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fatal-furry-mark-of-the-tigers · 3 months

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In the spirit of using lighter anime analogies lately, I had an interesting one training at a heavy punching bag last week or so.

I'd usually imagine what I could remember of my dad's face and go at it, but I tried something else that worked better, and imagined anime dad figures who could take a punch well and respond in kind to train me if they were real.

Started with THE "bar fight and boy, you are WINNING" song (Find Your One Way) and pictured Sol training me with Sin, letting us have at it (pre-GGST ending) cause he knows he can take it and smack you back when you go too fast. There was a bunch of others that followed too.

There was Goku being a dad who only knows his shit about fighting and is bad at most other stuff, and how I might actually be into his parenting style if I was a half-alien Jesus Godbaby from space.

A big part of it came when a vgm/anime medley that I made myself (Run Like a Ninja) came on shuffle.

Started out light enough. Beating some sense into Grandpa Madara Uchiha or beating the racism out of Chipp Zanuff for the Naruto intro and Suck a Sage, having a TMNT training session with one of the fight happy Turtle boys like Raphael for the TMNT IV: Turtles in Time part, fighting N64 Goemon Ishikawa since he has a giant fucking mech and can clearly handle it, Ninja Gaiden for the Unbreakable/Ryu's Determination/Stage 4-2 song, you know, the super hype one from the first game, Daddy Mulk from The Ninja Warriors (Taito arcade hood classic, look up The Ninja Warriors: Once Again, remake of the SNES version with the unlockable arcade OST, it's great!) and then I got to the EXTRA hard hitting for dad reasons part.

The fucking ending.

The one that mixed that sad song from the end of Ninja Gaiden with Sadness/Grief and Sorrow from Naruto.

Given what happened to Ryu's and Naruto's dads and the uncomfortable parallels with how I felt about my own deadbeat loser, I went completely apeshit on the bag for about half that part and almost broke down crying by the end.

It had been half an hour though, and I was slowing down to the point of throwing the baby dickest slow ineffective punches on the level of Naruto and Sasuke throwing half-dead gay hands at the tail end of vote2 before the final armed clash.

But before I could start actually crying on a gym floor, something else interesting happened...

Another hype weeb trash song came on.

"The Sword That Cleaves Evil"

Specifically, an arrangement I made myself for an upcoming less legit album release. It got me back on the weeb training grind thinking about how gay old Sword Dad and his Horse Riding Husband would tell me not to give up and try to wield the Guts size sword cause "The Time Will Pass Anyway" and they'd be right, it will, so fuck it, light stretching and we continue balling. So on with the weeb analogies for the training bag.

Chicks Dig Giant Robots?

Coop from Megas XLR wouldn't like fighting outside of his car mech, but he'd gladly play Potemkin at a few rounds of GG and hand me my lightweight Bridget ass on a platter. After the series finale, he just wanted to avoid becoming fucked up evil AU future Coop. He likes wrestling and mecha, and he would never want his pure love of that work its way into his property destruction boner to have his love contribute to making him an irredeemable tyrannical monster like buff Future Coop.

Transformers 1986 Movie Theme?

Megatron would respect the trans ideas enough to let me use Starscream as a training dummy for fun and smack him when Starscream goes full crazy and tries to stab me.

Testament's Guilty Gear Strive theme?

Momdadparent Test knows it's a rough world out there for questioning gender and sexuality, and they'd gladly take a moment out of their eternal hobby quests to train me alongside Bridget with the Succubi phantom ladies to teach the necessary lesson of being prepared to throw hands but only as a last resort when you need to or when it's a consensual sex thing.

Mazinger and Mazinkaiser, both personal covers I did with a shit ton of sentimental extra Ichiro Mizuki cameos and other mecha anime references?

I forget the order, but I'm pretty sure Mazinkaiser came first.

Cause the Mazinger Z one hit super hard with all the extra songs.

There were some basics, like Shin Mazinger and Mazinkaiser SKL riffs and obscure Kaiser OVA stuff like The Gate of Hell by JAM Project with Yoshiki Fukuyama.

Then there were the heavier thematic hitters.

The original Space Pirate Captain Harlock OP, the Koutetsu Jeeg parts, and somehow most importantly, Danran! Robot Kazoku (Literal TL: Robot Family) from Tonari no Seki-kun.

I hadn't seen the show past ep1 like my partner has, but the theme of a robot family hit SO unnecessarily hard with how attached I've been to the mecha genre and how many friends, family, and loving romantic partners it's had a hand in helping me connect with through things like Super Remix Wars (LONG-running SRW arrangement personal passion project, actually finishing it in the next couple years)

I couldn't help but lightly sob and smile extra hard with the last few minutes of punches at that. The theme of making an actual found family out of sheer love for fictional robots of all kinds hit just right for me, and I finished up just fine.

Learned a lot. The importance of fiction ACTUALLY affecting reality, and how much of a positive impact it CAN have if you don't take it so literally. The importance of not focusing on how much you might hate your birth family no matter who they are. If they're dead physically or in spirit to you, there's always the hope of making your own way with trusted comrades and lovers in the spirit of having an actual Found Family if not at least a good friend circle.

So among other irl Pride Month stuff, it taught me a lot about the GENUINE hope for the future that can be there if you dodge Discourse bullets and get out of the house in the right places and times in June or any other time of year.

Hope.

Love.

Pride.

Happy Actual Fucking Pride Month, everyone!

Like @warriormale said, Train and Fight!

Master the art of peace in addition to the art of war.

See y'all later!

Bye!

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goodbysunball · 1 year

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Left in the sun

Four more hits from the musically rich vein of 2023. Take a breath and bask in these before the next wave hits. These'll keep your head above water in the midst of everything else; if nothing else, they'll airlift you outta here for a bit. You deserve the break, and these deserve your attention.

Brain Tourniquet, ...An Expression in Pain LP (Iron Lung)

Brain Tourniquet return after two 7" records to deliver an interesting take on the tricky proposition of a powerviolence LP: nine fast tracks and one side-long burner. If I didn't see the band play most of these songs last summer, including the 10-minute title track, I don't think I'd be too keen on the idea, but the trio delivers yet another winner with ...An Expression in Pain. Brain Tourniquet's take on west coast powerviolence has always been distinguished by clarity, a relatively clean sound with as much space as can be afforded on sub-minute tracks. This always makes the slow breakdowns hit much harder in my opinion, the listener swallowed by quicksand or a sinkhole just as they get their footing. It's still true here: "The Depths of Human Suffering (Are Boundless)" and "Exit Life" provide two of the record's heaviest moments. If I have one complaint about the record, it's that these slow parts seem a bit thin compared to those on earlier records, but overall the presentation here is (surprisingly) refreshingly clear. There's a more pronounced classical heavy metal influence here that the crisp production highlights, like the showy guitar line on "Empire of Misery," but it's an incremental addition, not one that smothers the ferocity with technical prowess. Same goes for the sidelong title track: it's everything Brain Tourniquet does well, splayed open and presented for close inspection or ready for your next at-home circle pit. Big chunky riffs give way to grindcore and then quickly pivot to thrashing punk and even make room for some psychedelic soloing at the midway point. It's a bad, bad trip, and one that someone owes the drummer some money for - he deftly navigates the band off and back on the rails repeatedly from start to finish. The whole thing's over and out in 20 minutes, and paced well so that you're not gasping for breath at the end, giving ...An Expression In Pain replay value that something similar like World Extermination, as amazing as that record is, does not have for me. Recommended even for those with just a passing interest in powerviolence or grindcore; go see 'em if they ever tour near you and it'll all make sense.

Mystic 100's, On a Micro Diet 2xLP (Listening House)

I've read a couple items on this Mystic 100's (née Milk Music) album, and most of them have an apologetic air, making excuses as to why they still mostly like what they hear while acknowledging that nothing on here sounds like "Fertile Ground." The band isn't, and hasn't been, anywhere near where they started as Milk Music over a decade ago, now reaching their final form as Mystic 100's and fully embracing the classic rock sound they've teased on the last two LPs. Wide-open and slow is the approach here, every guitar chord ringing out like the sun coming out from behind the clouds, solos searing like the light reflecting off of rippling water. "Message From Lonnie" is maybe my favorite example, the languid pace of the track a rare and refreshing take on the stretched-out portions of On the Beach, the band sounding as vulnerable as I can ever recall. The other obvious choice cut would be the 19-minute "Have You Ever Chased a Lightbeam?," that one also slowly navigating the landscape but with a heavy whiff of Pink Floyd in its wake. It features one of the best bass line/free guitar match-ups in recent memory, a mind-expanding track that you kinda always knew these guys had in 'em. Most of the 75-minute On a Micro Diet follows the lead of the two aforementioned tracks, though it'd probably be a bit of a slog if the whole album followed that same recipe for success. "Windowpane" is the only concession the band makes to Milk Music fans, sounding like that something that could've ended up on the previous two records, and of course we're gonna have to talk about "Drug Man." This song, which leads off the second side, is going to make a lot of people unhappy; populated by lyrics that sound like some sort of inside joke, vocal delivery that almost definitely is some sort of joke, and cheesy white man blues licks, "Drug Man" is definitely the outlier here. But, the way that the song deteriorates and opens up on the back half is of a piece with the rest of the album, shimmering guitars acting as some sort of lifeline or light at the end of the tunnel. A lot of the open spaces created by the band here sound like something you'd hear on a free improvisation record, the band letting the individual sounds slowly create tension in a vacuum, before exploding back onto the scene with a perfectly timed chord or solo. Might be showing my age a bit, or maybe it's just that stifling hot southeastern summers are perfectly suited for such slow music, but stuff like On a Micro Diet hits perfectly for me now. If you liked recent records such as Heron Oblivion's self-titled album (of course you did) or Shawn David McMillen's On the Clock w/ JJ & Mitch, this new Mystic 100's will scratch that itch and then some. Amazing return from this group, not even dulled by the accompanying $120 Online Ceramics sweatshirts.

Olimpia Splendid, 2 LP (Fonal/Kraak)

This second album from Olimpia Splendid was among my most anticipated for the year, and I'm glad to report that there's been no dip in quality in the eight years since the self-titled LP came out. Even with the long gap between albums, I'm still struggling to come up with the proper adjectives to describe the band's sound. They take three guitars and a drum machine and make bad-trip psychedelic rock, replete with lots of repetition and harshly whispered gremlin vocals, and wrap it into a package that's both deeply hypnotic and unnerving. What's new this time around is the band's ability to gain traction and give some forward momentum to the tracks, whereas previous songs were more likely to get drunk on repetition and peter out. I don't think there's anything wrong with either approach, but I'm really enjoying the tense churn and groove of tracks like "Jacksonin Paita" and "Nicotinella," both given just the slightest hint of structure and then mowed down by these powerful and patient distorted guitar lines. My favorite track here is "Agda," where the electronic backing track makes it sound like Merzbow is playing next door while the guitar lines slowly ramp up the tension during the song's eight minutes. It's a track I could imagine the band teasing out for 20 minutes in the live setting, and that'd be just fine by me. No one's making music like Olimpia Splendid, and while that's something that's always been true, the bar to emulate their sound just got raised several notches with 2. Easily one of the best records of the year, if not the best. Finland, here I come.

Primitive Man & Full of Hell, Suffocating Hallucination LP (Closed Casket Activities)

File this one under "collaborations I didn't know I wanted": the smothering black sludge of Primitive Man melding minds with Full of Hell's noise-laced grindcore. To be fair, and this has been pointed out elsewhere, this pretty much feels like a Primitive Man record; such is their sound that it's hard to squeeze anything else onto a track. See opener "Trepanation of Future Joys," a song that could've fit in perfectly on either of the last two Primitive Man releases but featuring Dylan Walker's shredded vocals. But a few listens in, and that feeling starts to fall apart somewhere in the middle of "Rubble Home," where the drums emulate free jazz ferocity, and by the end of the grinding "Bludgeon" the armor's been pierced. I can't find the interview now, but Ethan McCarthy called this Primitive Man's "prettiest" record - and relative to their discography, he's right. The twinkling guitar line on closer "Tunnels to God" is the only obvious proof, but there are some softer edges to the instrumental "Dwindling Will" that would normally be rubbed out in favor of less forgiving textures. It's an unexpected result for a collaboration between these two bands, but it's hardly the defining result. This is an extremely nasty record, where Full of Hell flexes all the attention to detail that can get lost in the maelstrom on their own records. The push-pull between the two bands leads to some spine-chilling dynamics on "Trepanation of Future Joys," the sound dropping out to come roaring back with waves of crushing guitar and earsplitting noise. If you've been following either band, Suffocating Hallucination is a great example and extension of what both Full of Hell and Primitive Man have been doing for the last few years: slowly refining their respective sounds into well-sharpened blades cloaked in noise. It's way better than the sum of its parts, and while familiar on the surface, there's enough going on underneath, like the homage to the Body's "Ruiner" on "Rubble Home," to keep me coming back. There are four different LP cover variations to go along with approximately 800 vinyl variants, so you won't have a problem tracking down a copy - but please do.

#Brain Tourniquet #Iron Lung Records #Mystic 100's #Olimpia Splendid #Primitive Man #Full of Hell

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primalmagic · 1 year

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Rating TDP Soundtrack Pieces ! Part 1

captain of the crustacean - 8/10 its sad and nostalgic but starts out kinda peppy, then goes almost into this glitch mode at once place?! like woah. great way to incorporate the music style but make it still seem scary

into your mind and heart - 10/10 JUST FOR THE BEGINNING the chords?? they are absolutely gorgeous and then it continues with the same basis its so pretty yet urgent ?!

the eclipse of lux aurea - 10/10 its mysterious yet eerie at the same time and still fits with the classical vibe. slightly feels like horror

i am aaravos - 2/10 its just a bunch of creepy noises and music. i may or may not be biased, but like cmon, "i am aaravos" ?! and the same bases of notes, its not even exciting. its predicable too, the ending where it gets louder and more urgent. thats probably the best part honestly.

bringer of tarts / beneath the sands - 6/10. cute, starts off small- uses a version of the main theme, like most of them do. its oddly eerie, like most of the songs in the show. urgent as well, in the middle. and then like eerie and urgent interchange.

shadow of the ambler - 7/10 its slay i like the upbeat / fast paced rhythm but its constantly repeating notes and also one point off bc i did not like that ambler <3

deadwood deserves dignity - 5/10 ooh its a bit bouncy, not upbeat but again- urgent. urgent and eerie are two words that describe almost every song here.

up to us now - 10/10 wooo this song is **upbeat**. rushed, definitely seems like something serious is happening and things need to be done fast. and then when the excitement dies down, its just... time to get things ready. and then ofc, the main theme remix but its more hopeful and wistful then melancholy. then the step beats, which make it seem like theres some sort of impending doom? its a masterpiece, honestly. also of good size, about 2 1/2 minutes.

ultimatum - 9/10 starts off with the main theme in a different key, then repeats in the main key. uses a version of a later part of the main theme next. then becomes somewhat sinister, like the rest. i'm sensing a theme here lol

the trial - 5/10 it started off kinda bouncy i thought id be different and then it just became like the others... slow and creepy. not very special

the jelly tart heist - 10/10 a nice break from the eerie music, its very urgent but its cute. the context is adorable. literally fully points just for it being for ezran. but its super short

moving too fast - 9/10 damn this. this hits hard. its slow and then nostalgic and then welcoming and ? and the sudden urgent part and then getting slow again... its oddly relaxing yet sad i wouldnt listen to this if i was in a bad mood

captain of the crustacean - 7/10 its slow, its calm. no sudden urgency, with im thankful for. majority of it is a part of the main theme so there is that. its nice.

breaking the cycle - 10/10 its ?? i don't know how to explain it. it starts off extremely slow almost unsettling, and i want to know what's going on. it feels like something big is about to happen. and then the middle where it gets so urgent and even slower?? and then... changing into folk?! and then picking up the pace?! this piece is playing with my mind /pos

the prince of neolandia - 8/10 i kinda like this its regal and cool but how is it so short it ended in 40 seconds

waking the dragon - 5/10 its average. just the back and forth from slow to extremely urgent and so on. its definitely a more sudden or compelling piece. its pretty long as well, 4 minutes

tomorrow the sun will rise - 5/10 so a point off for starting with the main theme, again. its being overused and this one copied a whole measure. and then it gets creepy ?! and then that random break in the middle and then going to slow classical music (its pretty though) ?! huh?! i like this one violin solo though. and then ends on a creepy beat. interesting, i dont hate that part.

soren's truth - 7/10 damnn this is a bit emo for soren but its understandable, a bit out of character in the middle, like a battle scene? but its good

last sunset - 9/10 completely different vibe from the others. slow, steady, upsetting. a few of the notes from the main theme, just enough to recognize but not too many that its repeating it. its sad yet gorgeous, like its the end and everyone's just... accepted it, this is the last thing they'll see, and they want to enjoy it peacefully

worse than death - 2/10 this scared the hell out of me. oh gosh. its too scary for my liking, thank you

going home - 10/10 this feels like going home. they use a version of the the main theme, but include a few major notes and make it seem a bit hopeful- although still the same vibe as before. the ending is rushed, yet it seems like someone running to reach their home, more excited then sad. its truly beautiful.

the war of blood and ash - 6/10 the soundtracks for season four and five are all very similar, with the slow start and then cresendo, and this one isnt very different. still has the sinister vibe to it while also starting calm, but definitely not peaceful. its predictable for me though. and the wind ?! im noticing that sound in almost all the 4/5 pieces. interesting.

quick note: im rating all the pieces from season 1-5 in random order, chosen by spotify. i listen to every single one fully before writing the review. therefore, ive noticed a lot of similarities in style, season 1, 2, and 3 are more composed and royal, simply more classical and urgent, while 4 and 5 are all absolutely nervewraking and odd. practically all of them include a hint of the main theme- sometimes in a different octave of pitch- so you have to listen carefully to find it.

#yall music fanatics and also tdp enjoyers should listen to the soundtrack #there are 177 songs in total for season 1 through 5 #tdp season 5 #tdp #the dragon prince #soundtrack #tdp s4 #tdp s3 #tdp s2 #tdp s1 #the dragon prince soundtrack #the soundtrack is almost like a whole show in its own

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arrowflier · 1 year

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Nothing is Forever--A Good Omens Fic

Rating: G

Summary: It’s been a long, long time since Crowley prayed. But what else do you call it when you can’t stop talking to someone in Heaven?

Read Chapter 1 below or on AO3

The doors close. The elevator goes up. And Crowley’s hopes sink like stones.

Silly things, hopes. Float right there at the edge of your reach, little tiny rocks with no weight, but only until you reach for them. Only until you cause the ripple the sends them under.

Crowley’s never moved slowly enough, gently enough, to avoid that ripple. It moves as fast as he does, as quickly as he can turn to look at the women he shouldn’t have listened to. Nina is in her shop, toiling away for customers that couldn’t even give her a few minutes grace for opening late. Maggie is fast asleep in full view of her own window, with nothing to show for her efforts but a wait that may never end. And across the street, seen from the corner of his eye, the wrong angel closes the doors to the bookshop.

“We both get plenty of use out of it,” Aziraphale had said. Well, not anymore. He wouldn’t be surprised if the dim-witted new angel has already reset the wards.

A car honks down the street. A woman bumps his shoulder on the way to the shops. Life on earth adapts to its new course, and none of them the wiser.

And Crowley, slower than he ever has before, gets into the car.

For the briefest of moments, Crowley thinks about going to the Ritz. “An extremely alcoholic breakfast” he had said to that simpering child of an angel, and he might as well go through with it. Might as well drink both their shares of champagne and watch the humans enjoy their freedom, taste a little bit of his own.

“What do you think, angel?” he asks the presence that isn’t there. That’s already disappeared from his senses. “I deserve a bit of a reward, don’t I? Earning your forgiveness and all.”

And afterwards, he thinks as he makes the turn toward the restaurant, he can sleep. A few hundred years should help him forget what Aziraphale’s face had looked like when he dropped that load of horse shit.

There’s a parking space right out front—his usual. The table in the window is empty but for a single glass of wine and a crystal decanter, shining faintly under soft white lights. A single bird flies over the road, the beginning notes of a song whistling from its beak as the car approaches.

The bird bounces off the Bentley’s windscreen, and the car keeps going. Crowley doesn’t stop it.

—

He ends up on the road out of London without knowing how he got there. Not that that’s a hard thing to do—he designed these roads after all, and they were nothing if not demonically difficult to navigate.

“What in somebody’s name are you up to?” he asks the Bentley, which responds by accelerating. It had been poking along at three below the limit ever since Aziraphale borrowed it, but now it reaches ten over.

“Not what I meant,” Crowley mutters, tapping his fingers on the wheel. “But I suppose that’s better.”

He drives on in silence, closing the distance to wherever he’s going. Funny, that—not the lack of direction, but the lack of music. No Queen, no “be-bop”, no classical orchestra like Aziraphale had trained it to play. Just the sound of wheels on pavement.

Wheels that squeal as the Bentley speeds past a bus load of children and merges back over too quickly, nearly taking out the driver. The bus swerves, front end going half off the motorway, and Crowley snaps his fingers without a thought.

The bus rights itself. The Bentley slows down. And Glen Campbell starts crooning from the speakers.

You've got to try a little kindness Yes, show a little kindness

“Oi, none of that now,” Crowley berates the car, jabbing at the controls. “That wasn’t kind, I only did it so Aziraphale wouldn’t—”

He stops, knuckles white on the wheel, and carefully doesn’t look at the empty seat next to him.

If you see your brother standing by the road With a heavy load from the seeds he sowed

“Oh, shut up,” Crowley snarls at the disobedient tape deck. “I didn’t sow a damned thing, alright? It’s not my fault he—”

And if you see your sister falling by the way Just stop and say, "You're going the wrong way"

“You think I didn’t try that?” He pounds a fist on the dash. “I tried everything, you good-for-nothing hunk of metal. Why didn’t you stop him?”

The car doesn’t answer. And despite his best efforts, the music keeps playing.

“This is your fault, angel,” Crowley grumbles as he presses the pedal down and speeds up again. “Got me bloody well trained, haven’t you?” He’s going ten over, twenty, thirty.

You've got to try a little kindness

He takes a turn too fast, nearly drives headlong into a truck that miraculously swerves to miss him.

Yes, show a little kindness

He passes a speed limit sign, and the Bentley automatically slows to match it.

“Shut up,” he orders the absent angel as he allows it. “No fun anyway without your wide eyes and your clutching at the door.”

Just shine your light for everyone to see

The Bentley’s head lamps flick on as he drives into a tunnel, and Crowley only sighs.

—

He drives until it gets dark. He doesn’t know how he hasn’t gotten anywhere yet—probably should have been in the ocean by now—but that hardly matters. The sky is black, his mood is blacker, and the Bentley has decided he’s done.

“Bloody traitor,” he hisses as it sputters to a stop at the edge of the road, it’s fuel gauge firmly pointing to zero. “When did you even learn about petrol?”

And I've been putting out the fire with gasoline Putting out the fire With gasoline

“Using Bowie against me, really?” Crowley complains, then smacks the console. The music skips, but doesn’t stop.

See these tears so blue An ageless heart that can never mend

“If you can play music, you can drive,” he tells the car, and presses the pedal down.

He’s immediately plunged into silence and darkness as the music and the headlamps turn off, and his head falls back against the seat as he groans.

But in the absence of the headlamps, the road around him begins to glow in a much softer light. The faint twinkle of far-away stars glints off the glass of the windscreen, stretched long to his astigmatic eyes. A million million pinpricks of light cutting through the shadows.

“Well,” Crowley mutters to himself, taking off his ever-present sunglasses. “That’s alright then.”

It’s been a long time since he’s seen this many stars. His eyes stay on them as he opens the car door, slithering out into the night. There’s Leo, and Virgo. Canis Major and Minor. Orion, that flash bastard with his stupid belt. Familiar sights, and not—or at least, not from this angle.

“Don’t remember that one,” he muses as he leans back against the hood of the car, door still ajar. He’s staring at a small cluster of stars settled between Jupiter and Venus. “It’s got nothing on alpha centauri, but it’s not bad, is it?”

The empty air beside him doesn’t answer. He leans more of his weight against the hood of the Bentley, elbows braced on its still warm metal.

“Still a little bitter about that one, you know,” Crowley goes on. “Best thing I ever did, and it’s barely had time to start.”

It hurts, still. That, and other things. But here in the solitude of the highway at midnight, the hurt is a little bit softer.

And apparently, so is Crowley.

“Wish we could have seen it again,” he murmurs. His hand strokes absently at the side of the Bentley, but it stays quiet. It knows his words are not for it.

“You liked it back then, I know you did,” Crowley continues. “Wanted to show you how it was turning out. Show you what we made.”

A star blurs, seeming to move as he watches it. He blinks his oddly dry eyes, and it’s gone.

“’M sure they’ve got some big plan for you to work on up there,” he says, “But if you think of it, maybe leave that bit of the universe alone.”

The Bentley purrs back to life under him, though the lights stay off. Frank Sinatra starts to play through the open door, and suddenly Crowley has never been more tired.

Fly me to the moon Let me play among the stars

He folds himself into the car, laying sideways across the seat.

And let me see what spring is like on A-Jupiter and Mars

The leather of the passenger seat is warm under his head, as if someone has just gotten up. Or as if they’re still there.

In other words Hold my hand

Air filters through the Bentley’s vents, pushing Crowley’s hair back with a warm breeze.

In other words Baby, kiss me

His eyes slip shut, and he’s faintly aware of a soft, targeted pressure on each lid as he drifts off.

— Crowley wakes to sunshine, warmth, and the screech of tires as the Bentley comes to an abrupt stop. He tumbles half off the seat, catching himself with one hand against the glovebox. It pops open under his palm, spilling out a mix of black sunglasses and bright yellow candies.

“What,” Crowley croaks as the car starts to move again, sending candies tumbling across the floor, “the fuck.”

The Bentley doesn’t answer. Crowley rights himself as it purrs its way through an intersection, ending up on the wrong side of the bench seat just in time to catch the horrified eyes of another driver. He shrugs—what can he do—then kicks the Bentley right in the console.

“Where are you taking me?” he hisses, scrambling over to sit properly in the driver’s seat.

The car doesn’t answer. Crowley jabs at the buttons of the radio, for once wanting to hear its enigmatic attempts at lyrical communication, but all he gets is static and a few stray notes of something he doesn’t recognize. Then:

“That was Two of Us by the Beatles, coming to you from the favorite station of the South Downs! Next up, get ready for “Take me Home Tonight” by—”

The grainy voice cuts off into silence as Crowley violently cranks down the volume. He fumbles blindly at the floor until his fingers find a pair of sunglasses, and shoves them so hard onto his nose that they crack against his brow. Squinting through the darkened glass, he makes out a few old, traditional looking buildings lining the street as the Bentley takes a sharp left into what must be a town square.

The Bentley eases to a stop, much more gently this time, at the edge of a wide green space. A nearby child kicks a ball right at it’s bumper that misses by inches, rolling into the street.

The kid runs for their toy just as a sedan rounds the corner opposite, and Crowley is out of the car in seconds.

“Don’t be so stupid,” he hisses at the little girl, now holding her ball in the middle of the green and blinking dazedly at the spot she had just been occupying. “Stay out of the blasted street.”

He waits for the child to nod, young eyes still wide and confused, before striding back to the Bentley.

“Nobody raises their damned kids these days,” he mutters, a fraction too loudly to be meant only for himself. “Ours was smarter than that.”

He pauses midstep.

“Well, maybe not,” he concedes to an unspoken argument. “But at least he wouldn’t have gotten himself run over. Not after you put the fear of somebody into him the first time he stepped in front of our car.”

Our car. He scowls, but he doesn’t take it back. He walks past said car instead, crosses the street with purpose. What purpose he’s not sure, but there must be one.

And to start with, he decides that it’s to find himself a drink.

There’s a pub right on the corner, luckily enough. Dark next to the cheery cafe it shares an awning with, with heavy wooden doors that he pushes through with a little too much force.

Inside, he blinks. It’s bright for a pub. Not because the lights are any good--just the usual dim bulbs under dark, colored glass—but because the tall windows let the sun shine all the way through to land, faintly yellow, on the back wall. It casts shadows around a line of glass bottles shelved behind the bar, and the person standing under them.

The only other people in the pub are a drunkard still building off last night’s binge and Crowley, whose emotional whiplash is having much the same effect as he takes his place on a high stool.

The barkeep’s back is turned, so he taps on the wooden bar top to get their attention. It’s sturdy in the way only old things are, worn pale in the pattern of the people it serves. His elbow finds a smooth groove in the wood as he leans forward, his opposite hand skating over a set of initials carved underneath. Two letters, with a symbol between that catches the pads of his fingers.

“What’s your poison?”

His hand drops away from the bar as he meets dark brown eyes.

“Is it too early to for alcohol?”

It’s an honest question; he has absolutely no idea what time it is. But the barkeeper smiles at him, a wry twist to her lips as she nods toward the only other man at the bar.

“He’s had two pints already,” she confides lowly. “So if anything, you’re late.”

Crowley snorts, the sound startling the other bar-goer. The man chokes on his drink, coughs a bit back into the glass, then keeps drinking. Crowley grimaces.

“Wine, then,” he orders, looking away. “Blood red.”

“Hmm.” The barkeep frowns for a moment, peering under the counter. She reaches down and picks up one bottle in each hand.

“Papercut red,” she asks, lifting the rose in her left, “or something a little deeper?” She shakes the darker bottle in her right, and Crowley inclines his head to it.

“Deepest red you’ve got,” he demands. “Old, dried out. Aching.”

“You got it,” she agrees easily, making no mention of his choice of descriptors. He rather likes her for it. She turns to grab a glass, and keeps speaking over her shoulder.

“So what brings you in?” she asks. “We don’t get a lot of new folks round here.”

“Was driving,” Crowley answers.

She waits a moment, glancing back, then nods and pours his drink.

“That is a common way to get places these days,” she says, sliding it over to him. “Drove in myself this morning.”

“’N you were late,” accuses the drunk from his spot three seats down.

“Sorry I couldn’t control the traffic, Tom,” the barkeep answers dryly. “You try to keep the tourists from blocking the beach roads.”

“I hear some false signs can do wonders for that,” Crowley can’t help but suggest, and she barks a laugh.

“Might try that one of these days,” she muses, but shakes her head. “My partner wouldn’t like it much though. Always on me to play nice with others, she is.”

Crowley frowns into his wine. Swallows it down and pushes the glass across for more.

“I know the type.”

“Oh?” the barkeep asks. “Yours the same, then?” She looks him up and down, eyebrows rising. “No offense meant, but you don’t seem the type to go for nice girls.”

“’M not.”

She seems to accept that at face value as he accepts his refilled glass, and he drinks in silence for a moment before breaking it himself.

“He was a bit of a bastard,” he finds himself saying, “and he left me.”

“His loss,” she says, but he shakes his head.

“Left me for fucking heaven.”

From the corner of his eye, he can see her face fall from sympathy to horror.

“Oh shit,” she breathes. “Sorry.”

“S’alright.” He drinks again. “Wanted me to go with him, but I couldn’t do it.”

“I…”. She swallows. “That’s probably good.”

“Nah, I don’t do the right thing,” Crowley corrects. “Never have, no matter how many times he said I did.” His glass is empty again, and he frowns at it. “Not the wrong thing either, but we were never good at grey.”

And it’s too much, now. The light, the wine, the conversation with the wrong person. He pushes back from his stool, nearly falls flat on his face when he misjudges the distance to the floor. He catches himself on the counter, thumb finding that little carved heart underneath, and lurches back as if it burns.

“You said there’s a beach around here?” he asks without looking back, and he’s out the door before the barkeep can answer.

—

“Remember when we went to the beach angel?”

Crowley isn’t pretending anymore. It’s been a long time since he prayed, but what else do you call it when you talk to someone in Heaven? He’s not surprised, though, when he doesn’t get an answer.

He never got answers before, either.

“Long time ago, that,” he continues, “Long, long time ago.”

He takes a swig from the wine bottle that had miraculously appeared in the sand when the tide went down. He’s been sitting here an hour or so already, just watching the waves go about their endless routine.

In and out, ever since the Beginning.

In and out, even while the world falls apart.

“I thought I’d been lonely, back then when I lied to you about it.” Leaning back, he braces a hand in the sand. It slides through his fingers, warm and solid, then settles.

“Turns out it wasn’t really a lie. Just didn’t know what loneliness was.”

A gull cries overhead, and Crowley chuckles. His eyes are dry, but his throat is thick and sore.

“That’s the thing about loneliness, I guess. It’s not just about being alone.” He sets the wine bottle aside, falls back further into the sand.

“It’s about not being with the right person.”

Because Aziraphale, Crowley knows now, had always been the right person. Had been there the whole time, even when they weren’t together.

“I can manage,” Crowley promises. He looks up, away from the water, toward the sky. “Don’t give up that easy, me. I’ve got the car, and I’ll find a place, and I’ll settle in for a good long nap.”

Maybe he’ll stay here, he thinks. Nothing left in London anymore, but there’s something about this town. What had Aziraphale said, back in Tadfield? That the whole place felt like love? Crowley hadn’t noticed; he’d just thought it felt like Aziraphale. But right here, on this beach, in the wind and the sun and the sand, he was starting to feel something familiar.

“A good, long nap,” he repeats firmly, starting to plan. “And by the time I wake up, maybe—”

A beach ball hits him in the face.

He stops short and stares at it, at its wedges of primary colors against his sandy black jeans. The sun glows off its white apex, the light cutting through his sunglasses like they’re nothing.

“Sorry mister!”

A group of young boys come running up from down the shore, kicking up sand in their wake. Crowley has no idea where they came from—the beach had been empty when he sat down. They pause a few meters away as one breaks free from the rest, a sheepish smile on his sun-reddened face.

“Can we have our ball back, please?” He points at the beachball that now lies, perfectly balanced, on Crowley’s very unbalanced lap. “Only we gotta be home by dark, and the sun won’t last forever.”

“No,” Crowley agrees, and hands the ball over. “Nothing lasts forever.”

The boy grins, and runs off to his friends. They throw the ball out onto the water and chase after it.

Despite the waves, it floats.

#good omens #fanfic #crowley/aziraphale #good omens spoilers #sorry shameless folks I'll be back when the brainrot dies down #but these two have been in my head for twenty years #also they made drafts so hard to find on the new tumblr desktop wtf

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schooloftango04 · 4 months

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Finding Your Rhythm: Tips for Improving Musicality in Tango Dancing

Tango dancing is an art form that goes beyond mastering steps. It’s about feeling the music and expressing it through your movements.

Improving your musicality can transform your tango experience, making it more enjoyable and authentic.

Here are some practical tips to help you find your rhythm and enhance your musicality in tango dancing.

The Importance of Musicality in Tango

Musicality is the ability to interpret and respond to music through dance. In tango, musicality is crucial.

It allows you to connect with the music, your partner, and the audience.

Good musicality makes your dance look effortless and natural, while also making it more enjoyable for both you and your partner.

Listen to Tango Music Regularly

One of the best ways to improve your musicality is to immerse yourself in tango music. Listen to different orchestras and styles.

Pay attention to the rhythm, melody, and mood of each piece. This will help you become familiar with the music and understand how to move to it.

Key Points:

Create a playlist of classic tango tracks.

Listen to tango music during your daily activities.

Try to identify the different instruments and their roles in the music.

Take Tango Lessons in Argentina

For an authentic experience, consider taking Tango Lessons in Argentina.

Argentina is the birthplace of tango, and learning from experienced instructors there can significantly improve your musicality.

You’ll get firsthand exposure to the cultural nuances of tango music and dance.

Benefits of Taking Tango Lessons in Argentina:

Learn from world-renowned tango dancers.

Experience the vibrant tango culture.

Participate in local Tango Events in Argentina.

Attend Tango Shows in Argentina

Watching live Tango Shows in Argentina can be incredibly inspiring.

Observing professional dancers can give you insights into how to interpret the music and incorporate it into your own dancing.

Notice how they use pauses, accelerations, and changes in dynamics to express the music.

Tips for Observing Tango Shows:

Focus on how dancers synchronize their movements with the music.

Observe the connection between partners.

Take mental notes of interesting musical interpretations.

Practice Dancing to Different Tempos

Tango music comes in various tempos, from slow and romantic to fast and lively.

Practicing dancing to different tempos can enhance your flexibility and adaptability.

It also helps you learn how to express different emotions through your dance.

Practice Tips:

Start with slow-tempo songs to focus on your technique.

Gradually increase the tempo as you become more comfortable.

Experiment with different styles within tango music.

Join Tango Classes in Argentina

Joining Tango Classes in Argentina can provide you with structured learning and feedback.

Classes often focus on musicality, teaching you how to move in sync with the music and your partner.

Group classes also offer the opportunity to dance with different partners, which can improve your adaptability and lead-follow skills.

Advantages of Joining Tango Classes:

Receive personalized feedback from instructors.

Learn in a supportive group environment.

Improve your musicality through practical exercises.

Participate in Tango Events in Argentina

Tango Events in Argentina such as milongas (social dance events) are excellent opportunities to practice your musicality in a real-world setting.

Dancing with various partners and experiencing the social aspect of tango can greatly enhance your musical interpretation skills.

How to Make the Most of Tango Events:

Dance with as many different partners as possible.

Observe how experienced dancers interpret the music.

Take time to socialize and immerse yourself in the tango community.

Conclusion

Improving your musicality in tango dancing takes time and dedication, but the rewards are immense.

By listening to tango music regularly, taking lessons, attending shows, and participating in events, you’ll develop a deeper connection to the music and enhance your overall dancing experience.

Remember, the heart of tango lies in its music. Embrace it, and let it guide your movements.

#tango argentino #tango dance #tango music

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shadowysharktidalwave · 11 months

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Workin' on a Good Time

Everybody's gotta work on something. Whether that's your actual occupation, studying, or even yourself, it's usually made easier or dare I say even more enjoyable if you can listen to some music and take yourself to different and often times better place. But you can only dream about your get away to Margaritaville for so long before that fantasy almost makes it worse, almost like a metaphorical carrot on a stick you keep chasing but know deep down you aren't actually going to get, or at least not any time soon. Sometimes you wanna feel like your not alone and other people are going through what your going through. And that what this playlists centers around, people working and the work life in general. Starting off with the inspiration for this playlist,

Country song -"Dirt on my boots" by Jon Pardi. This is a song at a medium paced tempo that follows the narrator just about to get of work and reap the rewards of his labor with a much needed night on the town with his lady. This song is a nice and positive song, mostly focusing on a fun upbeat vibe, perhaps even hopefully, as if though all of that working was worth it now that he can have some much needed fun and relaxation.

For the pop selection, I opted to go for "Working for the Weekend (feat. bbno$)" by MAX and bbno$. Despite being the pop selection, which you may think to be inherently positive and fun, this song has a bit of a slower tempo and a sort of melancholy surrounding its message. The song follows the two musicians talking about how they keep "working for the weekend" but never actually take the time to enjoy the fruits of their labor like Mr. Pardi from the previous song, instead asking if they keep on working, will somebody "scratch their back"

For the Rock/ Metal pick, I opted to choose the song, "Looking Dow the Barrel of Today" by HateBreed. This is song has a fast paced tempo and has a similar sort of theme to the previous song. This song focuses on never being able to sleep in metaphorical concept as "that's what it takes to be the best". This is a common theme through out HateBreed's music, with this being on of the more on the nose examples of having to all but exclusively work in order to achieve your dreams, even at the detriment of everything else, including sleep.

As for jazz, this was a more difficult choice on account of not having lyrics. So in the spirit of the free nature that jazz is often associated with, I opted to go of of the "feeling" of the song, and ended up electing to chose a classic jazz song. "So What" by Miles Davis is a long song, with a very slow and relaxing tempo through out. The tempo does change through out the song, but never really breaks out of that slow tempo motif. The reason I elected to choose this song in particular is I feel it perfectly encompasses the work day. The slow start feels like getting that first morning cup of coffee and driving into the office. And then once more of those brass instruments, specifically the saxophone pick up it feels as if though you have clocking and the work day has started. But once the instruments start to fade away and it goes back to that initial much softer and slower saxophone present at the beginning, it feels as if the day is ending and you are winding down. I really like the way the piece feels like it is telling a story through both it's tempo, as well as different uses of instruments. (This was actually the song I ended up listening to while writing this post)

As for the blues, I opted to select "The Legend of John Henry's Hammer" by Johnny Cash. I was bit hesitant to pick a song because I didn't think that I listened to the blues, but after researching I found out that I did here and there, and that Johnny Cash's music fell into that category. I had lumped his music into country, but it makes since that it would also be considered to be blues now that I think about it. This specific song I had never listened to, but it generally fast tempo, (though it slows here and there fore the sake of storytelling) had my tapping my foot the whole song. I really liked this rendition of American classic folk tale. I like the message of human heart and hard work. But if I'm being completely honest, the song just reminds me of my grandpa. He always listened to Elvis and was the hardest worker I've ever seen. The sound of the fifties blues style reminded my of Elvis, and John Henry reminds my of my hard working grandpa.

For my electronic pick, I'm going to be a bit selfish and choose a song that on it's own doesn't fit this playlist, however I hope you can here me out. "FIGHT!-Flyday Chinatown by Aests, Is a remix of a song "Flyday Chinatown", and follows a girl and a foreigner on a night out on the town. This Song has no inherit value to work, But to me I get the urge to go and be productive. The remix has a nice medium tempo and just a fun vibe, but given it was in another language, it made perfect background and study music. So I through it into my upbeat study playlist. This was also around the time I had to learn the entire pre-calculus course in a matter of four days in order to take all four midterms and final as to not fail the class and lose my seat in dual enrollment. And thus I had that playlist on the entire time, and though this may sound odd, I look back on that whole situation super fondly, as it was one of the only times I remember feeling like I had overcome in surmountable odds, and this song reminds me of that time of hard work and triumph.

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flourishingfoxx · 11 months

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My Musical Theme

The theme that I chose for my playlist was the “ocean”. I found some songs that have “ocean” in its title or lyrics. I chose “ocean” since oceans have a variety of positive and negative connotations, and I wanted to see how that is implemented specifically in music. It is relevant to me since I love the idea of oceans. The first song I found is called “Perfect Blues” by Hannah Bahng. This song ties to the theme with the lyrics “Taken by ankle down ocean cruise,” and by talking about the ocean metaphorically. The genre is R&B because of the rhythms of the instruments and the blues incorporated. There are two different tempos and melodies; one that is slow and calming and the other fast and upbeat. The structure is rondo since the main tune is repeated after the other melody. The emotion this piece invokes is peace by the lyrics describing letting go of everything to be in peace and the melody of the song creates that mood. The second song is called “Ocean Eyes (Astronomyy Remix)” by Billie Eilish. The song ties to the theme by its title. The genre is electronic because of the trap beats in the song. The structure is fantasia since the mood of the song is very imaginative. The tempo stays the same while the melody goes from slow to fast in the song. The emotion invoked in this song is mysterious because of the tone. The third song is called “Majestic Oceans” by Neil Myers. The song ties to the theme because of its title. The genre is classical because of the instruments in the orchestra. The structure is in sonata form because the symphony orchestra is playing in different sections. The tempo stayed the same, the melody started slow and then got faster. The dissonance that caught my attention was the soft and intense sounds went well nicely without clashing. The emotion invoked is powerful since the sounds were intense and had power. The fourth song is called “Crowns & Thorns (Oceans)” by KB. The genre is hip-hop because of the rap. It ties to the theme by the title. The melody and tempo were pretty much the same since they followed the same timings. The dissonance is the rap and R&B-type music going well together without sounding off. The structure is theme and variation since the sounds are recognizable and somewhat repeated. The emotion given is power because of the intensity of the tone and sounds. The fifth song is called “Drops In the Ocean” by Hawk Nelson and is in the genre of rock. It ties to the theme by its title. The structure is rondo since the main tune is repeated. The tempo is the same while the melody starts slow and then gets a bit fast. The emotion in this song is love since the song talks about forgiving with love. The last song is in the genre of country and is called “Ocean” by Lady A. The title connects it to the theme. The structure is in rondo since the main melody is repeated after the other melodies. A consonance in this song is that the tempo stays the same while many melodies go together. The emotion in this piece is fear because the singer sings about the fear that someone may leave her life. Overall, all these songs, while in different genres, gave the theme of “ocean” in various forms like in memories, letting go, peaceful, and feeling overwhelmed.

My Playlist:

1. perfect blues - YouTube

2. Ocean Eyes (Astronomyy Remix) - YouTube

3. Atom Music Audio - Majestic Oceans | Documentary | Orchestral | Nature | Discovery - YouTube

4. KB - Crowns & Thorns (Oceans) - YouTube

5. Hawk Nelson - Drops In the Ocean (Lyric Video) - YouTube

6. Lady Antebellum - Ocean - YouTube

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micsm · 1 year

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Musical Theme

The playlist that I have chosen to write about is Roses. I chose it because roses are a type of flower, but for some reason, they are extraordinary and can be used for multiple occasions. Whether the event is sad, happy, or neutral, roses can be used. The songs that I have chosen are from the following genres: rock, pop, country, jazz, and classical. The main thing they all have in common is that all these songs have the word rose in the song's title. All these songs have one thing in common: a rose is the main subject. They compare the rose as magnificent as it can have a different side or be light to one's path.

The first song on my list is under the rock category; it is called “Every Rose has its Thorn” by Poison. This song talks about a relationship that has failed due to one of the partners cheating on the other person, and it compares it to a rose. It talks about how everything has a good and bad side. In this case, just like a rose, it's beautiful, and that is the good side, but the side that can hurt you would be the thorn. The melodic material in this song is harmonized. The tempo of this song is moody. This song portrays consonance. The emotion that this song is speaking out is sadness and heartbreak.

“Every Rose Has Its Thorn” By Poison

https://www.youtube.com/watch?v=j2r2nDhTzO4

The second song I have chosen is “Kiss From A Rose” By Seal. The genre is Pop; this song describes the love that is felt as better than any drug on earth; the song compares the lover's kiss to a kiss of a rose on the grey, meaning a kiss from significant other brings light to his life for a short while. The melody in this song has a melodic line; it does not have a clear beginning, middle, or end. The tempo of this song is allegro at the beginning and end; it presents as andante. This song depicts consonance.

“Kiss From A Rose” By Seal

https://www.youtube.com/watch?v=vx-Lzo9NxAQ

The third song on my list is “Paper Roses” by Marie Osmond. The genre of this song is Country. This song talks about more heartbreak, describing a love that seemed genuine, but instead, they were just like the big red rose made of paper. The melody of this song is slow, and the tempo of this song is andante. Heartache is communicated in this song by the tone of the singer’s voice.

Country: “Paper Roses” By Marie Osmond

https://www.youtube.com/watch?v=6bVKxRhM1P8

The next song on my list is “La Vie en Rose” by Louis Armstrong. The genre of this song is Jazz. This song talks about life is just like a rose. Seeing the through a rose, everything is magical, and even if something is going wrong, it appears attractive. The melody of this song is slow. The tempo is lento in the beginning and middle, and towards the end, it picks up to andante. The music is all instrumental in the first minute and 35 seconds. This song shows consonance.

La vie en rose - Louis Armstrong

youtube

The next song is “Black Roses Red” by Alana Grace. This song falls under the genre of pop. It shows a depressed soul looking for brightness in her life, asking to change the black to red roses, asking someone to cheer her up and get her out of the funk. The melody of this song is fast. The tempo of this song starts andante and then gets up to allegro.

“Black Roses Red” By Alana Grace genre

https://www.youtube.com/watch?v=nWKWuBqOVk4

The last song on my playlist is “The Last Rose” by André Rieu. This song falls into the classical genre of music. Although there are no words, there is a version with lyrics. It tells a story about the last rose in the garden. It compares it to real life and how people come and go out of one's life. The previous rose stands tall and alone, still shining. The melody of this song is slow for the most part. The Tempo is largo, which goes up to moderato in a part of the song. This song does present a bit of dissonance in parts of the song.

André Rieu - The Last Rose

https://www.youtube.com/watch?v=-Pznujlzyls

#Youtube

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the-firebird69 · 1 year

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Watch "Al Stewart - Year of The Cat (Solid Gold Classic) - 1982" on YouTube

youtube

My son saw her in the library in Buffalo in the town he was in it's just outside Buffalo and he looked at her and she was looking back kind of smiled a little and then start moving and he's going after and she wasn't looking she's trying to speeding up in the library and she started running and I don't know what she was doing there too many people for him or and by the time you hit the door is going 30 miles an hour he went flying through the door and the door kind of broke it didn't break the glass but it broke the piston and you heard it pop and thought people are shooting and they all got down and it was hilarious okay cuz I couldn't believe how fast he was going it's hard to tell too running by some people going 20 mph I am and it looks fast but not that fast you got outside and he's hitting 60 and she's running away and going up the hill he hit like 75 and it started slowing down and couldn't see her and people witnessed it and then talk to him the way down said what happened I thought I saw someone and they drove away they started laughing they drove away and also they start saying this going kind of faster I said I'm winded and a little dizzy and it kept walking and they start laughing it doesn't look it it was one of the funner days of our life but this is one of the reasons why she had made the song happen. And it's also the start of the Year of the cat and he told Aaron Mike and after he pulled the gun out and he said okay that's what it's for and that makes sense you saw me chaser meow and she said what is she she's the other cat but they're saying it about us that really I was chasing her to try and talk to her and also he goes oh that was wise it's wicked smart and it never works. He started laughing and he's laughing and he wrote y o c on a piece of paper woke up didn't know it was was calling people and they said we think it's Year of the cat and they started working on it

It says 2023 is a finale and also need started saying oh no but they forgot about it and all sorts of stuff started clicking but really he was moving fast and he's trying to talk to her

Thor Freya

I ran away that's what happened I was acting like a kitty cat no rat no he says a mouse that's what they call us so I sort of get that I'm playing cat and mouse but they both call this cats cuz we're moving like hell and they couldn't believe it and they're checking blood and stuff didn't find anything and people are trying to figure out how to do that you wouldn't believe it people watching you walk the whole time I'm wondering why he walks so far and how I need to find the whole time it was fun for me no that's kind of a nightmare this is a nightmare too it's similar but wow what a day and he's saying yeah what a day I get that you'll have to try harder so I guess I'm going to get caught at one point

Katia

#Youtube

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opticrhythm · 2 years

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Free Bird

**TRIGGER WARNING**

MENTIONS OF "UNALIVING"

In 2015, in the month of November, I received a call from my mother; she told me my step-father had died, killed himself. In October, we were sitting on her couch, compiling a list of songs that were to be played at his funeral. Those songs were never played. On this playlist, was Lynyrd Skynyrd’s “Free Bird”. I remember my mother being hesitant to play the song, because of its ties to drugs and the death caused by them. My late step-father had battled a meth addiction, and rumors swirled about this shortly before his death, some even believe it was why he killed himself. Years later, once I was comfortably able to listen to the song, I did one thing I never seemed to have done before. I listened to it. I developed my own understanding of the balled, realized the true meaning of it.

In the opening line of the song, lead singer, Ronnie Van Zant, questions whether or not the listener would remember him if he were to leave. The opening tone of the song feels weighed down, reluctant even, as if the reassurance of the listener holding true to his memory would encourage him to go on. I always got the sense as if the opening of the song is a request to leave. It makes me picture scenes most often depicted in hospital shows or movies where a loved one is dying. Someone sits at the edge of their bed, says,” It’s okay, you can go, we will be alright without you”, and the person who is dying is silently jamming out to Free Bird.

As the song goes on into it’s next verse, Van Zant seems to begin arguing with himself. It only solidifies my perspective of the opening being reluctant, because these lyrics seem to be an attempt at convincing him of why he has to leave. “ This bird you cannot change” a line echoed throughout this song. Van Zant starts with reluctancy, then moves on to gaining courage to leave, and finally, goes on to take the blame because he sees his unwillingness to change himself as the downfall of this story.

As the chorus repeats, the song starts to take up speed. The tempo shifts into a more up-beat, classic rock style, in a hasty getaway from the slow moving, hesitant beginning. I see this as Van Zant going from reluctant and hesitant, to more of a “let’s get this over with” departure. Finally, the song flies into a lightning speed, guitar solo, finishing off with a cacophony of beating drums and a rhythmic bass. The rhythm makes me want to run, careless and free, what I feel to be the meaning of the end of the song. It also sounds desperate, gives you that itch that you need to leave, and fast.

Eight years later, this song is in my daily rotation, sitting in a special place I have created for it in my heart. I know every word, always hum along with the beat of the drums, and if my hands are free, it earns its own air guitar solo. Throughout the years, Free Bird has evolved new meanings, and it’s something I heavily resonate with now. Eight years ago, it was a song that weighed heavy on my mind, reminding me of my dead step-dad, and seeming like nothing more than another rock song about the consequences of doing drugs. Now, I feel as if Free Bird is the main single out of a sound track created for my life.

In 2020, I feel as if I was the embodiment of Free Bird, as if Van Zant had me in mind when he wrote that song in 1973 (despite me being born 28 years later). I was struggling with the worst depressive episode I’ve ever experienced; every day was a constant battle to get out of bed and live my life. For the first time ever, I was all on my own, my family on the other side of the country, with no friends. I wrote letter after letter, begging for forgiveness, sharing memories, desperate for someone to read them and promise to never let them go. I feared what my mother would think, how my passing would affect her, how long it would take before she forgot the way my voice sounded, or when she’d have to look at my photos to remember how I looked because I had long been faded from memory.

I was convinced this depression was all there was, that it was an inescapable black hole, and I was better off succumbing to the gravity of it. Speaking with my mother about my ailments, she told me of her own troubles with depression, and said it would pass soon; I was convinced it was a lie. I tried therapy, I did my best to reach out, but it all seemed fruitless. In the summer of 2021, I amassed almost a hundred sleeping pills. I mixed them into big glass of water, watched them dissolve, and thought about how sure I was. Being religious at the time, I prayed to the Lord to forgive me, hoping I’d be spared of a fiery afterlife for the sin that came with my future actions.

Feeling a moment of hesitancy, I told myself I would reach out once more, but this time, honestly. I walked down to the office where someone from my leadership worked, and told myself,” If this one person isn’t here, the person I trust with this, I will go back to my room and do it”. He was. I didn’t do it. Thus, ended my relation to Free Bird; I backed out, Van Zant’s character didn’t.

Now, years after this incident, Free Bird changed once again for me. Now, it’s a failed love story, it’s dramatic ending being heart break. This is one of my greatest fears; becoming vulnerable with someone, only for the relationship to end in disaster. The dark, looming shadow of betrayal and goodbyes, which in turn sparks a fear of commitment and my “leave them before they leave you” attitude. I’m always constantly arguing with myself. How long will it be until they no longer love me? Do I just bite the bullet and leave first? I pick everything apart, until the relationship is no longer appealing to me, then I end it.

Today, I still thoroughly enjoy this song. I think I listen to it about once every week, just enjoying the feeling of freedom and peace it gives me. Sometimes, my personal experiences will inject themselves into the song, but not very often. Truly, a song will, no doubt, enjoy for the rest of my life.

#lynyrd skynyrd #free bird #music #rock #meaning #song lyrics #song meanings #personal post #mentalheathawareness

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aakarshita04 · 2 years

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How to Plan a Party

There’s a lot to think about when planning a party. Between deciding on a theme, figuring out food and more, it can be a daunting task.

However, if you plan your party well and follow these steps, you can ensure it goes smoothly. In fact, you’ll be able to enjoy the process!

1. Set a budget

A party budget is a great way to keep your expenses in check and make sure you’re not spending more than you have.

Whether you’re celebrating a birthday, graduation or just-for-fun event, the key to planning a party on a budget is to start early!

Once you have a budget, you can then plan and shop for decorations, food and drinks. Be sure to price compare to get the best deals!

2. Create a guest list

Creating a guest list is an important part of planning a party. This will help you ensure that you have enough guests to make the event a success.

It’s a good idea to create several drafts of your list before sending out invitations. This will help you avoid making mistakes and minimizing regrets later on.

3. Find a venue

Choosing the right venue for your party will make all the difference. Whether you’re throwing a birthday party, product launch or baby shower, the right location will set the tone and create an unforgettable experience for guests.

Start your search early. If you’re planning a large event, it’s best to book a venue at least 8 months in advance.

4. Choose a theme

Choosing a theme can help make your party planning easier. It also gives you something to focus on when planning food, drinks, decor and more.

It can also be a fun way to get people in the mood. A strong theme can help set the tone for your party, says Natasha Miller, CEO of event planning company Entire Productions.

5. Create a menu

The menu for your party is a crucial part of planning. It will help you to attract guests and give them an idea of what to expect.

A good menu will also ensure that your guests can find what they want quickly and easily. Use a simple design with clear section headings and short dish descriptions to make it easier for customers to scan your menu.

6. Create a playlist

Music is one of the most important elements of any party, so it’s vital to make sure you put together a playlist that will keep everyone on the dance floor.

Leigh Lezark, an expert DJ who works at Club 88 in New York City, recommends a mix of slow songs, fast tracks, classics, and pop hits to keep people engaged. It’s also important to space out your songs to keep tempo going, says Lezark.

7. Send out invitations

Sending out invitations for a party is a great way to get people excited about the event. You can choose to mail out paper invitations or use an online service like Evite.

The invitation should include details such as the location, date and time of the party. Guests should also be given the opportunity to RSVP. This will help you plan for food, decorations and other costs.

8. Set the date

The date for a party is always an important factor, and it can make all the other decisions you are making easier.

There are a few things to think about when you’re choosing the right date for your party, from weather conditions to what time of day it will be. The most important thing to remember is that it needs to be a date you can be sure everyone can attend!

9. Prepare for the party

Getting ready for a party can be overwhelming, but it doesn’t have to be. Follow these essential tips to make the party planning process as stress-free as possible.

First, decide on a plan for the party. This includes deciding how many guests you can accommodate, where they’ll be seated, and how you’ll set up the room.

10. Enjoy the party

A party is a great way to get together with your friends and enjoy yourself. Make sure you plan the event to create an atmosphere that will make your guests want to stay.

The party may be fun, but it’s not going to be enjoyable if you’re stressed out. So take some time to relax before the big event. That way, you’ll be ready to enjoy it!

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