wild

Tears of the Kingdom

Rule #29: Throne Room by Fish in a Birdcage

Rule #15: Waterfall by Fish in a Birdcage

Pompeii MMXXIII by Bastille

@whyoneartheven

[chocolix76]

The poll has spoken! Here's the link to the playlist for Anima Sola, and if you wanna read my very undercooked explanations of why the songs are in the playlist, it's under the cut! (Please excuse the amount of Poor Man's Poison- their music fits the AU very well)

Murders - Honestly, I don't think the lyrical content fits the AU. I just think that the vibes of the song fit well in general

The Mind Electric - This song right here gives me a vivid image of an animation in my mind that takes the AU from beginning to end and just fits the AU as a whole. Different parts of the song I can see going to different characters.

"Father your honor, may I explain? My brain has claimed its glory over me. I've a good heart albeit insane. Condemn him to the infirmary" Being for Sun

"All mine towers crumble down the flowers gasping under rubble Shrieking in the hall of lull, thy genius saves a thirst for trouble" Being for Bloodmoon

"Scattering sparks of thought energy Deliver me and carry me away" For Lunar. Sorry I love this song

Feed the Machine - This one also fits the AU perfectly, especially the chorus. The first part of the song being for Eclipse, the second part of the song being for Moon. The "we're all gonna die" part gives me a very strong mental image that I would love to draw if I wasn't a beginning artist

Sleepwalk - Lunar. This is Lunar. I can't elaborate anymore. Lunar, that's all I'll say

Lonely King - I think we all know who this is for... But yeah this describes Eclipse pretty much perfectly, I'll let the song talk for itself

Hell's Comin' With Me - I hate that this song fits both Moon and Eclipse perfectly, depending on how I think about it. Also after the popular part of the song, I'm imagining a scene very fondly that will come towards the end of the story but I can't give any spoilers. If I did, it would give away the entire story

Providence - This is 100% a song that describes Sun's initial reaction to Moon. Why? We'll see. "We've met your kind before" being specifically how Sun would feel towards Moon because...well...it's already been hinted at a bit in the story so far.

Let's Go! - I'm honestly not sure why I added this to the playlist. The first few lines would be how the servants would describe Eclipse, but I feel like the rest of the song has Bloodmoon vibes for a reason I can't quite put my finger on

Sometimes - Also not very sure why I added this one. It's the vibes. It gives Sun vibes

Thermodynamic Lawyer - This isn't at all in the playlist to represent Eclipse's hatred and anger towards the old versions of his servants. Not at all (it is).

You're Not Welcome - I can't really go into more detail about this and I think I'll let the song speak for itself, but I added this because it's definitely a song that represents Eclipse's feelings towards Moon

[coyoteworks]

got any good country recs there mate? 👀

my computer crashed when i initially opened this ask im in hysterics

BOY DO I EVER THOUGH!!

mostly this is just music i like, so naturally there's the caveat of it potentially not being to your taste; on top of that some of these may be additionally or technically classified as rock, folk, and/or indie/alternative because music genres are...so nebulous and i do not understand them...and sometimes the results when i search for the genre of certain artists just dont make sense or dont apply to individual songs......

so im being a hefty bit generous in calling some of these country, but they do diverge from those typical Beer Truck God America songs that pop up when searching for country while having a similar or related musical style, and hopefully they'll be a breath of fresh air for you!

i put my personal favourites in bold :] these are not ordered in any particular sort of style categorisation so it's a little messy, but each should link to a youtube version of the song! theres a decent array of different styles and tempos here i think

The Devil Wears a Suit and Tie - Colter Wall

Sleeping on the Blacktop - Colter Wall

Johnny Boy's Bones - Colter Wall

Ballad of a Law-Abiding Sophisticate - Colter Wall (this guy again!)

really any Colter Wall song/cover i'm going to be honest

Raise Hell - Brandi Carlile

The Cremation of Sam McGee - Seth Boyer

In the Pines - Danny Farrant & Paul Rawson

Back from the Edge - Lord Huron

Meet Me in the Woods - Lord Huron

Pretty Lavinia - American Murder Song

Murder! Murder! - American Murder Song

Hurt - Johnny Cash

God's Gonna Cut You Down - Johnny Cash

The Railroad - Goodnight, Texas

Down by the River - The Dirty River Boys

Providence - Poor Man's Poison

Hell's Bells - Cary Ann Hearst

Before He Cheats - Carrie Underwood (this one's popular)

Blown Away - Carrie Underwood

Bad News - Whitey Morgan and the 78's

The Curse of the Fold - Shawn James

The Wicked - Blues Saraceno

Grave Digger - Blues Saraceno

Little Black Train - Woodie Guthrie (if you've seen Over the Garden Wall, you'll recognise this; it has different lyrics from the cover in OTGW though)

hopefully none of the links are broken or directing to the wrong song :'D happy listening, lmk if there are any particular songs you enjoyed! and if none of these work out, thats totally fine, everyone has their tastes of course

[complicitsacrilege]

🐶🙃🎤 for the ask game!!!

🐶 Are you more of a dog person or a cat person?

I like dogs SLIGHTLY more than cats because they’re down for literally anything. Also I’m slightly less allergic to them because if they have short fur, dog fur picks up less dust than cat fur from the floors.

🙃 What’s a weird fact that you know?

UHH………. I’m always so bad at answering this question because I know many weird facts but can never think of them on the spot. But that said, did you know that Lambert in the movie Alien is canonically a trans woman according to her file, which is briefly shown in Aliens? (The picture is super blurry but a transcript of the part that addresses her as being trans reads as follows, “Subject is Despin Convert at birth (male to female). So far no indication of suppressed trauma related to gender alteration.” Of course they use slightly different in universe language, but “despin convert” is taken to indicate being transgender in the future this is supposed to take place in.)

🎤 Is there a song you know all the lyrics to?

MANY. I used to be in a bit of a garage band with a couple friends. My voice broke after a surgery, so I can’t sing as much as before and my range is trashed, but some of my favorite things to sing are Lake Pontchartrain by Ludo, Eet the Children & Milk of Regret by Otep (even though I can no longer scream 😭), Providence by Poor Man’s Poison, Zydrate Anatomy from Repo! The Genetic Opera, Cast No Shadow by Brown Bird, Mustard Seed by Damion Suomi & the Minor Prophets, and What Love Can Heartbreak Allow by Ben Caplan. Also the entire Murder By Death discography 😂

[vewornor]

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Lyrics to 'Poison' song by Bell Biv Devoe: Yeah, Spiderman and Freeze in full effect Uh-huh You ready, Ron? I'm ready You ready, Biv? In “Poison”, BBD’s debut single after their group New Edition went on hiatus, the boys are warning all dudes out there to be careful about the ho’s they spit game at.ROBLOX has also come under criticism for not having any sort of Quality Assurance, meaning that there is a high chance that the art in users' games will have issues, such as visual glitches, poor texture quality, and various other issues with the art itself. That girl is poison bell biv devoe lyrics and song. Lyrics to 'Poison (Extended Club Version)' song by Bell Biv Devoe: Poison Yeah spot a man of freedom for a fact aah-aah uh-hum Poison you ready Ron I'm ready You ready. The song's swing sample is similar to 'Taking U Out' by Rockwell Noel & The Poet. This song-in the style of new jack swing, a late-1980s/early-1990s hybrid of R&B, hip hop and swing-was the group's most successful, and sings of the dangers of falling in love with a 'wolf in sheep's clothing'. 'Poison' is the debut single by the New Edition spinoff group, Bell Biv DeVoe. Lyrics to 'Poison' by Bell Biv Devoe: Poison Poison, uh Girl I must warn you I sense something strange in my mind.

[seismologically-silly]

🎶

So what came up first when I shuffled was Big Fat Bitchie's Blueberry Pie, Christmas Tree, and Recreational Jell-O Emporium a.k.a. "Mr Boy is on the Roof Again" (From "B.F.B.'s B-Sides: Bagel Batches, Marsh-Mallows, & Barsh-Mallows") by Will Wood. It is 47 seconds of instrumental music.

Fortunately, the first song on the list which had to get cut from the shuffle because it wouldn't play nice with the shuffle (I've not yet really figured out Spotify yet I'm getting there) was Providence by Poor Man's Poison, which does have lyrics.

And oh my weary soul (oh my weary soul)

it sounds good. i mean, all the lyrics do, but here we're at the end so we've hit the song's climax which is when composers really do stuff with their harmonies that I'm quite a fan of. :)

[dustedmagazine]

Punk’d History, Vol. VIII: This Machine [blank] Fascists

Photo by Richard Young

It has the appearance of a worrisome pattern: any number of punk rock’s founding figures embraced the symbolics of Nazi Germany. Ron Asheton, an original and indispensable member of the Stooges, played a number of gigs wearing a red swastika armband, and liked to sport Iron Cross medals and a Luftwaffe-style leather jacket. Sid Vicious loved his bright scarlet, swastika-emblazoned tee shirt, and Siouxsie Sioux, during her tenure as the It-Girl of the Bromley Contingent, mixed her breast-baring, black leather bondage gear with a bunch of “Nazi chic.” And how many early Ramones songs (inevitably penned by Dee Dee) referenced Nazi gear, concepts and geography? “Blitzkrieg Bop,” “Today Your Love, Tomorrow the World,” “Commando,” “It’s a Long Way Back to Germany,” “All’s Quiet on the Eastern Front,” and so on—for sure, more than a few.

“Appearance” is the key term. Poor Sid lacked the sobriety and smarts to have much of a grasp of fascism as an ideology. Siouxsie was just taking the piss, and gleefully pissing off the mid-1970s British general public, for much of whom World War II was still a living memory. Asheton and Dee Dee? Both were sons of hyper-masculine military men. Asheton’s father was a collector of WWII artefacts, and the guitarist shared his father’s fascination. When the Stooges adopted an ethos and aesthetic hostile to the late-1960s prevailing Flower Power rock’n’roll subculture, the Nazi accoutrement seemed to him fitting signs of the band’s anger and alienation. Dee Dee hated his father, an abusive Army officer who married a German woman. Dee Dee spent some of his youth in post-war West Germany, in which Nazi symbols were highly charged with anxiety and vituperation. Casual veneration of Nazis was a convenient way to reject the triumphal ennobling of the Good War, and of the military men associated with its traditions. And (as Sid, Siouxsie and Asheton also noticed) it really bothered the squares. 

None of that makes the superficial use of the swastika or phrases like “Nazi schatzi” any less offensive — it simply underscores that in the cases noted above, the offense was the thing. The politics weren’t even an afterthought, because the political itself had been dismissed as corrupt, boring or simply the native territory of the very people the punks were striking out against. If that’s where the relation between punk and fascism ceased, there wouldn’t be much more to write about.

The post-punk moment in England provided opportunities to rethink and restrategize the nascent détournement of Siouxsie’s fashionable provocations. Genesis P-Orridge and the rest of Throbbing Gristle were a brainy bunch, and their play with fascist signifiers was a good deal more complex. The band’s logo and their occasional appearance in gun-metal grey uniforms clearly alluded to Nazism, with its attendant, keen interests in occult symbols and High Modernist representational languages. TG’s visual gestures were also of a piece with an early band slogan: “Industrial music for industrial people.” Clearly “industrial people” can be read as a highly ironized coupling: the oppressed workers marching through the bowels of Metropolis were a sort of industrial people, reduced to the functionality of pure human capital. TG seemed to impose the same analysis on the middle-managers of Britain’s post-industrial economy, and their uncritical complicity in capital’s cruelties. But it’s also possible to argue that industrial people are industrious people; like TG, industrial people (middle managers, MPs) can get a lot of stuff done. They can produce things. They can make the trains run on time. And what sorts of cargo might those trains be carrying? What variety of conveyance delivered the naked “little Jewish girl” of “Zyklon B Zombies” to her fate?  

To be clear: I don’t mean at all to suggest that TG was a fascist band. Like their punky contemporaries, TG traded in fascist iconography in a spirit of transgressive outrage, expressing their hot indignation with equally heated symbols. And other British post-punk acts flirted with fascist themes and images, ranging from ambiguous dalliance (Joy Division’s overt references to Yehiel De-Nur’s House of Dolls and to Rudolph Hess; and just what was the inspiration for Death in June’s band name?) to more assertive satire (see Current 93’s appealingly bonkers Swastikas for Noddy [LAYLAH Antirecords, 1988]). But a more problematic populist undercurrent in British punk persisted through the late 1970s. The dissolution of Sham 69—due in large part to the National Front’s attempts to appropriate the band’s working-class anger as a form of white pride—opened the way for a clutch of clueless, cynical or outright racist Oi! bands to attempt to impose themselves as the face of blue-collar English punk. And literally so: the Strength through Oi! compilation LP (Decca Records, 1981) featured notorious British Movement activist Nicky Crane on its cover. It didn’t help that the record’s title seemed to allude to the Nazis’ “Strength through Joy [Kraft durch Freude]” propaganda initiative.  

Of course, it’s unfair to tar all Oi! bands with an indiscriminate brush. A few bands whose songs were opportunistically stuck onto Strength through Oi! by the dullards at Decca Records — Cock Sparrer and the excellent Infa Riot — tended leftward in their politics, and were anything but racists. But for a lot of the disaffected kids sucking down pints of Bass and singing in the Shed at Stamford Bridge, it wasn’t much of a leap from the punk pathetique of the Toy Dolls to Skrewdriver’s poisonous palaver.  

In the States, a similarly complicated story can be recovered:

In numerous ways, hardcore intensified punk’s confrontational qualities, musically and aesthetically. The New York hardcore scene made a fetish of its inherent violence, which complemented the music’s sharpened impact. So it’s hard to know precisely what to make of the photo on the cover of Victim in Pain (Rat Cage Records, 1984). If inflicting violence was an essential element of belonging in the NYHC scene, with whom to identify: the Nazi with the pistol, or the abject Ukrainian Jewish man, on his knees and about to tumble into the mass grave?  

Agnostic Front seemed to provide a measure of clarity on the record, which included the song “Fascist Attitudes.” The lyric uses “fascist” as a condemnatory term. But the behaviors the song engages as evidence of fascism are intra-scene acts of violence: “Why should you go around bashing one another? […] / Learning how to respect each other is a must / So why start a war of anger, danger among us?” That’s a rhetoric familiar to anyone who participated in early-1980s hardcore; calls for scene unity were ubiquitous, and the theme is obsessively addressed on Victim in Pain. But the signs of inclusivity most visibly celebrated on the NYHC records and show flyers of the period were a skinhead’s white, shaven pate; black leather, steel-toe boots; and heavily muscled biceps. Those signifiers clearly link to the awful cover image of Strength through Oi! The forms of identity recognized and concretized in the songs’ first-person inclusive pronouns have a clear referent. 

Agnostic Front wasn’t the only NYHC band to refer to and engage World War Two-period fascism. Queens natives Dave Rubenstein and Paul Bakija met at Forest Hills High School—the same school at which John Cummings (Johnny) befriended Thomas Erdelyi (Tommy), laying the groundwork for the formation of the Ramones. Rubenstein and Bakija also took stage names (Dave Insurgent and Paul Cripple) and formed Reagan Youth. But unlike the Ramones, there was nothing tentative or ambivalent about Reagan Youth’s politics. Rubenstein’s parents, after all, were Holocaust survivors. The band’s name riffed on “Hitler Youth,” but specifically did so to draw associations between Reagan and Hitler, between American conservatism’s 1980s resurgence and the Nazi’s hateful, genocidal agenda. Songs like “New Aryans” and “I Hate Hate” accommodated no uncertainties.  

Still, it’s interesting that Victim in Pain and Reagan Youth’s Youth Anthems for the New Order (R Radical Records, 1984) were released only months apart, by bands in the same scene, sometimes sharing bills at CBGBs’ famous matinees of the period. And while Reagan Youth toured with Dead Kennedys, it’s Agnostic Front’s “Fascist Attitudes” that’s closer in content to the most famous punk rock putdown of Nazis.

It’s odd what comes back around: Martin Hannett, whom Biafra playfully chides at the track’s very beginning, produced much of Joy Division’s music, moving the band away from its brittle early sound to the fulsome atmospheres of the Factory records, and to a wider listenership. “Nazi Punks Fuck Off” similarly addresses a formerly obscure, tight scene opening to a greater array of participants, some of whom were attracted solely to hardcore’s reputation for violence. Like “Fascist Attitudes,” the Dead Kennedys’ song itemizes fighting at shows as its chief complaint, and as a principal marker for “Nazi” behavior. Biafra’s lyric eventually gets around to somewhat more focused ideological critique: “You still think swastikas look cool / The real Nazis run your schools / They’re coaches, businessmen, and cops / In a real fourth Reich, you’ll be the first to go.” The kiss-off to punk’s vapid romance of the swastika (it “looks cool”) complements the speculative treatment of a “real fourth Reich.” Both operate at the level of abstraction. The casual, superficial relation to the symbol’s aesthetic assumes a sort of safety from the real, material consequences of its application. And the emergence of a fascist political regime is dangled as a possible future event. That speculative futurity undoes the “real” in “real Nazis.” The threat is ultimately a metaphorical construct. The Nazis are metaphorical “Nazis.”  

Still, it’s the song’s chorus that resonates most powerfully. So much so that the song has found its way into other artworks.

Jeremy Saulnier’s Green Room (2015) is frequently identified as a horror film on streaming services. We could split hairs over that genre marker. The film gets quite graphically bloody, but there’s no psychotic slasher killer, no supernatural force at work. And cinematically, the film is a lot more interested in anxiety and dramatic tension than it is in inspiring revulsion or disgust. It terrifies, more than it horrifies. What’s especially compelling about the film (aside from Imogen Poots’ excellent performance, and Patrick Stewart’s menacing turn as charismatic fascist Darcy Banks) is its interest in embedding the viewer in a social context in which the Nazis are a lot less metaphorical, a lot more real. In Green Room, the kids in the punk band the Ain’t Rights are warned about the club they have agreed to play: “It’s mostly boots and braces down there.” And they understand the terms. What they can’t quite imagine is a room — a scene, a political Real — in which fascism is dominant. Their recognition of the stakes of the Real comes too late. The violence is already in motion. In that world, the Dead Kennedys song provides a nice slogan, but symbolic action alone is entirely inadequate.  

OK, sure, Green Room is a fiction. Its violence is necessarily aestheticized, distorted and hyperbolized. But perhaps the film’s most urgent source of horror can be located in its plausible connections to the social realities of our material, contemporary conjuncture. You don’t have to dig very deep into the Web to find thousands of records made by white nationalist and neo-fascist-allied bands, many, many of which deploy stylistic chops identified with punk rock and hardcore. You can listen. You can buy. (And yeah, I’m not going to link to any of that miserable shit, because fuck them. If you do your own digging to see what’s what, be careful. It’s scary and upsetting in there.) It feels endless. And the virulent sentiments expressed on those records are echoed in institutional politics in the US and elsewhere: Steve King (and now Marjorie Taylor Greene, effectively angling for her seat in Congress), Nigel Farage, Alternative für Deutschland, elected leadership in Poland and Hungary. Explicit white supremacist music also has somewhat more carefully coded counterparts in much more visible media (the nightly monologuing on Fox News) and in very well-positioned, prominent policy makers (Stephen Miller, who’s on the record touting “great replacement” theory and is a big fan of The Camp of the Saints). It’s a complex, ideologically coherent network, working industriously to impose and install its hateful vision as the dominant political Real. 

Sometimes it feels as if no progress at all has been made. Maybe we’re moving toward the reactionaries. Contrast Skokie in the late 1970s with Charlottesville in 2017. And now if the Neo-Nazis have licenses for their long guns, they can strut through American streets wearing them in the name of “law and order.” It’s even more disturbing that a subculture that wants to clothe itself in “revolution” and “radicalism” is so tightly in league with institutional politics. Say what you will about Siouxsie’s Nazi-fashion antics, no one suspected that her prancing echoed political activity, policy-making or messaging in Westminster.

So what’s a punk to do? It’s certain that a vigorously free society needs to preserve spaces in which unpopular speech can be uttered and exchanged. Punk should pride itself on defending those spaces. But speech that operates in conjunction with an ascendant political power and ideological agenda doesn’t need defense or energetic attempts to preserve its right to existence. In October of 2020, that speech (in this case, speeches being written by Miller, texts by folks who have spent time in Tucker Carlson’s writer’s room and songs by white supremacist hardcore bands) has become synonymous with political right itself.  

So now more than ever, it’s important to be active in the public square, to stand up to the fascists and to say it, often and out loud:

Jonathan Shaw

[newyorksportstours]

NYC Public Library - Favorite NYC History Books

The NYPL Milstein Division of United States History, Local History & Genealogy recommends our favorite, most readable, most memorable New York City nonfiction. These are the true stories of New York that engaged us, that intrigued us, and that we thought you might like to read as well.

97 Orchard: An Edible History Of Five Immigrant Families In One New York Tenement

Jane Ziegelman

Explores the culinary life that was the heart and soul of New York’s Lower East Side around the turn of the twentieth century—a city within a city, where Germans, Irish, Italians, and Eastern European Jews attempted to forge a new life. Through the experiences of five families, all of them residents of 97 Orchard Street, she takes readers on a vivid and unforgettable tour, from impossibly cramped tenement apartments down dimly lit stairwells where children played and neighbors socialized, beyond the front stoops where immigrant housewives found respite and company, and out into the hubbub of the dirty, teeming streets.

Staff says: “Food history and New York seamlessly woven together in a easy-to-read yet meticulously well researched book. I learned not only about the foods that certain immigrants ate, but how this changed over time, how Americans viewed ‘foreign’ cuisines over many different eras, and how this was a description of New York history and not just a reflection of imported appetites.”

American Passage: The History Of Ellis Island

Vincent J. Cannato

A chronicle of the landmark port of entry’s history documents its role as an execution site, immigration post, and deportation center that was profoundly shaped by evolving politics and ideologies.

Staff says: “The history of the island and the immigration station, and also of immigration policies in NY and the US. This book is well researched, scholarly and a very easy read. If you only read one book on Ellis Island, then this is it!”

The Battle For New York: The City At The Heart Of The American Revolution

Barnet Schecter

Provides a dramatic account of the seminal role played by New York City during the American Revolution, from its September 1776 fall to the British under General William Howe, through years of occupation, and beyond, interweaving illuminating profiles of the individuals on both sides of the conflict with a study of the cultural, political, social, and economic events of the eighteenth century.

Staff says:“It sticks in the mind, especially for the quality of the research and the tour of today’s New York in light of the events of history.”

The Big Oyster: History On The Half Shell

Mark Kurlansky

For centuries New York was famous for its oysters, which until the early 1900s played such a dominant a role in the city’s economy, gastronomy, and ecology that the abundant bivalves were Gotham’s most celebrated export, a staple food for the wealthy, the poor, and tourists alike, and the primary natural defense against pollution for the city’s congested waterways.

Staff says: “Lots of good NYC history in there along with the fascinating world of food history and bivalve science.”

Dark Harbor: The War For The New York Waterfront

Nathan Ward

Traces the historical influence of the Mafia on New York’s waterfront, drawing on the investigative series of New York Sun reporter Malcolm “Mike” Johnson into the region’s racketeering, violent territorial disputes, and union corruption.

Staff says: “The real story behind the film On the Waterfront. I also get annoyed when films are historically inaccurate for the sake of plot, ending, etc when the truth is probably just as exciting: see Bridge On The River Kwai. Well researched, and exciting.”

The Great Bridge: The Epic Story Of The Building Of The Brooklyn Bridge

David McCullough

Evaluates the construction of the Brooklyn Bridge as the greatest engineering triumph of its time, citing the pivotal contributions of chief engineer Washington Roebling and the technical problems and political corruption that challenged the project.

Staff says: “A favorite that everyone knows for good reason!”

Eat The City: A Tale Of The Fishers, Trappers, Hunters, Foragers, Slaughterers, Butchers, Farmers, Poultry Minders, Sugar Refiners, Cane Cutters, Beekeepers, Winemakers, And Brewers Who Built New York

Robin Shulman

Traces the experiences of New Yorkers who grow and produce food in bustling city environments, placing urban food production in a context of hundreds of years of history to explain the changing abilities of cities to feed people.

Staff says: “This interesting collection of micro histories tells the story of such New York food industries as beekeeping, fishing, urban farming, brewing, winemaking, and butchering. The author profiles people currently involved in each industry and then traces the origin, rise, usual fall, and then resurgence of that field. It was fascinating to learn about the methods of the different food industries within the unique environment of New York City.”

Five Points: The 19th-Century New York City Neighborhood That Invented Tap Dance, Stole Elections, And Became The World’s Most Notorious Slum

Tyler Anbinder

Details the notorious neighborhood that was once filled with gaming dens, bordellos, dirty streets, and tenements, that welcomed such visitors as Charles Dickens and Abraham Lincoln, and brings to light the hidden world that existed beneath the squalor—a world that invented tap dancing and hosted the prize-fight of the century.

Staff says: “An accessible and broad work looking at the notorious downtown slum’s population and sociology.”

The Island at the Center of the World: the Epic Story of Dutch Manhattan and the Forgotten Colony that Shaped America

Russell Shorto

A history of the Dutch role in the establishment of Manhattan discusses the rivalry between England and the Dutch Republic, focusing on the power struggle between Holland governor Peter Stuyvesant and politician Adriaen van der Donck that shaped New York’s culture and social freedoms.

Staff says: “The book is well-researched, the stories are well-told, and it will flesh out that point of history that most people only remember as song lyrics: 'Even old New York was once New Amsterdam…’”

Just Kids

Patti Smith

In this memoir, singer-songwriter Patti Smith shares tales of New York City: the denizens of Max’s Kansas City, the Hotel Chelsea, Scribner’s, Brentano’s and Strand bookstores and her new life in Brooklyn with a young man named Robert Mapplethorpe—the man who changed her life with his love, friendship, and genius.

Staff says: “I rather enjoyed the descriptions of Patti and Robert are discovering New York, especially Brooklyn, together. She writes prose like a poet, with detail and care and without an overabundance of imprecise words.”

Ladies And Gentlemen, The Bronx Is Burning: 1977, Baseball, Politics, And The Battle For The Soul Of A City

Jonathan Mahler

A kaleidoscopic portrait of New York City in 1977, The Bronx Is Burning is the story of two epic battles: the fight between Yankee Reggie Jackson and team manager Billy Martin, and the battle between Mario Cuomo and Ed Koch for the city’s mayorship. Buried beneath these parallel conflicts—one for the soul of baseball, the other for the soul of the city—was the subtext of race.

Staff says: “During the 1977 World Series, Howard Cosell really did say "Ladies and Gentlemen, the Bronx is burning” as flames licked up in the distance from Yankee Stadium. 1977 was the crux of the “bad ol’ days” of New York City—white flight had taken its toll; unemployment was outrageous for everyone, but close to 80% for young blacks and hispanics; infrastructure was in disrepair; crime was outrageous. This was the New York that inspired movies like “Death Wish” and “The Warriors.” NYC had bottomed out in 1977 and this is the history of that fateful year.“

Low Life: Lures and Snares of Old New York

Luc Sante

Luc Sante’s Low Life is a portrait of America’s greatest city, the riotous and anarchic breeding ground of modernity. This is not the familiar saga of mansions, avenues, and robber barons, but the messy, turbulent, often murderous story of the city’s slums; the teeming streets—scene of innumerable cons and crimes whose cramped and overcrowded housing is still a prominent feature of the cityscape.

Staff says: "This book sparked an interest in shady urban histories for me. Now that I know a lot more about the city and the context of the time frame, I even read it again. Fun, even if sensationalistic.”

Native New Yorkers: The Legacy of the Algonquin people of New York

Evan T. Pritchard

A comprehensive and fascinating account of the graceful Algonquin civilization that once flourished in the area that is now New York.

Staff says: “New York history from the Native point of view, and it will make you confront every sentimental myth you may have heard before. Everyone should read it.”

The Poisoner’s Handbook: Murder and the Birth of Forensic Medicine in Jazz Age New York

Deborah Blum

The story of how poison rocked Jazz Age New York City. A pair of forensic scientists began their trailblazing chemical detective work, fighting to end an era when untraceable poisons offered an easy path to the perfect crime.

Staff says: “Absolutely fascinating. I was surprised when I found myself at the end already. Unlike a modern forensic science drama on TV, the chemistry is all there—yet still readable and interesting. The era (late 1910s-mid 1930s) and setting are both equally captivating. So many times I thought I knew something that I clearly didn"t. This book taught me tons and still read quickly like a mystery novel, only the mysteries were all actual cases and hence more interesting than usual literary invention.”

Up in the Old Hotel

Joseph Mitchell

Saloon-keepers and street preachers, gypsies and steel-walking Mohawks, a bearded lady and a 93-year-old “seafoodetarian” who believes his specialized diet will keep him alive for another two decades. These are among the people that Joseph Mitchell immortalized in his reportage for The New Yorker and in four books—McSorley’s Wonderful Saloon, Old Mr. Flood, The Bottom of the Harbor, and Joe Gould’s Secret—that are still renowned for their precise, respectful observation, their graveyard humor, and their offhand perfection of style.

Staff says: “Mitchell, in an incredibly vivid writing style, tells the tales of some of the people he met in NYC in the '20s - '50s. The people are the history of New York.”

Source: NYPL’s Favorite NYC History Books

[thehouseofjohndeaf]

How did this happen?

(photo cred)

The global pandemic has shed a light on some misconceptions regarding individualism and anti-authority.  The line between anti-authority and anti-science has been blurred during a major public health crisis putting health officials and medical experts in the driver’s seat.  This has led to major outcries against stay-at-home advisories, the closing of non-essential businesses, and mask mandates.  The groups of people who are against the public health regulations are primarily right-wing, and are viewing these precautions as government overreach, despite the fact that the republicans have current control of the federal government.  The current president has found ways to pawn off responsibility to the governors of individual states, and we see the outcry mostly coming from those living in blue states.  These are primarily Americans who are part of a spectrum of right leaning politics, and identify as conservative, libertarian, alt-right, and republican.  Despite all these identities and beliefs there is also a heavy anti-authoritarian and anti-government overtone to these outcries.  How is this?  How have right leaning individuals started believing they are the real anti-establishment counterculture, holding a firm belief that the left are the true authoritarians?

First, this starts with one of the biggest misconceptions in America; most people believe the liberals are the left.  This is not true.  Liberals are the center.  The US does not currently have a left-wing party.  Instead we have a centrist party that houses both the center and the left, this causes both and left and center to constantly lean further right.

The graph above, from Quartz Media, shows where the 2020 democratic candidates fall on the political spectrum as opposed to the incumbent republican president.  The DNC continues to be a right-wing organization while being only slightly left of the republican party.  The final two democratic candidates during the 2020 primaries were on opposite sides of the spectrum of the democratic party, a centrist and a leftist.  The same thing that happened in 2016.  The DNC ultimately gave the nomination to the centrist, because they are a centrist organization.

This next graph shows how the US major party candidates of 2020 compare to political parties in the UK.  As we can see, the conservative right-wing of the UK is in line with the sitting republican US president, the centrist liberal democrats of the UK align with the majority of the US democratic candidates, and the UK’s leftist labour party is even further left than the left leaning outliers of the US democrats.

This misconception that the left is liberal in the US has led us to believe that our current definitions of right and left have a chasm of differences between them, when they are in fact all in the same wheelhouse.  The republicans appear authoritarian yet successful because they are unapologetically right-wing and will stir the pot and make a lot of noise to get their way, whereas the democrats appear authoritarian yet incompetent because they are centrists who would more often rather keep the peace with a steady-as-she-goes approach than stir up actual progressive change.  Democrats will pretend to be leftist, inciting progressive change, all while bombing innocents overseas and allowing their own citizens’ water to be poisoned.  Republicans will explain to you why they all deserved it.  It’s the same song played on a different instrument.

Since the left are the outliers, they are viewed as radicals whose ideas would never work in the western world.  This has gone so far as to target anyone who identifies with politics left of center as the “alt-left”.  And yet, every other major western nation has some degree of socialism working for the people in the form of state funded healthcare programs, prison reform, welfare, child tax benefits, pension systems, social housing, and public education.  The US even embraces some of these things, we just refuse to call it socialism or fund it properly, we refuse to allow the right and center to be tainted by the left.

It seems a relatively simple explanation for certain groups of people to be outraged by public health officials making drastic changes to our daily lives; the effects on their income, social and mental health, as well as the economy.  The question is, how is this viewed as anti-authoritarian if the outcry is both in support of the current political party with the most government control and yet also against government overreach enacted by these same people?

For the older generations and those who consume media in a traditional sense, it appears a healthy diet of Fox News and an overall distrust of the “liberal” or “mainstream” media would lead to mass misinformation and a skewed sense of reality.  For the younger generations who grew up on the internet, a diet of reactionary propaganda and alt-right message boards will lead them down a rabbit hole of misinformation.  Both have a distrust for “liberal” media and have a skewed concept that the liberal media is a leftist organization with an agenda to dismantle their freedoms.  Ultimately, this is one way we may arrive at the concept that liberals, who are really centrists but we think they’re leftists, are trying to implement an authoritarian regime of socialist communism, when in reality the liberals have a more middle-of-the-road approach to reactionary thought, which causes conservatives and other right-wing theorists to distrust any form of organized press while they congregate online and adopt conspiracy theories to help them untie the mental knots they tied for themselves in the first place.  Really, the only way for new age conservatives to believe the lies they’re churning out is for there to be some conspiracy at the center, because their views cannot coexist with reality.

But still, how did we get here?  How did we brew a force of pro-conservative anti-establishment?

There was a lot of angst in the post-9/11 world for our youth, as a counterculture emerged against the Iraq War and government oversight including the patriot act and the NSA.  Anarchist thought gave birth to post-anarchism, as anarchism coexisted in a technologically advanced world.  How do we grapple with the concepts of individual freedom and collective living when we’re tethered to companies to provide products that keep us connected and informed?  Even prior to this, most anti-authority groups understood liberalism and conservatism to be of the same breed.  In 2002 Against Me! released the album Reinventing Axl Rose, Laura Jane Grace sings, “Baby, I’m an anarchist, you’re a spineless liberal…” a song referencing the 1999 WTO protests in Seattle.  If one had the misconception that liberalism is leftist, they may interpret this lyric incorrectly.  If liberal is left, then liberalism is more attune with socialism, meaning right-wing and libertarian thought would be opposite liberalism, and ultimately one might come to the conclusion that anarchism is more aligned with right leaning politics than left leaning politics.  This person would then continue on to believe that the conservatives, the alt-right, libertarians, and republicans were the faces of anti-authority as part of their fringe groups.

It appears that millennials who grew up in a post-punk era, were clinging to the anti-establishment messages of the early 2000s during a Bush presidency.  They were eventually thrust into an Obama presidency of “progressive change” as some were just entering high school and beginning to pay attention to the world around them, while others were out on their own for the first time in their lives attending college, and the oldest of the generation were first entering the workforce.  This “progressive change” led to a lot of real social changes, what reactionaries call “PC culture”, and what the rest of us just recognize as time moving forward at a steady pace.  Nonetheless, the Obama presidency was rather anticlimactic.  While the liberals patted themselves on the back and slept peacefully to the social changes, the working poor and minorities saw little-to-no benefit, and the conservatives stewed in their rage as a smug charismatic black man was in charge of their beloved homeland.  Eventually, in the height of the Obama years the housing market crash brought libertarians, socialists, and anarchists together in the national movement, Occupy Wall Street.

The problem that eventually erupted was a disdain for liberalism, critically noted as neoliberalism.  While the left has been critical of liberalism and conservatism alike, the right used their view of liberalism as a leftist ideology to create a division at a time when everyone was coming together to recognize the stark inequalities of our current capitalist system, famously uniting us all as the 99%.  This tactic allowed libertarianism to be recognized as the opposite of authoritarianism, however a right-wing libertarian will likely have complete faith that the free market and corporations will do the most good over the individual workers.  We then wind up back at square one, with the corporations as the voices of authority.  When we become dependent on their products, or they come to as close to a monopoly as possible, the working class begins to lose their freedoms.  During the pandemic we’re witnessing this happen as huge corporations like Walmart and Target are open for business and able to adhere to public health and safety guidelines, whereas small businesses cannot remain open because they don’t have the proper space for social distancing or the funds for the required PPE.  The outcries against this have not been against Walmart or Target for hoarding their wealth and becoming some of the only stores able to sell clothes, books, electronics, toys and other nonessentials.  The outcry has been against public health officials for putting safety guidelines into practice in response to the virus.

A socialist response to this issue would have been for the government to provide PPE to small businesses so that they may remain open.  What we have is a libertarian response of letting the bigger fish eat the smaller fish, and the working class are footing the bill.  The current administration has put the majority of the power for economic recovery into the hands of corporations and the wealthiest individuals.  This is what is hurting the working class.  Yet the outrage has been against the public health officials who have put forth social distancing guidelines, stay-at-home advisories, and mask mandates.  None of these things are the reason for the economic turmoil we are experiencing, it’s the current administration's hands-off approach and ignoring small businesses.

The funds for small business loans were given directly to the banks to distribute to their communities.  Problems with this tactic were immediately recognizable.  The banks were more likely to offer loans to the businesses who already had accounts with them, and were more likely to award loans to a business they felt would easily pay back this loan.  Franchises were also recognized as single entities and rather than the corporations bail out their own chains, individual franchise owners were dependent on government funded bank managed loans.  This is how the right and center handle social issues, they give money to the already wealthy and ask them to provide a service to those in need, allowing very little relief to reach those who need it most.

So no, being anti-science in the midst of a global pandemic is not rebellion, nor is it remotely anti-authority.  It is playing directly into the hands of the elite.  If you’re protesting government overreach and the sitting president encourages the protests with messages like “LIBERATE MICHIGAN”, it’s quite obvious the government approves of your actions.  If you’re protesting government overreach while wearing merchandise you purchased from the sitting president, and holding signs in support of him, that irony is so palpable, it’s concerning that so many people cannot see it.

[laurent-price]

∞

[ I am changing the rules slightly. I am randomly selecting a song and picking a lyric that Laurent would likely like from that song.   Original prompt here.] 

undefined

Providence

Poor Mans Poison

Men of power telling lies Shifty hands and thirsty eyes And they can smell your fear like blood

Thanks for the ask, @risrielthron!

[penhive]

Conversations of a Reluctant Soul

Hope is the steel of endurance.

The way that lights my path is Jesus.

Fear is a coward that lurks in the mind.

Listen to the small voice of the heart that speaks to the heart.

Vanity, you are black stone of character.

Let life resurrect in fortune.

The path of life that I have walked solely belongs to me

Faith is the refuge of fulfillment.

Let not your heart be troubled or anxious.

Life is poetic journey to be lived.

The mind is a dinosaur of memory.

The body is a slave of passion and the heart a slave of love.

Don’t mourn for me when I am dead and gone; celebrate my life while I am still living.

The novel is the book of life.

The body is fleshy and driven to passion.

The mind has to become an exodus of all negativity.

The soul is imprisoned in the body and the very thought of it is beautiful.

Time is a beautiful song when you are living with the call of the heart.

Discard the burdens of the heart for they are only temporary demons.

The price of democracy is freedom and liberty.

Don’t compromise your ego when others are finding fault with you.

The Ego is a desirable thing and the sine qua non of desire satisfaction.

Some wounds make me bitter.

To know is to become a reality.

Awareness of the self is an essential ingredient to mastery of the mind.

Live life to the fullest of ecstasy.

Making love is poetic music.

Negate all those who malign you and insult you.

Let the law of attraction work your Universe into a becoming of wish fulfillment.

My dreams have to become a reality called life.

A bitter soul is akin to sour grapes.

Passion, you are a bard on wings floating blissfully in the sky.

When will I celebrate the voyage called life?

We are all totems that have eaten the fruit of knowledge.

Forget the past, live the present and anticipate good tidings in the future.

An Epicurean life is worth living.

Let not the mind trouble you or make you feel insecure.

Hurl worry and anxiety into the ditch of hell.

To overcome temptations is a test of faith.

The tempest that rages in the mind cannot be extinguished.

Nirvana, you are a calm peaceful joy that resides in the heart and soul.

Let your soul explore the heights of passion.

Quell the eye of the storm residing in the soul.

I take delight in the solitary walk in the garden of the soul.

When obstacles say you can’t: combat them with the trigger: you can.

Let the joy of summer, the spring of peace, and the tranquility of autumn cancel the harsh winter of your life.

Genuine peace is found within the heart.

Let not the heart be stubborn to the whims and fancies of this temporary world.

Meditate on love, and you will get the joy of your heart.

A life well run deserves an exalted death.

The senses have to control the prison of anger.

Do not be ashamed of the choices you have made in life.

Voice of temptation: do not lead me to sin.

Woe, you are the high tide of the heart that settles down with the arrival of low tide.

The heart inflates the joy of hope and faith.

Live for others but do not allow them to possess you.

Joy has a beginning and an end.

Time is the carrier of hope.

Light the candle of your heart and reflect the world with love.

Greed, envy and covetousness all are gluttons of the soul.

What is planted as a seed becomes a fruit of the heart.

May the light of the sun become a voice of hope in writing.

Peace and prosperity begin with P and the human mind is endowed with achieving them.

Let the dark chapter of your life become a book of writing.

God is a theologian who embraces the soul with love.

Erase the dark chapter of your life with the pen of the book called life.

It is human to be desired and to be loved.

Every sailing on the sea of tempest has a calm lying ahead of it.

To be a Titanic is to drown your desires.

Discard the torn clothes of a dull mind.

A weary heart deserves a compassionate forgiveness from God.

Let me travel on the sea of fortune and luck.

Fortune is a music that defies the senses.

Abundance has to make a person generous.

Don’t be stingy with the purse, be generous in the art of giving.

Conversions with the soul makes a man lyrical and kind.

When you give affection, you will receive it.

Time of the soul is a voyage of life.

The body is a celebration, a joy in the art of a becoming.

Exploit your talents to the fullest extent.

Be of help to those in need.

Do not slumber when the sun shines.

The cross of calvary is the best gift given to mankind.

Humility you have to pervade the soul and make the tides of depth turning.

If you give love: you will get more of it.

The voice of your inner child is the tune for the melody of life.

Patience be gentle and kind to me.

When troubled with guilt: confess to the highest in the heavens and he will answer you.

The passion to love enriches the heart of feeling.

Delight in God and he will carry you through.

Humility is a rare gift of the soul.

Endurance is the vehicle of patience.

Who is the world does not desire and deserve the good things of life?

The soul is a cavernous delicacy.

The soul can actively combat the fear lurking in it.

Do good to others and it will be returned back to you.

Making love is the highest form of music, a sheer art.

I would love it if my reality merges with fantasy.

The real self is real but the fictional self is phantasmagoric.

Make an allusion to the ego and it will provide the right answers to your heart.

The life that you are living has to carry the shadow of achievement.

Being in sojourn with nature is the greatest gift of life.

The truth of friendship is a heart that lends a supporting hand.

Karma is the paradox of making choices.

Life is a ship traveling in the ocean.

The depth of the soul is a voice of hope.

During trying times, wear an armor of hope.

To be in poverty is to have a poor soul.

Aspire for riches and they will be yours.

Moral of the self is the search for truth in the meaning called life.

I have known the pain of a lover abandoning me.

Ego became a reality after the fall of Adam and Eve.

Let the brook of life run through you.

Seek solace within the confines your heart.

Don’t let an astrologer decide the better choices you have in life.

The seed of growing up is the fruit called life.

Being in the right place at the right time is the hallmark of achievement.

The pain of rejection is a rotten fruit which has become poisonous.

Remember you dead ancestors and treat their souls with love.

I am embarking on journey of life with a hopeful destination called success.

Let not the cares of the world bother you.

It is a passion to explore altered states of consciousness.

Work hard till you get the most out of life.

To be brave is an inner victory for the soul.

The Word that was the book of life incarnated into the life of the messiah.

Hope and Faith are the twin axis for victory.

Life is melodious song.

Being gifted with the soul is the greatest gift of life.

Be generous in giving a full measure of your heart.

The soul is an oasis of hope in the desert of discouragement.

Let not the worries of this world create s suicide of your dreams.

Let your ambition guide the path of destiny.

The mind is meditation to achieve a spiritual self.

The self is a vacuum for experiences to fulfill.

To face disaster is to strengthen your character.

Consciousness reflects in delight and is a passion to enjoy life.

[crowsister-archive]

Song Rec: Providence - Poor Mans Poison

couldn’t listen all the way through | not my thing | it’s okay | kinda catchy | *ok i really like this* | *downloading immediately* | already in my libraryIf there's anything I have a weakness for, it's gallows humor songs like this. I had a deep Voltaire phase when I was younger and this song brought me closer to it than I've been in a while. This, though, I would consider an upgrade from Voltaire.The singer has a really nice scratchiness to his voice that hits the mood of the song exactly on the head. The lyrics are deeply, deeply sardonic and I love them, my favorite being "Men of power telling lies / Shifty hands and thirsty eyes / And they can smell your fear like blood" like the truth in those three lines? The imagery? I love this??? I'm going to see if this is on Spotify and add it to my library right now??? It may be going into a story playlist so I can imagine a karaoke scene that will never, ever be written (probably)???

[askarkham]

Title: I Stand Corrected

Genre: Humor/hurt/comfort

Time Frame: A few weeks after this--[link]

Warnings: Mention of blood, brief mention of suicide attempt

Word Count: 2428

It was a bright, dull and microscopically sterile of a place. Three things Edward Nigma hated.

Well, he hated a lot of things, but that particular trio in combination irked him far more profusely than if he had encountered them individually. And certainly not in living quarters he himself would have to exist in. But this was his current lot in life it seemed.

These were the sort of thoughts that drifted in Edward’s mind as he paced quietly to the table with his dinner tray, along with calculations of a potential escape plan involving mustard (spicy, not honey), the lyrics of a Van Halen song (from the Roth years), and theories on how to rework an old file version of Windows Movie Maker to work on his new PC (the lime green one the Police had missed when they ransacked his place during his last capture). Edward Nigma was one to multitask, as it helped block out peskier thoughts and memories of his past he cared not dwell on.

Besides, what sort of puzzle-master would he be if his mind wasn’t a constant maze and tangled web only he could understand?

He sighed as he sat at the end of the table, knowing full well his choice of seating was uncomfortably close to Crane’s placement beside it. It made him smirk to see Crane scooch an inch away. He enjoyed getting in the taller man’s personal space. Maybe he was suicidal, maybe he was desperate to bridge the gap and form some kind of friendship—it honestly depended on his mood at the time. Today it was boredom that fueled his actions. Boredom and a need for companionship now that Dent was in solitary for a few weeks (the former lawyer had managed to break an Orderly’s arm after a snide remark about his mis-matching hair. Edward thought the punishment was a bit harsh considering the context, but he understood the need to make an example when people like Joker and Killer Croc were present. And Leland let him sneak Twinkies to Harvey every couple days, so win-win).

Anyway, Edward had noticed Crane often sat alone during mealtimes (or anytime that required socialization at Arkham) and he could see now that this time was no different. Having known the man for only a few months, he had taken it upon himself to unwrap the riddle that was Scarecrow. Though he had heard rumors that Jonathan Crane and Scarecrow were sometimes very different people. Not like Harvey though, which in itself was confusing but Edward didn’t need to overcomplicate his plans just yet. He just needed a foot in the door. Even if his every attempt to befriend Crane had come up empty handed—and with the occasional scratch.

At any rate, the resulting hazel-eyed glare he earned from Crane made him grin gleefully in return as he plopped down whole-heartedly, efforts renewed for another try.

“Jonny!” Edward greeted. “Salutations!”

“Don’t call me that, Nigma.”

Edward visibly pouted, then reached across Crane for the salt, nonplused by the snap.

“What are you doin’? You don’t reach your dirty little elbows across a’body like that at a meal!” Crane reprimanded, now sitting straighter in his annoyance. Edward heard a hint of an accent that seemed out of place, and wording that echoed just enough off from Crane’s own usual speech patterns (Edward paid attention to that as well—not much else to do in this dump), but the thought was gone in a flash as Crane continued. “What were you, raised in a barn?”

“No, were you?” Edward countered, slapping on a terrible amount of salt on the mush that was supposed to be lima beans. Or butter beans. Or…something faintly green.

“How I was raised is none of your business.” Crane replied in an icy whisper, clenching his fork. Edward eyed it, not forgetting who he was talking to, but not scared off quite yet. If anything, this reaction intrigued him.

“Fine. I’m no psychiatrist. And you aren’t either anymore.” Edward decided to twist in the proverbial knife as a different approach. He still had a nasty compulsion of saying the wrong thing (or exactly right thing) to set someone off.

Harvey had been the first to notice it while they were working together. At first it had been to hold his own as he entered the crime world green—not just in clothing—and naïve. But Harvey, once warmed up to the new rogue Riddler, had sat him down and confronted the behavior. Harvey had been somewhat kind…Two-Face threatened to snap a digit off if Edward didn’t quit provoking him. And Leland…well, she had confirmed it. From what he remembered from their recent session, she had connected it somehow to his relationship with his father, and how he had begun to talk back and use his insecurities against the man in some twisted play for control. Provoke a beating to get it over with perhaps. Violent encounters had escalated after that until he had finally left home for good. But the warped social habit had stayed with him. Defense mechanism? Or need to feed some rebellious recklessness with his life? Leland hadn’t decided yet.

And Edward didn’t really care.

But the old memories did seep into his slowed calculations and he visibly shivered before pushing them back down.

“Cold?” Crane asked with narrowed eyes and a flicker of a wicked grin. He wasn’t so easy to provoke it seemed, but then Edward knew virtually nothing about him still. So nothing of real consequence to use as ammo. Pity, that.

“Nope.” Edward grinned brightly back, stuffing the last of the residual memory down as he stuffed his mouth with the mush. Crane watched and crinkled his nose in disgust.

A shuffling noise made them both look towards the line Edward had left moments earlier. Other inmates still getting food from the buffet, servers slumping the food stuffs onto their divided trays. They were the kind that were one of six complementary colors, like the ones in grade school. They were hideous in some indescribable, irrational way.

The shuffling noise, they noticed a moment later, was from a little scuffle Croc was causing, pushing into the new guy, Tetch.

Jervis Tetch was not on Edward’s “Interesting” radar and yet he knew far more about him than he did Crane. For one thing, they had been colleagues at Wayne Tech a few years ago, before Edward had killed his supervisor. Edward hadn’t thought much of him then, and he could tell that Tetch, somehow, hadn’t liked him either. But at least they had been civil, which was more than he could say for his own associates on his floor. A conversation here and there every few months, a collaboration or two—that was the extent of their relationship. And when Tetch had gone rogue a month or so back, his entire story had been in the papers. His trial had been a media circus. Joker laughed himself silly when the story aired during Arkham’s allotted TV Time.

He went insane over that doof of a secretary, how embarrassing,  Edward had thought at the time.

So he had nothing more to really say to the man, and little Tetch seemed even more resigned to being alone anyway. Aside from allowing Crane to do that thing where he has his own little unofficial sessions with newbies he found interesting, Tetch kept to himself. Plus…he looked broken, and that was slightly more than Edward was ready to take. And with what happened a couple weeks back, Edward could cut the awkwardness with a knife.

What do you say to someone who tried to kill themself in an insane asylum?

Crane took a swig of the tap water he had gotten, eyes focused solely on the sight before them.

“Look at him, already getting into more trouble.” Edward smirked, looking on with Crane as Croc once again chuckled and pushed into Tetch, making him spill a bit of his rice on the floor. Tetch just closed his eyes, took a breath and reopened them, looking at the floor and taking it without a word of protest. As if he felt his deserved it. Or that he wasn’t even worth helping himself.

The sight made Edward want to gag, it was so pathetic.

“You gonna save him again, Crane?” Edward turned to Jonathan then, head resting on an arm he propped up on the table. Crane darted his eyes sharply to his unwanted companion. But Crane was fairly surprised to see a grimace rather than the usual smirk on Nigma’s face.

“I have no further interest in him.” Crane simply replied.

They both heard a giggle down the table where Poison Ivy and Harley Quinn sat. They were also watching the sight of the newbie rogue getting bullied.

“Serves him right.” Edward heard Pamela mumble, glaring full on at Tetch. “Stalking and kidnapping that poor girl.”

“Aw c’mon Red…look at im’!” Harley tried to sound sympathetic, but Pamela’s scowl amused her too much to keep a straight face.

Edward looked back to Jonathan, who had also turned his attention back to Tetch and Croc. Freeze was a few inmates behind Croc but spoke up in his slightly altered voice, cooling collar providing a steady mist of icy air for him to be comfortable out of his suit for the short mealtime.

“Waylon…stop picking on the boy. You’re slowing up the line, and he’s done nothing to you.”

“Mind yer’ own biz, Vic.” Croc turned and growled, making Wesker hide behind his still empty tray, but a clear snort could be heard from Scareface. Selina rolled her eyes and rested her weight on a hip, obviously waiting for the line to hurry up. Freeze made a disgruntled face but let it go.

“So, lost your interest eh?” Edward asked, jolting Crane back to their conversation again as the line finally moved forward to the mystery meatloaf.

“I got what I needed from my initial conversations with him.” Crane said, making to look as if busied by his own food, Edward noting he was just mixing his limas with the rice absent-mindedly. Edward had noticed Crane did that when he was agitated or lost in thought. Or both.

Edward lowered his voice “Then why’d you save him last time?”

Crane shot him yet another glare. “Like I said,” he said through gritted teeth, “I didn’t want his blood draining into my cell. The stain would never come out of those cheap shoes they make us wear.”

“Mmmm, I don’t think that’s why.” Edward cooed, trying to push the subject.

Another shuffle, another rough low chuckle from Croc. Crane forced himself not to look over at the pair again, keeping his eyes locked with Edward’s.

“You’re itching to protect him, I can tell.”

“Nigma, I swear, when I break out of here I will come after you next.”

“Ho-Hum.” Edward drummed his fingers on the cheap table top. That wasn’t decidedly the worst thing someone had ever threatened him with.

“Tetch means nothing to me.” Crane sighed as he reiterated, a tone that Edward knew all too well of one trying to convince himself. “He wanted to be friends, if you can believe that. Friends. With me of all people. What a joke.” Crane continued, this time quieter though. A distinct change in his mood as he mixed his food again.

That was a surprising attitude if Edward had ever seen one. For Crane at least. And contrary to popular belief, Edward was not some Joker rip-off, he did have feelings. Sometimes.

“…I’m not laughing.” Edward admitted just as quietly after a moment.

“Well, he’s just not…interesting.” Crane forced out, his mind screaming at him to take it back. Scarecrow even arguing it was not the truth.

“And that’s why you’ve been avoiding him.” Edward stated.

“It’s why I’ve stopped initiating conversation with him, yes. Nothing else to learn.”

“But…you don’t walk away from him when he comes talk to you. I’ve noticed, since you almost always do with me.” Edward dared bring up pointedly.

“I’m about to get up and sit with Joker if you don’t clamp that gaping maw.” Crane growled. Edward rolled his eyes but did stop talking a moment.

Then he broke the silence and Crane groaned.

“Well, you’re right for once. I knew him back at WT and he was a real wet blanket. He’s just not interesting.” Edward sighed agreement into his cup as he drank. Ugh, the tap water was more chlorine-y today. He smacked his lips in an unsatisfied manner, earning a smirk from Crane.

“AROOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOGH!” A sudden shriek called out in a dreadfully pitiful whine, and everyone stilled, shocked at the sound and looked up to where it came from. Even Joker had turned around and looked captivated by the sight.

Jervis Tetch, the small blonde man with buck teeth, was standing with his tray in his hands and a cool, unperturbed gaze as he looked up at the reptilic inmate cradling his hand, panting. A fork was sticking out of Croc’s clawed right hand.

Jervis just looked on blankly a moment more before turning on his heel gracefully and walking straight to where Edward and Crane sat.

“Seat taken?” Tetch asked in a no-nonsense English accent, a bit of Croc’s blood splattered on his shirt front and left glove.

“N-no…” Edward managed with a gulp. Crane just looked on wide-eyed as Tetch sat in front of him and beside Edward.

“The wretch of a lizard tried to take my Danish, the only good thing in my life today. And that simply wouldn’t do.” Tetch explained simply, taking a bite out the pastry. The action was framed by orderlies taking Croc to the side and wrapping his hand up after plucking out the fork (earning another whine, but it being drowned out by Joker’s laughing). Pam had decided to ignore Tetch sitting a few places down, but Harley continued to whisper in her ear while looking at him and giggling excitedly. Joker continued to laugh as he ate his meatloaf. Victor patted Croc’s shoulder in comfort. Things were already winding down. A couple guards were zeroing in on Tetch of course, with Leland whispering orders to them on how to take Tetch out of the room without more escalation. Edward knew he was about to get some Solitary too.

“Oh bother, I need a fork now.” Tetch left to go pick another off the silverware cart, leaving Edward and Jonathan to share a look.

“I stand corrected.” Edward beamed.

[limbauka]

read if u dare

“You will be found”

This is a visceral response. I don’t like this song. I don’t like its message. It claims that someone will be there for you when you need it most. That’s wrong. People don’t want to help you. People don’t reach outside of their comfort zone. In my experience, I am the only one who takes action. If I don’t do anything or if I don’t go the extra mile, nothing will be accomplished. I don’t get that people care for each other. I don’t see how interactions can work solely for the betterment of someone else. I’d like to see Dear Evan Hanson, so I can perform a proper examination of what it stands for. “None of us are alone” that’s wrong. I’m alone right now. There’s nothing you can do about it. I am isolated. I don’t want to be found. I don’t like how the song uses “you” like it’s forcing helplessness. 

This song makes me think that helplessness can be an answer; I don’t agree with that. I don’t agree with sitting around waiting for things to happen. “If you only look around” That’s a good lyric, but it’s not the focus. It’s focusing on the idea that you will be saved. I don’t think you will be saved unless you try to be saved, and the message I’m getting from this song is that I will be found. plain. simple. but i won’t. no one will see me unless I make them see me. Dr Rank only was noticed because he appeared. Helmer and Rank were best friends, and Helmer didn’t even think to invite him to anything. Helmer didn’t even know his best friend was dying. HE SAW HIM LITERALLY EVERY DAY. And Rank faded away into the dusk.

“Those who go away are soon forgotten.” -- Dr Rank

I do not think I will be found. I do not think people will care enough about me to even look when I’m gone. I will fade. I will disappear.

“Life’s but a walking shadow, a poor player// That struts and frets his hour upon the stage,// And then is heard no more. It is a tale// Told by an idiot, full of sound and fury,// Signifying nothing.” -- Macbeth

I will die. I will not be remember. My end is inevitable. So why the fuck am I here?

Tomorrow, I have a performance. I will be singing “Purpose” from Avenue Q. Naturally, I have been struggling to find what that it. I have been searching for an answer. I have been interograting people for their answer. One man said his was to ensure that his family lived a loving life. All he wanted was to provide his children with the priviledge that many people don’t have. He wanted to find family love. He wanted to be surrounded by those he loved. He wanted to stay away from the poisons in life. He wanted to stay from alcohol and other drugs.

I don’t know what my fucking purpose is. I have been searching. I have been climbing to the mountain top. Maybe, I’ll be able to see from such a great height. But I only feel the cold. The cold doesn’t hurt me now. How could it? I have been dealing with it, so it’s just there. It’s like when a word doesn’t sound like a word anymore. A crossbow. You know? Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow. Crossbow.

I thought I knew what my purpose was, but I was just going through the motions. I did know. I did at that one point. i did love you. I loved you at that one point. I allowed myself to be okay with loving you. I fought for you. I would die for you. But that’s over. I don’t care anymore. I’m detached. I’m a river. I keep moving. I’m flowing. I’m learning where I can make waterfalls. I’m letting fish into my stream. Sometimes, I go mainstream. Sometimes I go off stream.

Sometimes, I go off book. I react how my gut tells me to react. I explode without fear of what comes next. I worry about what it happening now. I love. I loose. I try again.

My leg hurts. My eyes are droopy. Oh, the life of a student. Oh, the night. Oh, what a night. Jersey Boys. Broadway.

Broadway.

Broadway.

Broadway.