#wir-verse

[rosetyler42]

Here's a WIR-Verse one this time. I wanted to do Ericka flirting with Drac who had slipped into Transylvanian and a mischievious Audrey sneaking up behind him to snap him out of it with a banish zap, buy I had trouble getting it all in one pic so it ended up becoming 2. XD

Audrey doesn't have the revulsion to seeing Drericka flirting that Mavis does. She finds it cute, sweet, and funny. It sort of reminds her of Bendy and Alice - and being an animator on the next generation of Bendy Cartoons, they've probably inspired a few drawings she's done of the 2 characters. Of course, the girl has a mischievious streak. She can'r help but tease Drac a bit about his goofy awkwardness and dazed babbling. Plus, after finding out her powers do have a slight affect on vamps and being used to sneaking up on unaware ink monsters, seeing the legendary count completely lost in a lovestruck daze seems like an irresistable opportunity. After being chased and nearly killed by her cousins + Wilson's Keepers on a semi-daily basis, this girl has little fear of a scary-but-not-so-scary goofball like Dracula.

Bonus: I also like doing Ericka still melting Drac even when she's pregnant. It's a sweet twist on "Wife gets pregnant, isn't as desirable." And also...Ericka's always going to be a femme fatale, even with a baby bump (or perhaps, ESPECIALLY when she's pregnant with his twins.) She's his zing. He's still going to melt into a puddle around her sometimes.

@lovelylivelyv @gothicthundra @ebevkisk @neo-storm @that-obsessed-gay-girl @sine-qua-noon @chica-chuu @animatedpixie @erickadracula @ericka-van-helsing @erickaanddraculasblog @ericka4ever @elenadracula @drericka @drericka-prompts @drericka-is-lyfe-blog @drerickastan @thenerdynightprincess13 @thesecreatoroftrans @f-mhoteltransylvaniacomicseries @kittyball23 @twinklecupcake @doberart @thedemonsurfer @roydoodler-blog @thedopedemon @inkypotato @inkhyaena @inkspottie @doodledrawsthings @sillyheadcannons

[spiinsparks]

||. y'all i am THIS CLOSE to making a proper zootopia verse and like all i'm saying is it is currently giving me SUCH a fun time to think about, conceptually. not because of a backstory. not because he gets to wear fun clothes more regularly... but because he'd be TEENSY. i mean he'd still be blue and maybe still be fast idk how much i'd adhere to the zootopia rules w/ his powers but mAN. teensy sonic that u can hold in ur hands. consider w me.

[basslinegrave]

playing sonic forces mobile again and its so funny that its intially a forces game but now a good chunk of the content is related to the movies so you get the game characters obliterating movie robotniks drones...

also is stone canon to this piece? robotnik should be (even tho i missed out on some events and heard hes been in just thru voice lines but idk how and when and i cant find it so i cant tell if thats true -initially i thought they mean the boom eggman lines from sonic boom mobile) how do the characters react to different versions of them? im overthinking it but, the ones that are just costumes can just be that, but aside from modern/classic sonic, how about the black knight versions? (do those count as costumes?) movie versions? what does eggman think about seeing tech from a different version of him?

[the-light-of-stars]

ok but now I need to know your thoughts on the taylor swift lyrics. what songs did you analyze and what were your thoughts on them????

Alright so first of all for context:

this was a lecture about the literary era of romanticism, so for most of that lecture we had been talking about the literary and philosophical concepts and ideas present in that era.

And then the professor went "ok so I am not a swiftie - I haven't even listened to her newest album yet - but I believe Swift's music greatly encapsulates a - simplified , pop-cultural - continuation of the ideas of romanticism in the modern day....so let's analyse some of her song lyrics-"

So he had us quickly look at a few song lyrics from different songs of hers, but the ones he stayed on longest - and the ones he had us do proper academic analysis of - were these from "My tears ricochet" from her Folklore album:

I have to note that these aren't my personal thoughts, I'm just recounting what happened in the lecture, and I'm putting this under a cut so that it isn't super long :

So multiple students (it was a very tightly filled classroom, had to be at least 100-150 students there) had participated in analysing these lyrics and I gotta be honest I don't remember most of the exact details of their analysis because I had a lot of classes today and had been awake since 6am but I'll try to summarize as best I can.

Essentially the main point was the comparison of these lyrics with philosophical concepts by Schelling and especially a comparison in context of this aphorism by german romanticist poet Novalis:

"Wir suchen überall das Unbedingte und finden immer nur Dinge"

["Everywhere we look for the Absolute yet we can only ever find things." (in the original german it is a wordplay)]

So one angle of analysis was that these two verses of Swift's lyrics follow this philosophical concept as posited by Hardenberg/Novalis - such as "home" here, as the only defined location, representing the Absolute , the object of Longing as it is conceptualised in romanticism, this that is desired innately but cannot be reached in ways humanly possible, as humans can only ever find "Things": abstractions, objects and concepts limited in their scope and at most a reflection of the Absolute, something that can at best be asymptotically approximated but not be directly perceived or grasped physically or intellectually. Thus here the idea that the lyrical "I" can go "anywhere" and , following that, observe anything, and yet will always be unable to reach the defined and Absolute of "home."

Home then, as defined by other students in the lecture, would be the innate idea of some sort of absolute security in the self, a place of comfort and belonging and a place of certainty. Home, thus, as not just a location but as a concept: a kind of pre-conscious knowledge of being ('Being' here possibly in the hegelian sense), an experience of pure existence. Suppose an analysis also referencing Spinoza's concept of the Substance, the natura naturans, which singular modi are necessarily extensions of and ultimately 'return' to ( 'return' here used simplifying, as modi constituate extensions or aspects of the indivisible infinite Substance under the attributes of Thought and Extension, which thus cannot really be divided and, following, cannot 'return' to it since they were never truly separated.)

Of course, romanticism and general philosophy of the era being concerned with theological questions as well, one student pointed out another angle to view Swift's lyrics under in regards to romanticist theoreticism, that being the theological one: "Home" as the Absolute and the Absolute as God or a christian-mysticist interpretation of it either way, "Anywhere" as the world of human perception and "Home" as the world of god that life springs from, in relation to an article the professor had mentioned about a Times (iirc) journalist visiting a Taylor Swift concert and calling it a "religious experience" to sing specifically the quoted line with and within a crowd of tens of thousands of people.

In regards to this last point the professor also specified that "religious experience" here is not necessarily limited to the scope of (protestant) christianity but rather is to be seen as some sort of pre- or post-religious understanding of a form of ontological transcendence that escapes the boundaries of rational describability.

Following that we also analysed the album title and its cover art:

The romanticist connection in the title being fairly obvious as "Folklore" as a literary category is something romanticist authors in their nature-mysticism and attempt at distinction from Enlightenment era concepts of pure reason loved to discuss, recreate and include in their works.

Furthermore then the connection of the cover art , which students compared to works of famous romanticist painter Caspar David Friedrich (here the painting "Easter Morning"):

The composition of a lone human figure among the trees during a foggy morning or evening is a very popular motif in (german) romanticism as the fog represents the Unknown and - as mentioned above - the always out of reach and never truly perceptible (by human means) Absolute as well as the everlasting Longing towards it. The trees and forests as well a popular romanticist theme as part of its nature-mysticism and above mentioned contrast to the Enlightenment rationalism as practiced in the cities and structured human society.

Apparently on either this or the Evermore album (I don't know on which as I don't listen to Swift's songs and can't remember which song exactly the professor quoted there) there is a lyric saying "we are the new romanticists" as well.

All this to say that after probably twenty minutes of analysing Taylor Swift lyrics in an academic framework of literary theory and ontological philosophy- as well as repeated promises by the professor that he "is not a swiftie" - the prof stated that "Taylor Swift probably didn't put nearly as much thought into this as we did just now but she is an international phenomenon and does - wether intentional or not - make use of concepts and ideas used in romanticist writing and philosophy so analysing her lyrics seemed apt."

[littlebluejaydraws]

Fuck it, Tokio Hotel-natural

Heilig- Tokio Hotel

ID: A series of 7 digital drawings of Dean and Cas, set in the dangeon during the confession scene from 15x18, apart from the 6th image. Over the images are the lyrics from the first verse and chorus of Tokio Hotel's song Heilig. English translations are given in brackets and are not on the drawings.

The first panel shows Cas' back to the left of the image as he paints a ward on the door. Dean is visible in the right bottom corner, clutching his chest. The lyrics shown are: "Ich halt mich wach für Dich, Wir schaffen’s nicht beide, Du weiβt es nicht." (I keep myself awake for you, we won't both make it, you don't know.)

The second panel shows Cas to the left of the image looking at Dean, with Dean to the right. He is half turned away from Cas to look behind himself and there are tears in his eyes. The lyrics are: "Ich geb’ mich jetzt für Dich auf, Mein letzter Wille hilft Dir raus." (I give myself up for you now, my last intention helps you out.)

The third panel shows a black void opening in the wall (the Empty) with an empty chair in front of it. The lyrics are: "Bevor das Meer unter mir zerbricht." (Before the seas breaks beneath me.)

The fourth panel shows Cas and Dean in profile, facing each other. Cas, again on the left, has placed his right hand on Dean's left shoulder. The lyrics are: "Ich glaub an Dich, Du wirst für mich immer Heilig sein." (I believe in you, you will always be holy to me.)

The fifth panel shows Cas center frame looking up as the tendrils from the empty claim him. The lyrics are: "Ich sterb für unsere Unsterblichkeit." (I die for our immortality.)

The sixth panel is a composit of three images. The main image is of Stull cemetry from 5x22 with Dean kneeling in the center and Cas standing over him, hand reaching down to heal him. In the top left corner is a close up of Dean from 15x18 with Cas' hand print in blood on his shoulder. In the bottom right corner is a close up of Dean from 4x01 rolling up his sleeve to show Cas' handprint branded on his shoulder. The lyrics are: "Meine Hand, von Anfang an, über Dir." (My hand, from the beginning, over you.)

The seventh and final panel is a wide shot of Dean leaning against the wall in the dungeon following Cas' sacrifice. The is an inset close up of his head in his hands in the top left corner. The lyrics are: "Ich glaub an Dich, Du wirst für mich immer Heilig sein." (I believe in you, you will always be holy to me.)

End ID.

(Translations are by me so may not have the full nuance of the lyrics.)

[tobacconist]

Para Hern

(chorus) Hern! Hern! Holan moy! Holan moy! pilchards! pilchards! more salt! more salt! Gen ganow lies kria: with many mouths crying: “Hern! Hern! Holan moy!” "pilchards! pilchards! more salt!"

‘Ma kanow vy war hern, gen kok ha roos, my verses are about pilchards, with boat and net “Dega Dega!” kri a’n dus an para hern, "tithe! tithe!" cry the men preparing pilchards Kemerys yn Pennsans, Karrek Loos yn Koos, caught in penzance, st michaels mount “Dega Dega!” kria’n dus an para hern. "tithe! tithe!" cry the men preparing pilchards

(chorus)

Pothewgh oll an kokow devedhys tre, when all the boats have come home (?) “Dega Dega!” kri a’n dus an para hern, "tithe! tithe!" cry the men preparing pilchards D’orth mor, tus an porth “Dega, Dega!” kria from the sea, habour-folk crying 'tithe, tithe' “Dega Dega!” kri a’n dus an para hern, "tithe! tithe!" cry the men preparing pilchards

(chorus)

Ha keniver benyn ogas ow tos, war’n tin, and every woman coming close, on the tail (?) “Dega Dega!” kri a’n dus an para hern, "tithe! tithe!" cry the men preparing pilchards Gans tri-hans hern yn kowel war hy heyn. with three hundred pulchards on the basket on her back “Dega Dega!” kri a’n dus an para hern, "tithe! tithe!" cry the men preparing pilchards

(chorus)

Gorrewgh splann yn balyer, penn ha tin, put them, shining in a barel, head to tail “Dega Dega!” kri a’n dus an para hern, "tithe! tithe!" cry the men preparing pilchards ‘Th ens gober ha tra vras rag marchons fin they are income, and a big thing for fine marchaunts “Dega Dega!” kri a’n dus an para hern, "tithe! tithe!" cry the men preparing pilchards

(chorus)

‘Th yw hemma fordh wir an hern dhe bara, this the proper way to cure pilchards “Dega Dega!” kri a’n dus an para hern, "tithe! tithe!" cry the men preparing pilchards Y'n marghas, gwella i a vynn gwertha in the market, better they will sell (want to be sold?)

(chorus)

Ma pyth hern kepar oll an bys, the pilchard thing (business) is like the whole world “Dega Dega!” kri a’n dus an para hern, "tithe! tithe!" cry the men preparing pilchards Moy pobel voghosek ‘vel pobel vros. more poor people than rich people (?) “Dega Dega!” kri a’n dus an para hern, "tithe! tithe!" cry the men preparing pilchards

[adridoesstuff]

Comprehensive list of everything, that was cut from the 2022 Schönbrunn concert

Elisabeth's lines after Wie Du about wanting to join the circus if she wasn't a princess

The entirety of Schwartzer Prinz (because Kein Kommen Ohne Gehen replaced it)

Lucheni's lines in the middle of So wie man plant und denkt

The entirety of Die Gaffer

The first verse of Eine Keiserin muss glänzen

The entirety of Stationen eine Ehe up to Debrezin

The second verse of Fröhliche Apokalypse

The second verse of Schönheitspflege

The entirety of Éljen

Lucheni's interlude into Nervenklinik

The middle of Wir oder sie

Lucheni's interlude into Nur kein genieren

The entire first verse of Nur kein genieren

The first verse of Rastlose Jahre

The entirety of Wie Du (reprise)

The Mayerling kiss

[how-i-saw-the-world]

Day 15 — A song I like that's a cover by another artist

(first german song. English name: Just A Word. A cover of "Wir Sind Helden")

Und wo du hingehen willst, <And wherever you want to go>

ich häng an deinen Beinen. <I'll hold onto your legs>

Wenn du schon auf den Mund fallen musst, <And if you're in a loss for words>

Warum dann nicht auf meinen? <why don't you lose yourself in me?>

That was a tough one since I am not that into covered music. I stumbled through my music library for this and only found three cover versions. This is one of them. This is the first German song for this "challenge" although originally didn't plan to take German songs because most people won't understand, I'm afraid. The original version of this song is beautiful as well as this cover version which takes "Just A Word" more into a sad vibe with a clear take on to the doomer music genre. The singer sings about a person she/he is in love with, but the person doesn't give her/him any attention at all depicted in "a loss for words" because the person doesn't talk. The singer therefore wishes for just one word from the person. Although the person doesn't give the singer any attention, in many passages the singer sings about the moments where the person's quietness makes her/him even more attracted to the person.

There is also one cute pun in it which unfortunately does only work in German. There is a saying in German that someone who doesnt talk that much is "auf den Mund gefallen", which literally means one fell onto her/his own mouth. So in the verses "Wenn du schon auf den Mund fallen musst, warum dann nicht auf meinen?" the singer asks why the person couldn't just fall onto the singer's mouth (making them kiss one another 🥰) while also stating how quiet the person is - like in the saying I had just mentioned.

[jon-withnoh]

While I was cleaning today, I ended up listening to the 2006 Rebecca cast album for the very first time (I'd only listened to some of the songs previously). Here are some random thoughts and reactions that came up, because why not. This will probably be a long post so buckle up:

the characters feel very vivid and I love that a lot.

it's interesting to hear some of the lines they changed for the Monte Carlo scenes.

I actually love the second verse of "Zeit in einer Flasche". I wish they'd kept it. It's very sweet and creates a more satisfying lead-up to the conclusion of the song imo.

this recording is proof that "Zauberhaft natürlich" doesn't add anything to the show. Uwe Kröger already makes Maxim seem quite human in only a few minutes. Plus, I always feel like the Monte scenes could be shorter overall (Yes I know what I just said about "Zeit in einer Flasche".)

If I hadn't already been completely won over by Susan!Danny I would be now. She's so poised and brings so much nuance to the character in "Die Neue Mrs de Winter" alone. Her first "Madam" sounds so threatening, I love it.

Also... 2005 Elisabeth Franz Joseph as Frank startled me a little.

Absolutely adore Susan's "Sie ergibt sich nicht"

Kerstin Ibald as Beatrice is a delight in every single way. Also interesting to see the different choices she made between Vienna and Stuttgart.

Speaking of Beatrice... "Die Stärke einer Frau" is... so long. I listened to it on the way home from running an errand and I ended up laughing to myself in the middle of the street because it is kind of a ridiculous song. Imo the only reason not to cut it is because we love Beatrice.

Here's something I found really interesting: Favell and Danny actually have a dynamic in this recording. I fully believe that they've known each other for decades. They might not particularly like each other, but they're definitely familiar with each other. I can imagine them as a comedic duo honestly. This Favell in general is very vivid, very emotional. I like that. I feel like he has more nuance than the later depictions. Also... "Ich liebte sie genau wie du". Excuse me??? I love that line!

I'm so glad they ended up replacing "Wir sind Britisch" with "Merkwürdig". "Wir sind Britisch" did not work for me as a song and felt out of character for the show in general. It was like they were trying to be My Fair Lady for a hot second.

I didn't think I would like Uwe!Maxim that much, but actually! I might like him the best out of the three cast recordings. Jan Amman is my fave vocally, but I love how Uwe portrays Maxim as a character. Again, there's nuance here. I also love the way he says "Oh, das ist Frank Crawley der Verwalter von Manderley..."

There's a really interesting line in "Die Neue Mrs de Winter (Reprise)" where the ensemble says something about Ich being "Fast wie unsere alte Mrs de Winter". That's a really interesting callback to the book and the way the book's narration begins to draw parallels between Ich and Rebecca, in whichever way you want to interpret that.

Okay, everyone who's been telling me about how excellent Susan!Danny is was completely correct and justified. Her Mrs Danvers comes across as very controlled, but her feelings really come through as well. Her "ich Hör Dich Singen" is beautiful. I would give a lot to hear her sing it again with the new lyrics. I know I keep saying this but NUANCE. So much nuance in this character!

On a similar note, it's so refreshing to hear a Maxim played by a very passionate actor (not to say that Mark or Jan weren't passionate, just that I really enjoyed Uwe's portrayal).

This became long and quite incoherent, so if you've made it this far, thanks for reading! I'd love to hear your thoughts if anyone wants to ramble :)

[firstlightinthemorning]

ÜBER GEFRORENE WEHEN

Über gefrorene Wehen.

gehüllt in zärtlicher Ruh,

wir beide besänftigt gehen

deinem weißen Hause zu.

Und diese erfüllten Träume

sind süßer als Verse mir

die zitternden Äste der Bäume

und deiner Sporen Geklirr.

(Anna Achmatowa; aus: Ich lebe aus dem Mond)

Foto: by Sandra Linnell 

[rosetyler42]

This started out as a Drac playing with Ericka's snake hair (and vice versa) and ended up a rather adorable bit about "well after setting up all that anxiety Ericka had in becoming a monster, how did she feel later?" Not to mention Drac's feelings and him and the other guys changing so she and later Mavis (Who was a late addition and...wouldn't be as nervous anyway) wouldn't have to go through the change alone.

I was also inspired by @but-thats-its-own-love-story 's gorgon hairplay prompt.

@gothicthundra @that-obsessed-gay-girl @thenerdynightprincess13 @neo-storm @twinklecupcake @erickadracula @ericka-van-helsing @erickaanddraculasblog @drericka @drericka-prompts @elenadracula @drericka-is-lyfe-blog @drerickastan @countessericka-blog @thesecreatoroftrans @lovelylivelyv @sine-qua-noon @animatedpixie @chica-chuu @f-mhoteltransylvaniacomicseries @ebevkisk @ericka4ever

For those that want to see the inpiration:

[spiinsparks]

❝ MAN , ALL'A THIS 'GOIN TURBO' stuff is really burnin' the chili in my dawg. ❞ said flippantly , yes , but not without some small modicum of concern. he shifted his weight before spinning said chili dog on his pointer finger. ❝ you got any idea what that's about , big green? ❞

@ghostbustingreen / ;;4;;

[schoethe]

Warum heißt Dein Blog "unverrückt zusammen"? Ist das ein Zitat?

Äh, ich musste selbst ein bisschen recherchieren, das ist fast 8 Jahre her, dass ich den Titel vergeben hab und das Gedächtnis... Ich dachte eigentlich, dass es aus einem Brief wäre, in etwa so:

Ehe mein Paket abgeht erhalt’ ich das Ihrige, und nun noch einige Worte. Von den Elegien soll morgen Abend mit der reitenden Post etwas abgehen: ich wünsche, daß ja kein Unfall Ihren Aufsatz unterbrechen möge. Zum siebenten Stück kann ich Ihnen nahe an zwei Bogen versprechen. Lassen Sie uns nur unsern Gang unverrückt fortgehen; wir wissen was wir geben können und wen wir vor uns haben. Ich kenne das Possenspiel des deutschen Autorwesens schon zwanzig Jahre in-und auswendig; es muß nur fortgespielt werden, weiter ist dabei nichts zu sagen.

— Goethe an Schiller, 16.05.1995

Aber es stammt wohl aus einem ~Goethe-Zitat, also so einem, dass man auf einschlägigen Zitate-Seiten findet :') Ich hatte es aber seinerzeit wohl aus Rüdiger Safranskis "Goethe und Schiller: Geschichte einer Freundschaft":

Es war das für sie Wichtigste: die Arbeit am eigenen Werk, die in der Freundschaft zu einer gemeinsamen Arbeit wurde. Die beglückende Erfahrung, daß dies zwischen ihnen überhaupt möglich war, ließ diese Verbindung über eine nur partielle Berührung weit hinausgehen. Und doch blieb der Werkbezug das Zentrum und die Basis: Sich wechselseitig zu helfen und zu befördern, im intensiven Austausch von Gedanken und Empfindung, das war der erklärte Zweck der Freundschaft. Neigung, ja sogar Liebe hilft alles nichts zur Freundschaft, schreibt Goethe, die wahre, die tätige, produktive besteht darin, daß wir gleichen Schritt im Leben halten, daß er meine Zwecke billigt, ich die seinigen, und daß wir so unverrückt zusammen fort gehen.

Das ganze Zitat lautet (so wie auf aphorismen.de gefunden):

Freundschaft kann sich bloß praktisch erzeugen, praktisch Dauer gewinnen. Neigung, ja sogar Liebe, hilft alles nichts zur Freundschaft. Die wahre, die tätige, produktive, besteht darin, daß wir gleichen Schritt im Leben halten, daß der Freund meine Zwecke billigt, ich die seinigen, und daß wir so unverrückt zusammen fortgehen, wie auch sonst die Differenz unserer Denk- und Lebensweise sein möge.

Aus welchem Kontext genau das entnommen ist, konnte ich leider nicht rausfinden.

Dass Goethe sich damit (mindestens auch) auf Schiller bezieht, ist recht eindeutig, weil in ihrer Freundschaft ja die gemeinsame Arbeit eine sehr wichtige Rolle eingenommen hat.

Und wie gut das am Ende auch ganz praktisch geklappt hat, das kann uns der Wolfi dann hier nochmal selbst erzählen:

“Freunde wie Schiller und ich, Jahre lang verbunden, mit gleichen Interessen, in täglicher Berührung und gegenseitigem Austausch, lebten sich in einander so hinein, dass überhaupt bei einzelnen Gedanken gar nicht die Rede und Frage sein konnte, ob sie dem Einen gehörten oder dem Andern. Wir haben viele Distichen gemeinschaftlich gemacht, oft hatte ich den Gedanken und Schiller machte die Verse, oft war das Umgekehrte der Fall, und oft machte Schiller den einen Vers und ich den anderen. Wie kann nun da von Mein und Dein die Rede sein!”

— Goethe in Gespräche mit Goethe in den letzten Jahren seines Lebens, Johann Peter Eckermann

achso und ja, falls das bis hierher noch nicht klar geworden ist: ich würde sagen, 'unverrückt' heißt hier sowas wie 'ununterbrochen', also kurzum: together 4ever <3 (jedenfalls in meiner Interpretation)

P.S.: @ die anderen anons, sorry, dass ich noch nicht geantwortet hab, ich bin da dran :-)

[we-are-knight]

I recall you posting some time ago about a marching chant that indicated that (at least one of) the crusaders believed jews, muslims, and christians had equal claim to jerusalem, and the crusades were them staking that claim.

I also recall discussion of an order of knights who provided aid and shelter to any pilgrim regardless of religious affiliation, but when searching your blog I can't find either of these. can you point me in the right direction?

I know both of the posts you are thinking of, but digging them up has proven harder, as they would be circa 2017. That said, I can elaborate.

The song you're thinking of is actually post-crusade period, and is by Walther von der Vogelweide, and the song is "Palastinalied". I'd hesitate now to say the crusaders saw Jerusalem as validly belonging to all three groups, but Walther's song has a verse that radically (for the period) states an acknowledgment that the city can be validly claimed by all three groups, though puts the case that Christianity has the truest claim:

Kristen, juden unde heiden

jehent, daz diz ir erbe sî:

got müeze ez ze rehte scheiden

durch die sîne namen drî.

Al diu werlt diu strîtet her.

Wir sîn an der rehten ger:

reht ist, daz er uns gewer

In modern English:

Christians, heathen, Jews, contending,

claim it as a legacy.

May God judge with grace unending

through his blessed Trinity.

Strife is heard on every hand:

ours the only just demand,

He will have us rule the land.

Keep in mind that this song was essentially propaganda to reignite the then-expired crusading spirit, and it's notable because of this additional acknowledgement that seems almost out of place. There same song does have a verse that is more "brimstone and iron" talking about the wrath of God, but it's also notable as it is generally regarded as a later addition and not Walther's own lyrics.

Second, the Order you are thinking of is the Order of St. John, also known as the Hospitallers. Their major founding member, blessed Gerard, was notable in that he was a wealthy nobleman that had joined the Benedictine Order, and steadfastly administered medical aid and alms to people of all ranks in society (highly radical in the medieval world of heirarchy) and to any faith (practising as he was in a crossroads of the world, this meant a lot of Christians, Muslims, and Jews). He has a famous quote attributed to him, and was largely the ideal that the Hospitaller order was held to subsequently: "Our Lords, the sick". He steadfastly upheld the idea that, as Christ administered to those in need regardless of belief, so too did the Hospitallers (soldiers and medics) have a duty to aid those in need, which makes him a pretty cool guy.

[the-heaminator]

It was a cold night tonight, a thick layer of frost accumulating on any available surface, it was late too, and Gilbert knew Ludwig hadn't slept yet, trying to catch up with an imaginary backlog, he assumed such a tactic was to distract himself, after all it was a thing he himself used to do not so long ago.

"Ludwig, schatz, please sleep, please."

He was standing in the doorway, wrapped in a blanket like an old mother would do, and ready to fuss over Ludwig like one too.

"I'm fine, Gilbert just leave me alone." He had hoped for it to come out just harsh enough to drive Gilbert away, he just wanted to stew in his own thoughts for a while, but instead it came out empty and desolate, something he never liked to sound.

His brother hurried over to him, maternal instincts going into overdrive as he quickly checked him for fever and turned off his laptop, making sure all files were saved.

"Nein, you are sleeping now, you have a fever and putting off rest will only make it worse." He lightly tugged Ludwigs arm, momentarily forgetting that he was no longer a small child anymore, able to be dragged up to bed and bribed with cookies, now a grown man far, far taller than Gilbert himself. But it had been such a short span of time in the grand scheme of things, that he forgot Ludwig was fully grown.

Regardless of that he was unwell, and he knew something was troubling him in his head, and he full well knew that he wouldn't want to discuss this right now, tomorrow morning would be a better time, but for now he had to get Ludwig to sleep.

It was always a difficult job to get him to sleep, when he was small, a babe in arms he would cry and weep through the night, early nationhood hurt, Gilbert knew that, though is early years were so long ago he barely remembered them, he knew that he was borne in a time of severe instability and Ludwig was too, though the circumstances were wildly different.

Back then him singing would often get him to sleep in scarcely a verse, sometimes on his worst nights Gilbert wept over his cradle, he loved him dearly and wished not for him to leave this world so early. The maid saw this once, though she never said anything about it, most likely shocked that Herr Belichmidt was capable of such softness and human sincerity.

Schlaf ein, schlaf ein, schlaf ein Du gähnst schon, komm, kuschel dich ein Ich sing dir noch ein Lied Ich freu mich so, dass es dich gibt

Even as he neared adolescence he would ask Gilbert to sing for him, during the horrors of the wars, the scorching pain of bombs in the both of them, he sang for Ludwig, he was used to such pain, his baby brother was not.

Tired voice echoing around the bunker, though more often than not a few of the younger soldiers could be seen hanging around when he explicitly told them to leave, they were forced to grow so fast, and he hadn't the courage to discipline them for being human; if they gained comfort from listening to his tired voice sing, so be it.

Ich wünsch dir eine gute Nacht Wir sehen uns, wenn wieder die Sonne lacht Schlaf ein, schlaf ein, schlaf ein Wir lieben dich, schlaf jetzt ein Wir lieben dich, schlaf jetzt ein

The wall was erected and torn down, though during the period he was required to comfort too, Latvia, Ravis, the poor boy had seen so much and often awoke in a frenzied terror, only calming once someone sang for him. It was the same with a lot of the others, though they refused to admit it.

The duty alternated between him and Katya usually, and it made the others sleep too, he had grown remarkably good at comfort, despite insisting that he was still like marble, unmoving and cold, though more and more began to see him for what he was.

Schlaf ein, schlaf ein, schlaf ein Du gähnst schon, komm, kuschel dich ein Ich sing dir noch ein Lied Ich freu mich so, dass es dich gibt

The separation had affected Ludwig badly, understandably so, the brother that had always been there for him suddenly taken away, thrust upon the international stage with no inkling of how he was to behave. But en the wall broke it seemed to get better, both were more reserved respective traumas playing a part in their manner, but they made it work.

But now Ludwig needed to sleep, tucked up in his bed nice and warm, with Gilbert leaning against the headboard with the bedside lamp on, softly singing and stroking his not so little brothers hair, the well worn lullaby sinking itself into the very being of the house, finally sending him into a deep slumber, and through no admission of his own, Gilbert's eyes started to grow a little misty, he really loved his brother with what was left of his soul, all of it.

Ich wünsch dir eine gute Nacht Wir sehen uns, wenn wieder die Sonne lacht Schlaf ein, schlaf ein, schlaf ein Wir lieben dich, schlaf jetzt ein Wir lieben dich, schlaf jetzt ein Wir lieben dich, schlaf jetzt ein

Schlaf jetzt ein Schlaf jetzt ein Schlaf jetzt ein Schlaf ein

[endlich-allein]

Day 8 — Favorite B-Side or Unreleased Track

I know a lot of people reach for the song Ramm4 as their favorite unreleased track, song that the band performed on the 2016/2017 festival tour, but this "fourth anthem" leaves me rather indifferent. Because for me, there are two songs, two B-Sides that for me really stand out in Rammstein's oeuvre : Gib Mir Deine Augen and Vergiss uns Nicht.

The first one is Gib Mir Deine Augen which you can find on the single Mein Herz Brennt released in 2012. This song is special, firstly because it has been rewritten several times and there are three official texts. It seems that none of the three convinced the band. However, it seems that Till cares a lot about this text as he uses part of it in one of his poems called "Warmer Tag" (In Stillen Nächten) and part of the lyrics can also be found in the song Sex (Untitled Album).

The second, my fav, is Vergiss uns Nicht.

Available on the single Mein Land, this song was recorded during Reise Reise under the name "Hin und Her". A version containing two verses sung in rap for the rapper Bushido (who had already done a remix of the song Amerika) was recorded and was supposed to be released in a best of album, but so far it has never been released.

But the original with only Till's voice is just perfect. This voice reminds me of the voice he takes for Mein Herz Brennt Piano version, calm, deep, low. He doesn't sing, he speaks. This gravity is accentuated by a childish music, it made me think of the music of a circus or a music box, you know the wooden one with a small dancer who turns. Underneath this little background music in the first verse, Flake's keyboards play a haunting, hypnotic, eerie score, keyboards that play throughout the song.

What is this song about ? Incest ? Adultery ? I'm not really sure... But, as often with Rammstein, the story is dark and uses the metaphors of agriculture, of nature, to count this obscure story :

Als wir uns zusammen steckten

Mit den Hüften wie Insekten

Begann' mich selber zu versprühen

Und das Feld fing' an zu blühen

Die Saat war gut und früh das Jahr

Doch der Boden nicht fruchtbar war

Der alte Schoß wollte nicht empfangen

Und alle die winzig kleinen Schlangen

Fielen durch das Lendengitter

Und befreiten ein Gewitter

You can find these two songs on the compilation album Raritäten 1994-2012. And I also put you the podcast of Flake in which he talks about Vergiss und Nicht (1:46:00 | in German only) :