I love Eurovision season because I always learn things.
This year, it's Moldovan-Romanian folklore.
Moldova's entry, Soarele și Luna, is heavily influenced by Miorița, a poem/ballad/pillar of Romanian-old Moldavian folklore that goes back to the 1700s in its written form but probably goes back earlier.
Balada Miorița tells the story of three shepherds: a Moldovan, and a Wallachian and a Transylvanian who, jealous of the Moldovan, conspire to kill him.
The Moldovan's prized sheep Miorița (lit. little ewe), warns him - but the shepherd doesn't plan to fight back or escape. (Presumably bc shepherding in the Carpathians traditionally involved transhumance and living outdoors for months so... where's he gonna go?)
Instead, the shepherd asks Miorița to hide his death from the other sheep - and from his family - and to tell them instead that he went into the forest to marry a princess, with the sun, moon, and mountains standing as witnesses:
Soarele şi luna / Mi-au ţinut cununa. [...] Preoţi, munţii mari.
The Sun and Moon came down / to hold my wedding crown [...] The priests were the mountains high
(note: I'm working from some really sketchy translations; very open to better resources pls.)
Anyway, the description of the wedding is not only beautiful, but a fantastic allegory for the shepherd accepting death, laying down with his fate and embracing it instead of showing fear. Reclaiming agency to protect the people he loves (and redefine his own memory) in the face of an existential threat.
Wildly out of my depth at the point I'm reading about the role the story - and particularly the symbolism/iconography of the lone shepherd - played in Romanian independence, but I'm pretty sure it was a thing. Likewise, the choice of this material as a starting point for Moldova's ESC entry is very interesting to me.
Moldova's 2022 offering, Trenuleţul, used a train as an allegory for a pro-unification message (for.. obvious geopolitical reasons, in addition to the strong pan-Balkan cultural ones detailed in the song):
Pleacă trenul! Unde eşti?
Chişinău – București.
The train's route is East to West
Chisinau to Bucharest!
Idk if I'm now overthinking it too much (I got excited and I thought it was neat, okay?) but I just feel like the cultural overlap, the defiance and the energy of Pasha Parfeni's performance carries more symbolism than the entry is getting credit for. Unsurprising, given this is also the year of Croatian art rock political commentary via drag generalissimos and tractor-based analogies, but still.
Either way, I learned something new and found a new thing to read, and I thought it was beautiful. And that made me want to share. So... enjoy?
Iar tu de omor
Să nu le spui lor.
Să le spui curat
Că m-am însurat
Cu-o mândră crăiasă,
A lumii mireasă;
Că la nunta mea
A căzut o stea;
Soarele şi luna
Mi-au ţinut cununa.
Brazi şi paltinaşi
I-am avut nuntaşi,
Preoţi, munţii mari,
Of how I met my death,
Tell them not a breath;
Say I could not tarry,
I have gone to marry
A princess – my bride
Is the whole world’s pride.
At my wedding, tell
How a bright star fell,
Sun and moon came down
To hold my bridal crown,
Firs and maple trees
Were my guests; my priests
Were the mountains high;
(x) (x)
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Cannot stop thinking about Ruby and how brutally Klaasje fucks her over despite everyone in Martinaise's clear affection for her. How everyone seems to like Ruby and her 'gruff charm,' how she gets passionate about radio technology and loves movies from the 20s, likes 'a beer on the beach to watch the sunset'. She's an 'old lady whisperer,' Isobel likes her and even defends her, the
Hardie boys are clearly very fond of her. Even when you're being blasted by her pale latitude compressor, it's hard not to like her at least a bit. She tested it on herself first! The Half-Light reaction of sympathetic fear to Klaasje's accusations, and then Drama cutting in to point out that the fear isn't to do with Ruby, it's the fear of being arrested that Klaasje is feeling. Her first response, out of fear of the RCM and the Moralintern, is to use the presumed biases and homophobia of these RCM officers as leverage to pin the blame on Ruby, even as nearly every other scrap of information you can collect describing Ruby's personality contradicts it.
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Eddie post a Tiktok that’s like, “Steve’s away for the weekend at a teacher conference so you know what that means…”
He flips the camera around to zoom in and out on the fire truck parked in their driveway, making club music noises with his mouth. You can hear him yell goodbye to Fireman Dave before flipping the camera back around on himself. He’s a little burnt around the edges, a little manic looking as he asked, “Seriously though, let’s not mention this to Steve.”
TMZ picks up the story and obviously post something about it because the fire department had to come to a celebrity’s house. Eddie wakes up the next morning to four missed calls and seventeen unread text messages from Steve.
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You said in tags once that pedophiles and child predators aren't the same, can you explain why? /GEN
For the same reason that people with any kind of attraction to anyone ever aren't all rapists/don't all pursue romantic/sexual feelings that could or definitely would hurt the other person. Because paraphilias are simply the morally neutral state of experiencing attraction and rape/grooming is Not That. Because people *choose* to hurt others, but not what they feel. Because a good majority of child sexual abusers aren't even pathologically/paraphilically attracted to children, they *just want to hurt them because they can.* Because they're dissatisfied with something in life, or want a punching bag, or want to feel powerful, etc etc.
It's not really different conceptually from physical abuse. Do people do it because they have icky feelings about liking blood or violence? No. They do it to feel powerful. Sexual abuse is not about sex but about power. Hope this answers your question. I've answered it a good million times on this blog but eh I'm in a generous mood.
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You know that feeling, when you’re listening to someone tell a story, and you can just feel in your gut that what actually happened is SO much darker than how they’re relaying it? And they’ve put a ton of effort in, right, to sand the edges down. They’ve gone over it a hundred times, beating all the wrinkles out, practicing like you’d practice a presentation or a stand-up routine. By the time they tell you the story, it’s perfect. You can’t help but be charmed by it. Can’t help but laugh at all the little silly bits. Can’t help but see it the way they want you to, so you don’t ask questions, you don’t dig in to the open wound just behind the plaster, you don’t let the certainty that it was Bad, Actually sweep you away. It’s just a fun anecdote now. Smile with them. Laugh with them. They’re here now, so it’s fine, right? Right?
I get the feeling that’s just Simone’s entire marriage to Taissa, and I feel so fucking bad for them both.
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