Haste The Day:White Collar Lyrics LyricWiki Fandom
Haste The Day – Stitches Lyrics Genius Lyrics
Haste The Day Lyrics
Jesusfreakhideout.com: Haste The Day lyrics
Haste The Day Lyrics
Haste The Day lyrics - 79 song lyrics sorted by album, including 'Stitches', 'Pressure The Hinges', 'Eye Of The Needle'. Haste the Day Their band is named after a lyric in the hymn 'It Is Well With My Soul.' The band released their debut release, an extended play titled That They May Know You, in 2002, followed by five studio albums: Burning Bridges (2004), When Everything Falls (2005), Pressure the Hinges (2007), Dreamer (2008), and Attack of the Wolf King (2010). Stitches Lyrics: Five words, five words is all it would take / Five words to change your heart and mind / In the heat of the sun I know you're the only one / You still can't hold yourself together Michael W. Smith Announces Personal Worship and Prayer Album, 'STILL' Fri, 25 Sep 2020 18:55:00 EST Don Moen Set to Appear at 'The Return' in Washington, DC Fri, 25 Sep 2020 18:55:00 EST: Koryn Hawthorne Releases New Music Video, 'Know You' Fri, 25 Sep 2020 18:35:00 EST Rapper KB Releases New Album, 'His Glory Alone,' Today Fri, 25 Sep 2020 18:30:00 EST Haste The Day Biography. There's something so incendiary about a solid metal show that pulls an audience in, one by one. With a wailing lead guitar combined with throaty growls and an explosion of moshing onlookers, metal allures the masses to join, and then doesn't let go. Haste The Day:White Collar Lyrics. Edit. History Talk (0) Share. White Collar. This song is by Haste the Day and appears on the album Pressure The Hinges (2007). Why can't you feel this? Can't you understand I feel this? This is nothing. I can see my reflection in your cheek bone. We've been playing out this script in your mind. ...
Kickstarter Roundup: September 20, 2020 20+ Ending Soon (including: Plantopia: The Card Game) & 55+ New This Week (including: Cascadia)
2020.09.20 22:55 ZelbinianKickstarter Roundup: September 20, 2020 20+ Ending Soon (including: Plantopia: The Card Game) & 55+ New This Week (including: Cascadia)
What this is:
This is a weekly, curated listing of Kickstarter board game projects that are either:
newly posted in the past 7 days, or
ending in the next 7 days (starting Sep 21) and have at least a fighting chance of being funded.
All board game projects meeting those criteria will automatically be included, no need to ask. (The occasional non-board game project may also sneak in!) Expect new lists each Sunday sometime between midnight and noon PST.
Last Days of Athobrae - Final Countdown A strategy, resource gathering game where the planet falls to pieces beneath your feet, and the first to build a ship and escape wins! // Has raised $6,852 of $4,750 so far. (~144%) ☑
Rurik: Stone & Blade (Reprint & Expansion) Seize your destiny and claim the throne! The first expansion to the critically-acclaimed Rurik: Dawn of Kiev, a euro-style board game. // Has raised $161,427 of $50,000 so far. (~323%) ☑
Ivion - The Herocrafting Card Game Play out the brutal climax to an epic story in Ivion, an immersive 2 player experience. Craft your hero and reach for glory! // Has raised $33,368 of $28,743 so far. (~116%) ☑
8th Air Force/20th Air Force Twin WW2 games "8th Air Force" and "20th Air Force" simulate the massive USAAF strategic bombing campaigns against Germany and Japan // Has raised $1,512 of $3,000 so far. (~50%)
$65 / $89
Aced It! Are you cognitively there? A satirical card game for 2 to 5 players about the best words, really good brains and to trump your opponents. // Has raised €342 of €12,000 so far. (~3%)
2 - 5
$19 / €34
Arms & Influence A political strategy card game, where you compete with neighboring nations to achieve world dominance. // Has raised $8,346 of $7,500 so far. (~111%) ☑
Cascadia A puzzly tile-laying game featuring the habitats and wildlife of the Pacific Northwest with gorgeous artwork by Beth Sobel! // Has raised $109,484 of $8,000 so far. (~1369%) ☑
1 - 4
$29 / $30
Castaway Curse (Second Printing) The shipwreck adventure game, now available with international shipping! 2-6 players, 20 min/player. Ages 13+ // Has raised $4,136 of $1,000 so far. (~414%) ☑
2 - 6
$100 / $259
CHARMS: Quests for Antiracism A question and answer expansion for antiracism using CHARMS: A Game of Insight, or use as stand alone discussion prompts. // Has raised $1,023 of $100 so far. (~1023%) ☑
3 - 8
$35 / $33
Check Yes Romeo Check Yes, Romeo is an improv narrative dating simulator card game meant to get to know people better. Find your lucky match. // Has raised $1,278 of $5,000 so far. (~26%)
$45 / $44
Choo Choo Game. The Choo Choo card game is a train building game for everyone. // Has raised A$341 of A$750 so far. (~45%)
2 - 12
$21 / A$49
Climate Change Memory The old school Memory game for 2-8 persons, now with opposite images to stimulate your sustainable way of living. // Has raised €236 of €17,000 so far. (~1%)
2 - 8
$21 / €26
Coalition The Napoleonic Wars 1805-1815 // Has raised $6,435 of $2,500 so far. (~257%) ☑
2 - 6
$52 / $88
Deck Organizer System New Deck Organizer System (D.O.S.), organize game cards effortlessly! Interlock as many trays and sizes as needed for your games! // Has raised C$251 of C$1500 so far. (~17%)
$13 / C$42
DOPPELT ODER NICHTS Ein Kartenspiel, bei dem niemand sicher ist. Du hast die Wahl, aber wenn du dich überschätzt, trifft es dich doppelt - ENGLISH AVAILABLE // Has raised €1,796 of €7,000 so far. (~26%)
4 - ?
$21 / €37
Embarcadero - Rule the Waterfront! Build the city of San Francisco on the hulls of abandoned ships during the California Gold Rush. // Has raised $33,091 of $5,000 so far. (~662%) ☑
1 - 5
$60 / $55
ENGKANTO: A Filipino Mythology RPG Board game A Filipino Mythology inspired RPG board game! Play as an ancient Filipino Bayani (Hero) and set off on a journey to find Biringan City // Has raised A$3,401 of A$35,000 so far. (~10%)
In Too Deep (Reboot) Hack into criminal minds in the undercover operation of a lifetime. Save the city without losing your soul in this game for 1-4 agents. // Has raised C$83623 of C$50000 so far. (~167%) ☑
Inventure Quest Challenging co-op adventures, powered by you. RPG party game for all levels of experience. Infinite characters, settings, & quests! // Has raised $3,317 of $11,500 so far. (~29%)
2 - 6
$27 / $64
Lion Challenging Party Game Challenging party card game. This game will make your party really cool. // Has raised $2 of $1,000 so far. (~0%)
4 - 9
$24 / $1
Lucky Luau Flower matching and lei making fun from beautiful Hawaii! // Has raised $3,265 of $4,000 so far. (~82%)
2 - 6
$15 / $30
Ludicrous Adult Party Game The adult party game that will unleash the deviant in everyone. // Has raised £216 of £10,000 so far. (~2%)
$26 / £27
Math Eclipse Educational card and dice game for kids to learn multiplication and division. // Has raised $35 of $1,500 so far. (~2%)
$13 / $12
Mythalix: Chapter 1: Greek Mythology Gods and Titans clash in a new world. Battle opponents, control areas & build your deck in this light strategy board game. // Has raised £5,253 of £10,000 so far. (~53%)
TeWero Te Wero is a rapid-fire card game designed to encourage your use of Te Reo Māori. // Has raised A$1,472 of A$7,400 so far. (~20%)
$20 / A$59
The Sable Scourge A board game for ordinary citizens. // Has raised $472 of $20,000 so far. (~2%)
2 - 6
$35 / $26
They Were Soldiers and Dak To - Hill 875 The board game of the battle that changed the war in Vietnam! 450 Americans faced long odds against the NVA at LZ X-Ray. Nov 14, 1965. // Has raised $9,762 of $24,900 so far. (~39%)
#hmm means that something about the project seems a little off. Buyer beware kinda thing.
#lolwut is reserved for projects that seem like copycat games or campaigns put together with little thought. Check 'em out for amusement.
#take tags are for projects that have been restarted for some reason, with the number indicating what iteration we're currently on.
Did I miss something? Particularly something new in the last 7 days or ending in the next 7 days? Let me know in the comments and I'll add it in. ## Tip Jar If you enjoy these lists, maybe toss me a buck now and then. Signing up for a free AirTable account via my referral link can help, too. Plus, it's swell!
2020.09.16 23:08 StevenasaurusWe Are Operators Episode 9: Element E4 Part 2
3:13 PM Training Facility Aero kept his eyes closed as the hustle and bustle of the other operators around him in the precinct went on. Conversations, people checking their equipment, and the occasional sound of a gunshot from Jay's squad mate Eddron coming from upstairs constantly droned on as everyone waited for the vanguards to return from their scouting mission. “Captain,” Jinna's voice called. Aero opened his eyes. “Yes?” “Are you hungry?” Jinna asked as she brought out a ration bar from her pocket and presented it to Aero. “I'm fine, Jinna,” Aero said. “But thanks for the offer.” “Still, you should keep it,” Jinna said with a smile. Aero took the ration bar and put it in his pocket. “Thank you.” “So... Are you gonna tell us what's wrong?” Jinna asked. “Leave the poor guy alone, Jinna!” Chaser's voice called. Chaser came and wrapped her arm around Jinna's neck as if she were about to put her in a headlock. She left enough room for Jinna to breathe comfortably but definitely kept her tight enough so that her squirming couldn't get her out. “The Captain's problems are on a need to know basis. If you don't need to know, then you don't get to know; that's how it is with a chain of command!” Chaser explained. Aero was about to order Chaser to let Jinna go when he spotted Lukewarm and Yellow in the corner of his eye. “Hey! Let her go!” Lukewarm yelled. Lukewarm and Yellow arrived which prompted Chaser to turn to them with Jinna in tow. Chaser smiled and let Jinna slide out of her grip. “Jinna wasn't in any danger. Right?” “Yeah...” Jinna said while rubbing her neck. “If she was, she certainly wouldn't be looking as pretty as she does now wouldn't she? Although you know a thing or two about how pretty she is don't ya Lukey boy?” Chaser asked with a mischievous grin. “Shut up,” Lukewarm warned while pulling out his bow and swiftly readying an arrow, his cheeks starting to turn red. “Belt's not around to give you a good smack on the head so now's the perfect time to take the shot,” Yellow joked. Aero snickered. “Alright, guys, calm down. I'm fine if that's why you're checking up on me.” “I know it's need to know and all, but are we eventually gonna get the run down on what's got you down?” Chaser asked. “Eventually,” Aero answered. Chaser shrugged. “Good enough for me.” “Not for me,” Yellow said. “Come on, Captain. What's up?” Aero stood up and picked up his greatsword that was leaning against the wall before walking around the precinct with his squad following him. Eventually he came across Nearl who was approaching him. “Aero, I'd like to speak strategy with you for a moment,” Nearl called. Aero nodded. “Yes, ma'am. Everyone, go back to your business while I speak with Nearl.” Aero's squad bowed their heads and headed off in different directions while Nearl gestured Aero to follow her. He did as commanded and stayed behind her as she lead him to one of the interrogation rooms. At first Aero grew nervous about having to go back inside the interrogation room, but his anxieties were alleviated when he saw that Nearl had laid out a map of the battlefield on the table in the centre of the room. “With the guard precinct in our hands, I expect the enemy to form up all their remaining forces north to block our objective,” Nearl explained. Aero put down his greatsword so he could sit down and discuss with Nearl. However, he noticed Nearl was keeping an eye on it very obviously. Jay... you better have not... “Are you planning to move along the major avenue northeast?” Aero asked, trying to ignore Nearl's interest in his equipment. Nearl nodded. “The wide open space will allow our operators to move around freely. And if the enemy meets us, it will also provide a good space for our snipers and casters to attack the enemy.” “A major roadway like that will likely have lots of civilians around,” Aero warned. “We can only hope they flee the moment we approach. Although, that could mean the buildings on the flanks of the streets won't be an option if the civilians flee into them,” Nearl said. “Without the buildings,” Aero started, “I don't expect there to be much cover for us on the avenue. We don't have enough defenders to keep everyone protected.” “We'll know how much there is when the vanguards return,” Nearl said with a reassuring tone. Aero kept his eyes down on the map and crossed his arms. In the peripheral of his vision, he could see Nearl leaning against the door, looking hesitant. “I couldn't help but notice the initials on the crossguard of your sword don't match the name that was given to me when I was briefed on C1 and C2,” Nearl said. From the distance she was at, there was no way Nearl could've seen the initials unless she knew about it in advance. Aero gritted his teeth. “It belonged to someone else.” “From the looks of the craftsmanship, it must've belonged to a Kaizimierzian Knight,” Nearl said. She's leaning against the door so I can't leave... Jay... you bastard... As much as he felt he wasn't ready, it actually felt somewhat reassuring that he was going to get it out of the way now. After taking a moment to calm his uneasiness, Aero looked straight at Nearl. “Yes...” Aero said softly. “His name was Jaromir Antczak. You know him?” Nearl shook her head. “I've vaguely heard the name but never had the pleasure.” “He supported you all those years ago, before you were ousted,” Aero said. Nearl lowered her head and sighed. Her arms were crossed and her eyes fluttered for a moment before shutting completely. She stood silent for some time before raising her head back up and looking at Aero. “I can't imagine what happened after I left. The fact that you have his sword tells me he didn't make it out of the purges,” Nearl said with a solemn tone. Aero nodded, tears welling up in his eyes. “He was one of the few that didn't shut up when you left. He was sent on a suicide mission and was killed.” “What was he to you?” Nearl asked, giving off an impression that showed she knew the answer. “I was his squire,” Aero muttered. “I'm sorry,” Nearl said softly. Aero clenched his fists. “I never went back to the knighthood after that day. I just ran.” “It wouldn't have done you any good going back; they knew who you were and would never let you get knighted,” Nearl said. “The knighthood's only gotten worse ever since I left. No one wants to say anything now,” Aero said with a slight whimper. Nearl scratched her forehead. “Maybe it isn't worth saving in its current state.” “How can you say that?!” Aero yelled abruptly. “From the age of seven I devoted myself to the knighthood! It can still be saved!” Nearl held her hand out in front of her, staying Aero's rage. “Or it can be rebuilt.” “Rebuilt?” Aero asked. “My time travelling and being here at Rhodes Island have only strengthened my resolve for moving forward. There must be a new knighthood, one that fights for true chivalric ideals and for the rights of all, even the infected,” Nearl explained passionately. Could it be done? “Why not reclaim the knighthood and rebuild it from the inside?” Aero asked. Nearl sighed. “The Grandmaster and his senior knights have spent decades securing their positions; they will not give it up willingly. From a moral and strategic standpoint, it would be best to found a new order based on righteous ideals and rally the disgruntled people to overthrow the corrupt.” After all the years that passed, Nearl was still the knight Aero remembered her to be. It was common to hear to never meet one's heroes, but seeing her passion and sincerity still remain intact moved Aero to even more tears. Master, you didn't die for nothing after all... “If there was such an order... would you consider coming back to join it?” Aero asked reluctantly. Nearl paused to think about it for a moment before shaking her head. Aero looked down at the table and felt crushed at the reply. “Why not?” Aero asked. “I fight for all infected now,” Nearl declared. “A new knighthood may protect the infected in Kaizimierz, but what about the ones in Ursus or any other nation? There are people who need help everywhere and it's from Rhodes Island that we can reach out to all of them.” “That's noble... It was selfish of me to want you to come back. I was just... so nostalgic for those days,” Aero said, averting his eyes from Nearl. “Not entirely selfish,” Nearl interjected, “rebuilding the knighthood would save many others and help our people.” “Thank you for that,” Aero said, looking back at Nearl. Nearl smiled. “Those days, huh? Did you ever fight under my banner?” “When you rallied the knights to fight the rebel barons, Jaromir moved to answer your call. We were there when you avenged that slaughtered Elafian village and when you finally captured Casimir's fortress,” Aero answered, a brief smile returning to him. “You and your master have been around then. I'm sure he'll approve of where you are now wherever he's watching from,” Nearl said. “I think he does,” Aero said while wiping his eyes with his arm. “Just one more thing, did Jay tell you about this?” Nearl paused for a moment before nodding. “He did.” Aero grumbled to himself and clenched his fists. “He also told me to not go to you about this and wait for you to be ready to talk. He wanted me to know why you were so shy around me but also wanted you to speak to me when you were ready yourself,” Nearl said quickly. “Why'd you come to me then?” Aero asked, calming himself. “Because while this is only training, we're still in an active combat zone and I need all my operators on their highest effectiveness. You best be done dwelling on the past and be ready to fight now,” Nearl answered sternly. Aero stood up and clutched his chest where his heart was with his right hand, a standard salute for the Kaizimierzian Knights. “Like I said before: there's no need to salute. Get your squad ready to move; Fast Lane and Hoop have returned and I expect Jay and Belt to soon,” Nearl said. “Yes ma'am. Thank you... Nearl,” Aero said softly. 3:19 PM Training Facility Jay could feel his lungs imploding on themselves as he kept running with Belt right next to him. A crossbow bolt flew right past him and bounced off a newspaper box on the sidewalk of the avenue they were running down. Behind the two were several pursuing animatronics with crossbows that had suddenly moved to engage them when Jay was busy making a sketch of the enemy position. They had only recently caught up and began shooting as Jay and Belt were slowing down from exhaustion. “How much farther?!” Jay yelled, catching his breath between syllables. “Not that far! I can see the precinct!” Belt answered, looking unfazed. A crossbow bolt flew between the two of them. “Ah shit!” Jay yelled as he began running in a serpentine fashion. Belt continued to run straight and soon gained some distance while Jay maintained his evasive manoeuvres. “Jay! Just run straight! They're not accurate when they're running!” Belt warned. Jay did as suggested and ran straight but was unable to catch up to Belt as he still maintained his own pace. The suggestion however was good as the crossbow bolts were missing him or missing him just enough that he could feel the air of it whizzing by. “They don't lead their shots that good! When they're about to shoot, get a burst of speed and they'll miss!” Belt yelled back. “Easy... for you... to say!” Jay struggled to yell back. Belt began waving his arms in the air frantically. “Hey! Friendlies headed your way! We're being chased here!” Jay looked forward and could see the vague movement in the windows of the precinct. As he got closer, the vague movements became silhouettes which soon became familiar faces of snipers and casters pointing their weapons out the windows. On the second floor, he spotted Eddron pointing his pistol out of the window with a face that showed he was eager to pull the trigger. Jay immediately dived for cover in front of a car as a few shots from Eddron's pistol preceded the arrival of a barrage of arrows that all precisely struck at their targets. “Clear! Cease fire!” a voice called. Jay stayed down while his breathing regulated and his chest wasn't as pained. Before he could stand up, Belt's legs were in front of him and he looked up to see Belt offering a hand. “You can't run for shit, Jay,” Belt said while laughing. Jay took Belt's hand and stood up. “I'm not a marathon runner, I'm a sprinter.” “Come on, we only ran a few blocks,” Belt argued. “How many city blocks do they run in a 100 metre dash? Like one?” Jay argued with a smile. “Ah stop whining and let's go tell Nearl what we saw!” Belt said while slapping Jay on the back and leading him back to the precinct. As the two approached the door at the corner of the block the precinct was on, Nearl stepped out followed by several operators. Jay reached into his pocket and pulled out the sketch he made of the enemy formation. He unfolded it and presented it to Nearl when he stood in front of her. “The objective is a tunnel at the very far north. Just like you said, the avenue northeast and then heading north at the major intersection is the best way there. But it looks like every last animatronic still standing has formed up to stop us. It's a really good thing we dealt with this precinct now instead of later,” Jay reported. Nearl took the sketch and looked at it. “And what about the civilian animatronics?” “Most of them fled when we got chased by those crossbow bots. The way's pretty clear for now but they'll come back if things stay quiet for a bit,” Belt answered. “How did you get such an in-depth view of their formation?” Nearl asked. “I stood on a car and looked over the shieldwall. That's kinda how Belt and I got spotted,” Jay sheepishly answered. “Judging by how close their crossbows are to the shieldwall, I expect them to use a standard tactic in opening up gaps in their wall for the crossbows to fire through,” Nearl said. “We've got the firepower, but cover's not that good in the middle of the avenue. All we got are cars, lampposts, newspaper boxes, and other things on the sides,” Jay warned. Nearl nodded. “Then we'll have to split into two columns when we arrive at the intersection and advance along the sides in cover. Take a moment to catch your breath, but don't take long, I've already ordered everyone to move out.” Jay and Belt nodded as Nearl walked off to oversee a few other things. The next group of people to come out of the precinct was everyone in C1 lead by Aero. Jay looked away and pretended he was scouting something else as he could feel Aero's eyes on him. “Captain,” Belt called while saluting. “Everyone, move on ahead, I need to speak with Jay for a moment,” Aero said. Jay watched the operators in C1 walk by him while still feeling Aero's gaze on him. Knowing there was no escape, Jay turned around and faced Aero. The man's right hand was gripped tightly around the hilt of his greatsword as he approached Jay which only made him squirm. Oh god I regret everything! Aero gently placed his left hand on Jay's shoulder and nodded. “Thank you.” Jay didn't even get a chance to respond before Aero walked past him and joined his squad. He scratched his chin before looking at his hand and noticing it was shaking. Although, with the threat of an angry Aero gone, his hand eventually stopped. “Uh... You're welcome?” Jay whispered. “Jay!” Spark's voice called. Jay looked at the door to the precinct and spotted his squad leaving the building with their equipment. “Are you alright? You look terrible,” Spark asked with concern. Jay smiled and scratched the back of his head. “Oh I'm fine. Were you worried about me while I was out there?” “Of course I was worried!” Spark answered. She cares about me! “What would we do without our captain?” Spark asked abruptly. Aww man... “I totally saved your ass back there, Jay,” Eddron said with a smug grin. “You didn't hit a single thing; you're lucky you didn't hit Jay,” Meeka argued. “Whether you hit something or not, thanks for the covering fire at least, Eddron,” Jay said. “We're on the final stretch right? I can't wait for this to be over, I'm getting a little hungry,” Labcoat whined. Alabaster leaned his halberd against his chest and pulled out a ration bar from his pocket. “Miss Labcoat, you had two whole bars over the break. But if you're still hungry, you can have mine.” The last of the operators stepped out of the precinct which prompted Nearl to raise her hand for everyone to see. “We're all ready. Move out! Advance formations!” Nearl yelled. 3:28 PM Training Facility Jay tapped Alabaster on the back to halt him when he saw Nearl gesture for the captains to get to her position. Nearl's squad was positioned at the end of the wall of a building on the corner of the intersection of the avenue that lead north to the objective. Once his squad was halted and took a defensive position, Jay moved forward past C1 to Nearl who was kneeling with Aero. “The enemy's shieldwall is strong. We'll split up into two groups and advance on both sides of the street. With our advantage in snipers and casters, we can afford to engage at range to soften the enemy formation,” Nearl explained. “I can take my squad across the street,” Jay said. Nearl nodded. “I'll split my squad to take positions on both sides. Wave, Fast Lane, and Lyric, you're with Jay's squad for now. We open fire on my order.” Jay nodded and gestured Alabaster to come to him. After a doing the gesture a few times to get Alabaster to come, he eventually arrived with the rest of the squad. “Alright guys, here's the plan: we're gonna cross the street with some of Nearl's squad and move into range of the enemy shieldwall. From there, we hit them with everything we got to soften them up. Got it?” Jay explained. “Yep!” Labcoat acknowledged. “That avenue is too wide and open for us to just cross without being seen. The fighting will probably start as soon as we move,” Spark warned. “Yeah, you're right. With those shields, it's gonna be hard to see what the enemy's got going on behind them once things get going. Meeka, I want your drone in the air and getting a good view of the entire enemy formation,” Jay said. Meeka nodded and unfolded her drone that she was carrying like a football. “Got it.” “Alright, Alabaster, let's get moving,” Jay said while tapping Alabaster's back. Alabaster started moving up along the sidewalk and stopped once he was right next to Nearl. With two taps in quick succession from Jay, Alabaster started to sprint across the street. The rest of the squad along with several of Nearl's operators sprinted across the street to the right side of the avenue and took up cover positions behind cars, newspaper boxes, or Alabaster. Once the team was secure and Nearl was beginning to move on the other side of the avenue, Meeka let her drone fly in the air as high as it could. “They're moving a lot now. Crossbows are lining up behind the shieldwall,” Meeka reported. “They've spotted us. Move up along the cars,” Jay said while pointing forward. The operators stayed low along the cars as they moved forward. Ranged operators readied their weapons or primed their arts as the response from the enemy shieldwall was still silence. Suddenly, the shieldwall opened up with the animatronics tilting their shields forward, exposing animatronics with crossbows aiming them straight down the street. “Take cover!” Nearl yelled. Jay immediately got as low as he could as crossbow bolts either whizzed by or made loud thuds when they embedded themselves into cars. “Return fire! Hit the crossbows while they're exposed!” Nearl yelled. On Jay's side of the street, Spark, Eddron, and E4's caster Wave—a female Cautus—engaged the shieldwall. Bullets, strands of lightening, and crescent waves of destructive arts energy shot down the street from the right. Jay kept low but slowly made his way up to Alabaster who was standing at the final car of the line before a large gap between it and the next parked car. “Jay,” Alabaster called. “These are Ursus tactics, more specifically the guard regiments that handle domestic security. I know them well.” Training to fight an actual military seems above our paygrade. Why Ursus soldiers of all things? “Alright then, what's next after this?” Jay asked, not hiding the worry in his voice. “If they either take enough of us out or feel their crossbow fire isn't enough, they'll begin moving down the street to engage us in hand-to-hand combat. They'll advance in an orderly fashion with their shields which will make it hard for us to hit them,” Alabaster answered. Jay looked down the street and could see the ranged barrage barely making a dent in the shieldwall. Even after a few of the animatronics went down when a lucky shot got through the exposed portions, another animatronic immediately took its place. “My bullets aren't doing shit to those shields!” Eddron whined. “Well you're using rubber bullets!” Jay yelled. Eddron ducked down and reloaded his pistol. “Even if I was using real ones, I still think they wouldn't do shit!” “My lightening arts aren't doing much to those shields either!” Spark called. “Wave! What about you?” Jay asked loudly through the sounds of Eddron's gunshots. Wave was swaying her staff left and right, creating the crescent waves of her arts. “I can knock them over but I need direct hits for a kill!” “Nearl!” Jay called. Nearl didn't respond and was busy directing fire with Lukewarm and several of E4's ranged operators. Even after several attempts, the sounds of gunshots and arts drowned out his voice. He contemplated using his receiver to communicate, but even after being compromised, Nearl never gave the order to break radio silence. Labcoat pulled Meeka down when a crossbow bolt smashed the window of a car she was hiding near. “Watch yourself!” “Jay! They're bringing up a lot of guys with shields now!” Meeka reported as she regained her bearings. “Alabaster,” Jay called, “do you think they're gonna start moving on us now?” Alabaster closed his eyes whenever his shield shook from getting hit by bolts. “With us in two segments instead of taking up the whole street, the Ursus guards would exploit their numbers and advance straight through the middle and then surround both segments.” “That's not good! We have to warn Nearl!” Jay yelled. Jay contemplated running across the street but there were still a significant number of enemy crossbows still active. Biting the bullet, Jay put his finger to the receiver in his ear and tried to get as far as he could from Eddron, Spark, and Wave. “Nearl! I know you didn't give the order to break radio silence yet, but we're in combat! The enemy's getting ready to advance on us! Alabaster says they're using Ursus tactics and will rush straight between us to cut us off from each other!” Jay warned. “All operators! Begin falling back! Defenders cover the retreat!” Nearl replied. Alabaster took a prominent position at the front while everyone began moving back. The enemy crossbows immediately rushed out of the shieldwall and formed up into two firing lines with two rows each on both sidewalks, letting out a suppressing barrage by alternating fire between the rows. With the operators suppressed, Jay took a peek above the hood of a car he was hiding behind to see many of the shield and spear animatronics running forward down the avenue toward them. Jay looked back at Eddron, Spark, and Wave. “Aim for the shields! Forget the crossbows for now! We can't get cut off!” The ranged operators did as commanded and turned their fire on the shields who were already taking fire from Nearl's side of the street. As their flanks were exposed, many more animatronics fell from the ranged assault than before. However, there were simply too many and a large number of them managed to run past the defensive positions and begin wrapping around until everyone was surrounded. In a menacing display, the shield animatronics lowered their spears so a wall of thorns preceded their shieldwall. Everyone stayed still for a moment as the animatronics didn't move, simply waiting with their spears pointed out. Eddron, Spark, and Wave resumed shooting at the animatronics, but there were fewer gaps in the enemy formation and the ones that did fall were easily replaced by another. “We need someone that can make explosions or something!” Eddron called while shooting his pistol. Wave and Eddron began to adopt a new tactic where Wave would use her arts to knock down shields or enemies to expose gaps in the shieldwall so Eddron could shoot through. Spark also quickly got in on the action which took down a sizeable portion of the enemy. However, the animatronics adapted and reinforced their line and had the ones at the back row support the ones at the front, preventing them from falling from the force of Wave's arts. Alabaster started taking several steps back while Fast Lane and Lyric—E4's male Sarkaz guard—fell back to Jay's position. Jay in a panic tapped Alabaster's shoulder. “What happens now?!” “They'll choose which side to attack and crush them while keeping the other busy before finishing off the other side with everything,” Alabaster warned, a hint of fear in his voice. “Meeka! Which side are they focusing on?!” Jay called desperately. Meeka looked at her drone feed. “They're bringing up lots of shield guys for the other side of the street!” “Meeka! Where are the enemy crossbows?!” Spark yelled. “Still where they were! They're not doing anything!” Meeka answered. “What're you planning,” Jay asked. Spark climbed up onto a car and immediately shot out a great strand of lightening and let it run along the backs of the enemy shieldwall on Nearl's side of the street. Jay rushed to Meeka's side to see the damage Spark was causing with her rear attack. On the drone feed, plenty of animatronics collapsed which alleviated the pressure as Jay could see Nearl, Aero, and Belt putting in the most effort to hold back the encroaching mob while Chaser and several other E4 operators stayed back to protect the medics. Jay could see some of the animatronics in the shieldwall on his side of the street moving forward and readying their spears. He rushed to the car Spark was standing on and grabbed her to pull her down. In his haste, he wasn't careful and she ended up falling on him, causing her to land on his stomach which made him groan in pain as it felt like a really bad punch to the gut. Spark immediately got up and looked back at the five spears that thrust forward at where she was previously standing. After taking stock of herself, she helped Jay sit up while keeping his head low. “Thanks,” Spark said. Jay coughed while keeping his hands over his stomach. “No problem.” “Jay!” Nearl's voice called on his receiver. “Are you in danger of being overrun?!” Jay put his finger on his receiver. “No, ma'am!” “Break out of your encirclement and open us an escape route!” Nearl commanded. “Yes, ma'am!” Jay replied. Jay looked around at the shieldwall surrounding his side of the street. After their attempt on Spark, the enemy was beginning to advance on them, favouring the sidewalk as the parked cars provided a makeshift wall. “We gotta break out somehow,” Spark said. “They don't have that many on us, maybe we could try to rush out and break their line,” Jay said. Meeka crawled over and showed Jay the drone feed. “It doesn't look good on Nearl's side. They're running out of space with all those spears pointed at them and closing in.” “If we focus everything on those guys blocking the way behind us, we could break the encirclement and encircle them back!” Spark suggested. Jay nodded. “Sounds good. But how do we do that?” “We get Labcoat mad,” Spark said. “Are you kidding?” Jay asked. “We haven't used that in a long time. How do we know she won't turn around and kill us?” “Think you can break through on your own?” Spark asked. Jay reluctantly shook his head. “Alright, but I'm gonna ask Labcoat if it's okay first. Labcoat!” Labcoat crawled over to Jay, dragging the claws of her gauntlet along the sidewalk. “What do you need me to do?” Labcoat asked. “We need you to get mad,” Jay answered bluntly. Labcoat's eyes widened. “What?” “We can't break out of here. We need you to do what you do best,” Spark said. “I dunno guys, I've been working on getting a handle on being angry lately, but it still might not be enough; I might turn on you guys,” Labcoat warned. “We'll give you a good ol' slap and then quickly get behind you so the first thing you see is the enemy. Will that work?” Spark asked. Labcoat shrugged. “I don't know.” “No time to waste, Nearl needs our help now!” Jay called as he stood up and rushed over to the part of the shieldwall blocking their rear. “Everyone form up on Jay!” Spark called. Wave and Eddron stopped engaging for a moment and joined Jay while Alabaster covered Fast Lane and Lyric as they retreated to Jay's position. Labcoat walked to the front of the spearhead the operators were forming and took a deep breath as the spears from the enemy shieldwall got closer. Jay got in front of Labcoat and looked at her, receiving a reluctant nod from her. “Let me stand behind her, if Miss Labcoat cannot control herself and turns on us, I will use my shield to protect you,” Alabaster declared. Jay smiled. “That's real brave of you, Alabaster.” Jay raised his hand to give Labcoat a slap but hesitated, even with the tips of the enemy spears getting dangerously close. Damn it! I can't bring myself to hit a girl, especially when she's got a deadly weapon that could kill me really quickly! Suddenly, Spark stepped in front of Jay and gave Labcoat two slaps in quick succession before pulling Jay behind Alabaster. “Ah! Bitch!” Labcoat exclaimed. “I thought Jay was going to do it?!” Labcoat immediately turned around and raised her gauntlet at Alabaster's shield, prompting a whimper from him. However, she immediately stepped out of the way of an incoming spear and let out a ferocious battlecry at the animatronics before turning to them and charging them instead. “Oh thank god she's fighting the enemy! Move forward!” Jay called. Labcoat grabbed a shield and pulled it away from her so she could claw the exposed animatronic. Taking advantage of the gap before it could be filled, she dived in and mercilessly dug her claws into anything around her, making an even bigger gap. Jay charged forward with his spear and dug it straight into an animatronic that was turning to respond to Labcoat. Other melee operators joined in and soon the encirclement was broken with Eddron, Spark, Wave, and Meeka rushing away from the fighting to set up a firing line. Jay looked behind him and saw the animatronics advancing on him from the other side of the sidewalk were charging forward. “Go! I will handle them!” Alabaster yelled while he turned around and stuck the shaft of his halberd into the slot of his shield and planted it on the ground. With Alabaster holding the enemies trying to advance along the sidewalk, everyone spread out along the avenue and formed a new battle line while a way out opened for Nearl's team thanks to ranged fire. Operators from C1 and E4 poured out of the gap while Nearl was the last to leave, swatting away spears and shields alike with her warhammer. Without the enemy encirclement, it was an actual battle between two sides instead of a trap. It was hard to move around with the dozens upon dozens of shattered animatronics laying on the ground; operators and animatronics alike almost tripped over the wreckage of the once formidable enemy shieldwall. The enemy animatronics started to fall back and form a new line from one side of the street to the other. Labcoat tried to run after them alone but Jay was able to catch up with her and get a few pats to the back of her head. “Did we win?” Labcoat asked as she turned around and inspected the wreckage. “Almost,” Jay said while pointing at the remaining enemies and catching his breath. With the enemy shieldwall rebuilt, everyone hesitated and waited as they watched the massive wall of shields and spears. Even if they wanted to move, many of the operators looked tired from the sudden burst of fighting and were catching their breath or covering others that needed to. “Ranged operators! Get on the cars!” Nearl yelled. The enemy had gave enough ground that they were a respectable distance away from the closest cars to the operators' battle line. Spark, Eddron, Lukewarm, and E4's ranged operators climbed onto cars and started shooting at the shieldwall or crossbows still holding back. “There's not that many of them left! We get these guys and the crossbows and we're clear!” Meeka called after looking up from her drone feed. Arts, arrows, bolts, and bullets thrashed the enemy line. While the shields held well, the few shots that shot over the shields were able to hit the animatronics standing behind the front row. “Watch for crossbow return fire!” Jay warned. The ranged operators immediately got on their knees or moved onto the hoods of the cars they stood on to prevent the enemy crossbows from getting a good shot on them. As more and more spears dropped, Jay could see Chaser rolling her shield on wheels to the front of the operator battle line. “Captain! I think it's about time we do that thing I wanted to try!” Chaser yelled. Aero ran up to Chaser. “Now?” “Come on, Captain, you always said in training we didn't need it but I think we need it now,” Chaser argued. “What's your plan?” Nearl asked as she approached. “We take my shield on wheels and push it as hard as we can right into that shieldwall like a wrecking ball,” Chaser explained with a smile on her face. Jay watched the enemy animatronics attempt to have the ones at the rear hold their shields up high to protect against ranged attacks. Their inability to have a shield up along the entire line was a good sign. “The enemy line's gotten really small. I think it could work,” Jay said. Nearl nodded. “Clear a path through the wreckage for Chaser's shield!” Defenders moved forward while the ranged operators continued shooting so everyone else could start dragging away the destroyed animatronics. Within minutes, a lane had been cleared to the enemy shieldwall. “I need some really strong operators to get this thing moving!” Chaser called as she readied herself on the little platform behind her shield. “Belt! You're up!” Aero yelled. Jay waved at Alabaster. “Alabaster! You too!” “Everyone be ready to move as soon as Chaser's shield launches at the enemy,” Nearl commanded. Alabaster and Belt put down their weapons and each grabbed a side of Chaser's shield. “On my command,” Nearl said as she raised her shield. A sudden golden light burst out of her which almost blinded Jay and forced him to close his eyes and cover his face. Even before he could open his eyes, he felt reinvigorated, not needing to catch his breath anymore and the aches in his arms from all the fighting he did had dissipated. Nearl pointed her warhammer at the enemy. “Now!” Alabaster and Belt ran forward with Chaser's shield in tow. As they gained more speed, Chaser's shield began to lag behind the two of them which started to make their ensemble look like a slingshot. When they were close enough, Belt yelled something which made him and Alabaster immediately stop and push Chaser's shield forward to launch it at the enemy. “Charge!” Nearl yelled as she ran ahead. Jay went after her followed by everyone else. Just as planned, Chaser's shield smashed through the shieldwall and created a large gap that was immediately exploited by the snipers and casters. The enemy began falling back to reform a new line but had become disorderly due to their lack of numbers. More and more gaps formed that were also shot through by the ranged operators. “Snipers and casters! Focus your fire on the enemy crossbows now!” Nearl ordered as she was the first to arrive at the enemy line and engage. Jay let out a yell as he charged forward with his spear. He was only able to run it into an enemy shield but kept the animatronic busy enough for Labcoat to run past and claw it in the side. The enemy battle line had finally collapsed completely and the snipers and casters were finishing with mopping up the crossbows. Soon, the battlefield was clear as the remaining animatronics either retreated or were a pile of scrap metal at the feet of the operators. “To the objective! Advance formations!” Nearl called as she moved forward with her squad. Jay hastily gathered his team back into their advancing formation and followed E4 and C1 to the tunnel at the end of the avenue that lead to the other side of the battlefield. The moment Eddron—who was at the rear of the formation—stepped into the tunnel, a buzzer sounded which signalled the end of the exercise. Along with the buzzer was a green light that turned on above a door at the end of the tunnel. Everyone began clapping, cheering, and patting each other on the backs. Jay collapsed his spear back into a baton and put it in his pocket before wiping the sweat off his brow. He looked around at his team who were all relieved the exercise was over. “I definitely got more than you,” Eddron boasted to Spark. I doubt it, but you've definitely gotten a lot better at shooting, Eddron. Spark rolled her eyes. “You really think so? I defi- You know what? I'll let you have this one.” Atta girl. Way to deal with those competitive impulses of yours. “That was actually quite exciting,” Alabaster said, “I'm glad we made it through.” You definitely got a little scared throughout this whole thing, but you've definitely come a long way, big guy. Jay looked at Meeka and smiled. “Your drone was very helpful. You did a good job.” “Thanks,” Meeka said softly as she hovered her drone in front of her so she could take it and fold it back up, her cheeks starting to turn red. Looks like she's starting to care. Labcoat took off her gauntlet and sighed from exhaustion. “I wonder what they've got in the cafeteria tonight.” Heh, always thinking about food. At least she's taking the junk food restrictions well now. Jay couldn't help but smile. Today's exercise was the most intense and difficult mission they ever took part in, especially since both sides used actual weapons and yet they prevailed. As a bonus, they most definitely made a great impression on Nearl and her squad. Still, he did have a strange feeling about having to go up against tactics employed by actual armed forces. He wanted to wave it off as some sort of challenge mode in training, but the regulation of diets and formation of Element E4 gave him the sneaking suspicion this wouldn't be the last time he would encounter military tactics. “Hey, Jay,” Spark called. Jay turned to Spark. “Yeah?” “Thanks for saving me back there,” Spark said with a smile. Jay shrugged while adopting the coolest expression he could muster. “Anytime.” There's a chance! A softer-sounding buzzer caught everyone's attention as the door at the end of the tunnel opened to reveal Dobermann stepping out with a clipboard. “Impressive for a first run,” Dobermann started, looking over a few sheets of paper on her clipboard. “You took a bit longer than I would've liked but I am satisfied with how the element worked together to overcome the odds we put against you. I want you all to run the operation again, this time, take a different route.” Ah shit, here we go again. Groans of displeasure came mostly from the reserve operators. “No complaints! Let's get back to the starting area!” Nearl yelled.
2020.08.24 02:46 nycreader314What's Going On Here: The Ateez MV Universe as of Thanxx, a Summary
First of all, Mods, I beseech you not to delete this. A postulating theory post this is not; rather, I'm just compiling all the confirmed information we have about the Ateez universe at this point in time, as well as the most populawidely accepted theories surrounding it. This is to help new (and old) Atinys figure out what the hell is going on, not for me to wax poetic about my own opinions, so please let it live. :,) also the theory megathread is a lil old. --------- Alright folks. Here we are; with Thanxx released and Zero Pt. 1 (most likely) at its storytelling conclusion, I thought it'd be good for us all to revisit what we know and don't know about the Ateez universe at this point in time, so I did my best to compile the widely accepted MV order, a basic summary of each music video's key points (and common theories), and what symbols/objects seem to have some reoccurring significance in regards to the story. If there is something I missed, or something that sounds incorrect to you, do let me know and I'll fix it. This is a living document; I intend it to be a marking point for all of us to look back on and laugh at how wrong we were. Anyway, without further ado... MUSIC VIDEO STORY ORDER (from earliest to latest)
*The Aurora MV is the only one that isn’t really connected to the storyline, and while Utopia is, it doesn’t really have a chronological place in it. --------- DIARY FILM (DF): Arguably the most important puzzle piece in the storyline's canon, here we learn that the eight members of Ateez are friends who keep getting separated by various circumstances. Injuries, work, fights, their own selfishness, etc. all drive them apart, to the point that we now find them in separate dimensions. It's still unclear as to if these separate dimensions are literal or metaphorical, but most signs point to the former. Hongjoong is visited in a dream by the Man in Black, who hands him a magical hourglass. Upon waking, he uses the hourglass to rewind time back to before the eight of them split up, and the film ends with the other seven members surrounding Hongjoong with blank faces, almost as though waiting for him to say something. (Perchance...to say their names?) Things to note:
5:07 – the time 5:07 appears twice in the video, and seems to have some significance, likely surrounding whatever happened to Yunho's older brother.
In "Hongjoong's Dream" he looks at television screens. These screens show Bastarz's music video, "Zero for Conduct." This is either an insane reference we all don't understand, or KQ just picked it because it has "Zero" in the title.
Also in "Hongjoong's Dream," he walks by a glass shard. This is the same shard that his face appears in at the start of the video.
Yeosang in SMN can be seen on a television screen in Seonghwa's section of the video.
We don't know who it is that Mingi beats up in his section of the film, but some have pointed out that he seems to be the same size as Yunho's brother. Considering the "5:07" moment happens in both Mingi and Yunho's scenes, it is possible there's a connection there.
Okay don't bully me for this but there are two dice on the table where Mingi's phone is, and one reads "1" and one reads "6." What is 6-1? 5. What is 6+1? 7. What time is it on the phone? 5:07. Coincidence? ...yea probably :(
During Wooyoung's section of the film, he has a flashback to when he was with the other members. However, only Seonghwa, Hongjoong, and Yunho appear. The four members (Yeosang, Mingi, San, and Jongho) who do not appear, meanwhile, are the only four members who appear in the fight scene between Mingi and Jongho in Mingi's section of the film.
INCEPTION: Directly tied to the Diary Film, it seems that Inception either happens right before DF, or concurrently with it. The video shows the members asleep in the same bed in their eight separate dimensions, and how they are searching for each other within the dreamscape. However, upon waking, they are disappointed to see themselves alone again. Dreams are a massive part of most Ateez MVs, and it's believed that the eight members have a power that allows them to share their dreams with one another. The video ends with Dream Hongjoong running into his own sleeping body. Upon impact, the other members wake up, but Hongjoong finds him trapped in a dark and empty dimension. Do we know why? Nope! But here are the main theories: 1) he sacrificed himself so that the others could be woken up, 2) he left the shared dream world for his solitary one, which is where he meets the Man in Black from DF, placing Inception's ending at the start of the DF. We're definitely still waiting for answers on this one, though. Things to note:
Most of the video is directly related to the DF.
The classroom they dance in as a group is the same one from DF/SMN.
Some people think Hongjoong and San are sleeping in a different room from the others due to the boxes on the ground, but it's actually the same room—the boxes are just there for practical film purposes (both of them have standing shots in the beds and the boxes are used to create the illusion they are laying down).
SMN can be seen playing on the television in Seonghwa's individual scene.
Hongjoong and Mingi are the only two members who seem able to traverse the dreamscape building; the others are stuck dancing in the classroom, while HJ/MG are able to move throughout the hallways. They also share a meaningful look at the end of the video, so you can understand why I am tad suspicious of them and what they did.
There are many direct references to the film Inception (2010): sharing dreams, moving in dreams, getting lost in limbo, floors becoming walls and walls becoming floors, the word "INCEPTION" stretching out, and needing a trigger to return to the waking world.
THANXX: (Note: this one is more based on my own theories since the MV just came out, will update when I see more, though.) Thanxx takes place shortly after the events of Inception/DF. It seems the members are back in reality together (likely after Hongjoong's use of the hourglass), but are unhappy with their role in society. Hongjoong, knowing that their individual unhappinesses was what caused them to split apart last time, leads the group to shirk society and become pirates—woohoo! Let's go Treasure series! Things to note:
There are many similarities between Thanxx and other music videos, particularly: Say My Name, Illusion, Wave, and Wonderland.
Say My Name: the members are wearing name-tags of the same font from SMN.
Illusion: the ship at the end is the Illusion ship.
Wave: some scenes resemble scenes from Wave, and is similar in mood.
Wonderland: basically the last minute of the video is filled with shot-for-shot copies of scenes from Wonderland, and it is heavily implied that they are the same location.
HALA HALA (HH): Hala Hala doesn’t really have a “plot” as much as their other videos, but essentially introduces the main “villains” (we don’t know if they’re actually evil or not, but they do have some antagonist qualities) of the series, who we have dubbed “Halateez.” These are versions of Ateez from an alternate dimension who appear in most of the MVs after this one—the man in black who gave Hongjoong his hourglass was the Halateez Hongjoong. Things to note:
Wooyoung is the sole member to "survive" the video. Some people believe he was not actually a member of Halateez, but the real Wooyoung undercover. This theory will be relevant later on.
Hongjoong's verse reveals much of the Ateez universe's plot, long before we learned anything about the time-travel aspects: “First time I've felt this way before / Meeting a new side of me / Rewinding just like the film / Our starting point is still there / More than a hundred times a day our first footprints come to mind / In the middle of the desert, more footsteps we keep rolling / Until the sandy wind touches the end.”
SAY MY NAME (SMN): We have confirmation from Hongjoong that SMN is a prequel to the rest of the Treasure series. Here, we meet Ateez in abandoned museum, after being called upon by Hongjoong and his trumpet. We see them hastily searching for information, and notice that they're wearing name-tags/have files on themselves. Based on the events of Inception/Thanxx, which precede SMN, this points to the theory that they're creating new identities for their pirate-sonas.* Part of this involves interviewing Halateez—minus Yeosang, who is trapped in a box and seemingly taunted by one of the Halateez members. At one point, Halateez Seonghwa removes his mask, startling the real Seonghwa into the realization that Halateez are other versions of themselves. This prompts the real Ateez to destroy all the information they've gathered and leave the museum. The choreography is performed by both Ateez and Halateez, implying they're both about to go out on the same journey. The final shot shows Yeosang's box, now empty. Things to note:
San is in the same classroom from the dance scene in DF/Inception, but is alone.
The Halateez members rarely match up with the actual Ateez members (San, for example, looks in the mirror and is greeted with Halateez Yeosang rather than Halateez San).
San destroys the mirror in the classroom, likely in an attempt to fend off the Halateez member inside of it.
The name-tags are in the same font as their Thanxx ones.
The Halateez member guarding Yeosang is Wooyoung. The Halateez member the real Wooyoung is interrogating is Halateez Yeosang.
Th Yeosang box scene is shown on the television in Seonghwa's section of the Diary Film.
We have no idea how Yeosang got out of the box to join the others, or if Halateez Wooyoung did something to him.
(* Fine I lied okay I'm a dirty liar I am throwing one personal theory in here, and it's that every time Hongjoong uses the hourglass, the other members forget who they are, so they're using the Halateez members to learn about themselves. I'm sorry this is not a popular theory at all I just have a #HongjoongIsTheVillain agenda and I must promote it, forgive me mods.) PIRATE KING (PK)/TREASURE: Neither have much going on in terms of overarching narrative, but are chronologically the start of their pirating journey. There is a popular theory that the Ateez in PK are the real Ateez, while the Ateez in Treasure is Halateez. Neat, yeah? Things to note:
Treasure shows multiple sub-groups: Mingi/Hongjoong, Wooyoung/Yeosang, San/Seonghwa. Yunho and Jongho are consistently alone, though.
While Mingi/Hongjoong and Wooyoung/Yeosang are common subgroups in later videos, we never see San/Seonghwa again. We do often see Yunho and Jongho alone, though.
ILLUSION: Illusion occurs entirely in the dreamscape, likely the same one we're introduced to in Inception and that we'll later meet again in Utopia. On the surface-level, it's a happy, cute concept, but the lyrics tell a different story. Multiple members comment that they don't know where they are, when they are, or who they are, but are encouraged by Hongjoong (and to an extent, Mingi) to ignore their concerns and enjoy this paradise. Looking closer, you'll notice some Halateez uniform pieces strewn about the backgrounds of some shots. Again this presents a few main theories, all of which are equally likely: 1) all the members in the dream are Halateez, 2) everyone but Hongjoong are Halateez, and he's tricking them to stay in the dream (going along with the self-sacrifice theme from Inception), 3) Hongjoong is the Halateez member, or 4) these are all the real Ateez, and they're trapped in the dream by Halateez, because...(see "Wave). Things to note:
Lots of Halateez references! A mask, a hat, etc.
At one point, another ship floats by in the distance. Some believe that this is either the "other Ateez" ship (which Ateez depends on who you think the Ateez in this video are), or the version of the ship that we see at the conclusion of Thanxx.
Mingi is wearing headphones at one point. When he wakes up in Wave, he is still wearing them.
Mingi is also seen using headphones in "Diary Film" as a method of escapism from reality.
There is a brief shot of a Halateez member in the tunnel they escape through. It's pretty spooky.
This also supports the theory that one of the members who leaves the illusion world is not the real Ateez, but rather a Halateez member masquerading as one.
We only see seven members leave the Illusion tunnel. Unclear if this is editing or intentional.
They open their eyes after hearing a woman's voice, telling them to open them. Seonghwa is the first to do so. In the Diary Film, Seonghwa "wakes up" after seeing a woman. Hm.
Once again, Mingi and Hongjoong seem to be in cahoots re: keeping the other members inside of the dreamscape. That's two strikes, boys. I'm onto you.
WAVE: Starting at Illusion's conclusion, the members are all shown waking up (except Wooyoung, but more on that in a second). They come together and celebrate being free of the illusion, and reach the peak of happiness in all of the Treasure series. Things to note:
Mingi is wearing the same headphones from Illusion, and seems somewhat disturbed upon looking at them. We know from DF that objects can be carried into reality from dreams, so it is possible he took the headphones from the dream.
Yunho has green hair here, as opposed to his blue hair in Illusion. Some people think this means something. In reality, Yunho explained that the green hair had to be changed for Illusion filming as to not mess with the green-screen effects used in the video.
Everyone wakes up separate, except for Jongho, Yeosang, and San, who are together.
In almost every other music video, we see Yeosang, San, and Wooyoung together. This is the only time we see Jongho switched out for Wooyoung.
I've already said this but we never see Wooyoung wake up andI don't trust that shit, okay?
Like sure I guess it could be an editing mistake but how do you mess it up that bad?
Random note, Jongho says everything will be okay because “time is mutable,” which is a direct references to the time travel aspect of the plot in a song.
WONDERLAND (WL): Oh, Wonderland. You beautiful, divisive creature. There are about a million theories on WL, and no real agreement, so here's the one I find most plausible: the "Wonderland" we see is actually the Halateez dimension, and the militaristic, uniformed Ateez we see are Halateez, while the plainclothes ones are the real Ateez. Obviously this world looks horrifying, so why would the real Ateez want to come here? Well, as I said: we never see Wooyoung wake up at the end of Illusion, and we know a Halateez member escaped illusion with the real Ateez. It seems that Halateez has had Wooyoung as a prisoner since that point—as shown by the chains he's wearing in the video. The rest of Ateez braves "Wonderland" to save him, and finally, the real Ateez is united again...or are they? Things to note (deep breath):
Why'd they want Wooyoung? See: only member to "survive" Hala Hala. They have a grudge.
The structure in the background of the dance scene is in the exact opposite shape of the half-burnt painting from SMN.
Yunho is seen alone in a room with televisions, which harkens back to Hongjoong and Seonghwa's scenes in the DF, which explain that televisions can be used to see into other dimensions—but not pass through them.
Seonghwa enters an elevator with Mingi and Yeosang after setting something on fire within it. The next time we see the elevator, Mingi and Yeosang are gone, and it appears there's something weird going on with the elevator itself. The power goes out at one point, and the very next shot shows Seonghwa taking the stairs. He broke it?
Carrying over the fire—Mingi is shown standing above the set previously used for the uniformed Ateez to dance, but it is now on fire.
A lot of things are on fire, actually, and usually Seonghwa or Mingi are shown in conjunction with them.
The building the members enter has an image of a compass on it.
Mingi is ultimately the member who frees Wooyoung from his chains.
The scene with the marching band appears to take place in the same place as the last scene of Thanxx.
Also a man in a motorcycle goes by at one point and I still have no clue what his deal was.
Yunho's shadow can be seen warping in the final shot, on the flag.
UTOPIA: Before we get to Answer, a word on Utopia. There's no agreed upon place for Utopia in the chronology of videos, because it's merely a general representation of Ateez in the dreamscape. It consists of many shots of various members looking confused upon "waking up" in the dreamscape, and wandering around it. There are also a few scenes that take place in movie theatre seats, where various members watch something off-screen. Going off the "screens are windows into other dimensions" rule we've already established, that's likely what they're doing here. Things to note:
There are two Ateez in this video: Ateez in colorful clothes, and Ateez in all white clothes. Both appear to be dreaming as far as I can tell, but the Ateez in white do seem to interact more with the dreamscape and are the ones to "watch the movie" in those scenes. They also disappear at the end.
ANSWER: Another reunion, like Wave, but the mood is different, more somber. Real Ateez toasts to their coming together, and the fact that they've grown strong enough to no longer "be afraid." We don't know exactly what happens between WL and Answer, but we can logically assume they defeated/impressed Halateez to an extent that they now have respect for one another (they share a meal together, after all). Hongjoong is seen clinking glasses with his Halateez counterpart, indicating a deal has been made between them. Likely in relationship to the DF. I mean, no one thinks Halateez Hongjoong gave away a magical hourglass for free, right? But then...destruction! Chaos! The Man in White! What does it mean? Well, clearly both Ateez and Halateez vacated the premises with haste, either anticipating the Man in White, or after having some sort of fight (explaining the mess). We can assume the hourglass was used for their quick exit (Wooyoung's solo scene shows snow falling upwards, much like the furniture levitating in DF when the hourglass was last used). Based on the members' solo scenes, we can guess where they all ended up:
Seonghwa and Jongho – They are both shown to be in the same purple-clad, fabric area. Some people think it represents Illusion.
Mingi is stranded on a boat. I have no further explanation.
Wherever they are, Yeosang, Wooyoung, and San seem to have gone together, as there is a shot of the three of them inside of the hourglass itself. Considering Yeosang has a moment where he is in the desert from Pirate King, it’s quite possible that the three of them were sent back to Pirate King era.
Yunho is alone in a room of mirrors, which is very similar to the room of mirrors from their Utopia music video, which took place in the dreamscape. As DF, Inception, and SMN have shown, mirrors (and televisions) can be used as windows into other dimensions; wherever Yunho is, he’s separated from the others again and is trying to find them, but only sees himself.
I’ll be real. No clue about Hongjoong. He’s shown inside of a clock, which implies that he’s going on his own to find everyone again, but I have no idea where exactly he is.
Things to note:
The shard of mirror that Yeosang picks up in the desert is the same shape of the shard he appears in at the beginning of the DF.
Wooyoung is chilling with butterflies. This either 1) means something insane that we don't know about yet, or 2) is just a cute reference to Dancing Like Butterfly Wings.
There are seven butterflies, meaning they could represent the other members.
Mingi is holding the telescope in this scene. In Illusion, Jongho did.
No one has any clue who the man in white is and anyone who says they do is a liar. The end. JK...WHERE ARE WE NOW: We're in one of two places. Assuming that the rest of the Zero series is also a prequel to the Treasure series, then we're likely not going to get the next chapter in Ateez's story (or any answers about the series) for quite some time. If the rest of the Zero series is not a prequel, though, then hopefully the next comeback will take us to another realm/dimension post-Answer, where the boys fight their way to each other again (and maybe with a new aesthetic concept). --------- IMPORTANT/REOCCURING SYMBOLS The Hourglass: Obviously the most important symbol of all, we now know that the hourglass is the members' ticket to other dimensions/time periods. An hourglass can be found in at least one music video per era, other than Pirate King. The Circle Formation: Ateez likes being in a circle with one membeobject in the middle. We see this in DF, directly after HJ uses the hourglass to reunite them. We see them recreate this formation in Say My Name (where they surround the trumpet) and in Wave (where they surround Mingi). It can also be called the "reunion" formation, since that's when it's usually utilized. The fact that the members have only surrounded Mingi and Hongjoong seems relevant as all, as (like I mentioned in the Inception section), they seem to have some powers that the others do not. The Trumpet/Megaphone: We jump between which is used, but either a Trumpet or Megaphone is held by Hongjoong in multiple different videos. It is used to call the other members to him. Televisions: TV screens are used to see into other dimensions. Hongjoong affirms this in DF, and we see the concept used again in Inception and Answer. Mirrors: I hope no one who works for Ateez is superstitious, because boy oh boy these boys break a lot of mirrors. Like the televisions, they seem to be windows into other worlds—or, more specifically, windows into seeing members of Halateez. This motif is most present in Say My Name, Utopia, Answer. The Compass/Telescope: Compasses and telescopes appear a lot in their videos, which makes sense, because pirates. There is a popular theory that Yunho somehow uses the compass to control Ateez, but we don't have time to get into all that. Fire: Ateez arsonists confirmed? Seriously, these guys love setting things on fire and talking about burning. A lot. I'm not sure if it means anything thematically, maybe it's just "heheh fire cool," but there's so much fire all the time that I felt remiss not mentioning it. Peter Pan/Immortality: Whether it be direct references to Peter Pan in Wonderland, references to "living younger" in Fever, or just themes of immortality, it's clear Ateez has an obsession with not aging and letting go of youth. Hongjoong specifically seems committed to keeping his friends together, and clings to the brief memories of happiness shown in Diary Film, constantly trying to recreate them. As Hongjoong's stage name was originally going to be Peter Pan, and, you know, pirates, it's quite possible that Hongjoong is Peter Pan, and the others are the Lost Boys. Never Knowing Who is Who: This is just a general thing, but we literally never seem to know who is the real Ateez and who is Halateez, and that stresses me out. I think the only time I'm truly confident is Answer, but even then? Who knows! KQ give us answers at some point. ----------- WHAT DON'T WE KNOW?
We literally know nothing, but more specifically...
Who is the Man in White?
Are there actually multiple dimensions or is it all a metaphor?
Where did Hongjoong go at the end of Inception?
Are Halateez evil?
WHO IS HALATEEZ WHEN?
Specifically, was Wooyoung replaced with Halateez Wooyoung for a hot minute there?
Who is Yunho's brother, and what led to his demise?
Why did San switch schools three times?
Why did the photo of Hongjoong's family look so old?
How many times has Hongjoong rewinded time for that photo to look so old?
Why are Hongjoong and Yunho the only members who reference family?
In Illusion, is it Halateez or Ateez who are dreaming?
Why was Yeosang in that box in SMN? Was it Halateez Yeosang or real Yeosang? Where did he go?
Okay my fingers hurt. That's enough for now. Mods, I swear if you delete this I will cry. I am not a dirty theorist, I promise, I'm just trying to get us—the collective—on the same page. To that extent: anyone who thinks I missed something, or thinks I'm totally off-base (though this post was based on watching every single popular theory video on YouTube, as well as rewatching the videos myself to find things to point out) let me know, and I'll most likely add your thoughts. Thanxx. ----------- CREDITS General: Myself (u/nycreader314). YouTube: KQ Entertainment, Ateez Official, Bookish Theories, Atinybong Theories, ateezfan, FixOn8, YOOCH, 김일오, various clips from the film Inception. Reddit Contributions:u/yvespunk
2020.08.19 18:43 heeheejonesKOF XV Endings Wishlist
Hi guys hope everyone's doing good today! In my last post, I put together a wishlist for a roster for KOF XV and included some storyline explanations for each team's reasons for entering the tournament. I was really pleased to hear back from some of you guys and it has encouraged me to get right on to this post. Personally, I would like for some of the endings to have some sort of connection to one another in order to ensure that each ending remains canonical to some degree. Just like in the last post I'd like to emphasise that this is in no way a prediction but just what I personally would like to see in KOF XV Bad Ending: Ron is defeated and vows to bring the world down with him as he attempts to summon his army from the dead. However for an unknown reason he is consumed by a blue energy and begins to crumble to dust, cursing the victorious team for his defeat. The victorious team then leaves the battleground wondering amongst themselves what that energy was. As they leave, that energy begins to slowly materialise into a demonic figure... Hero Team: Having seemingly incapacitated the Nega-Verse, the Sacred Treasures and Shun'ei finally take some time to collect themselves. However, just as they let their guard down, the evil entity captures Iori, Chizuru and Kyo in an attempt to absorb them and increase it's power a thousand fold. Seeing his friends in danger, Shun'ei unleashes a devastating strike which annihilates the Nega Verse and sends it's fragments flying off into the night sky. Realising that Shun'ei is finally able to channel his powers effectively, Kyo declares that their work together is done. Chizuru congratulates Shun'ei on this feat while Iori just looks on aloof and unbothered. Fast forward a few weeks and everyone has gone back to their regular lives. Kyo is seen with his friends and family back home in Japan, Chizuru has returned to her life as the CEO of the Kagura Corporation but is puzzled when an employee passes her the documents she requested "a few hours ago" and Iori stands solemnly on a dark rooftop waiting for someone. In China, Shun'ei and Meitenkun are backstage at one of Mian's performances when suddenly Shun'ei clutches his arms in pain. After regaining his composure he realises that the threat of the evil entities has yet to be fully neutralised but confidently tells Meitenkun and Mian that this time he's ready for them. The three then head out to begin their next journey while an ominous figure secretly watches over them. Psycho Soldier Team: Following the defeat of the Nega-Verse, Athena Kensou, Bao and Duo Lon find a mortally wounded Ron among the debris caused from the fight. Ron tells Duo Lon that as his son, the only thing in between him and the position of head of the Hizoku Clan is lying in front of him now. Duo Lon says that he no longer believes in such outdated customs and walks off, telling his father to use whatever time he has left to reflect on all the pain he's caused. The Psycho Soldiers then look at Ron as he tells Kensou and Bao that although they have controlled the Dragon Spirit, their refusal to use it's destructive powers to it's full potential is disgraceful. Kensou and Bao, affected by these words reply that if he wants to see the full extent of their powers so badly he'll get it. They power up to the point that Athena's Psycho Powers are unable to stop them as they fire a massive energy blast at Ron. As everything clears up, Athena notices that Ron is still alive. Kensou says that they have healed him of his mortal injuries but left him weak enough to no longer pose a threat. Bao says that true power comes from helping others no matter how far astray they've gone. They leave too as a humiliated, crippled Ron curses at them. Athena tells Kensou and Bao how proud she is of them. A few weeks later, Athena is having one of her concerts. The entire Psycho Soldier squad is celebrating backstage and are happy to see that Duo Lon came to watch as well. However, he senses something in the air and heads outside to a dark alleyway. Lin appears from the darkness telling Duo Lon that he has gone against the teachings of Hizoku while Duo Lon shrugs it off. Lin then drops Ron's mask at Duo Lon's feet as the two stare each other down. Rival Team: As the Nega-Verse is defeated, Antonov rushes over to check on Kyo and Chizuru. Mian helps an injured Shun'ei up and warmly congratulates him for mastering his new powers. The revived Yagami clan member leaves without saying a word while Lin overhears Ron cursing out the Psycho Soldiers. He mocks Ron saying that the last time they were like in such a situation the tables were turned and Ron couldn't get the job done. Nobody's going to save Ron now (a reference to the Benimaru team's ending in KOF 2000). Lin says that as the superior assassin and the pride of the Hizoku, he will now fulfil his mission. He swiftly slits Ron's throat as he collapses to the floor dead at last. Antonov tells Kyo that he wants his belt back from last year and the two share a laugh. Fast forward a few weeks and Mian and Shun'ei have grown closer. She gives him tickets to his show telling him that he promised in the previous tournament. He smiles and agrees to come to her show the next day. Antonov sits in his office going over business with Yakov and is amused by looking at how the Kagura Corporations shares have skyrocketed while the Howard Connection's shares continue to plummet steadily. Lin and Duo Lon confront each other in a dark alley behind an arena with Lin telling Duo Lon that his refusal to kill Ron is a breach of Hizoku custom. Duo Lon says that as the leader of the Hizoku, he will forge a new path for the clan and as his subordinate, Lin must follow. Satisfied with the answer, Lin heads off promising to report to his new leader at the Hizoku headquarters. Duo Lon then heads back into the arena to carry on watching his concert. On a rooftop Iori, demands to know why his ancestor has been so persistently following him. When the man does not answer, an angry Iori prepares to blast him with his fire. However, he instantly stops with just a look from his ancestor and is shocked to see that his bluish flames have turned orange. The ancestor tells him that it is about time he learns to live as he is truly meant to, "the Yasakani will shine upon the Earth once more." Villains Team: Rugal, Mizuki, Igniz and Saiki look on as the Nega-Verse is destroyed. They sadistically joke that Ron would never have been able to be on par with them. Rugal then says that perhaps it's time to decide who among the four of them is truly worthy of conquering the universe. However, they each decline for the time being saying they each have certain loose ends to tie up. Mizuki says that she must make haste to provide an offering for her god. Igniz snidely replies that the only god here is himself and he must make immediate preparations for his ascension. Saiki replies that even god's greatest acts can be undone with time. They mock Rugal's seeming lack of direction but assure him that in a week they shall all meet again for one last fateful battle between the four of them. Rugal agrees and the four part ways. Rugal is left alone and laments the fact that he probably won't be seeing any of those three ever again saying that they would have been the most prized statues in his collection. He mutters that they deserve whatever they'll have coming to them because as powerful as they are, none of them could see the "big picture." Just then, Misty appears. Rugal then asks "do you have it?" She nods and hands him various files relating to NESTS research and technology as well as the Hizoku's secret files. Some time later in a well hidden submarine, Misty is seen on a computer with a large display screen showcasing the various KOF Fighters. A computer voice announces that "phase 1 has been completed." Misty then presses a button which causes a large pod to open up behind her. Within the pod, is Rugal sitting on a mechanised throne and once again in his Omega form with large tubes coming out of his back. He tells Misty to initiate "phase 2" as he lets out a malicious grin as his red eye begins to menacingly glow in the direction of an image of Shun'ei, Meitenkun and Mian walking together. Team Japan: Recovering from the blast caused by the Nega-Verse's destruction, Saisyu, Benimaru and Daimon are unable to react in time and are pinned down by a surprise attack from Mizuki. She tells them that they will make worthy sacrifices to Ambrosia and brushes Shingo off as a pest saying she will let him watch her kill his friends and Kyo slowly. Angered by this, Shingo rushes towards her and lands a perfectly executed 101 Shiki with raw strength compensating for his inability to produce flames. This is enough to set Team Japan free with Saisyu creating a huge wall of fire and Daimon grabbing Mizuki with his power, setting up for Benimaru to finish her with off with an Electrigger. The three of them now tell Shingo that he is their equal now and will always be a full fledged member of Team Japan from now on. A few weeks later, Shingo is at Kyo's place helping out with chores when he is approached by Kyo. Kyo tells Shingo that he heard that he's taken his spot in Team Japan so that makes him his rival now. Shingo gets defensive but Kyo tells him that it's to time spar with his new rival. An overjoyed Shingo nods and rushes over into the Kusanagi dojo. Daimon and Benimaru are seen speaking in the Kusanagi's kitchen over a meal with Daimon telling Benimaru that with Shingo stepping up, it's time for him to once again return to his family and become a full time Judoka once more. Benimaru says that he'll stick around considering he's got nothing better to do but thanks Daimon for all those years of partnership. He pours them both a drink and they toast to their friendship. In a more private room, Saisyu is on the phone with an unknown woman. Telling her things like "looks like nobody found out yet", "you were unbelievable" and "she'll realise it sooner or later." Unbeknownst to him, Yuki had been listening to this conversation and after piecing together what she hears, leaves in disgust without hearing Saisyu end the conversation by saying "Welcome back, Maki." Ash Team: Following the Nega-Verse's destruction, Ash and Elisabeth are separated from the others. As the dust from that battle begins to settle, they are met by Saiki. Ash knows that Saiki isn't as strong as he was before and goads him into attacking. Ash still has some of the power left from the Yata Mirror and Yasakani Jewel and uses the remnants of this power within him to deliver a deadly blow to Saiki. Saiki questions why Ash continues to associate with pathetic humans and deny their bloodline. Ash replies that it has nothing to do with humanity and is entirely down to him wanting to do whatever he wants. Elisabeth then steps forward and says it is now time for her to fulfil humanity's mission. Together, they kill Saiki once and for all. Kukri then arrives and asks if they have succeeded. When they confirm this, Kukri says it is good because now he can carry out his next job. He then delivers a devastating sand attack to a completely unguarded Ash, leaving him severely injured and defenceless. Adelheid then steps in and says Kukri works for him now. Elisabeth is enraged and demands to know why Adelhied would do this especially after they have all succeeded in getting their vengeance on Saiki. Adelheid replies that while it was true that his sister Rose was a victim of Those From the Past, Ash too is equally responsible. Ash acknowledges this and tells Adelheid to do what he must. Elisabeth then steps in between them and tries to defend Ash. Adelheid then smiles and says there's been a miscommunication. He explains that his "retribution" against Ash would come in the form of a good, clean match between the two and that Kukri severely misunderstood his instructions. Adelheid says that now with Ash injured he can't have his match and tells Ash to prepare himself for he will return once Ash is well enough. Ash bids him farewell with a friendly wave and Adelheid nods back in agreement. Elisabeth and Kukri are both left equally confused as they leave with Ash and Adelheid respectively who now part as friendly rivals. A few weeks later at the Blanctorche Mansion, Ash is still healing from his injuries when Shen Woo appears at the door complaining that he is bored and is looking for something interesting to do. Aboard the Sky Noah, Kukri and Adelheid receive a package from Oswald relating to Rugal's latest plans. Oswald and Kukri ask what Adelheid's next move will be and he tells them to contact Heidern at once. Rose appears and asks what's wrong as Adelheid tells his sister that everything is just fine. Zero Team: Following the Nega-Verse's destruction, Igniz appears before Zero and company. He offers them one more chance at serving him again. When they refuse, he calls Sylvie an abomination and fires a devastating cosmic blast at the team. Angered by Igniz's insults to Sylvie and his treatment of Krizalid in the past, Zero blindly charges towards Igniz, taking all of his cosmic blasts before grabbing him and killing him with an earth shaking vortex. He then collapses to the floor, severely injured and on the brink of death. The team rushes over to him and he tells them that he has come to a realisation. NESTS did not make clones, nor did they make defects. They may not have meant to do so but they created heroes and most of all they created Sylvie and Krizalid whom he calls his dear friends. He tells Krizalid to never think of himself as a clone and that true originality comes from what a person does to set them apart from the rest. He tells Sylvie that she is not useless and just needs the right people around her. He also thanks Angel for her service to NESTS and to him and hopes that she will continue to support Krizalid and Sylvie. He finally tells Krizalid to go and make something of himself and live by the example that he had been trying to set. Zero then tells his team how proud he is of them and dies shortly after. A few weeks later, Krizalid, Sylvie and Angel have moved into a large estate previously belonging to Zero. Angel asks Krizalid what's next and Krizalid replies that they are going to do right by Zero. He mocks K's vagabond lifestyle and vows that this estate will be a safe haven for people like them. A place not for them to hide but to learn what it takes to thrive in the world and be recognised by all as being one of a kind. Sylvie then asks if there are any more people like them left to which Krizalid nods and shows her and Angel a file titled ""Project Ж" K' Team: K' and company were present when Zero sacrificed himself to destroy Igniz. While they had the opportunity to take Krizalid, Sylphie and Angel into custody they refused, knowing what it's like having been in their shoes before. With the threat over, K', Kula and Maxima decide to return to their under the radar and on the move lifestyle. Nelson on the other hand decides to carry on with his boxing career, riding on the success of this tournament. Some time later, Nelson has become a superstar in the world of boxing and a huge celebrity. Using his newfound wealth, he offers to build K', Maxima and Kula a comfortable home deep within Zarina's land where they are guaranteed to live in privacy without the need to constantly move and keep away from any threats. They agree and Nelson is happy to repay K' and company for helping him all this while too. On the day of their housewarming party, Bandeiras appears before the team and summons them to an aircraft carrier. There they meet Vanessa, Seth and Ramon who inform them that Heidern has a new assignment for them. NESTS most powerful creation had been dormant up to this point and now that they have received intel of it's resurfacing, their job will be to investigate and to neutralise this creation. K' sulks at the fact that although they can now avoid threats, the work never ends for them. Reading his file, Nelson is shocked to learn that K' had been cloned a total of 9999 times and wonders what such a clone is capable of considering how powerful K' already is. Tung Disciple's: Following the Nega-Verse's defeat, Meitenkun is finally able to reunite with Shun'ei and the two old friends hug. Chonrei is satisfied knowing that his master has been avenged and Jeff is glad for a second chance to come back and settle all his unfinished business. Cheng then gets a phone call with good news. Tung's condition has stabilised and that they can go meet him as soon as possible. A few weeks later, the team along with Shun'ei, Terry and Andy are at Cheng's house where Tung is now living and are celebrating his discharge from the hospital. Tung looks on at all his former students together and silently regrets not having done enough to keep Geese from sinking into darkness. Shun'ei gives Meitenkun his extra ticket for Mian's show while Chonrei asks Cheng if he could accompany him to Korea. Cheng agrees and tells Chonrei that it has been a long time since he saw his brother Chonshu. Chonrei says he feels something isn't right and has to talk to him as soon as possible. Jeff is seen speaking with Terry and Andy. He tells them that he is proud of how far they have come and is glad that he no longer has to worry about them. He says now that since they both have their own lives, he'll leave them to it and not bother them but tells them to remember that they'll always be family. They then ask Jeff what his plans are now. Jeff says that with Tung recovering and Cheng often away on business, he has agreed to stay here to help look after Shun'ei and Meitenkun. However ,before doing that he has one last person to settle some unfinished business with first. A few hours later Jeff is dropped off at the airport and buys a ticket for the first flight to Germany. Geese Team: Realising that the Nega-Verse is still too unstable for him to control and with the knowledge that it will one day return, Geese heads over to Xanadu's hideout where he now expects the mad convict to translate the Jin Scrolls. Giving Xanadu the scroll, he begins reading song lyrics and Geese comes to realise that Xanadu is just mentally unstable. However, upon taking back the scroll he realises that there are now lyrics on it and that the original scrolls have been stolen. Geese then realises that Hein is now missing without a trace and Geese deduces that he has stolen the scrolls. Billy then receives a call from a desperate Mr. Big asking for a temporary truce as Southtown has now descended into complete chaos. Upon watching a live video feed, Geese sees Hein razing the Geese Tower to the ground. A flustered Geese then orders Billy and Xanadu to head to Southtown immediately and says he will join them later after bringing backup. On a private plane, Geese mutters to himself how much he hates what he is about to do. A while later at the gates of Stroheim Castle, Geese is met by Jeff Bogard who coincidentally arrived around the same time as he did. A frustrated Geese then asks himself how much worse his day can get. Fatal Fury Team: Following the Nega-Verse's defeat, Rock notices that Geese has slipped away and curses Geese for not facing him. Terry and Andy reunite with Jeff who tells them that now that he is back in the world, they are free to fully let go of their vendetta against Geese. Joe looks on happily at his friend's but questions what he is to do now. A few weeks later, Joe is in Thailand training alongside Hwa Jai for his big Muay Thai comeback. Terry, Andy and Jeff then part ways at an airport in China. Andy tells Terry that he's got to head back to Mai and Hokutomaru but he will always be there when he needs him. Terry thanks his brother and says he's heading home to check up on Mary. In Southtown, Rock looks upon the city as it descends into chaos. He questions Terry's decision to drop his grudge against Geese and wonders if he could ever do the same. Suddenly he is stopped by a man with a striking resemblance to his late mother. The man introduces himself as Kain, brother of Rock's mother. He offers Rock the chance to gain the strength to beat Geese once and for all on the condition that he work for him for the next year. Rock agrees and goes with him. Terry arrives just in the nick of time to see this and tries to stop Rock but he is pushed back from out of nowhere by Kain's masked enforcer Grant. Rock looks at Terry one last time and apologises, promising to return once this is all over. Terry looks on upset, but in his heart tells Rock that he's proud that he has chosen to forge his own path. Terry then gets up and says he better get to work just in case that path takes Rock down the wrong road. Art of Fighting Team: As the Nega-Verse is defeated, it fires one last projectile in the direction of Robert. Takuma, being the only able to react in time, deflects the blast with a super Haoh Sho Ko Ken. Robert thanks him as a dazed Takuma replies that he cannot allow the father of a future Kyokugen restaurant franchise owner die as he collapses from a heart attack and is rushed to hospital. A few weeks later, Takuma is getting ready to be discharged from hospital with Ryo,Robert,Yuri,King and Kushnood there to take him home. As they pack his things from his hospital room, Takuma tells Ryo that this health scare is the end for him and he's hanging up his gi for good. Ryo promises that as the new grandmaster of the Kyokugen style, he will make Takuma proud. Takuma replies that he already has and tells him he has one last thing to give him. Takuma tells Ryo that he is now worthy of the mantle of "Mr.Karate" and hands him the mask. Ryo says he will be honoured to go by that name but in order to spread the word of Kyokugen around the world he can't be hiding behind a mask. Yuri asks her father why he even bothered to bring it to the hospital anyway and Khushnood says that he has caught Takuma trying to wear it in order to sneak out for snacks. King tells Takuma that she helped get him a welcome home present which he'll see tomorrow the night. The next night, Kyokugen-Yankiku is reopened for business and King introduces Takuma to the new managers of the restaurant, Richard Myer and Bob Wilson. Takuma is thrilled as the ever popular managers will definitely increase business for his restaurant. Robert then approaches him and asks Takuma if what he said before he collapsed means he has now given his blessing for Robert to date Yuri. Defensive, Takuma denies having any knowledge of this and forces Robert to cover the costs for tonight. With Richard and Bob running things, various fighters come to the restaurant and inevitably a brawl breaks out. Richard looks on horrified saying "not again" but Takuma assures him that the situation is under control. Ryo and Khushnood dressed in full fighting gear arrive and begin to control the rowdy crowd. Takuma laughs saying that no matter what, Kyokugen will live on forever as he looks on at the Mr.Karate mask which now hangs proudly on the restaurant's bar. Women Fighter's Team: As the Nega-Verse is defeated, Yuri, Mai and King are exhausted but are relieved that this threat was successfully dealt with. Mai decides to visit the hospital where their friends are in order to tell them the news of their victory. They finally feel Luong is trustworthy enough and as a show of their newfound trust, they invite her to come along with them. However, she refuses saying she has something to do and hurriedly leaves. In the hospital Yuri, Mai and King visit Xiangfei, Kasumi, Hinako and Mary who congratulate them on their victory. Richard and Bob also show up with plenty of food and drinks to go around. Yuri asks Richard what the deal is with the sudden show of generosity and Richard dejectedly replies that the Pao Pao Cafe has been destroyed in the ensuing chaos in Southtown. Richard tells the ladies to enjoy the last of what he has to offer and leaves, sadly with Bob in tow. King stops him and offers him a new job. Reinvigorated by the offer, Richard accepts and gets to work instantly. A few weeks later all the former women's fighters have been released from hospital and are celebrating at Kyokugen-Yankiku now managed by Richard and Bob. Mai comments on such a lively crowd with Richard's management attracting many KOF competitors past and present. She mentions that she texted Luong to come over and hopes she'll make it. Luong calls to say she's outside and Mai brings her in. She introduces everyone to the fourth member of this year's Women's Team and much to Mai's surprise, the former Women's Fighters recognise her as the one who attacked them. As they charge toward her, Luong reveals she has brought backup in the form of Jack Turner, Eiji Kisaragi and Malin. Just as always a huge brawl breaks out, Richard sighs, saying nothing has changed in the end but Bob comforts him and says at least they're doing what they love. Richard agrees as he gets to work on another round of food and drinks. Kim Team: After the Nega-Verse is defeated, Kim heads home to his family and students. He finally tells Chang and Choi that they are now free to do whatever it is they want and bids them farewell. Gang-Il invites the two former convicts on an all expenses paid worldwide trip to establish Chang and Choi as the newest fixtures of the international social scene. A few weeks later, Kim has settled back in to his peaceful and easy life back home but finds that he has grown to miss Chang and Choi. May Lee consoles him and tells her master that there'll be plenty more people to rehabilitate to which Kim replies that he hopes so. Suddenly the doorbell rings and much to Kim's surprise, Chang, Choi and Gang-Il are there. Chang and Choi tell Kim how much they disliked having to travel around and pretend to be sophisticated and beg Kim to take them back in. Kim tearfully agrees as he welcomes the two back home. A few hours later, Kim and Gang-Il look on as Chang and Choi play in the garden with May Lee and Kim's sons, Dong Hwan and Jae Hoon. Gang-Il tells Kim that it was apparent that Chang and Choi genuinely missed their lives here which is a testament to how effective Kim's training has been. Kim thanks his master for putting the two through one final test to prove the results of his rehabilitation program. Gang-Il replies that he'll never understand Kim's methods but he's glad that in this case, they were effective. He then asks Kim about another student of his. Kim takes Gang-Il to the dojo on his property where Jin Chonshu is being monitored by Jhun Hoon. Kim tells his master that something is causing Chonshu to lose focus and constantly stumble in his training. Gang-Il tells Kim that the answer will come in time and only through patience will everything reveal itself. Kim accuses Gang-Il of not knowing either and trying to cover it up. Just then, a car horns and Kim notices Cheng and Chonrei pulling up to the driveway. Gang-Il then flashes a cheeky grin at Kim and says "You see? What did I tell you?" Leona Team: Taking advantage of the chaos caused by the fight with the Nega-Verse, Yamazaki makes a run for it. Mature and Vice attempt to stop him but he calls them out on their hypocrisy. He tells them that they lived as they please and so should he. Yamazaki says he hopes they never have to meet again but if they offer a sweet pay day, he'll always be open for business. Mature and Vice let him go saying that they found him creepy anyway and probably won't have much use for him down the line. Leona then approaches them and asks why they let him go but the two women reply that Leona probably has bigger things to worry about. Leona senses that Gaidel is close by and hurries to find him. Mature and Vice promise her that they will cross paths again soon. They then ask each other what they're going to do till the next time but are interrupted by a voice that says that for them there will be no next time. Three ominous figures appear and swiftly attack the two men, bringing their unconscious bodies with them. Leona rushes over to Gaidel who attempts to take his own life and stops him in the nick of time. Gaidel tells his daughter that as long as he lives, he will only bring evil and destruction. Leona tells him that she thought the same of herself for many years but there is a better way. Gaidel looks doubtful at this prospect. Just then, the Ikari Squad come over and rush to Leona's side. Seeing the love and care that these soldiers show his daughter, Gaidel is moved and reconsiders his earlier stance. Heidern then steps forward and introduces himself. A few weeks later, it's business as usual for the Ikari Team with Leona back full time on the squad. Gaidel is living on their aircraft carrier as he has nowhere to go and is visited daily by Leona. One day after a mission briefing Heidern goes to Gaidel's room and tells him that since he has nothing to do, perhaps he should come along with him. Gaidel asks Heidern why he has always been so kind to them and he replies that they're less different than he thinks. They then head off together in a plane. Ikari Team: Following the destruction of the Nega-Verse, the Ikari Warriors rush to examine the scene. Whip asks K' where Krizalid is and K' replies that he escaped along with his team. Clark consoles her saying that they'll meet again sooner rather than later. Ralf then sees Leona running away and rallies the team to go after her. They finally catch up to Leona and notice that she has successfully stopped Gaidel from killing himself. Clark reminisces how not too long ago, Ralf had to stop Leona from doing the same thing. Ralf just smiles and thinks to himself how far Leona has really come. A few weeks later and it's another busy day at the Ikari headquarters. Heidern has given everyone their missions and has left on an assignment of his own. In the prep room, Ralf asks Leona if she's settling back in alright. To which she replies "yes Colonel." Ralf says he's not asking as her superior, he's asking as someone close to her. Leona then smiles and thanks him for standing by her all this while. Pleasantly surprised by this rare display of emotion, Ralf tells her to not get too sappy cause they have another mission. Whip and Clark then come in and inform them that they'll be pursuing another NESTS lead. The team's playful banter continues in their plane as they poke fun at Leona for not catching Yamazaki yet. Ralf then smiles, glad that everyone's back together again. In another plane Heidern has just gotten off the phone with Adelheid. Gaidel who was with him and heard everything, tells a clearly shaken Heidern that they really aren't that different after all. Heavenly Kings: Upon the defeat of the Nega-Verse. Yashiro, Shermie and Chris turn towards Goenitz and ask him to come clean. It's more than apparent that he isn't just an ordinary priest trying to help them with their careers. Goenitz replies that perhaps it would be better to just show them. He then forcefully implants all their memories as Heavenly Kings and tells them to succumb to their fates. They slowly start morphing into their Orochi forms but at the last minute, their memories of being together as a group overtake these and they begin to resist. Goenitz tells them to stop resisting and realise who they are. Yashiro tells him that they already have. They are CYS and nothing more or nothing less. They successfully beat Orochi's influence but find themselves left with a small fraction of it's power each. They then turn on Goenitz who is forced to retreat knowing that he cannot beat those three alone. Chris asks what's next and Shermie tells the two that it's time to head home and get to work on their new album. Antonov, overhearing this conversation offers the group a lucrative recording contract with his company to which they happily accept. A few weeks later CYS is playing a sold out concert at the rebuilt Antonov arena from XIV. Yakov watches the show proudly by Antonov's side but unbeknownst to Antonov, he is wearing a recording device and his eyes turn a red colour. In a secret lair somewhere, Goenitz is watching the concert unfold. He turns behind him and tells three people standing there that he is very impressed. He switches on the lights in his room and it is revealed that the people are Magaki, Mukai and Botan who is controlling Yakov. The four of them leave the room and it can be seen that Mature and Vice are being held prisoner in stasis tanks with 5 more empty tanks around them. Gaidel: Sitting in a plane and contemplating everything he has been through, Gaidel still questions if he should truly be deserving of a second chance. Fate has given him powers designed only for evil and for many years the world was rid of that evil. That was until he came along. Overhearing a conversation Heidern is having on the phone, Gaidel remarks how funny it is that the worst people come from the best circumstances and the best people often come out of the bleakest. Seeing Heidern clearly distressed by the call, he places a comforting hand on his shoulder. Over in Hong Kong, Yamazaki is back to his usual tricks smuggling illegal weapons. He turns around expecting the police but is shocked to see Heidern and Gaidel who pins him down with a sharp blast of water. As Yamazaki is taken away, Gaidel remarks to himself that he doesn't know what exactly his circumstances were but he's going to start on a new more righteous path regardless of what stands in his way. Nega-Verse (Post Credits Scene): The Nega-Verse's fragments gather in a rural area in Afghanistan. As they begin to materialise once more, the original Verse appears and they communicate in their own language that they must go somewhere else. In a hidden shrine in Egpyt, the two entities begin a ritual and summon another member of their kind... Hope you guys like it and apologies for the long read. I'm looking forward to hearing what you have to say about these endings. Would love to hear if you guys feel the same or have any ideas of your own to add on or to counter any of my points. Take care!
2020.07.22 19:12 GrotesquetteEpisode 4, "The Outer Space Ball" [POLL]
The girls return to the werk room after the elimination. Not a word is uttered, as the contestants are too sad to speak after Kiwi's untimely departure. The girls walk over to the mirror, as if a horde of lifeless zombies, and read the fruity queen's final departing words. The mirror reads, "Real eyes realize real lies. Be careful, things aren't always what they seem. This studio was the only place Wendy couldn't find me, and now I have to go. Far far away. Pray for me, I must make haste. Lightning speed. Kachow." The girls tearfully read the message and nod solemnly. Erika wipes a tear from her eye. "She was such a blessing to us all. She was "in it tonighty, bitches gonna spite me / This ass so phat you can’t grip it tightly / Spell coconut make him wheeze that high G / Kiwi Von'Froot, Ka-chow like Lightning!" The girls all tearfully scream the rest of the lyrics to Kiwi's iconic mantra in unison. Mournful wails of "Miss Appa is my ride! Take off to the skies!" Ring throughout the establishment. Finally, Rat grabs a bottle of Windex and gingerly wipes the message away. "This is such a rough night for me." Slim begins. "Because not only did one of my best friends get sent home, but I was low! That was absolute bullshit. The challenge was to tell the judges about oneself, and I did! I'm not a bottom, I love sharpies, and I love to eat! I mean... Did I miss something?" Ketty manages to glare at slim through teary eyes. "Our sister just went home, and you have the audacity to make this about yourself?!" Slim scoffs. "What?! I said I was sad about Kiwi too. You people are constantly villanizing me." "What do you mean you people?!" Rat retorts. The girls all sit on the couch and join hands, glaring at Slim who stands and stares at them with indignation. They gaze back, their eyes burning with fury without abandon. Finally, Slim cracks. "You know what? I'm outta here." He storms out of the werk room. "I can't believe him." Rat sighs, her shoulders beginning to lower. "It was a super hard decision, but at the end of the day Kiwi was the right choice." "Oh yeah, about that..." Ketty says sheepishly. "I chose.... Ezidro's lipstick." The girls gasp in indignation. Ezidro's head lowers as she stares at the ground. "Oh..." Is all she manages to get out. "What was the reason?!" Erika yells. Ketty rolls her eyes. "Listen, I don't have to explain myself to anyone! I came here to win and leave my daughter with the FEDS, ow!" "But why would you send Ezidro home?" Spencer asks. "She's literally bestie. Anyone who could do such a thing deserves death via lethal injection methinketh..." "Because I wanted to!" Ketty spits. "I can eliminate whoever I want when I'm in the top, which I have been... TWICE. Three times if you count your talent show because in my mind I was the one who rapped that while you performed some HORRIBLE stand up number. Who knows who I'll eliminate next? Maybe even YOU!" Spencer stands up to meet Ketty's level and stares her down. "Try it bitch. Because just like Demi's addiction, I always come back." Talking Head: u/Spencerietta "Ketty says she wants to eliminate me, and that really made me mad because... How can I win if I'm eliminated? So I don't want that to happen. :) " The dramatic music reaches a crescendo as Rat scampers over to a large feeder full of water and begins drinking from it rapidly. ____________________________________________________________________________________________________________
AND EXTRA SPECIAL GUEST SDRDR SEASON 4 RUNNER-UP AND AS2 RUNNER-UP, u/TravisPaytas!
____________________________________________________________________________________________________________ It's a new day in the werk room, and girls all walk in. No one has the energy to strike poses or make jokes or anything of the sort. They all shuffle on over to the tables. "So girls..." Rat begins. "Do we still hate each other? Because I don't want things to be awkward between us." "I don't hate any of you" Ezidro smiles. Last night was a wake-up call for me, and I'm feeling energized to do my best and make it all the way to the finish line." V.O. YOU'VE GOT MOD MAIL! Automoderator: In a galaxy far, far away... Six queens had to throw a legendary intergalactic ball for the Gawds! Your challenge this week is to throw a legendary intergalactic outer space ball for the Gods! Preparing three looks consisting of Astronaughty girl, C3P-H0, and Alien Freak realness! Be very careful to not fall out of orbit. Otherwise she'll be phoning home sooner than she would've liked. May the force be with you! Please come through Geronimo, you're my only hoe..." ____________________________________________________________________________________________________________ The girls sit around the werk room sewing their looks. Suddenly, u/rupertonian walks in. The girls all look up at her smile and clap as he smirks “Bonjour beauties and gentlebeauties!” u/Ezidro3, from the corner: “Oop, hide your kids!” Ruppi goes up to SlimThiccSnacc. Ruppi: Slimothy! Slim: Hello, Miss Rupert. Ruppi: Miss almost bottom, how are we doing? Slim: Oof, that word gives me nightmares. Ruppi laugh. “Well, last week you were saved from the bottom 2, but you were almost there. What are you gonna do this time to stick out? Slim: Show, that I’m not bottom material. Periodt. Ruppi stares at him blank faced. Ruppi: I see you’ve got…a bodysuit? With feathers? Damn, you really said FAGGOT astronaut. Slim: STRAGGOT, astronaut actually. I’m going a bit out the box and not going for the classic “Oh yeah, I’m a slutty astronaut route” u/Ezidro3squints his eyes and looks over at Rat. Talking Head, u/DrownedHarassedRat: Whatever, girl. Read all you want, but at least our astronaut doesn’t look like it was taken off of a Dollar Tree, pride float. Ruppi: Uh huh. Listen, with looks in a ball you want to not be so literal, but at the same time not be SO out of the box that you run away from the box all together. Talking Head, u/slimthiccsnacc: Ruppi is a big deal in SDRDR fashion and runway, so having him say these things is making me second guess my look. But, no, I gotta stay firm and say “I do not see your concern and I don’t share them.” Ruppi: See you out there. Ruppi walks up tou/ErikaGenerika*.* Erika: Oop, I’m in trouble. Ruppi: Don’t think I haven’t forgotten about your stunt sister. But, what do you have here? I see SFX makeup and some…chicken wing looking appendage? Girl, what? Erika: HATEFUL!!! I have a vision, don’t you worry. I know what I’m doing, just like I knew what I was doing when I sent Shasha home. Ruppi’s eye twitches. Ruppi: I also see that Rat and Slim are doing similar alien with the same color scheme and SFX how are you gonna stand out from them? Erika: Well, I know mine’s gonna be more fashion forward, and beautiful. Rat’s will be more horror esque, and Slim’s? Well let’s just say one queen’s trash is gonna be another queen’s trash as well. Talking Head, u/ErikaGenerika: Girl, I look over to Slim's work station and I can see that his alien runway is the exact same club kid runway I wore on Season 5. Well, I guess imitation is the best form of flattery. Monkey see monkey do. Ruppi: Alright, well break a leg sis . I can’t wait to see you walk the runway! Ruppi slides over next to Ezidro. Ruppi: SAFE SAFE BOTTOM2, and saved by the skin of your vulva, or whatever the saying is. Ezidro: Don’t worry, I intend on not falling into the bottom again. Ruppi: I’ll hold you to that. What do you have here, a simple astronaut suit. How are you gonna make that stand out? Ezidro: I'm gonna take a really fun and campy approach to each of the categories. I want the looks to reflect my personal perspective on drag, which I feel like I haven't been delivering as well as I would've liked to so far. Ruppi: Now, I know you've struggled with your confidence in this competition, especially when you were in the bottom last week. Ezidro: Yeah, I was so confident in my verse and I was shocked to land in the bottom. It made me question everything up until that point. But I know I need to believe in myself and that I don't want the bottom to define me anymore. Talking Head: u/Ezidro3, "I've struggled with my self confidence for awhile now. And it's always been my biggest weakness. I'm generally good at hiding it, but that bottom placement really shattered the veil for me, so to speak. So it's time to stare back at myself in the mirror, and tell myself that I have what it takes. Ruppi: Even if you were in the bottom last week, the judges and I haven't given up on you. We want you to go all the way. We're all rooting for you! But ultimately, you're the one who decides that. Not us. I need you to remember that the next time you get down on yourself. Ezidro: Yeah, thanks. I needed that! Ruppi: Alright, well get back to work! Ketty looks over at Ezidro and smiles to herself. Talking Head: u/KatyaIsMyBestFriend: "Well, Ezidro's little heart to heart was.... Cute. But unfortunately she's still no match for me and my magnum pussy. My competitors fail to realize the full magnitude of my pussy, until it's too late and they're burning in the ashes of their SHAME and HUMILIATION!!!" Dramatic music crescendos as Ketty sits at her sewing machine while roaring with laughter. The other contestants look at her in confusion. ____________________________________________________________________________________________________________ Lights... Cameras.... Action!!! u/Grotesquettestruts the runwayin her runway look. u/Grotesquette: Welcome to the mainstage of SDRDR All Stars 3! Rupertonian, excited for The Space Ball? u/Rupertonian: I'm always excited for balls! Grotesquette cackles u/Grotesquette: KingKabs, how are you doing tonight? u/KingKabs: I'm about to sit through two hours of boring ass Pinterest looks, so not good, to put it nicely. u/Grotesquette: Good to hear! And VioletDior, here on the Spoiled Drag Race Drag Race mainstage! u/VioletDior: Spoiled? Did you just say spoiled?! Please guys, PLEASE don't spoil the finale for me! u/Grotesquette: Oops, sorry. And finally, Tonight's special guest judge is an international icon who we all adore and miss. Robbed legend u/TravisPaytas! u/TravisPaytas: Robbed TWICE bitch get it right!!! ✌️✌️✌️🤬🤬🤬 Ever since the toxic season known as AS2 ended. I have been on a tour around the world. I've visited places Notre Dame, London bridge, Paris and a few Schools in America. To really broadcast my message for the Islamic caliphate freedom. Thank you so much for having me. It's such an honour being on the judging panel with the likes of the hiLaRiOuS u/violetdior. This really is a panel with my "peers". 💜💜💜💜💜 u/Grotesquette: Tonight, I challenged my girls to throw an Intergalactic Space Ball! Each queen will serve us three looks on the runway: Astronaughty Space Girl elaganza, C3P-H0 Femme Bot realness, and finally Alien Freak couture! All-Stars, start your engines! And may the best woman... Win!!! ____________________________________________________________________________________________________________
____________________________________________________________________________________________________________ Grotesquette: Welcome All Stars. Tonight, no one is safe. Tonight, all six of you represent the tops and bottoms of the week. Starting with, u/DrownedHarassedRat! Violet: Tonight.... I’ll be honest, I didn’t like any of your looks. Your alien relied on comedy that ultimately didn’t work, and your robot.... wasn’t fashion or comedy in the slightest? In this competition you have alternated between doing incredibly with clear effort and missing the mark, and sadly tonight was another case of missing the mark. I’ve seen you produce better looks than this before, so I know you can produce them in the future. Ruppi: Oh, Rat... You went for the basic “I’m a cute astronaut and slutty” look without any story. It’s just pedestrian, and it’s what’s expected. Knowing your creativity, I expected so much more in terms of astronaut. Your robot however, oh my god, high drag at it’s finest. Maybe not the best looking in terms of fashion, but a robot in a dress like that it’s just so fun and I wish you’d taken this direction for your astronaut look as well. NOW, whew. When you stepped out, I gasped. Sadly, the gasp then slowly turned into, “WHAT THE FUCK IS THAT.” Your ability to portray horror is incredible, but that’s all it was. Where was the fashion? It was just “Oh yeah scary monster rawr grr” and it would look great as an extra for a Star Trek film done off broadway, but the fashion aspect of it was just REALLY lacking, and I think that’s what you missed tonight. ____________________________________________________________________________________________________________ Grotesquette: Moving onto u/ErikaGenerika! KingKabs: Your ball looks tonight were, well...cute! Your first look is such a serve I was genuinely taken in by the look in addition to the runway commentary that made me want to to snap the neck of a baby giraffe from PSTD Has anyone seen u/-_-whodat btw? 2nd look gives me a fashionable steam punk cyborg but it doesn't quite hit the mark for me on account of the dress element that works against the fantasy of 'this is a robotic inspired look' but I see the vision I just wish it had been less busy and I still like it. Oh my God your Sasha Velour LSFTC top 2 look 3rd look is quite the serve. I do wish your runway commentary reflected more of a story but I enjoy the visual grab of your look ultimately. Overall tonight you were just...fine. Violet: Tonight I think you did well - I enjoyed your astronaughty and alien looks. However your robot.... To me, it felt kind of like if someone made Shea’s s9 club kid look but lazily and with a lower budget. I didn’t get any robot from it. That being said, your other two looks are great and redeem it for me so I am satisfied with what you’ve produced this week. ____________________________________________________________________________________________________________ Up next, u/Ezidro3! Ruppi: When I say I’m genuinely so proud of you, believe it, because This was YOUR night (Stream Chaka Khan on Spotify). The first look, oh my god, one of the best things I’ve seen on SDRDR. It was just SO camp and so good. If you don’t sell Miss Nuka Cola merch, bitch I will. It was just so vintage and pinup and yet so camp and still maintained fashion. You did something basic and elevated it SO much, and it was incredible. Your robot tonight. BITCH. I knew when I talked to you you said show the judges what each of them like. That overly sexualized robot with an ass that padded, that was just SHEER perfection, and I’m so happy. Your alien was just the cherry on top of the cake. The color scheme, the fashion and the SFX. Most of the girls went one way or the other for their look, but the reason YOU are here and not them is that you had camp, fashion, sex, and an attention to detail. This is probably the best night you’ve had in this competition and I’m so proud to see it. KingKabs: Tonight on the runway I'd say this was one of the most effortless knockouts we've seen in ball performances for SDRDR. The overarching theme of your ball looks and commentary was so audacious. You knew exactly what you were doing with this ball and maintained that intent through each look. You begin with giving us gamer girl astrHOEnaut and toot for the Fallout reference. Your hoe-bot was giving me very video vixen very scandalous magazine photoshoot angle. Then you turned out the final look and gave us a very power rangers villain fashionista alien and I really am a proud mother tonight! Travis: Ezidro these looks are all stunning. I absolutely loved your space look. The Fallout reference was ingenious and really appealing to me as a fan of the franchise. Your robot look is totally unique from what we have ever seen from you before. It was mesmerising and then.Your final look your Alien one is by far my favourite for the category. It is something I wouldn't expect from you. You are not exactly known as a runway queen but after tonight and these looks you might. I am so happy to finally see the BTM bitch on top. Only took 3 seasons and 9 episodes. Congrats!!!!! ____________________________________________________________________________________________________________ She's everybody's best friend, u/KatyaIsMyBestFriend! Grotesquette: You just keep hitting it out of the park. Your ball looks were incredibly strong, and the attention to detail you exhibited is very apparent. Your robot look is absolutely stunning, and I loved everything about it. Definitely my favorite look of the three. The alien was campy yet draggy and fashion, and I appreciate how you cinched the waist. I didn’t love your astronaut look because I feel like we’ve seen it before, but still it isn’t a bad look. Overall, I’m very happy with what you’ve shown us tonight. Ruppi: Miss Ketamine. When you walked out on the runway in that astronaut look, I was like. “Well, it’s cute.” But it’s a look that you see a lot, so knowing you, I did expect you to go REALLY out the box. It’s very classic take of “astronaut without making it literal”, and it’s almost boring and pedestrian. However, your robot was so gorgeous. Again, silver is the go to for robot, but dear god never stop saying Beep boop zap ahaha bitch. Your robot was beautiful, obvious but so well done. Your alien, oh my god, I think this is your best look tonight. The body looks right, I loved that even as an alien you’re cinched for the GODS, and the look is just pure “Alien that hungers for destruction” It’s simple, it’s elegant and just I can’t stop looking at you. Overall, great job tonight, you are keeping a momentum with this competition. ____________________________________________________________________________________________________________ Up next, u/slimthiccsnacc! Travis: Slim, these aren't my favorite looks tonights. Slim: Well they're mine! Travis: Slim, do you think of yourself as a fashion queen? Slim: Yes. Travis: Well you shouldn't. The space looks was boring,plain and simplistic there was nothing to it. It seemed more like a spare look you had rather than a specific space one. Your robot look was hideous it was not the one. Compared to other people's it looked mediocre. Finally, the alien look. I would have loved it if I hadn't seen it before on S5 worn by Erika. Did you read the other seasons or were you just bothered with your own? This is a very recognisable look I don't understand how you wouldn't have realised. Overall, a very disappointing night for you when we still waiting on you for a win. The commentary on the looks were pretty good. That is the single positive out of all this. Grotesquette: I think Travis is exaggerating a tad. Tonight, there were things I liked about your presentation, but there were also several things I would’ve changed. I don’t think your astronaut look really seemed like an astronaut look at all, it read as more generally futuristic, and even then I wasn’t really into it. There’s a lot going on with your robot look, but I still enjoyed it because you had a strong concept and executed it. Your alien freak runway has been worn before by a contestant on this stage which slightly impeded my reception to the look. Tonight I don’t think you did terribly, but each of your runway had certain aspects that I think unfortunately hindered your overall performance, especially when discussing your astro-naughty girl look. ____________________________________________________________________________________________________________ Next up, u/Spencerietta! Violet: As soon as I saw that astronaughty runway, I knew you were going to annihilate tonight. And you completely did. Everything was flawless, from the silhouettes to the colour schemes to the commentary. This was a great night for you, and I’m amazed at the standard of looks you produced. Keep it up! Travis: Spencie, may I call you Jiggly bestie? Spencer: Sure!!! :) Travis: These ball looks were a serve. Your 3 looks were so campy and the running commentary. Which followed through on all 3 looks. Really added to them because without it. The looks could be perceived to be kind of basic and simplistic but you were able to add your brand and personality to them all. Which really worked in your favor your alien one really made me laugh. Amazing job this week you are really killing this season well done. Grotesquette: Tonight I honestly didn’t know what to expect from you, but you completely blew the challenge out of the water. I was afraid you would overthink things too much but your runways were all extremely enjoyable. Your astronaut runway look was insanely polished and editorial, I gasped when you came out on that mainstage. And your alien freak look was truly an abomination. Drag is about changing minds, and boy have you radicalized me against Jan! Tonight you impressed the judges immensely. ____________________________________________________________________________________________________________ Grotesquette: Thank you ladies. Now, based on the judges' critiques, I have made some decisions.
u/Spencerietta and u/Ezidro3, each of you need to decide which of the bottom two you will eliminate if you win the lipsync. So, while you queens deliberate in the werkroom, the judges and I will be... Ussying and Gussying our pussies.
I have just seen up to episode 7 of Symphogear Season 1. It’s my first time watching. The following are my thoughts so far. To visualize and sum up my analysis, I drew a diagram which I will explain just now. The girls of Symphogear juggle between 4 different identities. They are, simultaneously: a schoolgirl, a singer, a hero, and a fighter. To each of these identities I designate a Japanese term whose nuance is lost in English: the schoolgirl has a nichijou, the singers in the show are idols, the hero is a seigi no mitaka, and the fighter is a senshi. Now why do I choose to emphasize these 4 identities? Because these are the only identities foregrounded in the show. There is weirdly a lot of focus on Hibiki’s everyday life, even though realistically someone like her is priceless and should have no time or need for school. Hibiki’s attempts to be the other 3 identities clashes with her attempt to maintain an ordinary girl’s life – more specifically, Hibiki’s everyday life with Miku clashes with her Symphogear life. Similarly, Tsubasa should have absolutely no time or need for school. Then there is the idol. Why does Tsubasa work as an idol on the side? If this so-called “phonic gain” was needed from an audience, why would they not just hire another idol? It doesn’t make sense that Tsubasa would have the time, the energy, or the willingness to work as an idol. The fact that these things don’t make sense is what makes them thematically important. Hibiki is also an “idol” insofar as she becomes a singer in her Symphogear suit. Both Hibiki and Tsubasa are a “seigi no mitaka”, though in different ways. It’s emphasized early on that Hibiki loves to help other people. If Hibiki is a “seigi no mitaka” in everyday life, then Tsubasa is also one in the fact that she has dedicated her life to protecting the world. She calls herself a “guardian”, and several other names, and basically commits suicide singing the swan song just to stop Hibiki from being kidnapped. Lastly, Hibiki and Tsubasa are obviously warrior fighters because they fight Noise. Now for the interesting part. Hibiki’s weakness, and therefore her character arc in this season, seems to be that she is not a strong enough warrior. “Tachibana is not a true warrior yet,” Tsubasa says. That Hibiki doesn’t have a weapon, an Armed Gear, also highlights that she isn’t really a warrior. This is in contrast to Tsubasa, for whom the sword defines her, constantly calling herself a mere sword, a warrior who is only meant to fight (senshi). Clearly an unhealthy attitude. Hibiki and Tsubasa are opposites in this respect: Tsubasa is too much a warrior, and Hibiki needs to be more a warrior. Hibiki’s decision to take up kung fu and train up emphasize that she’s trying to be strong. There’s another way that Tsubasa and Hibiki are opposites. Hibiki is firmly grounded in her everyday life with Miku. “I want to cherish those simple days,” Hibiki declares. In contrast, Tsubasa’s life has “no meaning or value”; she doesn’t even consider herself “a truly living being.” It is clear that Tsubasa is lacking in an everyday life, a home to come back to – she is deprived of being a normal schoolgirl, deprived of a nichijou. She is the opposite of Hibiki, who has a dear friend, whose company she regards “the warmest” to return to after a hard day. Therefore I place Nichijou and Senshi on opposite sides in the diagram below. Hibiki most strongly identifies with her nichijou identity and lives to protect “those simple days”. Tsubasa identifies most strongly as a warrior, a mere sword meant to be used. And as I said above, both Tsubasa and Hibiki are both idol and seigi no mitaka. The character arcs of both Hibiki and Tsubasa involve their movement towards their opposite, as indicated by the arrows in the diagram. Hibiki needs to be more a warrior; Tsubasa needs more of a life. And, critically, it is Kanade who initiates both of these movements. Kanade is figuratively inside Hibiki, insofar as Kanade’s weapon shards represent her spirit. Kanade then visits upon Tsubasa in her dreams, and speaks as a voice in her head, that every so often tells her basically to get a life: “Just do what you want. Simple, right?” It is as if the ghost of Kanade is working on both of them, getting them both to move towards the middle, where the girls can balance all four of their identities in a perfect homeostasis. That is why I put Kanade is in the middle in the diagram: she represents to both of them a better balance as schoolgirl, idol, hero, and fighter. Now comes the really interesting part. I can’t resist finding similarities and groups between elements in a diagram like this. I realized the identities of nichijou and idol both speak to the theme of communication. In Symphogear, singing represents the purest expression of the heart, which is why the lyrics happen to match the character’s emotional situation. Hence why the “Idol” box is under “Communication” in the diagram. Nichijou is a bit harder to see, but you can understand that the everyday life of people is sustained by continuous communication and negotiation. Symphogear foregrounds the connection between communication and nichijou: Hibiki’s everyday life is sustained by her communication with Miku, and the degrading of their communication is what endangers their nichijou. Following Levi-Strauss’ structuralist method, when I find a theme I try to look for its antithesis in the work. I concluded that seigi no mitaka and senshi both deal with conflict. That is not to say they create conflict, but they mediate conflict, and might engage in conflict to end conflict. Indeed, the antithesis of communication in Symphogear is conflict. This was most obvious in Hibiki’s fight with Chris, where she goes: “We’re not like the Noise! We can understand each other!” Chris stubbornly rejects her, saying that people fundamentally can’t communicate, and that therefore all they have left to do is fight. Communication vs conflict: these are the two themes, as far as I can see, running through Symphogear Season 1. But what is absolutely critical is that communication and conflict are related in an ouroboric character. What does this mean? In communication or conflict, when one of these ideas is taken to the extreme, it transforms into the other. Imagine a romantic relationship. When there is no communication between the two partners, it generates conflict. But conflict, when it runs its course in the form of a good argument, often transforms into real communication. Maybe the conflict gets so heated that they both decide to spend some time away, during which they reflect. After they come back they are both remorseful and ready to really speak their mind; that is when communication begins once more. Too much communication also generates conflict. If you said everything about someone that came to mind, you would get into a lot of fights. And, of course, very little conflict also opens way for communication. The ouroboric connection between communication and conflict applies not just to intimate relationships, but relationships universally: in diplomacy, politics, and institutions. The connection is foregrounded in Symphogear when the breakdown of communication between Miku and Hibiki creates their conflict. The conflict between Hibiki and Chris has run its course by episode 7. I predict, now that Chris has been abandoned by Fine, she will start communication with the other side. Tsubasa starts a conflict with Hibiki, and later she starts communicating after she has taken conflict to the absolute limit (swan song suicide). The ouroboric character of communication and conflict is universal, almost metaphysical – it’s like how too much yin switches over to yang and vice versa. This is why, in the diagram, “Communication” and “Conflict” point arrows at each other. Why is all this important? Because it informs us of the message of the show, at least in Season 1. If conflict begets communication and communication begets conflict, then one cannot exist without the other. It’s like the Human Instrumentality Project in Evangelion: they want to eliminate all conflict between people, so they remove all boundaries between them; but without the boundaries, they cannot (or have no need to) communicate. Thus they cease being human altogether and become tang. In episode 7, it’s revealed that the woman professor Ryouko has been the rat for Fine and Chris. Their faction, it is revealed, aims for a “release from the custodians’ curse which has held us in its grip since time untold.” “Finally we would be able to speak with each other using words of truth”. Is this not exactly what Human Instrumentality wants to achieve? They want “words of truth”, i.e. to eliminate the flaws in our ability to communicate. What would this entail? Chris hints us that it is a world “without war”. To this end, she will “crush anyone who has power with [her] own two hands”. She will “extinguish the flames that spark a war”. She will remove all conflict with conflict because “people can’t understand one another”; that is why she hates singing. A great scene sums up her worldview. She runs into two kids lost in a park (fig. 5). The little sister is crying, and her brother tells her, a bit harshly, that there’s no point in crying. Chris instantly assumes that the boy is bullying her. She even threatens to hit him. Why her unreasonable haste to assume the situation as she does? She holds the view that communication is inherently violent. If we truly cannot understand the Other, all that is left is power games and war. And this worldview is challenged after she has guided the kids back to their father. “You’re getting along so well. Can you tell me how you do that?” Chris says. “Dunno, we fight a lot,” the boy says. “We fight a lot, but then we make up again, so we get along!” the girl says. Here, more lucidly than ever, is shown that communication and conflict, each interpenetrates the other, and each leads to the other, and the factor by which relationships flow from one to the next is what I label in the diagram as "making up". Here is, as I can tell, the beginning of Chris Yukine’s peripeteia. So Symphogear is not about communication; Symphogear is, as far as I’ve seen, about how communication and conflict necessitate each other, and how when you subtract one away, the other disappears. This singular message is written into the Symphogear suit itself: They must sing – communicate – in order for the conflict to be resolved; they must fight – ensue conflict – in order to begin communication, healing, and reconciliation. Communication and conflict are both celebrated in their battles; their singing powers up and glorifies their fighting, and their fighting dramatizes their singing. Humanity’s necessary flaw is only this: the ultimate inability to communicate our true being, that we make a forced choice to use words as the best and worst thing available that can even begin to clue each other in to our innermost self. Our inability to communicate is what creates conflict. It is the inescapable core of all our frustrations, our misunderstandings, our loneliness, our anguish, and our daily joy… And it is precisely the flaw that constitutes the human being; that weak, ugly, stupid human being; nature’s wayward son, and also its proudest. The attempt to remove conflict altogether is bad not because it will generate more conflict (though it will); it is bad because it contradicts what makes us what we are. This Fallenness of ours, this ineluctable, impassable gap between one heart and another – these are the defining qualities of existence. That is the message, the song of Symphogear. That is the cruel angel’s thesis. That is the sublime object of ideology, according to Slavoj Zizek:
[I]t defines la condition humaine as such: there is no solution, no escape from it, the thing to do is not to »overcome«, to »abolish«, it, but to come to terms with it, to learn to recognize it in its terrifying dimension, and then, on the basis of this fundamental recognition, to try to articulate a modus vivendi with it. All »culture« is in a way a reaction-formation, an attempt to limit, canalize, precisely to cultivate this imbalance, this traumatic kernel, this radical antagonism through which man cuts his umbilical cord with nature, with the animal homeostasis. It’s not only that the aim is no longer to abolish this drive-antagonism, but the aspiration to abolish it is precisely the source of totalitarian temptation: the greatest mass murders and holocausts were always done in the name of Man as harmonious being, of a New Man without antagonistic tension. (excerpt from The Subject before Subjectivation)
Hello, there. Long time, no overly-elaborate relic analysis! I wanted to come back and do some more relic origins, this time for Final Fantasy XIV. When I started this, I thought it would be a good idea to do a bunch for the characters in the Scions of the Seventh Dawn, and I wanted to get it done before the current expansion, Shadowbringers was old enough to start being referenced in relics. Given that we're over a year into Shadowbringers, that clearly didn't turn out to be the case; these things take more time and planning than I thought, haha, especially when I'm trying to go over 2-6 times as many characters as I usually do for these things. However, it's still a nice time to get out this first part, so that we can revisit it later; there's still a lot of stuff to explain in regards to the previous expansions, and this will be neat to compare to when we get stuff like Alisaie and the Y'shtola rework. Technically, I have done the analysis for each of the Scions of the Seventh Dawn, but that post is way bigger than Reddit allows, haha. I'll come back with a post about Papalymo, Yda, and Alphinaud later. The post about other allies and Heavensward characters will need to be made later. Anyway, hope you enjoy. FFXIV is in a bit of a unique position in FFRK, as it's being updated over time; abilities are altered, reworked, or removed entirely betwen expansions. The soul breaks in FFRK represent a snapshot of what a skill was at the time it was added to this game, but in many cases that no longer represents how it is in FFXIV. I'll try to track which ones have been altered, and how, and what their old identities did to inspire the soul breaks in question, if applicable. A word of warning. A lot of the specific events referenced in FFRK contain important moments from the story, all the way through the Heavensward and Stormblood expansions, and a little bit of Shadowbringers. Given the relative age of these expansions, all the spoilers will be unmarked. Before getting into the characters, there are a few concepts that will be important to the context for some of these characters and their moves. Eras and Calamities The world of Final Fantasy XIV is one marked by periodic Calamities of terrifying proportions. Eras of growth and prosperity will be suddenly ended by disasters that reshape the world and throw everything into chaos. In this world, the elements that comprise the world are divided into six (Lightning, Fire, Wind, Earth, Ice, Water), and can have either an active or a passive aspect, referred to as "Astral" or "Umbral", respectively. In accordance with this nomenclature, eras of prosperity are known as Astral Ages, and eras of recovery and regrowth following a Calamity are known as Umbral Ages; the calamities themselves are known as Umbral Calamities, for ushering in these Umbral Ages. At the start of the A Realm Reborn storyline, the world is in the Seventh Umbral Era, caused by the Primal Bahamut unleashing his wrath on the continent of Eorzea. Bahamut's attack reshaped the continent, broke nations, and acted as a convenient reason to scrap the unpopular 1.0 release of FFXIV and rebuild it from the ground up. Primals Primals, or Eikons, are a major threat to the stability of the world. Through fervent faith and a massive source of aether, just about anyone can summon a god to defend them from their enemies. These gods (for the most part) take the form of classic summoned creatures from other Final Fantasy games, such as Ifrit, Titan, Shiva, and Bahamut. The reason they are a threat to the world (besides the obvious threat of escalating war) is that their very presence in the world requires a constant supply of aether, which they will siphon from the world itself so long as they're alive. More terrifying perhaps is their ability to Temper mortals. By attacking someone with their aura, they can brainwash nearly anyone, transforming them into devoted servants, who can never be restored to who they were before. The only ones immune to this are those born with the mysterious power called the Echo. Scions of the Seventh Dawn The Scions of the Seventh Dawn are an organization operating across the continent of Eorzea, dedicated to protecting the continent (and the world at large) from threats only they can fight, such as Primals. It is the result of combining two organizations: The Path of the Twelve (which was dedicated to finding and supporting those touched with the Echo) and the Circle of Knowing (A group of scholars from the nation of Sharlayan who sought to defend the world from calamities). In the wake of the Seventh Umbral Calamity and the loss of Louisoix Leveillur (who led the Circle and attempted to bind Bahamut when the moon fell), Minfilia Warde (Leader of the Path) merged the two groups into the Scions of the Seventh Dawn; so named because their mutual goal is to bring the world out of the Umbral Era caused by Bahamut's wrath and into the light of a new Seventh Astral Era of prosperity. They seek to bring together people with the skills and inclination to protect the world and fight threats only they can fight. Those with the Echo are sought particularly urgently, as only they can safely fight Primals. Early in FFXIV, the player is found to be one with the gift, and is recruited into the Scions. Minfilia Warde "Once head of the Path of the Twelve, later becoming leader of the Scions of the Seventh Dawn. After her father died in an accident, she was gifted with the Echo, the power to see into a person's past. Driven tos ave Eorzea from the lingering chaos of the Seventh Umbral Era, she searches for heroes with the strength to lead her people." At the start of FFXIV, Minfilia Warde is the leader of the Scions of the Seventh Dawn, having inhereted the role from Lousoix. The player is introduced to her when one of the Scions discovers their gifts and seeks to recruit them. Minfilia is not so much a combatant as she is an organizer and dispatcher for the rest of the Scions. She uses her connections to discover threats to the realm, and sends the appropriate Scions on missions from their command center in the Waking Sands (later the Rising Stones). As such, basically all of her combat abilities are invented for FFRK, to reference the Gladiator class and the Paladin job that evolves from it. Hence her use of Knight abilities. She also has soul breaks and materia that refer to her role in the story; her use of the Echo and her connection to Hydaelyn, the Mothercrystal and goddess of light. The Gladiator class is a Tank role that uses a sword and shield. It upgrades into Paladin, which uses a combination of battle prowess and holy magic to defend the party and attack enemies. Uniquely among the Tank jobs, the Paladin has several abilities classed as Spells (instead of Weaponskills or Abilities), which cost MP and have a proper cast time. This is likely part of why Minfilia has access to White Magic.
Record Materia: Antecedent: The title of the Scions' leader. Louisoix was Antecedent before Minfilia.
Record Materia: Protector of Eorzea: The Scions' mission is to defend Eorzea from threats like the Primals or the Garlean Empire in whatever ways they can.
Record Materia: Word of the Mother: At the end of A Realm Reborn, the Scions are on the run in the wake of a false accusation of regicide. Minfilia hears the voice of Hydaelyn, who'd been silent for a long time, and moves into the range of a dangerous teleportation spell cast by Y'shtola in an effort to escape. The spell, Flow, sweeps its targets into the Lifestream directly instead of setting a destination. Minfilia vanishes. During Heavensward, in an effort to find where Minfilia has gone, the cast explores the Antitower; a magical building which allows one to observe the Aetherial Sea where Hydaelyn resides. There, they find Minfilia, who was brought to the Mothercrystal's side that day. Hydaelyn, weakened by constant divine intervention, requested Minfilia's aid to give her power and a voice once again, and Minfilia stepped into the Flow spell to aid her. Minfilia's mortal life ended that day, and she became the Word of the Mother; Hydaelyn's avatar and voice. Her memory and personality remain, but she is now bound to the Aetherial Sea.
Legend Materia: Blessed of the Twelve: The Twelve are the gods commonly worshipped by the spoken races in Eorzea. Each one of the twelve is claimed by different professions and races as their patron deity. Minfilia's gifts are sometimes attributed to the Twelve, as much as to Hydaelyn.
Legend Materia: Courage of Halone: Halone the Fury is one of the Twelve; the patron deity of the Gladiator job.
Legend Materia: Who Walks Before: This phrase is synonymous with "Antecedent". It's also found in the lyrics of Answers; the main theme of A Realm Reborn. The song is sung to and by Hydaelyn, and one line is "Look to those who walked before to lead those who walk after". This name could refer to both of Minfilia's roles in the story.
Legend Materia: Linkshell Master: Linkpearls are a sort of magical cell phone used in FFXIV; a magically infused pearl set into one's ear, which one can use to communicate with other linkpearl users. A linkshell is a network of linkpearls that have been connected to each other to allow easy communication; sort of like a magical Discord channel. As the leader of the Scions, Minfilia is the administrator of their linkshell, and often uses it to communicate new tasks to the members as they walk abroad, or to order the Warrior of Light to meet her at the Waking Sands for the umpteenth time. The materia boosts Minfilia's action speed for the first few turns, allowing her to support and prepare her allies for battle more easily.
Default Soul Break: Fast Blade: The first Gladiator attack, learned at level 1. A simple physical attack that serves as the first step for the Gladiator's combo attacks.
Super Soul Break: Blessing of Light: The Blessing of Light is a powerful boon granted by Hydaelyn. This blessing provides improved strength and the power to withstand darkness and control light. During A Realm Reborn, the Warrior of Light obtains Crystals of Light through their heroic deeds, strengthening their bond with the Mothercyrystal and empowering their Blessing. These events always happen in a mental world containing a large magic circle with a space for each crystal; the same space that Minfilia appears in for this soul break. Minfilia then forms a Blade of Light and raises it up, echoing what the WOL does at the end of the fight with the Ascian Lahabrea. Minfilia also has the Blessing. Minfilia may also be acting an analogue for Hydaelyn in this soul break, granting the Blessing to everyone in the party.
Burst Soul Break: The Echo (Burst commands: Rage of Halone, Glory Slash): The Echo is a suite of mysterious powers that some people have in the world of FFXIV. Various powers include heightened perception, the ability to see into a person's past (at random), and various forms of precognition. Minfilia and the Warrior of Light also have the ability to understand languages instinctively. No matter what the gifts, they include the power to hear the voice of Hydaelyn and immunity to the corruptive influence of Primals. The Echo is not an active power, so the attack used in this Soul Break is entirely new. The Echo is also used as a buff to increase the player's stats in certain fights in FFXIV, which would fit with Burst Mode and Enholy. Rage of Halone is the third hit of a Paladin's aggro-building combo (which follows from Fast Blade and Savage Blade). Glory Slash was a PVP ability that was removed in Stormblood; it did damage to enemies in a wide area and knocked them away.
Burst Soul Break: Scion's Guidance (Burst commands: Goring Blade, Full Swing): In this Soul Break, Minfilia is doing what she does best; using her linkpearl to order the Scions to do a job for her. Thancred in particular has dedicated himself to protecting Minfilia. The sound effect as she calls in Thancred is the same as a linkpearl ringing in FFXIV. Granting Last Stand to her allies may refer her capacity as support in her home game. Goring Blade is the final hit of the damage-focused combo for Paladin (following from Fast Blade and Riot Blade), and causes a damage-over-time effect. Full Swing is a PVP action given to tanks; it does damage to a single target, reduces their defenses, and causes them to bleed for additional damage over time.
Ultra Soul Break: Call of the Stars: The blue field into which Minfilia falls during the soul break resembles the Aetherial Sea. This may be depicting the moment that Minfilia became the Word of the Mother. "Star" is used to mean "Planet" in FFXIV's script, as they are interchangeable in Japanese. So this could alternately be "Call of the Worlds". Hydaelyn is the source of the 14 parallel worlds that make up FFXIV's wider setting.
Glint: Divine Veil:Divine Veil is a skill which causes a protective barrier to be given to all of the Paladin's allies the next time she recieves healing via magic. The Glint also heals allies, but immediately via stocked HP.
Curtana, Holy Shield: Curtana and the Holy Shield are a pair Relic equipment for Paladins. Relic weapons (or a weapon and a shield, for Paladins) are the subject of a long chain of quests, with a new set of weapons introduced in each expansion. Curtana and the Holy Shield are the Paladin relics for the A Realm Reborn storyline, which focuses on the restoration of ancient weapons used by the Zodiac Braves long ago.
Excalibur Zeta: This is the final step in the A Realm Reborn relic questline for Paladins. The Curtana was upgraded to its limit, then used to craft a replica of a Zoidac Brave's weapon. The Zeta weapons are the final upgrade available to the Zoidac weapons.
Hauteclaire: The Paladin artifact weapon for the Heavensward expansion. Artifact sets are obtained for each job by doing their story quests. You first obtain an Antiquated version of each piece, and can later upgrade them.
Tyrfing: A Paladin sword that can be obtained in the Heavensward dungeon The Aery.
Ironworks Magitek Sword, Magitek Shield: The Ironworks sets are sets of powerful equipment that a player can obtain in Mor Dhona from level 50. Crafted by Cid Garlond's company, Garlond Ironworks, they were some of the best equipment in the A Realm Reborn expansion, and these days can be obtained fairly easily for use in leveling up a new job. The Magitek Sword is the Ironworks weapon for the Paladin job, and the Magitek Shield accompanies it.
Y'shtola Rhul "A Miqo'te conjurer belonging to the Seekers of the Sun, Y'shtola is a powerful mage well versed in ancient languages and lore. An aura of mystery surrounds her, but there is no concealing the fact that she is a most uncommon adventurer." Y'shtola recruits the player into the Scions, should they begin the game in the coastal city Limsa Lominsa. She is a scholar of aetherology, and often helps the Warrior of Light deal with strange magic. Capable of being either stern or playful depending on the situation, she's often seen as one of the more memorable personalities among the Scions. Y'shtola represents the Conjurer class and the White Mage job that follows from it. In the story, Y'shtola is only a Conjurer through the events of Stormblood, though she performs a number of feats that PC White Mages can never learn for themselves. Conjurer is a Healer class that casts spells focused on the elements of Earth, Wind, and Water in addition to the energy of life. White Mage is a powerful branch of this magic that adds Holy Light to the mix. As a healer, White Mages often focus on recovering HP over time or in large bursts.
Record Materia: Cultured Conjurer: Before the player character learns Y'shtola's name, she's identified by the game as a Cultured Conjurer. The game has a tendancy to label characters with unknown names in this manner, often with amazing amounts of alliteration.
Record Materia: Matoya's Treasure: Y'shtola was trained in magic by the reclusive Sharlayan scholar Matoya; inspired by the FFI character of the same name. Matoya is a gruff, grumpy, lonely old witch, but she thinks the world of Y'shtola; a feeling which is mutual, even if they rarely show it outright.
Legend Materia: Master of Mending: As they level up, White Mages learn several levels of the Maim and Mend trait, which increases damage and healing potency. The legend materia boosts healing potency, fitting the "Mending" part.
Legend Materia: Price of Power: Likely a reference to the Flow incident. Y'shtola's use of Flow to travel into the Lifestream left her blinded when she finally returned to the material world. She is able to use her powers to see the world around her in a different way, but at the cost of some of her life force.
Default Soul Break: Fluid Aura:Fluid Aura is a Conjurer spell. While Conjurers ostensibly use the three physical elements of Water, Air, and Earth, this is actually the only Water spell available to players. Currently, it simply a spell that prevents the enemy from walking. In previous expansions, it would also knock the enemy away from the caster, and deal a small amount of water damage. As she was added to FFRK during A Realm Reborn, this soul break represents that oldest version of it.
Soul Break: Medica II: The Medica spells are used by White Mages to heal a group of allies at once. Medica II costs more to use, but provides Regen. In FFRK, it instead casts Esuna.
Soul Break: Stoneskin II:Stoneskin was a Conjurer ability that would give an ally a barrier of extra HP by hardening their flesh. It could be used as a cross-class skill by other healers. Stoneskin II was a White Mage-exclusive spell that could only be used outside of battle, and would place Stoneskin on all allies. It was eventually removed from the game as a player-used skill, presumably for both feeling mandatory and being slow. Stoneskin II in FFRK is still a defensive buff, but it increases the targets' defensive stats instead of providing extra HP.
Super Soul Break: Aetherial Pulse:Aetherial Pulse is a skill unique to Y'shtola. In several cutscenes and battles, she creates a protective dome of light around her and her allies, which reduces damage from all sources. In FFRK, the defensive effect is represented as giving all allies Protect and Shell. It also gives allies Major Regen; interestingly, Aetherial Pulse's effect in Dissidia NT also provides a regen effect.
Burst Soul Break: Asylum (Burst commands: Tetragrammaton, Medica):Asylum is a White Mage spell that functions almost nothing like the soul break. In FFXIV, the spell enchants a small area to gradually heal allies who stand within. The soul break instead heals the party and provides a barrier of extra HP. Tetragrammaton is a single-target heal with high potency and an instant cast time. Medica is the basic group healing spell.
Ultra Soul Break: Goddess's Mercy: This is an alternate translation of Sacred Prism, which was a PVP Conjurer skill, later cut from the game. It would enchant a small area to gradually heal allies and also reduce physical damage taken by all allies within. The soul break uses Major Regen to gradually heal all allies, and provides Shield as damage reduction.
Brave Ultra Soul Break: Secret of the Lily (Brave command: Plenary Indulgance):Secret of the Lily is a White Mage Trait that was added in Stormblood. In Stormblood, it would allow you to gain Lilies (up to 3) when casting the spells Cure or Cure II on allies. These lilies would be consumed when using certain other healing actions, in order to reduce their cooldown timers. Rather than reducing cooldown timers, this soul break reduces casting time. Plenary Indulgence was another Trait from Stormblood. It allowed you to apply Confession buffs to allies by casting AOE healing spells. The Plenary Indulgance would then consume all the Indulgences to heal any allies who had them, proportionate to how many they had (up to 3). Both the Lily and Confession systems have a design philosphy similar to Brave Ultra Soul Breaks; using normal actions to build up a single powerful skill or buff. Shadowbringers changed both traits. Lilies now build automatically over time and are consumed by the healing spells Afflatus Solace or Afflatus Rapture. Plenary Indulgence now provides a buff to all allies that triggers extra healing when healed by the white mage.
Awakening: Pulse of Life (Awoken mode: Guardian):Pulse of Life is the level 3 Limit Break for the White Mage job. In FFXIV, the party collectively builds a Limit Break meter as they deal and take damage. The bar can be filled 3 times, for a stronger Limit Break at each level. Level 1 and 2 Limit Breaks are the same for each Job in a particular Role (Healer, Tank, Caster, Ranger, Melee), and the level 3 Limit Break is unique to each job. Pulse of Life is a reference to the Limit Break of the same name used by Aerith in Final Fantasy VII; it even conjures an aetherial version of Aerith's staff for the mage to hold. Level 3 Healer Limit Breaks will restore the party to full health and MP and revive any dead allies with no penalties. This Awakening provides Last Stand instead of Raise, and the same health bubble provided by Asylum. The Guardian mode doesn't appear to refer to anything specific to Y'shtola or Conjurers.
Glint: Divine Benesion:Divine Benesion is a White Mage skill that provides an ally a small damage barrier. The Glint instead provides Shell and Major Regen, as well as Haste.
Glint+: Stonega Skin: Stoneskin III never existed in FFXIV, but this Glint imagines it as an instant version of Stoneskin II.
Thyrus: The first stage of the ARR White Mage Relic weapon. It was originally wielded by the legendary White Mage A-Towa-Cant
Nirvana Zeta: The final ARR Relic weapon for a White Mage
Healer's Robe, Healer's Circlet: The Healer's Set is the level 50 Artifact armor set for White Mages
Omnirod: A White Mage weapon with no particular history.
Ironworks Magitek Cane, Ironworks Healing Robe: Pieces of the Ironworks set for White Mages.
Weathered Yagrush: A White Mage weapon crafted in exchange for Unidentified Allagan Tomestones. These could first be found in ARR's raid storyline, the Binding Coils of Bahamut. Nowadays, they are much easier to obtain.
Truth Seeker: Y'shtola's signature, and exclusive, staff. Originally, she used a small wand of still-living wood, as many Conjurers could early on. The game's design then shifted to making all Conjurer weapons two-handed staves, and so Y'shtola got a new weapon. Truth Seeker was commissioned by the Scions' receptionist, Tataru Taru, in anticipation of Y'shtola's return to the Scions (once she had been found again after vanishing via Flow). Y'shtola uses this staff throughout Heavensward and Stormblood.
Majestas: The second stage of the White Mage Anima weapon. Anima weapons are the Heavensward Relic quests, which start with a living version of the job's artifact weapon (in this case, the Seraph Cane). The living weapon is then upgraded into stronger and stronger vessels, to house the new life-form being created in the weapon.
Thancred Waters "A Hyur rogue belonging to the Scions of the Seventh Dawn. Though Thancred may well prefer wooing women to waging war, he's blindingly fast with a dagger, and one look at him leaves no doubt: this is no ordinary cutpurse." Thancred is the Scion who first meets (and later recruits) the Warrior of Light, should they begin the game in the city of Ul'dah. First a spy trained in Sharlayan, and then an agent for the Scions, Thancred has a long, complicated history with Louisoix Leveillur (who gave Thancred his surname "Waters") and with Minfilia (who was given her current name by Thancred). He acts as a scout and spy for the Scions, and is often the first to offer aid when stealth and subtelty are needed. His womanizing persona masks his skill, and drops easily. In FFRK, Thancred represents the Rogue class and the Ninja job that it evolves into. Though Thancred himself never learns Ninja techniques, similarities between the skills of the Ninja tradition and the Rogue guild are noted in the story. The Ninja job is a physical DPS that wields a pair of knives, attacking from various positions around the target to apply extra effects to their attacks. The unique feature of the Ninja is its use of Ninjutsu. A ninja learns three Mudra (hand-signs) which, when used in proper sequence, change the form and effect of the Ninjutsu skill. The three Mudra are Ten (Heaven), Chi (Earth), and Jin (Mankind). There are 7 potential Ninjutsu, based on how many non-repeated Mudra were used before casting Ninjutsu (up to 3) and (if more than 1 Mudra was used) which Mudra was used last. Ninjas also build Ninki as they attack, which is expended for special skills.
Record Materia: Fraternal Knowledge: This is likely in reference to the Dutiful Sisters, a religious group in Limsa Lominsa which is absolutely not a cover-up for a guild of knife-wielding, vigilante -justice-dispensing Rogues. Thancred was a part of this group for a time when he was growing up and learning his trade, though not for very long. The Dutiful Sisters are strongly beholden to The Code, so as to keep the peace in a town of pirates. in those days, Thancred wasn't much for that sort of thing.
Record Materia: Oathsworn: Like all the Scions, he's sworn an oath to his friends and allies, and to the world. In particular, he has sworn himself to protect and aid Minfilia, after he failed to prevent the death of her father years ago.
Legend Materia: Wandering Scion: Thancred spends a lot of his time afield, working as a scout and a spy.
Default Soul Break: Spinning Edge (XIV): The most basic Rogue attack. ''Spinning Edge'' is the first step in all Rogue and Ninja combo attacks.
Soul Break: Dancing Edge:Dancing Edge was once a Ninja combo attack (removed in Shadowbringers), following off of Spinning Edge and Gust Slash. It would reduce the target's resistance to slashing damage, so maintaining its debuff was central to keeping the Ninja's damage high. It would also benefit Tanks and any other DPS jobs using slashing weapons. The soul break also reduces the target's pysical defense.
Soul Break: Death Blossom:Death Blossom is the Ninja's basic AOE attack (and reference to the movie The Last Starfighter). Like in FFXIV, the soul break attacks all targets with physical damage. The chance to Slow is new.
Super Soul Break: Jin-Chi-Ten: This is a Mudra sequence that results in Huton, the Ninjutsu of Wind. Huton can be performed with either combination of three Mudras that end in Ten. Huton reduces the Ninja's recast timers for weaponskills, and is essential to maintaining a Ninja's highest damage output. The soul break instead speeds up the whole party with Haste. The damage component is new, but it keeps the Wind aspect. This is not to be confused with Ten-Chi-Jin, a skill added in Stormblood that allows a Ninja to cast 3 Ninjutsu in sequence.
Super Soul Break: Kiss of the Jugulator: This combines two Rogue actions: Kiss of the Wasp and Jugulate. Kiss of the Wasp and Kiss of the Viper were a pair of Rogue skills that would enhance the user's weapon with a poison coating. Both would boost the user's weaponskill damage by up to 20%, and each would change one of the user's actions. Jugulate was a Rogue attack that would do damage and inflict Silence, which in FFXIV acted as a spell interrupt instead of a lingering effect. Kiss of the Wasp would make Jugulate instead Stun an enemy for a few seconds, preventing all actions. All of these skills were evenetually removed. The Kisses were replaced in Stormblood by the Dripping Blades trait that passively increased a Ninja's damage after a certain level, and then removed in Shadowbringers. Jugulate was also removed in Shadowbringers; the interruption function was moved to physical ranged attackers and tanks.
Burst Soul Break: Kassatsu Katon (Burst commands: Duality, Shade Shift):Katon is the Ninjutsu of Fire, formed with any 2 Mudras ending in Chi (Ten-Chi or Jin-Chi). The Ninja spits an exploding fireball to damage a group of enemies. Kassatsu is a Ninjutsu support skill. Originally, it reset the recast timer on Ninjutsu and all Mudras, allowing Ninjutsu to be used again immediately, and it ensured that the next Ninjutsu used would deal critical damage. The soul break doesn't manipulate Thancred's crit rate, but it does reduce the targets' fire resistance, thus increasing the damage of subsequent fire attacks. These days, Kassatsu instead allows the use of one Ninjutsu regardless of recast timers, and provides a generic damage boost instead of a critical hit. Duality was a Ninja ability before being removed in Shadowbringers. It was a buff that would make the Ninja's next weaponskill do damage twice, by utilizing a magic duplicate. The burst command references this by having the skill do damage twice if the user has Mirror Image. Shade Shift is a skill that protects the user from a portion of incoming damage. The icon shows the user hiding behind a duplicate, and it originally only protected against physical damage; hence the burst command providing Mirror Image to negate a physical attack.
Burst Soul Break: Fang of the Serpent (Burst commands: Hornet's Sting, Unending Assault): This burst and the first command are another reference to the blade-venom skills mentioned previously: Kiss of the Viper and Kiss of the Wasp, albeit under different names. Unending Assault is new.
Burst Soul Break: Kassatsu Doton (Burst Commands: Shade Shift Edge, Innervating Dagger):Doton is the Ninjutsu of Earth, formed with any 3 Mudras ending in Chi (Ten-Jin-Chi or Jin-Ten-Chi). This creates a circle of churning earth that damages any enemy inside it over time. The soul break instead instantly deals earth damage, and reduces Earth resistance to approximate the effect of Kassatsu. Shade Shift Edge has almost the exact same effect as Shade Shift in Kassatsu Katon, and for the same reasons. Innervating Dagger is new.
Brave Ultra Soul Break: Wheel of Life (Brave Ability: Foul Play): Wheel of Life is an English translation of the Ninja skill Bhavacakra. The name is derived from a Buddhist diagram depicting the cycle of life and reincarnation. The soul break has a bunch of effects, but in FXIV, it's just an attack, albeit a very strong one which expends Ninki. Foul Play is an alternate translation of the Rogue skill Trick Attack; a powerful attack that can only be used when hidden from the enemy, and reduces defense. A Ninja can hide by using the Water Ninjutsu skill Suiton. The Brave ability also reduces defenses, and is best performed after Ninja attacks.
Ninja Chainmail, Augmented Ninja Tekko: The Ninja set is the Ninja's artifact equipment from A Realm Reborn. The armor can be traded up for Augmented versions which are stronger and can be dyed.
Air Knives: A Ninja weapon obtained through the main story, or with the trade of Allagan Tomestones.
Yoshimitsu: The initial form of the Ninja Zodiac weapon
Sasuke's Blades: The second form of the Ninja Zoidac weapon.
Magitek Dagger: The Ninja weapon from the Ironworks set.
Scion Rogue's Jacket: This is Thancred's attire from the Heavensward expansion. The player obtains a set of Scion Rogue's equipment during a story event, which allows them to dress up in Thancred's attire.
Yukimitsu: The Ninja Artifact weapon from Heavensward, obtained by upgrading the Antiquated Yukimitsu.
2020.06.19 21:46 reymusThere was once a horse that lived at a lovely little farm in Nebraska
Now, Martin the horse had a huge field to run around in, was given the best hay and oats to eat, and his farmer was really kind to him. But Martin always felt like his life was missing something. One evening, Martin hears this lovely music coming from the direction of the farmer's house. He trots over to the house, and looks in the window. The farmer has some friends over, and one of the friends is playing a guitar and making the most heartbreakingly beautiful melody flow from his fingers. Martin is entranced, and spends the whole evening watching and listening. He sees that the farmer and all of the guests are moved to tears at the beauty of the sounds coming from that guitar, and is in absolute awe at how someone can create such emotions in his audience. Martin spends the next several days thinking about what he saw and heard. He would be trotting along in his pasture and feel the music flowing through his veins. He remembered all of the tunes that were played that night, and they would run through his head and his heart all day. There were happy tunes, and songs of longing and love, songs of heartbreak and loss. Martin loved every single one of them. After about a week of near-constant thought, Martin decided he couldn't keep the music in anymore. He needed to learn how to play the guitar and make other people and animals feel the same things he had been feeling for the past week. He *had* to learn. So Martin escaped from his pasture and headed to town. He wandered around the town until he found a music store with a guitar on the sign. Martin walked into the store, and the shocked store owner asked if there was anything he could help with. Martin told him he would like a guitar, but he didn't have any money. The shop owner, shocked at the fact that a horse wanted to play guitar in the first place, asked Martin why he wanted it, and Martin told him about the farmer's guest, and the living room concert he'd heard. He told the store owner how much the music had moved him, and that he can't stop thinking about it. He talked of wanting to play music like that, and help people heal from emotional pain. The shop owner was moved by Martin's impassioned speech, and said he would give Martin a guitar for free if he could watch him play. Martin was thrilled, and carefully took the new guitar in its case from the shop owner. He then asked if there was anyone that could teach him to play. The shop owner thought about it, and said "Miss Taylor is the best music teacher in the state. Go visit her, and tell her I sent you and said I'd pay for your lessons. Don't make me waste my money, now." Martin thanked him profusely, and carefully worked his way through town until he got to the address the shop keeper gave him. He rang the doorbell, and Miss Taylor answered. Martin told her about the shopkeeper, and how he desperately wanted to make music. He told her about the guitar, and how he was told that Miss Taylor was the best music teacher in the state. He begged her to help him. Reluctantly, Miss Taylor agreed. She was not sure she could teach a horse to play a guitar, given the lack of fingers, but Martin was determined. At first, he could barely strum the strings. He made the most horrible sounds, but he kept practicing. He went every single day, rain or shine, and eventually he started getting better. He was able to play Twinkle Twinkle, and Three Blind Mice. With a lot of work, he progressed up to being able to play Ode to Joy, and the sound of that song struck his heart with happiness. He was diligent in his practice, learning how to tune his guitar by ear, and his lessons progressed. About a year later, Miss Taylor declared that he played the guitar better than any student she'd ever had, and that she couldn't teach him any more. She thought he was a natural, and he could play any song he heard. Martin was overjoyed, and took off to home with his guitar. Martin took to playing his guitar every chance he got, and eventually the farmer noticed. He was super impressed, and moved by Martin's music. He told Martin that he should start a band, and Martin thought that was a great idea. He asked the farmer how he would find other animals that wanted to join the band though. The farmer thought about it for a bit, and then told Martin he'd put an ad in the paper. The Farmer was good on his word, and the next day he showed Martin the ad. It said "Horse guitarist looking for farm animals to create band. Apply at Farmer Chester's farm". And so they waited. Well, about a week passed, and Martin was feeling a bit dejected. Nobody was answering his ad, and he felt like his dream to make music was falling through his fingers, which was really hard on him because he didn't have fingers. He wandered up to the house to tell the farmer that he was giving up on starting a band, and noticed a sheep sitting on the front porch. Martin introduced himself and asked the sheep what he was doing there. "I saw an ad saying you were looking for farm animals that want to join your band. My name is Johan Sebastien, but you can call me Joe." Martin asked him what instrument he played, and Joe looked down at the ground sheepishly, then told Martin that he didn't know how to play one yet, but he'd always wanted to learn the piano. Martin thought about it for a second, then asked Joe to follow him. They went into town, and Martin rang Miss Taylor's doorbell again. Her door opened, and Martin explained how Joe desperately wanted to learn the piano. Miss Taylor explained that she was worried that the piano might be beyond the ability of a sheep, because it requires fingers. Martin reminded her that a guitar does too, but that he still managed to learn, and be good at it. Miss Taylor agreed, and told Joe that she would agree to teach him, for free, as long as he came every day and showed progress. Joe bleated out his joy and bounced around, and asked when he could start. Well, Miss Taylor took him in right away, and they sat down at the piano to get started. Martin left them to it, and wandered back home to practice his guitar. Johan was a natural. At first, he struggled to get his hooves on the right notes, but he kept at it, and was eventually able to play Chopsticks, and then more complicated songs. Miss Taylor was amazed to watch how quickly Johan's hooves moved across the keyboard. He was so quick he could hit several notes at the same time, and with daily lessons and a ton of practice, he could play even the most complicated piano concertos. His rendition of Beethoven's Fur Elise brought her to tears. After a year, she declared that Johan was the best piano student she'd ever had, and the most gifted piano player she'd ever heard. He ran home to Farmer Chester's, and told Martin and the farmer of his completion of lessons. As a graduation gift, Farmer Chester presented Johan with a baby grand piano. Chester then told them "I think it's time we find you another band member." So another ad went into the paper, and a few weeks later, Martin ran across a cow wandering the yard. "Can I help you", Martin asked? "Hey there, I saw the ad in the paper, and thought I could join your band. It's a dream of mine to be in a band." Martin asked what the cow played, and what his name is. "Well, I don't play anything yet, but I heard a trumpet once and thought it was the most beautiful sound ever. I want to learn to play. Oh, and you can call me Mooie Armstrong." Well, Martin was delighted at the new potential band member, but annoyed that he had to keep getting the new members trained up. He admitted that there probably weren't a lot of farm animals out there with musical experience, though. So, off to Miss Taylor's they went, and at this point, Miss Taylor wasn't even surprised. She agreed to train Mooie, and he proved to have a hard time with the trumpet, but eventually he learned. He started out learning Taps, and Hot Cross Buns, and progressed to being able to play Flight of the Bumblebee at double speed. At first, Mooie was able to play Taps in it's most basic form, but after months and months of practice, he was able to make rocks cry from the beauty of it. Eventually, Miss Taylor told him that he was the best trumpet player she had ever heard, and that she could teach him no more. Mooie went back to the farm, and told everybody the news. Martin, and Johan, and even Farmer Chester were overjoyed, and wondered if they were a complete band. They realized they still needed a drummer, so another ad was placed in the newspaper. A few weeks later, Martin watched a chicken walk up the road to the farm, and was sure they'd just found their drummer. He ran over to greet the chicken, and introduced himself. The chicken responded and said "You can call me Cluck Berry. I heard you needed a drummer, and I really want to learn how to play drums." While Martin was again upset that they didn't have a response to their ad from an already proficient drummer, he realized that everyone that had come to answer their ads turned into virtuosos in their instrument. So he had Cluck fly up onto his back and hang on, and rode through town to Miss Taylor's place. She opened the door, saw the chicken on Martin's back, and just asked "Okay, what instrument?" Cluck told her about how much he wanted to learn drums, and that he'd seen a Genesis concert on TV, and a guy named Phil Collins was such an intense drummer that he could give you goosebumps. Cluck wanted to be just like Phil. Miss Taylor took to the task. She didn't even have to give Cluck drumsticks, because he had his own. She taught him how to do a single stroke roll, then a double stroke roll, taught him some basic drum beats, and he progressed to learning how to do drum solos from famous bands. He could keep up with Metallica, Rush, and could play any kind of drum you threw at him, from bongos to a timpani. His playing of YYZ by Rush was so masterful that Miss Taylor couldn't believe it. At that point, she declared him ready for the musical world. The farm animals felt that they were nearly complete as a band. They kept practicing, and realized they needed a bass player, so out went another ad in the newspaper. Farmer Chester bought a bass guitar, and they waited. Within days, a llama showed up at the door. Martin trots over and asks for a name. The llama replies "You can call me Del Rey. I hear you're in need of a bass player." Martin agrees, and asks if Del Rey already knows how to play bass, and she replies that she doesn't yet, but she really wants to learn. So, off they go to Miss Taylor's again with Del Rey and the new bass guitar, and Miss Taylor smiles in joy at the new animal student. They head inside. At the end of the day, the llama Del Rey comes home to the farm absolutely ecstatic. She gets her bass guitar out, and proudly plays the three notes Miss Taylor taught her. The other animals are thrilled, and declare her the best bass player they'd ever heard, and were amazed she was able to learn so quickly. Martin was thrilled. They had a guitarist, a bass guitarist, a drummer, a piano player, and a horn expert. He thought they were pretty much a complete band. So they got together in the pasture with their instruments, and started working on their set list. It was then that they ran across a problem. None of them could sing. So they talked to Farmer Chester, and he agreed to one more ad in the newspaper. The ad goes out, and about three weeks later, they find a pig being dropped off at the gate. The farmer dropping him off stormed off in a huff, angry at losing a prized pig, and hopped back into his truck, spinning his tires in his haste to leave. Martin watched as the pig shook his head in amazement, then went to introduce himself. The pig had the most gorgeous winged eyeliner, and introduced herself to Martin as Amy Swinehouse. Martin asked if Amy was a singer, and she, naturally, answered that she had a little bit of experience singing around the barn, but nothing serious. Martin took her to see Miss Taylor again, and explained that Amy wanted to learn to sing. Of course, Miss Taylor took Amy in, and they got to work. Miss Taylor recognized the pig's natural talent. She was a natural contralto, and with her unique voice, was quickly able to master songs by Annie Lennox, Adele, and the throaty jazz vocals of Diana Krall. Amy mastered singing jazz, pop, rock, and even turned out to be a talented Mongolian throat singer. Her rendition of Lzzy Hale's part in Song of Women brought Miss Taylor to tears. Finally, after a couple of years of practice, learning, and putting a band together, Martin and the other animals were ready. They worked on a name for their band. Martin thought Horse Sense was the best name, while Johan insisted that Herd Mentality was better. Cluck wanted the band to be called Family Dinner Bucket because he had a morbid sense of humor, and Del Ray thought they should be called The Spitz. Mooie suggested they be the Mooo-dy Blues, and Amy chose Hambone. They were upset when they learned that some humans had already had a band called The Animals, feeling this was poor representation. Finally, because they realized that they were hoping to bring joy to people, they decided that they'd call themselves Laughing Stock, and the name felt perfect for them. Farmer Chester agreed to be their booking agent, and they quickly got their first gig at a small country bar in town. By this time, word of their musical prowess had spread around town, so when they arrived to play their first concert, there was a packed house, and all 45 people were moved to happy tears listening to the best musicians the world had ever seen. They quickly got booked at larger and larger venues, but could never break out of the bar scene. Farmer Chester tried booking them into concert halls, and sports arenas, but was always told they weren't the right act. Chester got upset after months of being turned down, and Martin was slowly sinking into depression because they couldn't make it as big as they wanted to. Finally, after months of being turned down for the big venues, Chester finally got a straight answer as to why. It wasn't because they were farm animals, or because their musical talent was lacking. It turned out that the fact that they were a cover band, with no original material, was their stumbling block. They needed to start writing their own songs. Unfortunately, none of them knew how to do that. They went off to visit Miss Taylor and explained the problem. Well, Miss Taylor's face broke out in a huge grin, and she says "I've been waiting for this day! I've been writing songs for your band for a couple of years now, hoping you'd get famous." She ran and grabbed all of her music, and they went back to the farm together. Miss Taylor's music was amazing. Nothing like it had ever been heard before, a fusion of rock and jazz and classical that combined the talents of the entire band. The lyrics evoked every emotion under the sun. Songs brought overwhelming joy, bittersweet sorrow, love, loss, heartache and a powerful need to be better. The band was just amazed at the music, and got to work at learning the songs. Naturally, they more than did justice to the music that Miss Taylor had created. After they learned all of the music, Farmer Chester called up a recording studio and got studio time to record their album. The studio was initially hesitant to allow them in, seeing as how they were barnyard animals, but Martin shredded on his guitar in the parking lot, and his display of musical prowess convinced the studio owner to give them a shot. Farmer Chester even agreed to pay a cleaning deposit in case of any "accidents". In any case, they got their album recorded in a single take. The studio execs were impressed at how well the band worked together, and the music moved them to tears. They not only agreed to finance the album, but told the band that they had contacts at all the radio stations, and would get them a concert tour. The band was overjoyed! The next couple of months were a whirlwind. Their first single hit #1 on the Billboard charts, and every Top 40 station played their music every half hour for weeks. They started playing to packed stadiums, and the lines for autographs stretched for blocks after every concert. The money came pouring in, and they were living their dream. Emails and letters came pouring in from teens that professed their undying love for different band members, and there were several letters from people who said they were brought back from the brink of depression by Laughing Stock's music. Martin and the others felt that they were doing what they were destined to do. One day, in the middle of their tour, Farmer Chester comes into the band's dressing room after the show and lets them know that they've been invited to go on The Tonight Show in New York. They're to fly out of Las Vegas the next evening, and would spend the day touring New York before their interview. All of the band members immediately start packing up their things, talking over each other about how excited they are about this opportunity. They were going to be on tv! The next morning, Farmer Chester's phone rings. He answers it, and his face drops as he looks over towards Martin. He thanks the caller, hangs up, and says to Martin, "That was my wife. She just let me know that your mother is very sick and we don't know if she's going to make it. She's asking for you to come home so she can say goodbye." Martin is so upset. He knows he can't disappoint his band, but he also can't say no to his mother's last wishes. So he tells the band to go ahead without him to New York, and he'd go see his mother, then catch another flight and meet them in New York in time for the interview. He gets on the next flight to Nebraska and goes to see his mom. In the meantime, the rest of the band, along with Farmer Chester, gets on the plane from Vegas to New York. The flight gets up to altitude, and the band members relax, grab some alcohol, some food, and eventually they pass out from exhaustion on the 3 hour flight. As they're flying over Tennessee, however, a freak storm appears, and the plane is struck by lightning. The engines fail, and the plane goes down. There are no survivors. While this was happening, Martin was back at the farm. His mother had a serious flu, but it wasn't nearly as bad as she'd made it out to be, and Martin was annoyed that she had dragged him all the way back to the farm because she had the sniffles. He headed out to the airport again after telling his mom that he loved her, and hopped on a plane to New York, with no knowledge of the horrible accident his friends had been in. He arrived in New York and tried calling his bandmates, but couldn't get ahold of anybody. Chester's phone went straight to voicemail. He headed to the hotel he had been told they'd be staying at, and found that the band hadn't checked in yet. So, Martin got up to his room, then called the Late Show studio to find out where his band was. It was at this point that Martin learned of the plane crash, and that all of his friends, his family, had died in terror. Martin was devastated. He realized that the only thing that had kept him alive was that his mother was sick. He should have been on that plane too. The guilt crushed him, and he broke down crying on the floor, sobbing into the carpet. When his sobbing stopped, he looked around the room, and noticed the little fridge. Opening it, he found the little alcohol bottles, and emptied all of them. However, since he was a horse, and fairly heavy for his species, the little amount of alcohol did nothing to dull the ache in his heart. Depressed and guilt-ridden, Martin headed down to the hotel bar and started drinking seriously. After several hours of drinking, he felt the guilt numb itself inside him. Unfortunately, it also numbed his bladder and he was kicked out of the hotel for the resulting mess. Martin stumbled through the streets of New York, the alcohol dulling his senses, making him stumble into people and streetlamps. He fell several times in back alleys, and the smell of garbage lingered on his once-fine coat. After several hours of this, his mind started to clear, but his overwhelming sadness tried to crush him. He just wanted to end it all. He figured the best way to do that was to drink himself into alcohol poisoning, and he'd just let it happen. So he looked around for a bar close to him, and he finally found this seedy, dark stairwell into a basement bar. Carefully, he took himself down the steps, opened the door, and entered the bar where he planned to end his life. The bartender looks up from the bar, sees the horse, and asks "Hey there friend. Why the long face?"
I come here almost every day, and love and appreciate this community so much for keeping Avicii alive and in our hearts. On the year anniversary of TIM, I wanted to share a brief few words about what became my favorite song on the album, and thereafter my favorite song Tim ever made. I remember the first time I heard "Freak". I waited for a few hours at the Avicii cube in NYC, and then eagerly awaited my turn and three songs. The first two were great-- Hold the Line and Never Leave Me. But when I got matched up with someone from Stockholm for the third, I knew it would be special. Freak delivered. I had chills watching the Youtube behind the scenes with Albin Nedler and Kristoffer Fogelmark, when they showed how brilliant Tim was in finding the sukiyaki melody, and then playing the clip of Tim finding the melody in the chorus. Freak not only became my favorite song of the year, but quickly became my most listened to song ever on Spotify. I find it so beautiful and quintessential Tim: sad lyrics, but with the music giving hope. I am not sure if there has ever been a song I have cried tears of joy and happiness to more than this gem. Every time it plays, haste becomes a futuristic anacrhonism. The song seems liberating, and I can hear Tim so much in it. At face value, the lyrics embrace his genius, and the demons that accompany it. From a more macro perspective, I think this applies to all of us. We are "freaks" in our own right, and have moments where we "don't want to be seen in the shape [we're in]. The world right now is in one of those moments, with so many terrible events and "scars within". I often look to Tim for solace and inspiration and have been listening to Freak on repeat with the rest of the album to commemorate the year anniversary of it. For, as bad as things get, when I hear that whistle, I know that tomorrow presents new possibilities, and remember to hold onto my dreams before I forget them. Those synths play, and for a moment everything is possible. Best wishes to all during these times. We are all "different" and "wild", but can always smile to the music Tim gifted us. Best wishes to all during these times. We are all "different" and "wild", but can always smile at the music Tim gifted us.
I'm confused and depressed. I was raised jehovah witness so I never believed in hell. This led to me having a care free attitude and I made many mistakes that I won't get into because this post will go on forever. Lately I questioned their teachings and found out that jesus did indeed talk a lot about hell. I'm much too stuck in my ways. I have a tattoo that literally is supposed to summon demons. I listen to much devil music and watch very demonic things because I thought they were just stories and they intrested me. I have tried and failed many times to leave this life behind but I keep coming back to it. I feel as if I'll never be able to pull myself out of sin.
Well, few things. First, you need to find a new church. Now I’m Catholic so of course I’m going to recommend the Catholic Church founded by our Lord Jesus Christ, but at this rate I’ll be happy if you join any church that has a valid baptism. Your baptism in Jehovah’s Witnesses was not valid because it was not done in the name of the Father, and of the Son, and of the Holy Spirit. Next, for your satanist stuff you have going on, first thing is leave it all behind. NO good can come from any of it. Then, say this prayer frequently. “St. Michael the Archangel, defend us in battle. Be our protection against the wickedness and snares of the Devil. May God rebuke him, we humbly pray. And do thou, O prince of the heavenly hosts, by the power of God, cast into Hell Satan, and all the evil spirits who prowl about the world seeking the ruin of souls. Amen.”
Maybe the trouble you’re having is that you are trying to pull yourself out of sin rather than asking Jesus to help you find the right path to take to lead you away from sin. Another thing to realize is that only Jesus was free from sin. We are imperfect. However it’s recognizing your mistakes, asking for forgiveness, and learning from your mistakes (so as not to repeat them) that is the most important. Jesus loves us so much that he died for us. Let the knowledge of his love and sacrifice be what stirs your faith in him. He’s not going to give up on you so trust that with all of your heart. As far as your tattoo, that can be covered. If you’re concerned about the music you listen to then make it a mission to find something else you enjoy. I know that Jehovahs Witnesses believe that you must atone for your sins and that is the only way into heaven. If you have fallen away from that faith, maybe it’s time to look for another religion. Many religions such as mine (Methodist) believe that to receive forgiveness for our sins we need only to ask Jesus directly . A very dear friend of mine who has stepped away from the Jehovahs Witness faith expressed concern to me that what if he walked away from his religion and followed the wrong one, or what if he stayed only to find out that the Jehovahs Witness faith is the wrong one. As I explained to him, your salvation lies in your relationship with God. If you choose to turn away and not welcome him into your heart, then why would you expect him to open up the gates of heaven for you? I believe that when we die and God is looking at our sins in our lifetime, he will be most concerned with whether or not you believed in him, sought a relationship with him, and did your best to turn away from your sins. I know that it’s stressful right now but maybe instead of worrying about it pray. Ask Jesus for his guidance, his forgiveness, and his strength to keep you on the right path from now on. God Bless💜
If you read the book of Romans (especially), you will gain a clear understanding of being saved from sin, if God will give you the understanding and faith unto salvation. If you truly want Truth, I would pray for such. 1.) We are all sinners (Romans 3:10-23) We have all offended a holy God by breaking His Law (whether through ignorance, or wittingly). All of us are guilty. We are all sinners. 2.) Sinners deserve God's judgment (Rom 6:23; Heb 9:27) The penalty of sin is physical and spiritual death. Since Adam's sin, humanity has been dying in sin. We are under judgment and need deliverance. 3.) Jesus Christ paid our sin debt (Rom 3:23-26; 5:8-10; I Corinthians 15; Philippians 2:5-11; Hebrews 9-10; I Peter 1:18-25) Through His death, burial, and resurrection, Jesus Christ paid for the sins of the whole world. Jesus Christ is God made flesh (John 1:1-14). He is perfect and sinless. Because of these things, He alone was qualified to pay for our sins. The innocent had to die for the guilty, so He did willingly, out of love for us. He died, was buried, and physically rose from the dead three days later: proving that He truly paid our sin debt for us! The Person and Work of Christ are so important. If He was not who He was, then what He did would have done nothing for us, and vice-versa. 4.) In order to be saved from sin, we must repent and trust Christ alone (Acts 14:31; Romans 4; Ephesians 2:8-10) We cannot be saved from sin through our own works. We are sinners, offenders, and not good enough. We need something done about our sin, and Christ did that for us. So, in order to be saved, it must be by faith, not works. This is where Bible Christianity departs from many denominations. The Bible proclaims, "Believe on the Lord Jesus Christ, and thou shalt be saved!" not, "Trust in yourself and your own good works!" The Bible promotes Christ, not Man. If we are to be saved, it is through trusting in Him alone (John 3-4; Romans 10:9-11). This is a life-changing choice brought about by the Spirit of God. Once we turn to Christ, there is no going back. We pass from death unto life, and are given a new heart/new desires by God's Spirit. This is repentance: changing our mind about sin and Christ, seeing us for who we are and Him for who He is, and choosing to believe in & follow Christ, according to His Word. No prayer, baptism, or other good work can save. Only Christ can. I implore you to read these scriptures, and turn to Christ today. Pray that He would reveal Truth & Light to you, and give you the faith to believe. There is no better life than that of following Him in His Word. If you are interested in some Bible study material that I have to help along these lines, please PM me. I would be happy to help.
While agree with the bible versus saying that being a JW means your going to hell is offensive and certainly not what the bible teaches. Matthew 7:1 "Judge not lest ye be judged" Isaiah 66:5 Hear the word of the LORD, ye that tremble at his word; Your brethren that hated you, that cast you out for my name's sake, said, Let the LORD be glorified: but he shall appear to your joy, and they shall be ashamed.
Here is how you can be saved and find peace. The Bible says in Romans 10:9 “That if thou shalt confess with thy mouth the Lord Jesus, and shalt believe in thine heart that God hath raised him from the dead, thou shalt be saved.” To believe in Jesus does not mean to only be fully persuaded in your mind of who Jesus is and what He did. The word “believe” in Romans 10:9 in the Strong’s Exhaustive Concordance roots backwards twice to a word, which means “obey” (the word believe is Strong’s # 4100 in the Greek, which comes from # 4102, which comes from # 3982, which means obey and also yield). This shows that true faith is rooted in obedience. Therefore, in order to fulfill the requirements of salvation in Romans 10:9 you must be fully persuaded in your mind of who Jesus Christ is (God in the flesh John 1:1-3, John 1:14, John 3:16, and 1 John 5:7; Born of a virgin Matthew 1:18-25 and Luke 1:30-35) and what He has done (died on a cross 1 Corinthians 15:3-4 and arose from the dead in a flesh and bone body Luke 24:39), and your heart must change from wanting to sin to wanting to obey God. This is an immediate change of your heart (meaning desire and will). It means that you yield (submit) your will to God’s will. That is repentance of sins, and it is required for you to receive forgiveness of your sins. Luke 13:5 “I tell you, Nay: but, except ye repent, ye shall all likewise perish.” God does not want you to go to Hell! He wants you to get saved! Ezekiel 18:23 “Have I any pleasure at all that the wicked should die? saith the Lord GOD: and not that he should return from his ways, and live?” Ezekiel 18:23 agrees with 2 Peter 3:9 “The Lord is not slack concerning his promise, as some men count slackness; but is longsuffering to us-ward, not willing that any should perish, but that all should come to repentance.” In addition, Matthew 9:13 says “But go ye and learn what that meaneth, I will have mercy, and not sacrifice: for I am not come to call the righteous, but sinners to repentance.” Your actions may not change immediately after you get saved, but you are going to be so convicted over your sin, when you mess up, that you are going to cry out to God to help you to change. This is the only way you can go to heaven. Acts 4:12 “Neither is there salvation in any other: for there is none other name under heaven given among men, whereby we must be saved.” If you have never believed in Jesus and repented of your sins, please do it now. Here is a prayer that you can pray word for word or use as a guide to tell God that you believe the gospel, repent of your sins and ask Him to forgive you of your sins. The prayer does not save you. The decision to believe in Jesus and repent of your sins is what saves you. The prayer just helps you tell God that you have made these decisions. Here is the prayer: “Dear God, I know that I am a sinner and I believe that Jesus Christ died on the cross and bodily arose from the dead 3 days later to pay for my sins. I repent of my sins. Please forgive me of my sins and help me to obey you and live for you for now on. Please take me to heaven when my life on this earth is over. Thank you for saving me. In Christ Jesus name, Amen.” In order to help get the satanic music out of your head, go to youtube and start listening to Gospel Hymns and other Christian music. Instrumental gospel Hymns are very calming and peaceful. Read your Bible and pray daily. Start reading the Bible in the Gospel of John, then read Ephesians, then read the whole New Testament, then start reading from both the Old and New Testaments everyday. Start going to a Bible believing Church, and have the Pastor and other Christians pray for you. I have a Bible Study packet that I can send you, but I am not allowed to put links in posts on this group. Please send me a private message and I will send you the link to the Bible Study Packet, which will help you to grow in Christ and understand the Bible better. I am praying for you.
I too was raised a Jehovahs Witness so I feel your pain. Hell is a state of being we put ourselves in or are put in, depression and feeling like you are right now is a sort of hell, it is a case of taking a step at a time to rebuild yourself and to make your life more resembling heaven. I don’t so much mean externally, but just where you are internally - within yourself. It might be that after being raised a Jw the whole interest in the devil is you trying to understand the shadow aspect of our humanity. Which serves to create internal harmony and balance. It may also be pent up rage and frustration which needs to be made conscious. I’d recommend researching Carl Jung which helped me take a more psychological perspective on everything. It’s helped me so much. It sounds like you may just be trying to integrate and to become more whole. The devil disguises itself as an Angel of Light - the appearance of good but never actually being good. How we were raised in the Jehovahs witnesses means that there were a lot of people displaying a sort of satanic arrogance, it causes an imbalance in the psyche which we inherently seek to rebalance as we attempt to heal. Having a closed mind that only allows you to see one side of life is an unhealthy environment. Allow yourself to heal. Don’t get me wrong, there are most definitely evil forces and the heavy metal and all of this is not very good for you, the lyrics will only fuel the rage and bitterness which is not good for you at all - you have to look after your mind and set it on really helpful and upbuilding things, like genuine character improvement which feels good. Remember that the idea of sin is actually when you turn away from your wholeness or away from attaining that wholeness and the thing in you which helps you to grow as a balanced human being. It is perhaps a lot of suppressed rage and anger at the environment you were in, unable to express yourself. Do not allow deathly shame to come it, cast it out, strengthen your heart, educate yourself, don’t stop just keep taking one step at a time, even the only step you can take is walking from one room to the other. You’ve got this.
If you are out of Jehovah’s Witness, (Step One) then you are out of the hell. (Step Two) Keep reading the Bible (Step Three) Pray God to save you (Step Four) Romans 8:39 Nor height, nor depth, nor any other creature, (nor tattooes) shall be able to separate us from the love of God, which is in Christ Jesus our Lord. 2 Timothy 1:7 For God hath not given us the spirit of fear; but of power, and of love, and of a sound mind. 2 Timothy 1:13 Hold fast the form of sound words, which thou hast heard of me, in faith and love which is in Christ Jesus. Romans 10:9-10 That if thou shalt confess (pray) with thy mouth the Lord Jesus, and shalt believe in thine heart that God hath raised him from the dead, thou shalt be saved. For with the heart man believeth unto righteousness; and with the mouth confession (pray) is made unto salvation. We are here to help.
Jehovah’s Witness is a cult. They do not teach Bible. They study magazines called “Watch Tower” and “Awake!” If you are not aware of cults, you are in trouble without me telling you. 1 Corinthians 2:14-15 But the natural man receiveth not the things of the Spirit of God: for they are foolishness unto him: neither can he know them, because they are spiritually discerned. But he that is spiritual judgeth all things, yet he himself is judged of no man.
From Wikipedia, the free encyclopediaJump to navigationJump to searchFor the African country, seeNiger. For other uses, seeNigger (disambiguation)) andN-word (disambiguation)). In the English language, the word nigger is an ethnic slur typically directed at black people, especially African Americans. The word originated in the 18th century as an adaptation of the Spanish negro, a descendant of the Latin adjective niger, which means black. It was used derogatorily, and by the mid-20th century, particularly in the United States, its usage by anyone other than a black person became unambiguously pejorative, a racist insult. Accordingly, it began to disappear from general popular culture. Its inclusion in classic works of literature has sparked modern controversy. Because the term is considered extremely offensive, it is often referred to by the euphemismthe N-word. However, it remains in use, particularly as the variant nigga, by African Americans among themselves. In dialects of English that have non-rhotic speech, "nigger" and "nigga" are pronounced the same.
Etymology and history
Main article:Negro The variants neger and negar derive from various European languages' words for 'black', including the Spanish and Portuguese word negro (black) and the now-pejorative French nègre. Etymologically, negro, noir, nègre, and nigger ultimately derive from nigrum, the stem of the Latinniger ('black'), pronounced [ˈniɡer], with a trilledr. In every grammatical case, grammatical gender, and grammatical number besides nominative masculine singular, is nigr- followed by a case ending. In its original English-language usage, nigger (then spelled niger) was a word for a dark-skinned individual. The earliest known published use of the term dates from 1574, in a work alluding to "the Nigers of Aethiop, bearing witnes." According to the Oxford English Dictionary, the first derogatory usage of the term nigger was recorded two centuries later, in 1775. In the colonial America of 1619, John Rolfe used negars in describing the African slaves shipped to the Virginia colony. Later American English spellings, neger and neggar, prevailed in a northern colony, New York under the Dutch, and in metropolitan Philadelphia's Moravian and Pennsylvania Dutch communities; the African Burial Ground in New York City originally was known by the Dutch name Begraafplaats van de Neger (Cemetery of the Negro); an early occurrence of neger in Rhode Island dates from 1625.LexicographerNoah Webster, whose eponymous dictionary did much to solidify the distinctive spelling of American English, suggested the neger spelling in place of negro in 1806. During the fur trade of the early 1800s to the late 1840s in the Western United States, the word was spelled "niggur," and is often recorded in the literature of the time. George Fredrick Ruxton used it in his "mountain man" lexicon, without pejorative connotation. "Niggur" was evidently similar to the modern use of "dude" or "guy." This passage from Ruxton's Life in the Far West illustrates the word in spoken form—the speaker here referring to himself: "Travler, marm, this niggur's no travler; I ar' a trapper, marm, a mountain-man, wagh!" It was not used as a term exclusively for blacks among mountain men during this period, as Indians, Mexicans, and Frenchmen and Anglos alike could be a "niggur." "The noun slipped back and forth from derogatory to endearing." The term "colored" or "negro" became a respectful alternative. In 1851 the Boston Vigilance Committee, an abolitionist organization, posted warnings to the Colored People of Boston and vicinity. Writing in 1904, journalist Clifton Johnson) documented the "opprobrious" character of the word nigger, emphasizing that it was chosen in the South precisely because it was more offensive than "colored" or "negro." By the turn of the century, "colored" had become sufficiently mainstream that it was chosen as the racial self-identifier for the National Association for the Advancement of Colored People. In 2008 Carla Sims, its communications director, said "the term 'colored' is not derogatory, [the NAACP] chose the word 'colored' because it was the most positive description commonly used [in 1909, when the association was founded]. It's outdated and antiquated but not offensive." Canadian writer Lawrence Hill changed the title of his 2007 novel The Book of Negroes). The name refers to a real historical document, but he felt compelled to find another name for the American market, retitling the US edition Someone Knows My Name. 📷First US edition, with the title changed from Nigger of the Narcissus Nineteenth-century literature features usages of "nigger" without racist connotation. Mark Twain, in the autobiographic book Life on the Mississippi (1883), used the term within quotes, indicating reported speech, but used the term "negro" when writing in his own narrative persona.Joseph Conrad published a novella in Britain with the title The Nigger of the 'Narcissus' (1897), but was advised to release it in the United States as The Children of the Sea, see below. A style guide to British English usage, H. W. Fowler's A Dictionary of Modern English Usage states in the first edition (1926) that applying the word nigger to "others than full or partial negroes" is "felt as an insult by the person described, & betrays in the speaker, if not deliberate insolence, at least a very arrogant inhumanity;" but the second edition (1965) states "N. has been described as 'the term that carries with it all the obloquy and contempt and rejection which whites have inflicted on blacks'." By the late 1960s, the social change brought about by the civil rights movement had legitimized the racial identity word black as mainstream American English usage to denote black-skinned Americans of African ancestry. President Thomas Jefferson had used this word of his slaves in his Notes on the State of Virginia (1785), but "black" had not been widely used until the later 20th century. (See Black Pride, and, in the context of worldwide anti-colonialism initiatives, Negritude.) In the 1980s, the term "African American" was advanced analogously to the terms "German American" and "Irish American," and was adopted by major media outlets. Moreover, as a compound word, African American resembles the vogue wordAfro-American, an early-1970s popular usage. Some black Americans continue to use the word nigger, often spelled as nigga and niggah, without irony, either to neutralize the word's impact or as a sign of solidarity.
Surveys from 2006 showed that the American public widely perceived usage of the term to be wrong or unacceptable, but that nearly half of whites and two-thirds of blacks knew someone personally who referred to blacks by the term. Nearly one-third of whites and two-thirds of blacks said they had personally used the term within the last five years.
📷Historical American cartoon titled "Why the nigger is not fit to vote," by Thomas Nast, arguing the reason Democrats objected to African-Americans having the vote was that, in the 1868 US presidential election, African-Americans voted for the Republican candidates Ulysses S. Grant and Schuyler Colfax. "Seymour friends meet here" in the background is a reference to the Democratic Party candidate: Horatio Seymour. In explaining his refusal to be conscripted to fight the Vietnam War (1965–75), professional boxer Muhammad Ali said, "No Vietcong [Communist Vietnamese] ever called me nigger;" later, his modified answer was the title No Vietnamese Ever Called Me Nigger (1968) of a documentary about the front-line lot of the U.S. Army Black soldier in combat in Vietnam. An Ali biographer reports that, when interviewed by Robert Lipsyte in 1966, the boxer actually said, "I ain't got no quarrel with them Viet Cong." On February 28, 2007, the New York City Council symbolically banned the use of the word nigger; however, there is no penalty for using it. This formal resolution also requests excluding from Grammy Award consideration every song whose lyrics contain the word; however, Ron Roecker, vice president of communication for the Recording Academy, doubted it will have any effect on actual nominations. The word can be invoked politically for effect. When Detroit mayor Kwame Kilpatrick came under intense scrutiny for his conduct in 2008, he deviated from an address to the city council, saying, "In the past 30 days, I've been called a nigger more than any time in my entire life." Opponents accused him of "playing the race card" to save his political life.
Main article:Use of nigger in the arts The implied racism of the word nigger has rendered its use taboo. Magazines and newspapers generally do not use the word but instead print censored versions such as "n*gg*r," "n**ger," "n——" or "the N-word;" see below. 📷1885 illustration from Mark Twain's Adventures of Huckleberry Finn, captioned "Misto Bradish's nigger" The use of nigger in older literature has become controversial because of the word's modern meaning as a racist insult. One of the most enduring controversies has been the word's use in Mark Twain's novel Adventures of Huckleberry Finn (1885). Huckleberry Finn was the fifth most challenged book during the 1990s, according to the American Library Association. The novel is written from the point of view, and largely in the language, of an uneducated white boy, who is drifting down the Mississippi River on a raft with an adult escaped slave, Jim. The word "nigger" is used (mostly about Jim) over 200 times. Twain's advocates[who?] note that the novel is composed in then-contemporary vernacular usage, not racist stereotype, because Jim, the black man, is a sympathetic character. In 2011, a new edition published by NewSouth Books replaced the word "nigger" with "slave" and also removed the word "injun." The change was spearheaded by Twain scholar Alan Gribben in the hope of "countering the 'pre-emptive censorship'" that results from the book's being removed from school curricula over language concerns. The changes sparked outrage from critics Elon James, Alexandra Petrie and Chris Meadows. In his 1999 memoir, All Souls, Irish-American Michael Patrick MacDonald describes how many white residents of the Old Colony Housing Project in South Boston used this meaning to degrade the people considered to be of lower status, whether white or black.
Of course, no one considered himself a nigger. It was always something you called someone who could be considered anything less than you. I soon found out there were a few black families living in Old Colony. They'd lived there for years and everyone said that they were okay, that they weren't niggers but just black. It felt good to all of us to not be as bad as the hopeless people in D Street or, God forbid, the ones in Columbia Point, who were both black and niggers. But now I was jealous of the kids in Old Harbor Project down the road, which seemed like a step up from Old Colony ...
In an academic setting
The word's usage in literature has led to it being a point of discussion in university lectures as well. In 2008, Arizona State University English professor Neal A. Lester created what has been called "the first ever college-level class designed to explore the word 'nigger.'" Starting in the following decade, colleges struggled with attempts to teach material about the slur in a sensitive manner. In 2012, a sixth grade Chicago teacher filed a wrongful dismissal lawsuit resulting from an incident in which he repeated the contents of a racially charged note being passed in class. A New Orleans high school also experienced controversy in 2017. Such increased attention prompted Elizabeth Stordeur Pryor, the daughter of Richard Pryor and a professor at Smith College, to give a talk opining that the word was leading to a "social crisis" in higher education. In addition to Smith College, Emory University, Augsburg University, Southern Connecticut State University and Simpson College all suspended professors in 2019 over referring to the word "nigger" by name in an educational context. In two other cases, a professor at Princeton decided to stop teaching a course on hate speech after students protested his utterance of "nigger" and a professor at DePaul had his law course cancelled after 80% of the enrolled students transferred out. Instead of pursuing disciplinary action, a student at the College of the Desert challenged his professor in a viral class presentation which argued that her use of the word in a lecture was not justified.
In the workplace
In 2018, the head of the media company Netflix, Reed Hastings, fired his chief communications officer for using the word twice during internal discussions about sensitive words. In explaining why, Hastings wrote: "[The word's use] in popular media like music and film have created some confusion as to whether or not there is ever a time when the use of the N-word is acceptable. For non-Black people, the word should not be spoken as there is almost no context in which it is appropriate or constructive (even when singing a song or reading a script). There is not a way to neutralize the emotion and history behind the word in any context. The use of the phrase 'N-word' was created as a euphemism, and the norm, with the intention of providing an acceptable replacement and moving people away from using the specific word. When a person violates this norm, it creates resentment, intense frustration, and great offense for many." The following year, screenwriter Walter Mosley turned down a job after his human resources department took issue with him using the word to describe racism that he experienced as a black man. While defending Laurie Sheck, a professor who was cleared of ethical violations for quoting I Am Not Your Negro by James Baldwin, John McWhorter wrote that efforts to condemn racist language by white Americans had undergone mission creep. Similar controversies outside the United States have occurred at The University of Western Ontario in Canada and the Madrid campus of the University of Syracuse.
Intra-group versus intergroup usage
Main article:NiggaSee also:Ingroups and outgroups Black listeners often react to the term differently, depending on whether it is used by white speakers or by black speakers. In the former case, it is regularly understood as insensitive or insulting; in the latter, it may carry notes of in-group disparagement, and is often understood as neutral or affectionate, a possible instance of reappropriation. In the black community, nigger is often rendered as nigga, representing the arhotic pronunciation of the word in African-American English. This usage has been popularized by the rap and hip-hop music cultures and is used as part of an in-group lexicon and speech. It is not necessarily derogatory and is often used to mean homie or friend. Acceptance of intra-group usage of the word nigga is still debated, although it has established a foothold amongst younger generations. The NAACP denounces the use of both "nigga" and "nigger." Mixed-race usage of "nigga" is still considered taboo, particularly if the speaker is white. However, trends indicate that usage of the term in intragroup settings is increasing even amongst white youth, due to the popularity of rap and hip hop culture. According to Arthur K. Spears in Diverse Issues in Higher Education, 2006:
In many African-American neighborhoods, nigga is simply the most common term used to refer to any male, of any race or ethnicity. Increasingly, the term has been applied to any person, male or female. "Where y'all niggas goin?" is said with no self-consciousness or animosity to a group of women, for the routine purpose of obtaining information. The point: Nigga is evaluatively neutral in terms of its inherent meaning; it may express positive, neutral, or negative attitudes;
Kevin Cato, meanwhile, observes:
For instance, a show on Black Entertainment Television, a cable network aimed at a black audience, described the word nigger as a "term of endearment". "In the African American community, the word nigga (not nigger) brings out feelings of pride." (Davis 1). Here the word evokes a sense of community and oneness among black people. Many teens I interviewed felt that the word had no power when used amongst friends, but when used among white people the word took on a completely different meaning. In fact, comedian Alex Thomas on BET stated, "I still better not hear no white boy say that to me ... I hear a white boy say that to me, it means 'White boy, you gonna get your ass beat.'"
There's a certain rhythmic seduction to the word. If you speak in a sentence, and you have to say cat, companion, or friend, as opposed to nigger, then the rhythmic presentation is off. That rhythmic language is a form of historical memory for black people ... When Richard Pryor came back from Africa, and decided to stop using the word onstage, he would sometimes start to slip up, because he was so used to speaking that way. It was the right word at the moment to keep the rhythm together in his sentence making.
2010s: increase in use and controversy
In the 2010s, "nigger" in its various forms saw use with increasing frequency by African Americans amongst themselves or in self-expression, the most common swear word in hip hop music lyrics. Coates suggested that it continues to be unacceptable for non-blacks to utter while singing or rapping along to hip-hop, and that by being so restrained it gives white Americans (specifically) a taste of what it is like to not be entitled to "do anything they please, anywhere." A concern often raised is whether frequent exposure will inevitably lead to a dilution of the extremely negative perception of the word among the majority of non-black Americans who currently consider its use unacceptable and shocking.
Notable usageThe prosecutor [Christopher Darden], his voice trembling, added that the "N-word" was so vile that he would not utter it. "It's the filthiest, dirtiest, nastiest word in the English language." — Kenneth B. Noble, January 14, 1995 The New York Times The euphemismtheN-word became mainstream American English usage during the racially contentious O. J. Simpson murder case in 1995. Key prosecution witness Detective Mark Fuhrman, of the Los Angeles Police Department – who denied using racist language on duty – impeached himself with his prolific use of nigger in tape recordings about his police work. The recordings, by screenplay writer Laura McKinney, were from a 1985 research session wherein the detective assisted her with a screenplay about LAPD policewomen. Fuhrman excused his use of the word saying he used nigger in the context of his "bad cop" persona. Media personnel who reported on Fuhrman's testimony substituted the N-word for nigger.
Niger (Latin for "black") occurs in Latinate scientific nomenclature and is the root word for some homophones of nigger; sellers of niger seed (used as bird feed), sometimes use the spelling Nyjer seed. The classical Latin pronunciation /ˈniɡeɾ/ sounds like the English /ˈnɪɡə, occurring in biologic and anatomic names, such as Hyoscyamus niger (black henbane), and even for animals that are in fact not black, such as Sciurus niger (fox squirrel). Nigra is the Latin feminine form of niger (black), used in biologic and anatomic names such as substantia nigra (black substance). The word niggardly (miserly) is etymologically unrelated to nigger, derived from the Old Norse word nig (stingy) and the Middle English word nigon. In the US, this word has been misinterpreted as related to nigger and taken as offensive. In January 1999, David Howard, a white Washington, D.C., city employee, was compelled to resign after using niggardly—in a financial context—while speaking with black colleagues, who took umbrage. After reviewing the misunderstanding, Mayor Anthony Williams offered to reinstate Howard to his former position. Howard refused reinstatement but took a job elsewhere in the mayor's government.
📷Graffiti in Palestine referring to Arabs as "sand-niggers" The denotations of nigger also comprehend non-black/non-white and other disadvantaged people. Some of these terms are self-chosen, to identify with the oppression and resistance of black Americans; others are ethnic slurs used by outsiders. Jerry Farber's 1967 essay, The Student as Nigger, used the word as a metaphor for what he saw as the role forced on students. Farber had been, at the time, frequently arrested as a civil rights activist while beginning his career as a literature professor. In his 1968 autobiography White Niggers of America: The Precocious Autobiography of a Quebec "Terrorist,"Pierre Vallières, a Front de libération du Québec leader, refers to the oppression of the Québécois people) in North America. In 1969, in the course of being interviewed by the British magazine Nova), artist Yoko Ono said "woman is the nigger of the world;" three years later, her husband, John Lennon, published the song of the same name—about the worldwide phenomenon of discrimination against women—which was socially and politically controversial to US sensibilities. Sand nigger, an ethnic slur against Arabs, and timber nigger and prairie nigger, ethnic slurs against Native Americans, are examples of the racist extension of nigger upon other non-white peoples. In 1978 singer Patti Smith used the word in "Rock N Roll Nigger." In 1979 English singer Elvis Costello used the phrase white nigger in "Oliver's Army," a song describing the experiences of working-class soldiers in the British military forces on the "murder mile" (Belfast during The Troubles), where white nigger was a common British pejorative for Irish Catholics. Later, the producers of the British talent show Stars in Their Eyes forced a contestant to censor one of its lines, changing "all it takes is one itchy trigger – One more widow, one less white nigger" to "one less white figure." Historian Eugene Genovese, noted for bringing a Marxist perspective to the study of power, class, and relations between planters and slaves in the South, uses the word pointedly in The World the Slaveholders Made (1988).
For reasons common to the slave condition all slave classes displayed a lack of industrial initiative and produced the famous Lazy Nigger, who under Russian serfdom and elsewhere was white. Just as not all blacks, even under the most degrading forms of slavery, consented to become niggers, so by no means all or even most of the niggers in history have been black.
Jazz re:freshed Cassie Kinoshi (as), Miguel Gorodi, Sheila Maurice-Grey (t), Chelsea Carmichael (ts, f), Joe Bristow (tb), Theon Cross (tba), Joe Armon-Jones, Sarah Tandy (p, Fender Rhodes), Shirley Tetteh (g), Xana, Cherise Adams-Burnett, Mr. Ekow (v), Rio Kai (b) and Patrick Boyle (d) Though Cassie Kinoshi is fully aware of 1960s American civil rights suites such as her alto icon Jackie McLean’s It’s Time!, they didn’t directly influence this debut, with its distinctly British roots and concerns. Perhaps the most concerted attempt so far at a major album from a generation of young London players more attuned to performing, Driftglass draws on Afrofuturism for its hopeful scope, our musical melting-pot for its sound, and Kinoshi’s classical studies for its structure. Social engagement has again inspired ambitious black American music in these fractious, urgent times, but local racial oppression and liberation animate these songs. ‘The Darkies’ suggests post-war British films’ seedy, street-level jazz noir even as Debussy’s ‘The Golliwog’s Cakewalk’ threads through the tune, trailing both beauty and its title’s archaic presumptions. Poet Xana adds transcendent tower-block dreams in which, “my heart bursts out of my chest like a rocket/As I gather stars in my pocket”. Grenfell Tower’s stubborn symbol of murderous social schism stands accusingly at the record’s heart, as ‘Wake (for Grenfell)’ turns a Langston Hughes line into a mournful work-song chant, pointedly soured by Kinoshi’s tart alto tone. The SEED Ensemble is another permutation of the London scene’s currently omnipresent players, and their individuality is crucially encouraged. Sarah Tandy splits keyboard duties with Joe Armon-Jones, but it’s her Rhodes’ glistening, slow flow which adds impressionistic colour, on ‘Mirrors’ especially. Lacking the obvious thematic baggage elsewhere, that tune floats free into its own atmosphere. Both the songs’ rigid overall structures and occasionally slack development hold Driftglass back from greatness. But Kinoshi’s debut bursts with often achieved ambition, and time is on her side. Nick Hasted Cassie Kinoshi Interview https://preview.redd.it/8ezujto1gzy41.jpg?width=1200&format=pjpg&auto=webp&s=81f773b4b867d73900378595bae8fa6ae89dac4f
Domino Nubya Garcia (ts, f), Sheila Maurice-Grey (t), Cassie Kinoshi (as), Rosie Turton (tb), Shirley Tetteh (g), Rio Kai (b) and Lizy Exell (d) This long-awaited debut album from one of the most exciting young groups on the UK scene sounds like classic Blue Note with a contemporary London twist. On ‘Riverfest’, ‘Partner Girlfriend Lover’ and ‘Unbound’ strong melodies, richly-scored for the horns, and clever orchestral touches meet bustling grooves stitched with the distinctive silvery lines and creative chord-work of guitarist Shirley Tetteh. ‘Last Straw’ brings funk-rock grit and a bracing solo from trumpeter Sheila MauriceGrey (you could hear it in a 1970s detective movie or the soundtrack to Don Cheadle’s Miles Ahead). And Cassie Kinoshi’s ‘EU (Emotionally Unavailable)’ goes hard, leaving acres of space for the rhythm section who lay down a loose, grungy groove while Kinoshi’s alto spits anguished fire. Later on they shout out hip-hop as Nubya Garcia’s flute whirls through a cloud of effects. The title-track – all ethereal vocals and fluttering guitar – is split in two and returns at the very end. It’s a blissful conclusion to an excellent debut. Thomas Rees Nerija Interview https://preview.redd.it/znzd7cofgzy41.jpg?width=800&format=pjpg&auto=webp&s=29acc721a43e41cc93e1f2c5e947da607e67645b
There Is A Place
Brownswood Jake Long (d), Nubya Garcia (ts, f), Amané Suganami (p, wurlitzer), Shirley Tetteh (g), Twm Dylan (b), Tim Doyle (perc), Yahael Camara-Onono (perc), Axel Kaner-Lindstrom (t), Johanna Burnheart, Barbara Bartz (vn), Tom Oldfield (clo), Madi Aafke Luimstra (vla) and Maria Zofia Osuchowska (hp) Maisha brings together some of the stars of the young London jazz scene under the leadership of drummer and composer Jake Long. There Is A Place is their debut album and it’s one hell of an opening statement – echoing the work of spiritual jazz greats, including Pharoah Sanders and Alice Coltrane, and working in the infectious rhythms of West Africa. ‘Osiris’ is a dazzling start – a sonic Big Bang that unleashes the album’s lush, richly-textured soundworld. ‘Azure’ and the title-track evoke the tranquility of a Japanese garden, with Garcia adding wisps of flute; while ‘Eaglehurst/The Palace’ and ‘Kaa’ are swaggering and edgy. Here the band’s percussionists and the ticking guitar riffs and jabbing chord work of Shirley Tetteh come to the fore – bringing insinuations of Afro-beat, highlife and funk. Long has also written some superb arrangements for a guest chamber ensemble, which make the album sound vast. The strings add folky sighs and shimmering clouds of dissonant notes, building beneath the soloists and carrying them higher. There will be inevitable comparisons with Kamasi Washington. Personally, I find Long’s writing more interesting and every bit as cosmic. One of my albums of the year. Thomas Rees https://preview.redd.it/g0vycvdjgzy41.jpg?width=800&format=pjpg&auto=webp&s=3b9f19b0790685073639f0830fc496bb19a4fb44
THE COMET IS COMING
Trust In The Lifeforce Of The Deep Mystery
Impulse! Shabaka Hutchings (s), Dan Leavers (ky, syn) and Max Hallett (d) The Comet Is Coming’s name alludes to apocalypse and a sense of human proportion in the cosmos, diving into religious and scientific concepts of end-times and rebirth. This second album confirms UK jazz’s pop culture resurrection while they’re at it. Where Sons of Kemet add Afro-Caribbean roots and ritual to current London music, Shabaka Hutchings helps reach for future visions here. Updating spiritual jazz for a sci-fi age, Dan Leavers’ east London studio was fully utilised in his and Max Hallett’s flowing, precise production. But though Blade Runner’s soundtrack sometimes inspires Leavers’ synth glides, this is human, not cyborg, music. Big bang-expansive, relentless and restless, with Hutchings’ sax an attacking, integrated element in a bigger sonic picture, it could be played at a rave or place of worship, festival field or urban club. During ‘Blood of the Past’, a clearing appears for poet-rapper Kate Tempest to plead for, “a more soulful connection to land, and to lovers”; “Unable to listen, we keep speaking,” she adds, in an incantation against denatured life which resolves into a climbing Hutchings cry, beats slamming as if into soil. The dance-floor transcendence of ‘Super Zodiac’ features some of Hutchings’ most exciting playing, his dancer’s feint into its final climactic seconds sending the whole album over the edge. Offering off-beat grime accents elsewhere, Hallett is the Elvin Jones-like energy core of ‘The Universe Wakes Up’ as Hutchings ascends, untroubled, cruising between modal hyper-speed and free rawness, Coltrane rising into view like a lost star. Nick Hasted https://preview.redd.it/szy37vvugzy41.jpg?width=800&format=pjpg&auto=webp&s=8e5abec50e03c88fcb248dbbab414f1d375305bf
Turn To Clear View
Brownswood Recordings Joe Armon-Jones (ky, syn), Moses Boyd, KwAkE BaSs (d), David Mrakpor, Mutale Chashi (b), Oscar Jerome (g), Nubya Garcia, James Mollison (ts), Dylan Jones (t), Asheber, Georgia Anne Muldrow, Jehst, Obongjayar and Luke Newman (v) Fans of Ezra Collective and Nubya Garcia will be familiar with Joe Armon-Jones' soulful keyboard playing, but his second album also establishes him as a gifted composer and producer. Created in collaboration with Maxwell Owin, Turn To Clear View is a beautifully crafted journey through jazz-infused neo-soul, dub, Afro-beat, broken beat and hip-hop that feels like a wander through Armon-Jones’ record collection or a cult mixtape called something like ‘Sounds of London 2019’. There are some big tunes here, among them ‘Yellow Dandelion’ (a standout feature for vocalist Georgia Anne Muldrow) and ‘Gnawa Sweet’, with its mellow horn lines and killer outro (bassist Mutale Chasi and drummer KwAkE BaSs really dig in). ‘Icy Roads (Stacked)’ is blurry and euphoric, ‘You Didn’t Care’ is a powerful tenor feature for Nubya Garcia and ‘The Leo & Aquarius’ is a neo-soul jam sandwiching a few choice verses from rapper Jehst. It’s as much about the little details though: the electronic murmurs and snippets of endearingly mindless studio chat, spectral field recordings and blurred sax arpeggios (very To Pimp A Butterfly) that segue the tracks and give the whole thing such a wonderful sense of flow. Turn To Clear View is full of personality, which ties in nicely with the album’s message, hinted at in ‘Yellow Dandelion’ and confirmed by vocalist Obongjayar’s husky encouragement on the final track: “Be yourself”. Thomas Rees https://preview.redd.it/n90wa7t2hzy41.jpg?width=800&format=pjpg&auto=webp&s=06d0cd2584192300ac77b08688c80a31afcb4b20
Beautiful Vinyl Hunter
Sony Ashley Henry (p, ky), Theo Croker, Keyon Harrold (t), Judi Jackson (v), Sparkz (rap), Daniel Casimir (b), Eddie Hick, Marijus Aleska (d), Artie Zaitz (g), Makaya McCraven (d), Binker Golding (ts) and Moses Boyd (d) London pianist Ashley Henry has made significant steps forward over the last five years or so by holding down several invaluable gigs as a sideman with fine British and American bandleaders – Theo Croker, Keyon Harrold, Jean Toussaint among others – as well as developing his own music. This debut long player is very much a consolidation of his progress to date and the presence of the aforementioned as well as some of the young Turks of UK jazz – Binker & Moses, Daniel Casimir, Eddie Hick – makes this a transatlantic affair with a contemporary edge. As he made clear on last year’s Easter EP, Henry is plugged into the populist source of black music and the marked hip-hop and soul sensibilities of the material reflect the inspiration drawn from the likes of Robert Glasper among others. A confident yet measured soloist, Henry is also a producer who is concerned with the challenge of both songwriting and beat-making, and some of the most accomplished pieces on the record see him balance these skills with guests such as Mancunian rapper Sparkz and London-based American vocalist Judi Jackson. An auspicious account-opener from a talented player whose commercial appeal does not come at the expense of his artistic integrity. Kevin Le Gendre Ashley Henry Interview https://preview.redd.it/x79w45pchzy41.jpg?width=798&format=pjpg&auto=webp&s=05e828f184086f067a8da90d741a797a1117faf0
Abstractions Of Reality Past & Incredible Feathers
Gearbox Binker Golding (ts), Joe Armon-Jones (p), Daniel Casimir (b) and Sam Jones (d) Saxophonist Golding shows his versatility on an enjoyable set. This is a markedly different proposition to the duos formed with Moses Boyd and Elliot Galvin insofar as there is less abstraction in the material, and the additional resources of the quartet are deployed with suitable flair and restraint. Mostly set at ambling mid-tempo, the tunes are all Golding originals that show the strength of the blues as an ongoing source of musical inspiration as the leader investigates its various related idioms, from 1960s hard bop to 1990s neo-soul, all the while retaining a strong composer’s signature. Themes are clearly mapped, sometimes with a dancing quarter-noted led character, sometimes with more wistful long tones, and Golding’s improvisations are well-paced developments that build steadily rather than rushing towards a crescendo, allowing effective input from a rhythm section whose cohesion has been honed through extensive work with artists such as Nubya Garcia. The occasional forays into reggae-inflected territory also appeal, and if Sam Jones’ crackling rimshots are particularly resonant then the imprint of legendary engineer James Farber, who mixed this in New York after the session was done at Abbey Road, is worth noting. At its peak this album has some of the modernist gospel finesse of Billy Harper, but Golding asserts himself convincingly as a writer-player who has an appealing voice of his own. Kevin Le Gendre https://preview.redd.it/6rgkfkqjhzy41.jpg?width=800&format=pjpg&auto=webp&s=e1053a165f02e0ec7424ceecb05bb9a0fe640b25
Gearbox Theon Cross (tba), Nubya Garcia (ts), Moses Boyd (d), plus Wayne Francis (ts), Artie Zaitz (el g), Nathaniel Cross (tb) and Tim Doyle (perc) Having built momentum with EPs, gigs and a gathering media storm, many of London’s new jazz generation are finally making their album debuts. Tubist Theon Cross has already made his name on LPs with Sons of Kemet – Fyah, though, helps define how a changing London is changing jazz. The fat tuba squelch reverberating through the first seconds of ‘Accelerate’ is a statement of intent matched by the runaway, intricate momentum which follows, from a dream trio completed by Nubya Garcia and Moses Boyd. As dance music, this is funk turned inside-out, finding off-kilter rhythmic emphasis under grime’s influence. Cross and Boyd are tireless, Blakey-esque engine rooms for the new beat, which they speak as a native tongue. ‘Panda Village’, meanwhile, uses synths to add a gleaming sheen, production technique no longer a shibboleth in UK jazz studios. As important as Cross’s borrowing from contemporary musical contexts are the elements he retains from jazz. ‘Letting Go’ is all whispered hi-hat hisses and subtle interweaving by Cross and Garcia. ‘CIYA’ is boppishly beautiful, like a lost Blue Note tune. Cross’s conversationally inviting solo, like the introspective quiet during ‘Letting Go’, offers individuality worth as much as the community this scene describes. Nick Hasted https://preview.redd.it/s9yi4zrnhzy41.jpg?width=800&format=pjpg&auto=webp&s=4da97f9a403bc6ce55491ab5ad8a45764767275b
DANIEL CASIMIR & TESS HIRST
Jazz Re:freshed Daniel Casimir (b), Tess Hirst (v), Robert Mitchell (ky), Tobie Carpenter (g) and Olly Sarkar (d) Tess Hirst’s words give barbed force to Daniel Casimir’s open-hearted music, which is grounded in hard bop while exploring a wider palette. Mingus’s dramatic litany of persecution, ‘Fables of Faubus’, is adapted to our own fearfully racist moment during ‘These Days’, while over brewing Blakey-esque drums, ‘What Did I Do’ digs into Hirst and Casimir’s home streets in London’s far west, where disrupting crime and change alienate, and the singer wonders “if the patient will survive the operation”. A bluntly titled instrumental with added Hirst lyrics imminent, ‘They Come Over Here’, is spy-movie ominous, suggesting surveillance paranoia and the Specials’ haunted ska dancehalls with the serrated edge of Tobie Carpenter’s guitar, Casimir’s jittery bass and Jerry Dammers-like, cinematic piano. Guyanese-Briton John Agard’s rebel poetry also acerbically interjects, riding Windrush currents: “Me not no Oxford don/ Me a simple immigrant from Clapham Common... I don’t need no axe/to split up your syntax.” Instrumental or otherwise, this is another bulletin from a London scene engaged and unquiet about careless injustice. Nick Hasted Daniel Casimir Interview https://preview.redd.it/470v54esizy41.jpg?width=800&format=pjpg&auto=webp&s=afa0cbe1ce716b897bb02a61af899d2fdcd6b98f
The People Could Fly
Ubuntu Music Camilla George (as), Sarah Tandy (p, Fender Rhodes), Daniel Casimir (b, el b), Femi Koleoso, Winston Clifford (d), Omar Lye-Fook, Cherise Adams-Burnett (v), Shirley Tetteh (g) and Quentin Collins (t) African folk tales of slavery and lost powers of flight sent Camilla George to sleep as a child in Nigeria. An enflamed imagination and restless nights must have followed, judging by spiritual jazz lullaby ‘Little Eight John’, in which Cherise Adams-Burnett warns of “raw head and bloody nose” from whatever awaits wakeful children in the unknown dark. George’s second album explores her nostalgic memories of these slavery-steeped stories. Leading a band of peers in London’s new jazz scene, her alto playing is so sunnily optimistic that the shackles fall from her subjects, even before ‘The People Could Fly’ recalls myths of former freedom. Rattled chains introduce the sourer, knowing tone of George’s slow blues on ‘The Most Useful Slave’, followed by British soul elder Omar vocalising Curtis Mayfield’s lament for the slavery by other means of America’s drugs apocalypse, ‘Here But I’m Gone’. But George’s warmly liberated character dominates. As so often with this group of players, it’s remarkable how traditional she is on several hard-bop solos. It’s the soft power of an open heart and mind which keeps her music present-tense. Daniel Casimir’s limber funk bass and Shirley Tetteh’s sometimes Afro-funk-inflected, bubbling guitar prove the scene’s subtle variety, and their own worth as versatile, Most Valued Players. The incubation of George’s talent in Gary Crosby’s Tomorrow’s Warriors, Courtney Pine’s Venus Warriors and Jazz Jamaica shows how determinedly British jazz’s black elders are passing torches. Flowering in a new generation, this is the sound of a woman who has already overcome. Nick Hasted Link to article:https://www.jazzwise.com/features/article/a-beginner-s-guide-to-the-new-jazz-generation
2020.04.26 22:46 marathonlimitSEC Teams as Songs by The Mountain Goats
I only the listen to the Mountain Goats, so that's why I decided to write this post. For the uninitiated, the Mountain Goats is a band started by the singer-songwriter, author, and all-around good guy John Darnielle. They have like a thousand albums (a rough estimate), so I had a lot of material to draw from. Their music is truly special to me; I guess you could say that... it just means more. So in no particular order, starting us off is my Georgia Bulldogs (wink wink):
Georgia - The Young Thousands
The Mountain Goats' song "This Year" would obviously work here, but to me, it felt a little too on the nose. "This year" is a common refrain among Georgia fans, but I felt that "The Young Thousands" better suited the plight of the Dawgs. Verse two of this song destroys me a lot like my favorite team: The ghosts that haunt your building are prepared to take on substance / And the dull pain that you live with isn't getting any duller / There's a closet full of almost pristine videotape / Documenting sordid little scenes in living color What better analogy than this one for the upcoming season where, in all likelihood, I'll watch my team lose a game with massive stakes and then have to live with the very vivid video clips that I can't hide from on the internet! Just wonderful stuff. The latter part of the song echoes the belief that their MUST be something better coming down the line, right?? There's no way this suffering can continue! (right?)
Alabama - The Best Ever Death Metal Band in Denton
This song is pretty representative of this band's discography; it's solid, doesn't have a lot of frills, and is absolutely unapologetic. So. Like the Crimson Tide. The best ever death metal band out of Denton / Never settled on a name / But the top three contenders, after weeks of debate / Were "Satan's Fingers," and "The Killers," and "The Hospital Bombers" The music here just exudes Alabama; there's really no other way to put it. They are ruthless football team that never relents. The lines that sums up the Alabama mentality well are theses ones: The best ever death metal band out of Denton / Will in time both outpace and outlive you / Hail Satan! The Crimson Machine never stops and will eventually destroy everything in its sight, even it happens to take a year off.
TAMU - Riches and Wonders
This song title LOL Yeah so the Aggie Empire is a sight to behold, and they want not for much (except to play Texas). The opening three lines describe the current stage of TAMU well: We live high / our love gorges on the alcohol we feed it / And it grows all fat and friendly / We have surplus if we need it Despite all this, there is still a sense that all's not settled: I am healthy, I am whole, but I have poor impulse control / And I want to go home / But I am home Yeah they won the 7OT Thriller, but also it seems that Steve Kragthorpe was ALLEGEDLY punched by Jimbo's nephew (poor impulse control!) And then there's the Texas dilemma: It sure would be nice to be able to play them regularly, but TAMU's home is now the SEC what can you do. Also, the fact that Aggie fans have a cultish devotion to their team despite all the ups and downs? Well: We show great loyalty to the hard times we've been through Gig 'em.
LSU - The Legend of Chavo Guerrero
I think of Chavo Guerrero (a wrestler) in this song as Ed O: a guy that has toiled for years and is now finally in the job he always wanted and is working with a team he loves to death. During preseason last year, I and many others expected LSU to perform fair nearly as well as they did in 2019 (winning it all, obviously). I imagine a faithful Tigers fan saying these lines: You let me down, but Chavo never once did / You called him names to try to get beneath my skin, / Now your ashes are scattered on the wind. If you're not careful and sleep on him, Ed Orgeron WILL obliterate you (see: Georgia at LSU, October 13, 2018 and literally all of the 2019 season). The appointment of Ed O from interim HC to full time felt like it wouldn't work at the time based off of Orgeron's previous time spent as a head coach, but now they're reigning NCAA Football Champions--who would have thought? Also Ed O is famous for wrestling recruits on in-home visits so that's what this LSU song comparison boils down to really.
Tennessee - Heel Turn 2
I'll give it to Tennessee: their fans never quit, even during their annual dire situation that they've come to know as Volunteer Football: Get stomped like a snake / Lie down in the dirt / Cling to my convictions / Even when I get hurt For whatever reason, this verse just gives me a vivid picture of Butch Jones talking to a Tennessee Football Touchdown club and trying to maintain his sanity despite his regime slowly crashing and burning. Stay good under pressure / For years and years and years and years / President of the fan club / Up there choking on his tears Although Pruitt's second season started out rough, you gotta respect how well he got his team to rally through all of that. Him just saying "fuck it let's go all out" essentially is inspiring, and his resilience hearkens to these lyrics in particular: Let all the trash rain down / From way up in the rafters / I'm walking out of here in one piece / Don't care what comes after / Drive the wedge / Torch the bridge
South Carolina - Game Shows Touch Our Lives
The mood of this song maybe captures South Carolina's essence more so than the actual lyrics. The song just feels melancholy, sitting in a dark room as golden memories of years gone by drift past (The Alabama victory, The Georgia win this past season, those years when they used to beat Clemson, etc.) Now, the default for Gamecocks everywhere is the song's opener: Dug up a fifth of Hood River gin / That stuff tastes like medicine / But I'll take it, it'll do / On the couch in the living room all day long / Music on the television playing our song / I'm in the mood / The mood for you (The mood probably being hate watching Clemson and trying to mentally will them to lose) I picture family get-togethers split between SCAR and Clemson fans breaking down into disarray as I hear the lyrics, "People say friends don't destroy one another / What do they know about friends" It's the hope that gets you though! I can relate, South Carolina fans. Thunder clouds forming, cream white moon/Everything's gonna be okay soon/Maybe tomorrow, maybe the next day
Missouri - Psalms 40:2
Verse 1 immediately captures the atmosphere after this past Mizzou season: Pulled off the highway in Missouri /And lo, our hearts were heavy laden / Made for the chapel with some spray-paint / For all the things we'd held in secret / Lord, lift up these lifeless bones A feeling of dilapidation just runs through this song, which seems to mirror Missouri at this present juncture. Mizzou does have something left though! Former Big 12 Member Energy: Head down toward Kansas / We will get there when we get there, don't you worry / Feel bad about the things we do along the way / But not really that bad / We inhaled the frozen air / Lord, send me a mechanic if I'm not beyond repair We got:
Talkin' bout Kansas
Needing a mechanic because something's broken (Post-Pinkel Era Mizzou)
And really just needing a lot of prayer at this moment in time--praying for Drinkwitz to be successful
My advice through all of this though? Tiger fans, just hold on to this line during this dark time: In the burning fuselage of my days /Let my mouth be ever fresh with praise
Auburn - Southwood Plantation Road
UP down UP down UP down UP- The season-to-season trajectory of Auburn football goes a little like that. Have a fantastic season where you beat your two of your most hated rivals, then you lose 5 games the next season--It's all over the place! I've got you / You've got whatever's left of me to get / Our conversations are like minefields / No one's found a safe way through one yet / I spend a lot of money / I buy you white gold That's the saga of Gus Malzahn--who knows what will happen next. Auburn Athletics gave him that fat new contract after the '17 season, but things still feel somewhat in flux. I am not going to lose you/We are going to stay married/In this house like a Louisiana graveyard/Where nothing stays buried (Auburn has not beaten LSU in Baton Rouge this millennium)
Florida - The Mess Inside
Florida is a good football team, as much as that pains me to say. The thing is though, they're not the powerhouse they once were. They have a really good football coach in Dan Mullen, but he's no Urban Meyer at the end of the day (he may get to that point though, who knows) We took a weekend, drove to Provo / The snow was white and fluffy / A weekend in Utah won't fix what's wrong with us / The gray sky was vast and real cryptic above me What does the future have in store for Florida, exactly? What's next? All I know is that Todd Grantham is still their defensive coordinator and THAT sparks joy in me. We took two weeks in the Bahamas / Went out dancing every night /Tried to fight the creeping sense of dread with temporal things/ Most of the time I guess I felt alright I understand that feeling of things being just alright--your football team is above average and doing well, but at what point is 10-2 no longer enough? I wanted you / To love me like you used to do / But I cannot run / And I can't hide / From the wreck we've made of our house / From the mess inside
Vanderbilt - Autoclave
Keep in mind that at his peak, James Franklin won nine games back-to-back with Vanderbilt. That's extremely impressive but very hard to maintain with the Commodores' built-in program disadvantages. I am this great, unstable mass of blood and foam / And no one in her right mind would make my home her home / My heart's an autoclave / My heart's an autoclave An autoclave is a sort of pressure chamber vessel where heat and steam become trapped inside it. Much like Vanderbilt and the average Vanderbilt fan, they can feel their success reaching a boiling point until it overflows and can no longer keep increasing. A sense of instability seems to go hand-in-hand with this football teams (I'm sorry, 'Dores, not trying to roast you, just making an analogy). When I try to open up to you I get completely lost / Houses swallowed by the earth, windows thick with frost / And I reach deep down within, but the pathways twist and turn / And there's no light anywhere, and nothing left to burn There's moments when Vanderbilt football feels as if it's starting to arrive (when they almost beat Notre Dame!), but they inevitably seems to lose the plot and their moment. Best of luck to the 'Dores--y'all are cool.
Ole Miss - Rain in Soho
"Rain in Soho" feels ominous; there's a backing choir to John Darnielle's vocals in certain parts that intensify this feeling. Well, things certainly felt dark after the whole Hugh Freeze era! Also, just read these lyrics, c'mon man: No one hopes to hear the bagman call / Children piping in the main square / But no one’s dancing / No one’s dancing down there These lines in particular—Though you repent and don sackcloth and try to make nice / You can’t cross the same river twice—feel especially fitting after the fallout of the NCAA punishments doled out to Ole Miss. The NCAA will always come for you, just ask Missouri.
Kentucky - Spent Gladiator 2
I'm always impressed by Kentucky's resilience to be, for the most part, consistently not bad under Mark Stoops. Lynn Bowden did everything last year by himself and they still went 8-5; that's incredible! Stay in the game / Just try to play through the pain / Like a fighter who's been told it's finally time for him to quit / Show up in shining colours / And then stand there and get hit Y'all just keep on trucking, and I admire that. This seems like a good mantra for the Wildcats: Stay alive / Maybe spit blood at the camera / Just stay alive / Stay forever alive Because if you do this, you'll end up going 10-3 or something again and scaring the daylights out of everyone.
Arkansas - Hast Thou Considered the Tetrapod
When Arkansas is good, SEC football is a lot more fun. Razorback fans are very committed through thick and thin in my estimation, so if anyone deserves to be successful again, it's them. And alone in my room / I am the last of a lost civilization / And I vanish into the dark I hate when teams fall off the map because life is much more interesting when many teams are all good (see: 2007 college football season). Held under these smothering waves / By your strong and thick-veined hand / But one of these days I'm going to wriggle up on dry land Even though the meat grinder that is the SEC West has pushed Arkansas to the bottom, it feels to me that they're due for some success. Hopefully Sam Pittman will provide that (and a lot of "Yessir!"s).
Mississippi State - Estate Sale Sign
The Bulldogs during the height of Dan Mullen's tenure were obviously really good; I don't think it's talked about enough how bonkers it was that MISSISSIPPI STATE was the first #1 team in the CFP era. That's just crazy, man. Unfortunately for MSST though, that success has started to slip over the past few years. Worked hard to build this altar—we made it earn its keep / The cracks across its surface spiderweb while we're asleep / The sacrificial stains all spreading out and soaking through / But I remember when we kept it pretty, me and you Sustained success is extremely difficult to achieve in Starkville, and Joe Moorhead discovered that firsthand during his brief stay there. Now they have Mike Leach at the helm, which will most likely work out pretty well but will be 100%, uh, unpredictable. Let's see where his eccentricity takes them! Crude little wooden idols and aviator shades / The trinkets and the treasures we brought back from the Crusades / Some guy in an Impala shakes his head when he rides by / But I remember when we shared a vision, you and I
2020.04.24 15:58 thinksink137Space Cadet: Pull Out - Brand New and the Music Industry
Space Cadet: Pull Out A Brand New Theory Based on the fan theory: Listen to The Devil and God Are Raging Inside Me, starting with Track 7 - Welcome to Bangkok Disclaimer: The following post is for entertainment purposes only. The author has no expert or authoritative knowledge of any topic, in general terms and specifically pertaining to the individuals, brands, and other parties described heretofore. The author does not make any claims the descriptions provided are statements of fact, nor to the veracity of the written descriptions of the subjects described. Information was researched from open source and public materials on the world wide web. The best way to approach the following post is to suspend your beliefs. Approach this material as if you were about to watch a TV show or movie, such as Games of Thrones or The Avengers. For some, the characters in this story may be familiar in name; for the purpose of this scenario, imagine they are playing a role in a different kind of performance. Remember: All the world's a stage. If you enjoy this, be sure to “tell all your friends” ;) Theory: Brand New made their major label debut with The Devil And God Are Raging Inside Me (TDAGARIM or TDAG), released on Nov 21, 2006. After the success of their previous album, 2003’s Deja Entendu, the band was in the national spotlight and signed to major label Interscope Records. In the time between Deja Entendu’s release in 2003 and TDAG’s in 2006, the band experienced firsthand the evil that infects the music/entertainment industry. The rest of their career was spent attempting to create music on their terms, abstaining from the horrific practices of the industry, and fighting their demons as a result of the knowledge they possessed. “Space Cadet: Pull Out,” represents the band removing themselves from the “deja entendu” (“already heard”) career track of controlled musicians and entertainers. Kurt Cobain. Tupac. John Lennon. Suspend belief. This is only entertainment. Pretend that, in this scenario, people like Sir James Wilson Vincent Savile (aka Jimmy Savile) are involved with, and the stars of, the entertainment industry. In this story, parasites such as Oprah-supported John of God, Jerry Sandusky of Penn State, and Clare Bronfman’s NXIVM exist and operate globally. Imagine, in this version of reality, Marina Abramovic cooking spirits together with Lady Gaga - with photos showcasing the spectacle. All the world’s a stage. This is only entertainment. On 9/24/2003, Brand New made their, “network television debut,” performing live on the Jimmy Kimmel show. The band was just named to Rolling Stone’s “Hot List,” they were selling out shows, and rising in fame - quickly achieving what any band sets out to accomplish. However, as their knowledge of the industry inner workings and operations (based on their position as major label musicians) increased, the music got darker. Harvey Weinstein (what “emergency appeal” did he lose, per USAToday 8/5/19?), Jeffrey Epstein, the Finders. Suspend belief - it’s only entertainment. For starters, here are some fun coincidences between Deja and TDAG: 2003’s “Deja” features an astronaut on the album cover Based on the fan theory, listen to TDAG and start the album with Track 7 - Welcome to Bangkok. The track opens with a voice saying, “Space Cadet: Pull Out.” Per the theory, this is in reference to the “Deja” astronaut The second track on 2003’s “Deja” - Sic Transit - begins with a solo bass line Per the theory, the “second track” - Not the Sun - begins with a solo bass line Per the theory, the album ends with “You Won’t Know” The band often ended concerts with, “You Won’t Know” (https://www.setlist.fm/stats/average-setlist/brand-new-4bd69b82.html?tour=43d603a3) Anthony Weiner. Laura Silsby. Nancy Salzman. All the world’s a stage. This is only entertainment. The album cover for TDAGARIM features two masked figures and a child. There are theories that suggest (with evidence to support) rituals taking place that involve wearing masks, as performed by, “the elites.” The masks serve several purposes: hides identities; pays homage to their deities; and increases fear in their victims - allegedly important for the production of a specific chemical. The photographer of TDAGARIM album cover has a website. Please take a look here: https://nicholasprior.com/ (photographer: nicholas prior - nicholasprior.com) There are several photos before you see the album cover photo, which is titled, “Untitled #44” Medium: Cibachrome Youtube: Chief Counsel Robert David Steele. ITNJ.org Seating Watch the first result - References working with William Binnie (NSA) and Arno Reuser (Founder of the Dutch Open Source Intelligence - OSINT) *No specific mention of “masked” rituals in this particular clip; the video serves as an overview statement Suspend belief. This is entertainment. “Jesus Christ that’s a pretty face / the kind you’d find on someone I could save / If they don’t put me away / It’ll be a miracle” “I know you'll come for the people like me / But we all got wood and nails / Tongue tied to a hating factory / We all got wood and nails / And we sleep inside of this machine” “Hey hey hey! Mr. Hangman / Go get your rope / Your daughters weren't careful / I fear that I am a slippery slope / Now even if I lay my head down at night / After a day I got perfectly right / She won't know…” “So believe in me / Believe that you think I'll let you down / Well I won't / They can fire everything they've got / And when you think I'm sunk / I will float on and on…” Baal. Moloch. Baphomet. Suspend belief. All the world’s a stage. Interlude: “Nobody Moves” from the 2006 leaked demos (Leaked before TDAG was released) Daisy (released 2009) notable lyrics: “At first I had an even keel / But now I'm not sure what is real / It's taken me this long to learn / That every dead is ate by worms / And once they're gone they don't return” “How darkly the dark hand met his end / He was withered and boney, exposed for a phoney / But we heed the last words that he penned / Haste to disgrace the traitor, do not wait 'til later” RIP Chester Bennington, Chris Cornell, and Avicii. Suspend belief. It’s only entertainment. “Well if we take all these things and we bury them fast / And we pray that they turn into seeds, to roots and then grass / It'd be all right, it's all right, it'd be easier that way / Or if the sky opened up and started pouring rain / Like he knew it was time to start things over again / It'd be all right, it's all right, it'd be easier that way” Of note: The album cover for Daisy features a fox On Thursday, August 17, 2017 Brand New released their 5th studio album, Science Fiction. It was released without a publicly stated official release date (“unannounced”), and debuted at #1 on the US Billboard 200 (issue 9/9/17). It was released on Procrastinate Music Traitors, an independent record label created by the band in 2006 The major record labels plan for and schedule every album release. Here are NPR and Wired articles about how they declared, “‘New Music Fridays’” the nickname for the new global release schedule.” https://www.npr.org/sections/therecord/2015/07/10/421483599/goodbye-music-tuesday-starting-today-albums-come-out-on-friday https://www.wired.com/2016/08/new-music-fridays-why/ This is not necessarily record industry law, but an example of how major labels manipulate the industry. Check out https://www.AlbumoftheYear.org, where you can search for album releases by yeamonth etc. Of note: On August 15, 2017, Brand New began accepting pre-orders for “LP5”, with no specific release date provided. Their social media account posted that vinyl would ship in October (source: https://www.altpress.com/features/brand_news_lp5_timeline/2/) If you google “band name” + “album title” + label, the result is the record label name (in large font) and the company logo. For TDAGARIM, the result is “Dreamworks Brand New” For Daisy, the result is “Procrastinate Music Traitors” For Science Fiction, the result is “Procrastinate Music Traitors” *Note: The releases were still tied to (and ultimately owned by) Interscope. If you remove quotation marks/leave out terms/change order of terms in your search, there are different variations of the results Fun Search: Google “FBI symbols” and click on images. Then search for Interscope’s logo. What are your thoughts? Catholic Church abuse cases. All the world’s a stage. It’s only entertainment. If the music industry plans for and schedules every album release, they can predict and account for expected listens and sales/revenue for every album If a musical act with a sizable fanbase (big enough to go #1, per Billboard), releases an album without clearing it first with management, then other scheduled album releases will see a decline in expected listens (and sales), negatively impacting prior business projections Before Brand New could embark on what was perceived to be their final tour (Band merchandise at the time included graphics with the dates “2000 - 2018”), allegations of past sexual-misconduct involving Jesse Lacey were publicized. The backlash resulted in a cancellation of the tour *Please note: Per the disclaimer above, this post serves only for entertainment purposes. Its intent is not to shame, minimize, or disregard any claims made by any victims, under any circumstance, nor deny victims' truth of their statements. Fun Coincidence: The album cover for Science Fiction is by photographeauthor Thobias Faldt of Sweden. Here’s a link to his website: https://www.thobias.se/ One of his published books: Wikiland Link: https://www.dashwoodbooks.com/pages/books/12154/klara-kallstrom-thobias-faldt/wikiland?soldItem=true Science Fiction notable lyrics: “When I grow up I want to be a heretic / I want to climb over the wall 'cause I'm not on the list / I want to put my hands to work till the work's done / I want to open up my heart like the ocean” “I saw something in the night sky over Camden / Turned around and drove the opposite direction 'cause I fear them / Now when will they come?” In this version of reality, people continue to deify celebrities, the elites that own them, the rich and the famous. But they’re not your friend, they’re not your lover, they’re not your family. Yeah. https://images.app.goo.gl/WaVu6hPz652kXCKQA https://preview.redd.it/u7ayihjlgsu41.png?width=1003&format=png&auto=webp&s=0186ef7eeb2e0ac6027e0fd156d3b2cf18e0b8fd
2020.03.24 01:32 Lisez-le-luiOn Decadence: or, The Poems of Sterling, Smith, and Lovecraft
“For godly sorrow worketh repentance to salvation not to be repented of,but the sorrow of the world worketh death.” – 2 Corinthians 7:10 Of all of the literary movements that have come and gone over the years, there is perhaps none so curious as that of the so-called Decadents. I say this because unlike almost all other “new” developments in the world of the arts, Decadence has existed since the beginning of time and will continue to exist until its end. Indeed, Decadence is primarily not a literary concept at all, but a philosophical one – or rather, an anti-philosophical one – whose unusual prominence in the late 19th and early 20th centuries affected all aspects of life, literature especially, in a way probably unequaled by any movement before or since. Even those authors with views opposed to those of the Decadents tended to fall in with the movement anyway, for reasons not entirely clear to myself – and consequently, as they absorbed the Decadent influence, many authors’ personal philosophies and theories of aesthetics devolved into strangely warped amalgams of contradictory ideas. In tracing the origins of this movement with respect to poetry, at whose extreme final terminus the eventual main characters of our analysis are situated, one need look no further than Baudelaire, who, though not the true founder of Decadence – that honor belongs to the Serpent, as dramatized by Milton some centuries prior – was at least its first major modern adherent. But as I am a poor Francophone, we shall pass over him for the time being in favor of the more English Swinburne, who came about only a few years later and wrote on most of the same Decadent themes in much the same style as his predecessor. Of this fact his famous Poems and Ballads should supply us with more than enough examples. Any reader of the Poems and Ballads will immediately notice Swinburne’s preoccupation with sensuality – manifesting principally as eroticism, often explicitly portrayed as pure lust in contrast with “true love,” but also as extravagant descriptions of all sorts of brightly-colored and many-scented flowers, garments, and other decorations. On its own this would seem at most an innocent peculiarity of Swinburne’s style; however, a more distressing undercurrent develops upon closer examination of the reason for such ornament, or more properly, the lack of reason for it. The decadence seems an end unto itself; that is, it serves no higher artistic purpose but to be knowingly excessive and wasteful. This is only the first of several manifestations of an underlying philosophy which becomes clearer and clearer as the collection progresses. The first poem in Swinburne’s Poems and Ballads might well be mistaken for a simple love lyric, albeit with shades of a sinister allegory; the second might be taken for any ordinary threnody, though suffused even in sorrow with the same cloying decadence ordinarily repulsive to the bereaved; but the third, purportedly a treatment of the Tannhauser legend, is the first unmistakable statement of Swinburne’s philosophical and aesthetic stance. As the legend goes, the poet Tannhauser stumbles across the home of the goddess Venus and worships her for a time; eventually regretting his decision, he goes to the Pope for forgiveness; the Pope declares that he cannot be forgiven; after his departure, a miracle occurs convincing the Pope otherwise, but Tannhauser has already disappeared forever. The legend is presented from Tannhauser’s perspective in an entirely sincere manner, afflicted with the lavish description seen throughout the first two poems, so that it is difficult to interpret it as anything other than an aimless wallowing in Tannhauser’s own half-benumbed guilt and self-loathing attenuated by the promise of hedonistic pleasure. This depressed, dissolute outlook – “My sins are unforgivable; ah well, let me drown my sorrows in sensual delight” – pervades the next few poems, including such gems as a vastly-inferior retelling of the Phaedra whose portrayal of the title character is roughly the same as the previous portrayal of Tannhauser and a soliloquy by a man about to be executed telling how he would gladly go to Hell in exchange for drowning (literally) together with his unrequited love. The expression of Decadence comes to a head in two of the next poems. The first of these, the long poem “Anactoria,” consists entirely of an intensely lust-driven soliloquy by Sappho to her titular lover (?), incorporating sadistic and cannibalistic imagery and replete with self-pity, ending with Sappho lamenting the immortality her art will bring her because it will make her continue to experience the pains of love until the end of time. The second, “Hymn to Proserpine,” mourns the replacement of Paganism by Christianity on the grounds that people die whatever they believe, and that it is better to indulge in pleasure while one is alive than vainly to waste away in holy grief. So we see the characteristic quality of Decadence – moral bankruptcy resulting in a despair too powerful for there to be any hope for a change in the situation. One other salient feature of the Decadent philosophy deserves mention here, which is its prioritizing of pure “art for art’s sake” above all other concerns, the natural consequence of its emphasis on the impossibility of righteousness. For the Decadents, there is no such thing as any “higher truth” than art; philosophy, religion, and even morality are all fruitless and vain, and the true artist would do well not to bother with them. This is perhaps best expressed in the quote from Baudelaire: “You know that I have always considered that literature and the arts pursue an aim independent of morality. Beauty of conception and style is enough for me.” Having treated the Decadent movement at some length, we now come to one of its last important hangers-on, the Bohemian George Sterling; his protege, the poet-turned-pulp fiction author Clark Ashton Smith; and Smith’s own admirer and imitator, H. P. Lovecraft. It is important to note that while heavily influenced by the movement preceding them, none of these three wholly subscribed to it; each seems to have borrowed different aspects of its style and philosophy for their own use. Moreover, a secondary influence – the allure of mysteries and secrets (I use these words in their original Classical senses), or something like what Coleridge called “the numinous” – gradually took hold of all three; in Sterling its progress was limited by a wholehearted embrace of the Decadent despair, but in Smith we see this despair transmuted into something more approaching “the sacred” or “anathema” in their original senses, and Lovecraft completes the transformation by imposing what amounts almost to a real moral code upon his writings, albeit one bizarrely syncretized with the nihilistic despair of his forebears. A good overview of the differences between Sterling, Smith, and Lovecraft can be obtained by a comparison of their respective works about stars and the vast, uncaring cosmos – for some reason, this topic furnished each of the three with one of their most famous poems. In Sterling’s case, this would be “The Testimony of the Suns,” one of his first published poems; in Smith’s case, “The Star-Treader,” also one of his first published poems; and in Lovecraft’s case, “The Poe-et’s Nightmare, or Aletheia Phrikodes,” published towards the beginning of his career, but still a good way into it. Sterling takes the theme mostly seriously as an expression of despair on the lack of purpose and consequence of human life, but Smith inverts it into a celebration of the wondrous and mystical antiquity of the universe and a condemnation of “the brain’s familiar prison-bars,” and Lovecraft’s take is an outright parody of the depressive poetasters attempting to follow in Poe’s footsteps by writing in as morbid and gloomy a style as possible. A more detailed analysis of the three poems follows. “The Testimony of the Suns” begins with a stanza from Ambrose Bierce, one of Sterling’s own poetic role models, and continues in the same manner as the quote. The poem is written in four-line stanzas of iambic tetrameter whose inner and outer lines rhyme in pairs. In terms of its aesthetic quality it is remarkably subdued, not even close to the characteristic Decadent extravagance; in fact, it often borders on blandness by its straining of the same image of “the stars at war” and plainly-worded preaching on the unthinking, unchangeable cosmos. A sample from near the end of the poem’s first part reads thus: Think ye He broke His dream indeed, And rent His deep with fearful Pow'rs, That Man inherit fadeless bow'rs? Desiring, He would know a need! Nay! stable His Infinity, Beyond mutation or desire. The visions pass. The worlds expire, Unfathomed still their mystery. Note well this difference between Sterling and the earlier Decadents: Swinburne, say, would never have written on this theme because it offers little room for the sensuality which was so important to him; he needed to fit the human body into it somehow, or failing that at least a flower or two. Sterling, on the other hand, has already abandoned the one solace of Decadent despair – the physical pleasure that can distract the mind, at least for a time, from its dissipation in vice and vanity – which allows him to focus wholly on the bleak, nihilistic futility of existence. But even in this supposed embrace of pure despair one can see a little hope poking through: Sterling allows that there is indeed a God, and that the universe does indeed exist for a reason – just that this reason is unsatisfactory to human beings. This places him significantly further from true despair than the Decadents, who held, much like the Epicureans, either that there was no God or that to learn even the slightest scrap of truth about God was impossible. Sterling possesses a miniscule sliver of hope – but a sliver nonetheless – that human existence has some divinely-ordained purpose, that it plays some infinitesimally small but vital role in the eternal cosmic drama, and this hope is what allows him to jettison the sensual consolation of Decadance in favor of a more mystical sense of purpose and justification. Basing an evaluation of Sterling’s aesthetic position solely on “The Testimony of the Suns” would however be to grossly misrepresent it. His most widely-acclaimed poem, “A Wine of Wizardry,” paints a very different picture: And now she knows, at agate portals bright, How Circe and her poisons have a home, Carved in one ruby that a Titan lost, Where icy philters brim with scarlet foam, 'Mid hiss of oils in burnished caldrons tost, While thickly from her prey his life-tide drips, In turbid dyes that tinge her torture-dome; As craftily she gleans her deadly dews, With gyving spells not Pluto's queen can use, Or listens to her victim's moan, and sips Her darkest wine, and smiles with wicked lips. Nor comes a god with any power to break The red alembics whence her gleaming broths Obscenely fume, as asp or adder froths, To lethal mists whose writhing vapors make Dim augury, till shapes of men that were Point, weeping, at tremendous dooms to be, When pillared pomps and thrones supreme shall stir, Unstable as the foam-dreams of the sea… We see here a seeming return to Decadence: The finely-ornamented, nearly overwrought descriptions have returned, as has the celebration of vice in a manner quite reminiscent of Swinburne’s “Faustine.” But in a fascinating break from the tradition of the movement, there is seemingly no disillusionment or despair, no recognition that the speaker’s behavior is in any way “wrong”; the whole poem is presented as a literal, apparently pleasant flight-of-fancy occurring just before Sterling drinks a glass of wine. Sterling, then, has kept most of the principles of Decadence, but he has made the vital innovation of uncoupling them; he has disconnected the pleasure from the despair, while retaining the ability to write on both. Now we turn to Smith’s “The Star-Treader.” While it might be believed, although with some difficulty, that Sterling actually felt despair while writing on the unchanging rounds and revolutions of the stars, there can be no doubt that Smith did not. Smith has given up on despair entirely in favor of the ornamental aspects of Decadence. He has also, however, infused his poetry more fully with that sense of divine purpose present but carefully concealed in Sterling, as is illustrated by the beginning of “The Star-Treader”: A voice cried to me in a dawn of dreams, Saying, "Make haste: the webs of death and birth Are brushed away, and all the threads of earth Wear to the breaking; spaceward gleams Thine ancient pathway of the suns, Whose flame is part of thee; And the deep gulfs abide coevally Whose darkness runs Through all thy spirit's mystery. Go forth, and tread unharmed the blaze Of stars wherethrough thou camest in old days; Pierce without fear each vast Whose hugeness crushed thee not within the past. A hand strikes off the chains of Time, A hand swings back the door of years; Now fall earth's bonds of gladness and of tears, And opens the strait dream to space sublime." A vitally important difference between Smith and his predecessors is made clear by the fact that his poem begins with a call by an external being to fulfill a greater purpose which has been prepared for him since the beginning of time. This is a sentiment absolutely inimical to the earlier Decadents, who would not even have been able to conceive of such a thing as a divinely-ordained purpose, and who, even if they could, would not have considered themselves worthy or even able to fulfill it. But the sentiment also represents a break from Sterling, who, able to revel in excess though he was, nonetheless could not capture the kind of religious, ecstatic feeling of being chosen by a deity or anything remotely like it. In general, Sterling’s descriptions are lavish but artificial, whereas Smith’s are often less exact but inspired by a more organic, uncontrollable fervor; Sterling is beautiful, but Smith is transcendent. However, as always, this is simplifying the story considerably. One of Smith’s stranger works, “The Apocalypse of Evil,” which appears to be an attempted imitation of “A Wine of Wizardry,” not only relapses into the bombastically Decadent descriptions of Sterling, but somehow even increases the ratio of meaningless grandeur to actual substance: Now a mighty city looms, Hewn from a hill of purest cinnabar, To domes and turrets like a sunrise thronged With tier on tier of captive moons, half-drowned In shifting erubescence. But whose hands Were sculptors of its doors, and columns wrought To semblance of prodigious blooms of old, No eremite hath lingered there to say, And no man comes to learn: For long ago A prophet came, warning its timid king Against the plague of lichens that had crept Across subverted empires, and the sand Of wastes that Cyclopean mountains ward; Which, slow and ineluctable, would come, To take his fiery bastions and his fanes, And quench his domes with greenish tetter. The entire poem consists of a series of loosely-connected vignettes in the manner of the one above, which please the imagination for a short time but rapidly blend together into an overwhelming mass of monotony that makes the eyes glaze over. Because there is little in the way of plot, the usual effect for which a long poem is enjoyed, its retelling of some sublime narrative in an elevated style, is precluded, and so there remains to it only that pleasure of individual lines and passages on which lyric poetry depends. Even with respect to this there is only a single line in it of much value, which is the one in italics below: and the livid seed Of some black fruit a king in Saturn ate, Which, cast upon his tinkling palace-floor, Took root between the burnished flags… That the image of a seed carelessly thrown to the ground by an idle monarch, striking the polished stone with a noise like the tinkling of a Morris-bell, is the most fascinating passage in a poem of literally infinite scale is a good indication of the level of Decadence in the negative sense which went into its making. But how can this be reconciled with the previous passage from Smith, which is clearly of a much different and far superior quality? The simplest explanation is that when Smith was actually inspired to write for the sake of writing, he wrote verse like “The Star-Treader”; when, on the other hand, he wanted to write for some other reason – say, to fill out a book too short for publication, or to impress his colleagues – he labored much more consciously on perfecting the grotesque purple prose (in English this unhappy corruption of Horace’s phrase makes it seem appropriate only for prose, despite its original application being to poetry) which he wrongly thought was one of the chief merits of his style, with disastrous results. But now we come to Lovecraft, and his own take on the theme of the stars. It is initially difficult to tell what exactly Lovecraft’s “The Poe-et’s Nightmare” is supposed to mean, mainly due to its structure: The poem consists of a humorous frame story in heroic couplets concerning the poetaster Lucullus Languish surrounding the “awesome Poe-em” “Aletheia Phrikodes,” a piece of enough length and quality to constitute a serious poem in its own right. Indeed, the central section was reprinted some time after Lovecraft’s death without any mention that it had once formed part of a larger whole. Clearly the frame story is a satire of the kind of awful poet who is absolutely sure that if they just put in enough effort, they’ll eventually have to become famous; the intent of “Aletheia Phrikodes” is somewhat less evident. On the one hand, it could be little more than a direct parody of Sterling’s “Testimony of the Suns,” which is certainly not out of the question, but it might also have been written as a genuine example of how a good poet would handle Lucullus’ chosen theme, which Lucullus cannot even handle reading, thereby demonstrating the utter infeasability of his poetic ambitions. Upon closer inspection, it seems that the first of the two possibilities is the more likely. The first and most vital clue appears before the poem even starts, in the form of its actual title – “A Fable” – and the following Latin epigraph, which gives its intended moral in the manner of one of Aesop’s fables: “Luxus tumultus semper causa est” – roughly, “luxury is always the cause of disturbance,” where “luxury,” in Latin a pejorative term, can mean either physical excess, such as the gluttony in which Lucullus is later shown to engage, or pompous and luxurious ornament of the kind enjoyed by the Decadents, and where “disturbance” also can refer to a troubling either of the body or of the mind. This would seem to imply a disapproval, if not of Decadence in general, then at least of the Decadent ideal of extravagance and artifice. If this stance is kept in mind, a number of bathetic touches reveal themselves in “Aletheia Phrikodes” in passages like the following: I was afraid when thro’ the vaulted space Of the old tow’r, the clock-ticks died away Into a silence so profound and chill That my teeth chatter’d—giving yet no sound. Of these swift-circling currents was my soul, Free from the flesh, a true constituent part; Nor felt I less myself, for want of form. Big with these musings, I survey’d the surge Of boundless being, yet I us’d not eyes, For spirit leans not on the props of sense. The transition back from the central portion into the satire is another possible example: All this he bade and offer’d—but my soul, Clinging to life, fled without aim or knowledge, Shrieking in silence thro’ the gibbering deeps. Thus shriek’d the young Lucullus, as he fled Thro’ gibbering deeps—and tumbled out of bed… But the most direct parody of “The Testimony of the Suns” is found in this passage: I saw the birth of suns and worlds, their death, Their transmutation into limpid flame, Their second birth and second death, their course Perpetual thro’ the aeons’ termless flight, Never the same, yet born again to serve The varying purpose of omnipotence. All of these features point to “Aletheia Phrikodes,” like its frame, having a parodic intention. But if Lovecraft does intend to parody “The Testimony of the Suns,” or the ornately depressive works of the Decadents in general, it is strange that they should not be mentioned directly. Indeed, the reason given in the satire for why Lucullus Languish is so obsessed with writing an “epic Poe-em” is not that he has read the works of the Decadents, but that he has read Poe himself. It is entirely possible that the resemblance to Sterling and his contemporaries was accidental, and that the correct interpretation of the whole is as a parody of Poe. But this in turn runs into the problem that it doesn’t sound much like Poe at all – leaving aside that Poe wrote only two poems of any considerable length, both of which he considered his greatest failures, compare Poe’s “Ulalume” or “The Conqueror Worm” to “Aletheia Phrikodes” and the differences are almost instantly recognizable. Having failed to unravel the mystery, here I make an end. We have traced the evolution of Decadence from its origins in Baudelaire by way of Swinburne, whose works display the combination of despair and hedonism which constitute it in the most rigid sense; through the works of George Sterling, who retains all of its component parts but divides them from each other; thence through the works of Clark Ashton Smith, who further separates and intensifies these components and substitutes wonder for despair; all the way to its seeming terminus in Lovecraft’s perplexing parody. Now it only remains to give the moral of this little discourse; but that having already been accomplished, here ends the tale.
2020.03.22 22:18 rerunawayAn Alexisonfire piece I wrote AGES ago
One person - u/dannycervz- asked for this in the What's your favourite album? thread that's going. I wrote this for a now defunct Australian online magazine (AMH) about six years ago. Not the best piece of writing ever, but I figure some of you may appreciate it. Alexisonfire, Retrospectively - Alexisonfire I remember sitting at my desk in my room in my parent’s house, 15 years of age, mouse cursor hovering over the “Buy” button on iTunes. I’d heard about this band for ages, had friends and high-school-serious band members tell me I needed to listen to them, that they weren’t your average screamo band, that they were something special. At that point in the development of my musical pallet, if the genre didn’t have ‘death’ in the title, I wasn’t listening to it. That shit was for pussies. Despite my teenage musical prejudice I hit the button, split with my McDonalds-earned 16.99 and made purchase of Crisis. I then played ‘This Could Be Anywhere In The World’ on repeat for about a week straight, ‘Boiled Frogs’ the next week and then the whole album for a long, long time. This is how my unfaltering love affair with Alexisonfire began. Alexis was a band that could really appeal to a teenage boy. Their name was taken from Alexis Fire, a lactating contortionist strippeprostitute, they named their website theonlybandever.com because why not and they had cool album art and claimed to sound like two catholic schoolgirls in a knife fight. On this basis alone I bought that first album. The band seemed akin to me and my teenage friends and our glee at pissing people off and looking cool, kind of the pop-culture, Bart Simpson, John Bender angle that every boy goes for at some point. They were badass, what I heard sounded new and exciting and thus I bought ‘Crisis’ and then I bought ‘Watch Out’ and then I stumbled into ‘Alexisonfire’, their first effort. Coming off the middle two Alexis records (the last two, at the time), everything I’d heard off their first album sounded like a crunchy, poorly recorded mess. I couldn’t understand how the band that gave me ‘Boiled Frogs’ and ‘Happiness By the Kilowatt’ came up with the garbage on their first album and how they even managed to produce anything else after releasing that to the public. I hated it. When your favourite band releases something you can’t stand it hurts worse than any other bad record because you’re disappointed, it’s a blemish on something you love and that sucks. So I left it, I couldn’t tolerate a whiff like that so I kept listening to those middle two albums; I’d listen to ‘Crisis’ and when that was thoroughly played out, I’d switch back to ‘Watch Out’. At some point you have to find new things to listen to, great songs will always be great songs but a great song played continuously for a year becomes painful. You know every key change, every snare hit, every little nuance and you’ve read the lyrics and had arguments with yourself and others and concluded that everything is brilliant and there’s nothing more to learn. I think I’d learned the drum and guitar parts for most of the songs on ‘Watch Out’ before I turned to YouTube to look for anything new from Alexis. I was looking for B-sides, obscure singles or one of those Japan-exclusive album tracks that I never really grasped the existence of. I found the video for ‘Waterwings (And Other Pool Side Fashion Faux Pas)’. Like I said before, Alexis were really good at appealing to the teenage boy. I’m fairly sure I was aware that this “new” song came from the album I hated (and if I wasn’t, I soon would be) but the video was homage to ‘The Warriors’. That’s basically all I needed. So I played it again and again; ‘Waterwings’ was fast-paced and Alexis enough to warrant play. The video was cool, the lyrics wail and scream a succinct story about the broken down marriage of a work obsessed father and the song bore the intensity of newer Alexis work. It hit like a roaring tiger and made me reconsider the first effort by what would become one of my favourite bands. So I purchased the album and listened to it semi-begrudgingly and mostly out of want for more Alexis material. Now, I really wanted to like this album so I sat down in front of my guitar amp, plugged my iPod directly into the input jack, turned it up and hit play. I found out that a) everything I previously knew or thought about ‘Alexisonfire’ was completely wrong and b) this was my favourite album from Alexis, for sure. This record, their first, is the capstone on Alexis’ stellar catalogue, a catalogue comprised of some of the best hardcore albums released. When I think about people who refuse to listen to anything with a scream involved, this is the album I worry that they’re missing. It has so much more than it should, than any album should in its 42:16 run-time, especially considering the circumstances behind its creation. Consider the following; ‘Alexisonfire’ was released in 2002 way before anything really came close to iterating on this sound, the majority of the band were 17 when it was written and recorded and, speaking of, it was recorded at around ten different studios in Toronto using pulled favours from friends due to a high-school lack of currency. The band was also creating this album in the midst of constant, budget touring (300 shows a year, at least), a touring schedule that would continue way past its release. Alexis’ relative youth during the album’s creation makes its composition simply amazing. The song lyrics defy age, the combined effort of Dallas Green and George Pettit; each track a semi-stream-of-consciousness narrative depicting failed relationships, bipolar disorder, the Kennedy Curse, there’s even a love song in there (deal with it). The writing on each song has emotional depth and feeling and hits perfectly with the frequently changing music. The whole thing isn’t easily deciphered; Dallas’ wailing and George’s hellcat screams often clip together to become something akin to their self-described “two Catholic school girls in a knife fight” scenario but, ultimately, the vocals hit hard and resonate emotionally. ‘Polaroids of Polar Bears’, the second longest track on the album, displays this perfectly. This is a song about, as far as I’m concerned, any given person’s day-to-day struggle with mental illness (bi-polar disorder to be specific, hence the title). It starts with an ambient post-rock sounding guitar intro, something that conjures images of floating in a vast, navy-blue ocean and diving into still water. This presents as the polar opposite to Pettit’s entry, where the distorted guitars explode and pulsate with drummer Jesse Ingelevics’ snare-heavy and often chaotic beats and the screamer starts up with flaming lungs; “Raped by. My. Child. Hood.” Then the guitars slide out in unison, before Pettit continues his verse; a quick bit about childhood wasted and half awake thoughts. Pettit’s performance on this 11 track recording is spectacular, especially when you’ve read and can understand his harsh vocals. Firstly, his writing is well beyond that of any teenager (which he was at the time) and, secondly, he fits his vocal parts with the chaos in the music; chopping his perfectly formed sentences poet-like into confined explosions of prose. On ‘Polaroids’ and the rest of the album, you’ll keep noticing his screaming, not because it’s screaming but because it’s different. His style, especially here, is so individual; it sounds undeveloped and painful, harsh and scratchy – like it could be anyone at their emotional breaking point, not a disciple of the ‘Zen of Screaming’ – yet it’s performed with such aplomb and remains impossible to mimic. Then you get the other side of the vocals, Dallas Green, long before City and Colour. The thing about Alexis, their sound, is that if you weren’t ready for all screaming all the time hardcore, you could pick them up for Green alone and his haunting, howled performance. Even people who listened to straight-up hard stuff could appreciate Alexis because Pettit was there as well, sounding like screamed desperation from a smoky war-zone. The dichotomy presented by the two vocal styles has never worked as well, or been used as effectively as it does in Alexis. Back to ‘Polaroids’; you’re listening to Pettit bark total mayhem and then suddenly Green switches in over the guitars and you can understand “You always used to stay within arms reach, but now it seems I’m all by myself”. It’s a lyrical hook that levels you, like in many Alexis songs, allowing you to see the beauty in the turmoil and giving you something recognisable to return to. It helps that Green’s voice is completely compelling, though very raw in this instance, and the occasional burst of half/half vocals by guitarist Wade MacNeil brings the composition together. The part in ‘Polaroids’ after MacNeil and Pettit yell “Save. My. Life.” and Green starts repeating “My life was taken tonight” grounds the song. Everything floats back to being very post rock and Chris Steele is allowed to sling his bass around a little, forming a solid hook and providing a break in the disorganization of the track. It’s completely stirring, the music digs in and holds you by the ears. The last minute and 45 seconds of this song are a perfect musical and emotional crescendo; Steele keeps the bass riff going while Green and MacNeil’s dual distorted guitars waver in and Pettit does his spoken-word thing – “Boxes of cats, people with Taz tattoos, explosive personalities, self-centeredness. Protractor from junior geometry sets, inability to do math and geography…” Then everything comes together. The guitars swell, Pettit screams “PO-LA-ROIDS” and Dallas dolefully cries “TONIGHT” as Ingelevics hits the drums twice as hard. This is probably my favourite song on this album and my favourite part, every time I listen to it, is the last few seconds. Dallas hangs on his last bellow (distorted and raised audibly louder than everything else) for just a little longer and everything else fades out leaving his last final sigh followed by a couple of lingering clean guitar notes. It leaves the appropriate feeling of finality, complete resolution to this building hodge-podge of almost individual riffs and constantly evolving narrative. This is the most significant reason why I love this album; I can listen to the whole thing, end to end, years on, and still find little moments that make me adore it. Like Pettit’s foray into death growling two-minutes-forty into ‘The Kennedy Curse’, Green’s final revelatory, just-in-time entry into ‘A Dagger Through the Heart of St. Angeles’ or Ingelevics’ drum breakdown and minute solo at the end of ‘Pulmonary Archery’. In fact, the video for ‘Pulmonary Archery’ (https://www.youtube.com/watch?v=e9jdZvAPBT0) really encapsulates the energy and youth behind this record. In the video, the first released to accompany the album, the whole band just look like a bunch of teenagers jamming out in this gaping room in a dark mansion somewhere; a visual that seems wholly Alexis. Of course, the entire thing was filmed using thousands of takes, 20 grand and a makeup guy (not to mention Steele being fired from his job at Blockbuster for skipping work to make the video) but, nonetheless, you can see how young these kids were and how this was the beginning of something monumental. This was the beginning of a band that would go huge and harness a sound completely apart from anything anyone else has ever done or will do. It was these kids, jamming out in a house somewhere in Toronto that would legitimize “screamo”. I couldn’t tell my metallic band mates that I enjoyed My Chemical Romance, they wouldn’t even permit Dance Gavin Dance, but we’d start off our weekly band practise with really shitty renditions of ‘Where No One Knows’ or ‘Accidents’. ‘Alexisonfire’ is one of the few albums that I will come back to frequently, spin up and listen to from start to finish. It’s an album that has me howling along in the shower, or silently screaming under my breath into an invisible microphone, one foot on the coffee table and always drumming on whatever surface is available. I love every part of it; it’s rawness, flow, every time Pettit yelps “let’s go!”, the depth of the lyrics and the music that accompanies them. It’s an album that, despite countless play-throughs, despite being able to pick up a guitar or sit down at a drum kit and play the songs, inevitably makes me feel utterly despondent, not because the album is depressing, far from it, but because Alexisonfire is now defunct. Green is City and Colour, MacNeil sings with Gallows, Ingelevics left the band shortly after the release of ‘Watch Out’, Jordan ‘Ratbeard’ Hastings (the band’s second [amazing] drummer) is performing with infinite other hardcore groups, Steele is too good looking to play hardcore anymore and Pettit is recording with his new band Dead Tired. Alexisonfire will never perform or record again and this album makes me consider what could’ve been. ‘Alexisonfire’, to me, is proof that my favourite band once existed and, despite knowing that their break up was probably for the best and is definitely final, it gives me hope. I always sit in longing awe after ‘Pulmonary Archery’ wraps wishing like a young child at Christmas that Alexis would reunite to release something that sounds anything like these 11 tracks because no one but them possibly could. In the infinitely unlikely event that that does happen, I may need to be hospitalized due to pure joy but, until then, I’ll keep ‘Alexisonfire’ in frequent rotation. “This is a .44 caliber love letter, straight from my heart.”
2020.03.15 04:44 t-shinjiInterview with Band-Maid on Mono Magazine - 2018-09-16 issue
Mono Magazine is a Japanese twice-a-month magazine on new products and gadgets. It has a serial named “Girls Band Days” by the photographer Seiichi Uozumi, and Band-Maid were interviewed on the 2018-09-16 issue. That was their second appearance on it. Previous discussion Photo Video Magazine cover Tweet (Their first appearance) BAND-MAID Declaration and Invasion! They are the five-piece all-girl band Band-Maid, who are admired not only in Japan but also in the world. We had an interview with them about themselves in this summer and their upcoming new tour. — This summer, you released your third single Start Over and did many live performances including summer music festivals. We would like to hear about them. Miku: Start Over has a different atmosphere from our previous singles, and we emphasized being pop more than being hard, po. Five years have passed since the formation of Band-Maid, and we entered our sixth year. We wrote it once again with the mind we had in the beginning. Now we have a lot of hard songs, but we wanted to show our cute side of the past as well as our progress up to now, po. — Kanami-san, as the composer of the song, what do you think about it? (Editor note: Band-Maid’s songs are mostly composed by Kanami-san.) Kanami: I was in a little slump then, thinking what kind of song I should compose. So we all gathered and talked about what kind of song we should write, then I started composing. — In the house of some of you, for example? Kanami: I reserved a meeting room. Others: That’s too precise (laughter). Miku: She means our management office, po (laughter). Saiki: Without alcohol, of course (laugther). — You are all very sound (laughter). It’s quite common that you say something while drinking and next day you wonder what you have said. Kanami: Saiki does it quite often. She sends me an idea while she’s drunk (laughter). Saiki: She’s like, “this is about what you said the other day” and I’m like, “what are you talking about?” That’s common (laughter). But seriously, this time we discussed well from zero together. I think that was good. Kanami: Actually, until then I talked about songwriting with each of us separately but not with all of us at the same time. So that was our first time doing so. Then we decided to write a song with the mind we had in the beginning, and we wrote Start Over. It’s a very memorable single for me. — So you started over your songwriting. And you joined several big festivals this summer. How do you think they were? Miku: We progressed this year much more than last year, po. This summer we had a theme of acting funny in festivals, and we did it well. — What did you do exactly? Kanami: Last year we strongly thought we must perform well, but because of that, we got rather too nervous in some part. We wanted to correct that. Saiki: Rather than acting funny, that’s first of all having fun. If we are not having fun, nothing will get started. That was what we felt in festivals last year. Miku: I think our staging atmosphere was totally different from last year, po. Well, this year there are many masters and princesses who say “that was fun!” so I believe they enjoyed together with us, po. — You have finished summer festivals well and now you will be going on your own tour Band-Maid World Domination Tour 2018-2019: Invasion. Miku: In the first tour Band-Maid World Domination Tour 2018: Declaration, we declared world domination rather in a one-directional way, but this time we want to have composition to snuggle up to our masters and princesses more. — I wonder what kind of things you will do by snuggling up. Saiki: Well… In Declaration we had a composition like a full marathon, so this time we want to play with different paces and sing along with everyone to make our tour unforgettable. When we were on Declaration, there were some SNS messages saying “I don’t remember well because it was too hard” (laughter). Miku: We saw from the stage a lot of masters and princesses burned out, po. — Can you see audience well from the stage? Saiki: Yes, we can see them quite well up to the back row. Like, “oh someone has just fainted?!” (laughter) — You see them so well you can take that into consideration toward Invasion. Saiki: We can’t invade their mind by force, so we must be gentle there (laughter). — There must be a lot to listen to, so they will enjoy a lot of things without haste. You have changed your costumes from your previous tour, which is also something fun to see. Miku: Yes. Misa’s outfit has been changed in particular, po. Full of Asian beauty look. Uozumi (photographer): It’s like a ninja. Miku: Exactly! It has a side slit to make her legs look sexy. Lace was added too. — Yes, it’s certainly quite provocative. Misa: Ahaha. Miku: Akane also changed quite a lot. Akane: Yes. Before, I wore a wrap skirt on pants but this time I only wear pants, to make it easy to move. Miku: Me and Kanami added more lace to express a maid feel. Saiki increased her gorgeous feel. Uozumi (photographer): Aren’t you Ninja 2? Saiki: Ninja… I hate the ninja style. Misa: (laughter) — Lastly, please tell us your determination from now. Miku: We will perform live in Japan and overseas with various patterns. We will be glad if you enjoy one of our servings we do only at that moment. I want to show you our progress since Declaration, so we will be glad if you kindly come to our servings. We are waiting for you, po. Profile They are a five-piece all-girl band formed in 2013, with a maid image and a unique world view in which they call their fans “masters and princesses” and their concerts “servings”. They are a technical band who write lyrics, compose, and play instruments by themselves. They go on a tour and gain popularity overseas as well as in Japan.
2020.03.11 09:45 OldmanRevivedI saw two movies (Extra Ordinary, Swallow)
First up was Extra Ordinary "Extra Ordinary" is an Irish dark comedy with qualities of genuine human nature hidden inside. It is fueled with the music of speech, with the verbal poetry of a nation that until very recent times amused itself primarily by talking. The movie is centered in a small, comfy town that has been bothered by indications of some sort of paranormal presence. The setup is straightforward enough, but it's crossed with the bourgeois values of the characters, who assert themselves even in the face of catastrophe. What happens is beside the point. It's what they say while it's happening that makes the movie so entertaining. Driving instructor Rose (Maeve Higgins) lives alone in Ireland. She possesses powerful and supernatural talents, including the ability to send wayward spirits into the afterlife, but has not used them since a paranormal accident killed her father, spiritual expert Vincent Dooley (Risteárd Cooper), when she was a child. Rose ignores obvious minor hauntings around her, and continually fends off phone calls to her driving service asking for help with paranormal problems. One of these calls is from a local man named Martin (Barry Ward), who calls under the guise of wanting to learn to drive, but actually wants Rose to help him deal with the spirit of his nagging wife Bonnie, who haunts his house. Rose orders him out of her car, but not before Martin tells her he finds she has a warm presence, which is all she needs to fall for a man. Meanwhile, one-hit wonder rock musician Christian Winter (Will Forte) subsides in his glorious castle packed to the gills with countless forms of satanic and cult apparatus. As part of a deal with the devil, he attempts to sacrifice a virgin woman to regain his popularity, but his wife Claudia (Claudia O'Doherty) interrupts the ritual and inadvertently kills the woman, forcing Christian to find another virgin before the blood moon the following night. His divining tools lead him to his new target: Martin's daughter, Sarah (Emma Coleman). That night, Christian performs an incantation, which renders Sarah motionless and floating in midair. Martin panics, and calls Rose for help again. Rose decides against her better judgment to help Martin, and they both make way to collect the ectoplasm of several different spirits to break the spell on Sarah (Please, save the questions for later). What lies amid the haunting threat to civilization as we know it are the people themselves, who maintain their slothful gormlessness in the face of urgent danger. Rose feels no need to catch up on the countless ghoul films that have been made over the last century or two. She knows her way around séances, but when she informs Martin on the signs and stages of possession, she is asked, "Like 'The Exorcist?'" Her answer: "I haven't met him." By far the most manic and zestful performance of the movie belongs to Will Forte. Christian fits every criteria expected of a cult member; that is, except for the need and desire to draw others in. He has secluded himself in Ireland over his downfall, and remained hidden in search of any rise to fame he can conjure. When all else failed, he turned to the one person who can make a trade in exchange for diabolical favors: Lucifer himself. Nevertheless, that bargain could be considered a dangerous one, as the price of the service is the wagerer's soul. Or, in this case, Christian's talent. He still owns a synthesizer and keyboard, but his tempo and lyrics are that of an artist who would be thrown off the stage. The rest of the ensemble rides a wavelength of wackiness. Claudia O'Doherty is delightfully flexible as Christian's stuck-up, arrogant and spoiled wife, who would rather focus on the delivery of Chinese food than the stakes at hand. Maeve Higgins has the ability to evoke someone it might be interesting to be, or know. Barry Ward let's some of his improvisational skills fly with some of the frame devices that his character is given. He's a little soft, but that can happen when your wife literally rules over you. Some of the spirits actually choose locations to stalk that would not be preferable in the afterlife. For instance: A garbage bin parked in the driveway. Everyone knows the recycling would be much better. Comedy aside, if there are any strategic flaws to "Extra Ordinary," it would be the execution of the plot itself, which sort of wades through without much in the way of the heroes obtaining their goal. When it comes to spirits, they can't really do much other than wave objects around and flicker the lights, anyway. But oh, what the heck, the cast is so likable and the writing so clever that we stick by it anyway. The movie is somewhat fresh for a black comedy; it has an R rating, but seems to take on its subject rather gently, without too much in the direction of vulgarity or bloodshed. It was written and directed by Mike Ahern and Enda Loughman, who pull off a rare feat for duo filmmakers: They make you want a second helping of their strategy, and you look forward to what they do next. Next up was Swallow We feel pity upon Hunter when we first meet her. She is married to the extremely wealthy and devilishly handsome Richie, who is the youngest managing director to work for his father's company. Their house overlooks an entire forest, some of their walls are entirely made up of glass windows, and their arguments are so minuscule that they mostly stem from what color the curtains will be for their theater room. Hunter listens, but is never heard, and she walks through her life as if she's trying to dodge landmines, filled with the fear that she will eventually make a mistake. One day, out of the blue, she discovers that she's pregnant, and stops to wonder how everything came into place so quickly. Richie's sweet, soft-talking mother, Katherine, gifts Hunter a book that will guide her through the steps of childbirth. In it is a tip that would usually be included in motivational books: Every day, do something unexpected. She does, but it's not the typical kind of unexpected. Hunter swallows a small marble laying on the mantelpiece, and it awakens something inside of her. This behavior becomes automatic after frequent repetition. She moves from marbles, to thumbtacks, to paperclips. All of it makes her feel self-controlled after years of following directions. As odd as that might sound, it is the setup for "Swallow," one of the most mysterious and disquieting films I've seen in a long time. Hunter, played by Haley Bennett, has a gaze focused inward, on her determination. She must be aware of the damage that this will cause to herself and the baby, yet she doesn't seem to mind much. After a disastrous visit to the obstetrician, Richie (Austin Stowell) becomes introduced to her fixation, and is appalled by her actions. A therapist is taken into consideration, and during a brief meeting, Hunter is at a loss when describing her motive. She likes the texture of odd things, and the authority that she feels towards her own body when such events occur. She knows it's wrong, they know it's wrong, and they repeatedly tell her that it's wrong, but that won't be enough to stop Hunter. The path of the movie remains unclear for quite a while. Early scenes observe the life of Hunter and Richie, and we see a few samples of their almost synchronized personalities. Yet it always feels like things are not present in the usual or expected places. In most plots of spiraling or impending doom, you get a sense of what drove the characters in that direction. The film's writer and director, Carlo Mirabella-Davis, chooses not to make everything so easy. Hunter is given, in all principles, the perfect life. But she's also absent and separated from everyone else; that is, excluding Richie. She's always the one to stand outside of a crowd, and given the circumstances, she would like to remain that way. She never, not even once, states whether or not she would like to keep the child. In one scenario, it wouldn't make it. In another, it could grow up with the desire to have the same diet as its mother. But on the whole, "Swallow" is really two different stories. One of which delves increasingly into the background of Hunter's childhood and mother. I would be lying if I said that the undertone of such scenes involves a message or agenda pertaining to women's empowerment, and after the wretched "Black Christmas" remake, this movie teaches us how to use that message appropriately. When the antagonist is confronted, it sticks to dialogue that is, admittedly, standard, but it's performed organically and doesn't condescend to the audience in a way that's unintentionally offensive. It's an old story in our society: Oppressive behavior is permitted from the oppressor class, but becomes offensive if practiced by the formerly oppressed. Besides, "Swallow" isn't a realistic portrait of behavior, anyway; it's a parable. You won't see taboos being broken, words said aloud for the first time, forbidden thoughts finally expressed. The movie knows that we can take the story on its own level without the unseemly haste of reality edging in. When it does, it's meant to come as an awakening for Hunter, who remains all but wise. Unlike other recent psychological thrillers, this one continually drives us away from the mental workings of its protagonist. With Hunter, at least during the first few sequences, we rarely anticipate the rapid signals of hysteria, because they're not easily freed. Haley Bennett brings the character to life with a miraculous offhandedness, and if she really did perform some of the acts being depicted on screen, that would make her one of a kind. Her chemistry with Austin Stowell also calls our attention, because it doesn't rely on shabby hopes. This is one of those rare movies where I cared intensely about the characters. I got involved in each of their decisions, and hoped that they would make the right ones. The plot hardly ever manufactures custom plot twists, and what it really conceals are deeper levels of feeling. There is also a level of human observation here, one that is played against some kind of a wall closing the characters off from everything. "Swallow" is not just a thrilling film, but an interesting one. Hunter's strive for perfection is somewhat associated with the self destruction that has cut her off from her full nature, and she is hardly aware of it. Mirabella-Davis is a truly intriguing new talent. His emphasis is on writing: As a director, he is functional, straightforward and uncluttered. As a writer, he composes a well toned structure that hardly ever seems distorted. We feel as if we've been caught in a fictional labyrinth. Just when the story seems clear, when the characters' possibilities and where they stand become realized, the director throws us a series of surprises. It's enigmatic, odd, intelligent, and horrific all at the same time. Afterwards, it'll make you want to go home and get rid of all your jewelry.
"And I looked, and beheld a pale horse: and his name that sat on him was Death, and Hell followed with him." –Book of Revelation 6:8 "Alert: traffic ahead. Estimated travel time has increased by 15 minutes." Simon sighed and drummed his fingers on his steering wheel. The traffic wasn't "ahead" so much as it was "here," no matter what the GPS thought. He was sitting in the middle of it, creeping forward at what felt like a walking pace. He'd tried to leave late in the day to avoid the traffic, but clearly other people had had the same idea. "Alert: traffic ahead. Estimated travel time has increased by 7 minutes." I didn't even want to be here, thought Simon. His sister's annual tacky sweater party was not, to his mind, a good enough reason to drive four hours up interstate 95. But it was family tradition, as his mother had acerbically reminded him over the phone, and not having her harp on him for months on end was absolutely a good enough reason for a four-hour drive. Or so it had seemed at the time. Now, drifting along at dusk in a river of brake lights, Simon was reconsidering. "Alert: traffic ahead. Estimated travel time has increased by 28 minutes." Simon angrily rapped the "find alternate routes" button, not for the first time on this trip. As before, the GPS paused for a moment before responding with a cheery, "No better route found!" in its unpleasant near-human voice. "Try again!" Simon snarled, hammering on the button as if hitting it multiple times would make it work harder or find something new. Deep breaths, he remembered, calming himself. Getting mad at inanimate objects is foolish and unproductive. My energies can be better spent by considering the situation and searching– "New route found!" chirped the GPS, interrupting Simon's train of thought. "Estimated arrival time: 6:52 PM. Would you like to take this?" A wash of relief hit Simon. "Yes!" he exclaimed, tapping the "OK" prompt. The line on the map shifted, veering off to the right. "In one quarter mile, exit onto Old Chapel Road." With a happy sigh, Simon maneuvered his way over and exited the freeway traffic jam. Driving even thirty-five miles per hour on the two-lane road was an almost palpable joy after the freeway's glacial pace. He had barely gotten up to speed, though, when a crossroads appeared ahead, marked by a stop sign. On the right side of the road stood a dilapidated gas station, in poor enough condition that Simon was unsure if it was open. The prices seemed about right, though, and his tank was at a quarter full, so he pulled in to stretch his legs and hopefully fill up the tank before continuing on. Although the setting sun was still visible, the station stood in deep shadow, loomed over by an imposing, crumbling church on the opposite side of the road. Electric lights gleamed fitfully above the single pump and inside the ramshackle convenience store. The gas pump had no place to swipe a credit card, but its display glowed to life when Simon lifted the nozzle and raised the handle, so he plugged it into his tank and waited for it to fill. As Simon waited, he found his gaze irresistibly drawn to the church across the way. Something about the towering structure demanded his attention. The setting sun backlit the church, casting the front into blackness even as it lit the huge stained-glass windows, portals of fire set in a coal-black facade. Even with the shadows stealing detail, though, the church's decay was evident. The edges of the roof showed clear disrepair, occasional panes were broken out of the windows, and the whole chapel was leaning forward slightly, as if intent on whispering a secret to the gas station. Simon couldn't shake the uncomfortable feeling that the church was leaning closer even as he watched, or that he was being somehow drawn into it. The flare of color from its windows caught his eyes, pinning his attention, holding him in place as the building slowly loomed nearer, nearer. Its doors were in front of him and its walls were folding in around him like leathery wings, and as the doors started to crack open he could smell the church's awful cold breath, a stench of decay and horrible anticipation. Behind Simon, the gas pump thunked heavily as the automatic shutoff disengaged the flow of gas, startling him out of his reverie. He was still standing at his car, neither he nor the church having moved, and he laughed anxiously at his daydream as he uncoupled his car from the pump and headed inside to pay. The door opened reluctantly to reveal a store that, like the exterior of the station, appeared at first glance to be abandoned. Although the lights were on, every drink cooler was dark and silent, clearly not running. No music played over the speakers, no newspapers sat in the racks, and the shelves were dusty and stacked with products two or more years past their expiration dates. Were it not for the balding man staring at him from behind the counter, there would have been nothing to suggest that the store was open instead of having been accidentally left unlocked when it was shut down. Simon fumbled for his wallet as he approached the counter, pulling out cash. This didn't look like the sort of place that took credit cards, and he wanted to make this transaction as swift as possible. The man behind the counter stirred from his inanimate state as Simon neared him, slowly coming to life like a robot powering on. "Pump one–ah, the only pump," said Simon, dropping the bills on the counter. The man's eyes never left Simon's face as his hand spidered across the counter, the fingertips feeling their way towards the money. He touched each bill in turn before picking them up, then rang the charge up on the cash register and began counting out the change, tallying a running total of each bill and coin aloud in a dusty voice. All the while, he stared straight ahead, eyes locked with Simon's. Simon wondered if the attendant was blind, but as he shifted uneasily from foot to foot, the man's eyes tracked his unerringly. The attendant pushed the change across the counter to Simon, who took it and said automatically, "Enjoy your night." A small smile started to form on the man's face. "Enjoy your night," he repeated in a rasp. The smile grew slowly wider, then wider still. "Enjoy YOUR night!" Simon grinned nervously back at him, backing out of the store as the attendant's lips peeled back in a rictus, his mouth stretching to reveal yellowed teeth and reddened gums. As Simon reached the door and turned to escape, he saw a trickle of blood forming at the center of the attendant's lower lip where the skin had cracked, but his smile was still widening. "Enjoy your NIGHT!" he called one last time, as Simon forced the door open and fled into the parking lot. The decrepit church loomed over Simon as he fumbled with his keys, but he steadfastly refused to look at it, or to turn his gaze back to the store. He kept his focus on his hands until he was in the car, then on the road immediately ahead until he was through the crossroads and the church was safely behind him. Only then did he raise his eyes to the rearview mirror, and for a moment, he had a terrifying idea that he would see the church as he had seen it while pumping gas, looming tall and immediate over the back of his car, its doors opening like a toothless maw to swallow him whole. The vision popped like a soap bubble as he instead saw only the road behind him, with the church and gas station growing small in the distance just as they should. Simon breathed a sigh of relief, even as he laughed off his ridiculous idea. With the terror he'd felt receding as quickly as the buildings behind him, the whole thing suddenly felt blown out of proportion. One weird guy and one weird building–well, two–and I'm suddenly paranoid. Should have picked up some tinfoil at that station to make a hat. The GPS suddenly spoke up again. "In half a mile, make a right onto state route 117." A quick look at the map overview suggested that this path would roughly parallel the freeway for some time, following the roads which had existed before the interstate system was put into place. On the map, the freeway still glowed red with traffic, and Simon was happy to follow the country roads until that cleared up. On an ordinary day, the freeway might be a vastly superior method of getting from place to place, but when it backed up, it was good to have a program that knew alternate ways around. "In two miles, make a left onto state route 84." The hilly road hid the turn ahead, undulating up and down as it snaked over uneven ground and twisted through alternating fields and clusters of forest. Over the fields, Simon could still see the freeway off in the distance, laden with cars. How is the freeway so flat, he wondered, when it's so nearby? The landscape can't be that different over there. Better machines and better paving, I suppose. Also the advantage of starting fresh. These country roads have probably been here since Johnny Appleseed trampled down the grass, walking up and down these hills. They've just been expanded outwards, widened, but they're still the same underneath. "In point one miles, make a left onto unnnnamed road." Simon cast a sharp look at the GPS. Had it just stuttered? The last thing he needed was to be stranded out in the middle of the country with his technological guide on the fritz. Everything seemed fine on the display, though, so it had probably just been a momentary error. Anyway, he had just stopped for gas, and it wasn't like there were a lot of intersections to confuse him if he ended up needing to backtrack, so Simon put the thought from his mind as he turned down the indicated road. If the earlier country roads were walking trails that had outgrown their origins, then this one was much closer to its roots. It was probably intended to be two lanes, but no one had bothered to paint any lines down its center, and Simon had doubts that two vehicles of any significant size could pass each other without trading paint or making generous use of the shoulders of the road. Or one shoulder, anyway; although the right side appeared basically open and serviceable, if muddy, the left side hosted a small country graveyard perilously close to the asphalt. The nearest headstones couldn't have been more than three feet off of the road, and in the fading daylight and the brief flash as his headlights crossed them, Simon couldn't be certain that he was looking at the backs of the stones. He sincerely hoped that he was, though, because otherwise the road had been paved right over the foot of the graves. Simon toyed with that thought for a moment, uncomfortable without being quite sure why. Bodies were bodies and bones were bones, and the world was built over hidden corpses and forgotten burials from earlier eras. There was something more immediate about this, though, that made it seem worse. It was the grave markers, he decided. This was no forgotten gravesite. The people who put in the road knew that the graves were there, and still ran the road insultingly close to those final resting places. It seemed indecent, and Simon told himself that it was because it was unkind to those who were still alive, who might come to see their relative, their mother or father, and have the exhaust of passing trucks belched in their faces as they kneeled at the grave. Of course, he mused, it was probably local labor who put this road in. The people who paved this road are probably descended from the ones in this cemetery. Inane though the thought was, it helped. At least that way, it wasn't an inexorable external force imposing itself unbidden, sacrificing the past to feed the all-consuming present. If the road ran too close to the cemetery, it was by the choice of those who the cemetery was for. It wasn't up to Simon to apologize or judge. The road was here because this was where they had wanted it. Although, looking around, he couldn't see that they'd necessarily had a lot of choice. The graveyard was surprisingly expansive, and though Simon had turned down this road easily half a mile ago, the graves still crowded up against the left side of the road, tombstones jostling for space like tourists peering in at a strange exhibition. For a one-road town, they sure had a lot of people die here, thought Simon. The comment was meant to be a humorously wry observation, but even inside of his own head, it sounded ominous and threatening. A curve ahead allowed the headlights to spill off of the road, illuminating hundreds of tombstones stretching out into the dark, each one standing silent sentinel over a dead body. Each one marked a spot where a once-living person had been buried in the ground, left to wither and rot until nothing of them remained in the world, neither work nor word, and all that remained to show that they had ever lived was a chiseled rock mounted over the spot where they had been consigned to the earth. Simon shook himself mentally and turned on the radio to chase the unnerving images out of his head. He set it to seek, and as the radio flipped through static in search of a station putting out a decent signal, Simon wondered what was wrong with his thoughts tonight. It was unlike him to turn so morbid at the sight of a few graves. He tried to think of his niece and nephew who were waiting for him at the end of the trip, and of the hideous sweaters his sister had no doubt delighted in finding for them, but his mind kept interrupting with thoughts of the horrible old church from before. Its image was as clear as if he was still looking at it, the stained-glass windows inflamed within its shadowed walls, but its shadow was filled with tombstones and it reached out to cover the entire world. The radio relieved the silence by cutting on in the middle of a Beatles song, slightly staticky but acceptably so: "–icine porters with looking glass ties. Suddenly someone is there at the turnstile: the girl with kaleidoscope eyes." Simon relaxed to the familiar song, settling back in his seat and letting go of a tension he hadn't realized had been building up in his back. And then terror wrapped icy hands around his spine at the next line: "Guess who's gonna die? It's Simon." He sat bolt upright, his eyes jerking involuntarily to the radio as if he could hear better by staring at it. "Lucy in the sky with diamonds, Lucy in the skyy with dii-amonds," sang the radio, as if nothing was wrong. "That...is not what I heard," Simon said aloud, shakily. On the radio, John crooned on, a gentle denial of the words Simon thought he'd heard. As the song spun on, it became easier to believe that it really had been nothing but a strange artifact of the static, a momentary distortion of the words coupled with the creepy ambiance of the graveyard at night leading to that patently ridiculous mishearing of the lyrics. People who think that the radio is talking to them are crazy, Simon, Simon said to himself. Get a grip. What, are you afraid of the dark all of a sudden? The GPS chose this moment to chime in, speaking over the radio. "In one mile, stay straight on ununnamed road." Simon glared at the device. He considered smacking it to attempt to resettle whatever was causing it to glitch, but restrained himself with an effort. Deep breaths. The GPS might be repeating syllables, but it was still tracking him clearly along the route, which was the most important function. Even if it was telling him useless directions, like "don't stop driving forward." Not like there's anywhere else to go, thought Simon. The graveyard still stretched past the reach of his lights alongside the road, stone teeth marching into oblivion. Somewhere along the way, he'd lost the lights of the freeway. And was the road slightly narrower than it had started? Before, it had seemed unlikely that two trucks could pass each other. Now, Simon was pretty sure that even two sedans couldn't manage it. Not without pulling off to the shoulder–and when had there begun to be graves on the right side of the road, too? Simon could feel his breath coming faster, his heartbeat accelerating. This is stupid. It's a country road. A country road through the world's largest graveyard. And why had it gotten dark so suddenly? Surely dusk should have lasted longer than this. Nothing was right here. Simon could feel a cold breeze on the back of his neck, and the air in the car stank of the rot that had emanated from the church when its doors had opened to swallow him inside. That was a daydream! It never happened! And then Simon let out a strangled grunt, a guttural sound of fear, for as his eyes flickered to the rearview mirror, he saw there, cyclopean and terrible, the church. It loomed behind him, impossibly close, casting its shadow ahead to envelop his car. The steering wheel jerked under his grip and he fought to keep the car on the road as he recovered from his panic, and when he felt the temptation to look into the mirror again growing strong in his mind, he grunted once more and backhanded the mirror from the windshield before he could succumb. The mirror rebounded off of the far window of the car with a sound of breaking glass, bounced off of the passenger's seat and tumbled into the footwell, the cracked face winking up at Simon as it fell. Simon struggled to get his breathing back under control, to relax his foot from the accelerator and loosen his deathgrip on the steering wheel. The song on the radio faded, came back, then slipped beneath the static waves, leaving only a quiet hissing from the speakers. "In one quarter mile, stay straight on unnamed-amed-amed road." Simon was preparing to fiddle with the radio when suddenly, his attention was jerked back to the road in front of him by something up ahead in the road, a long dark streak reaching diagonally across the asphalt. It glistened in his headlights with a reddish hue, a two-foot-wide ragged ribbon crawling out into the darkness. Someone hit a deer, wounded it, and it dragged itself away, Simon told himself, slowing his speed as he scanned the side of the road for the unfortunate animal. The streak of blood went on and on, an incredible amount. "In one tenth of a mile mile, ssssstay straight on unnamed road." "Stop telling me that!" Simon growled at the GPS. Up ahead, an indistinct figure sprawled against one of the tombstones hugging the right side of the road. As he drew closer, Simon's stomach gave a sickening lurch. It was no deer; someone had hit a person and left her to die. "In fifty feet, stay stay stay stay. Stay. Stay." Ignoring the malfunctioning GPS, Simon put the car in park and jumped out, hurrying around the front of his car to where the woman lay in a tangle of limbs and blood-soaked cloth, her once-white dress torn and stained with blood and the dirt of a quarter-mile of road. He fumbled in his pocket for his phone to call 911, knowing even as he pulled it out that it was far too late. No one could have lost that much blood and lived, but he reached for her neck anyway to check for a pulse. Instead of skin, Simon's hand touched something hard and knobbly, and tiny pinpricks wrapped around his fingers. He jerked his hand back in surprise, knocking into the woman's chin and lolling her head back. Beneath the tumbled hair, instead of a woman's face a skeleton leered up at him, its bones yellowed, the remains of its skin leathery and ripped. It was covered with the dirt of the grave, wearing not a white dress but instead a winding-sheet. Inside its skull, things clicked and shuffled away from the light, and to his horror Simon saw that when he had touched its neck, a beetle had climbed onto his hand and was currently trying to scuttle up his sleeve. He shrieked and leaped back, shaking his arm and sending the beetle flying into the night. At his feet, the bloodstained corpse rustled in its sheet. Simon looked down in disgust, thinking to see more bugs, but his phone dropped from nerveless fingers as he saw it reach a rotting hand up to the tombstone it rested against and slowly begin to haul itself to its feet. The thing had made it to its knees before Simon shook off his paralysis and fled for his car, thankful that he had left the door open. He gunned the gas and sped away as the creature twisted and lunged for the door. Its fingers scrabbled past just inches from the handle as the car roared by, spinning the corpse off to crash back against the graves. "Go go go go nineteen miles, then stay straight onnnn unnamed road." Impossible, impossible! Simon's mind gibbered as he fled down the road, speeding past rank after rank of tombstones, sepulchers and mausoleums. Simon felt for his phone to call for help, to call his sister, to call anyone, but it was lying in the road where he had dropped it, and there was no way he was going back for it, even if it hadn't probably been run over when he peeled out. Or even if he could go back, for that matter. The road was even narrower now, barely more than a single lane, and the graves began scant feet from Simon's car on either side. With careful back-and-forth, a car could still be turned around here–but Simon had already crossed two more bloody streaks, and things were moving in the night at the edges of his vision. Terrified, he pressed harder on the gas pedal, hoping to simply outrun whatever was happening. As he hurtled on, the road closed in still further, dropping to a single lane. A milky white moon drifted up over the horizon, casting light across the landscape, and Simon gasped in horror. The graveyard surrounded him as far as he could see, stretching to the horizon. Rounded rectangles of marble and granite massed upon the bleak, dead ground, with larger shapes of tombs and crypts hunched at intervals, stony giants skulking along the ground. Pillars, obelisks and statues on plinths rose among them like orators addressing a crowd, and in their shadows, avoiding even the moonlight, creatures less than human moved with an unseemly grace. Through the whispering static on the radio, a lone church bell began tolling. The sound was low and sonorous, filling the car and infusing the susurrus of the static with a feeling of malice. Simon slapped at the console until the radio shut off, but the sound continued, as somewhere out in the moonlit darkness the bell of that terrible church knelled. In response, the creatures came forth from the shadows to course across the graveyard, hellish servants responding to their master's call. They were made of bones and rags, bound together with graveworms and pieces of shrouds, and yet they moved like water flowing downhill, smoothly and with deceptive speed. Their bones whispered against each other as they ran, making a kind of music. The song it sang was of death, not merely of a person, but of humanity itself, of the entire world, of the planets and the sun and all the stars. It sang of an empty universe, cold and forgotten, with the shadow of the graveyard enshrouding it all. And beneath it all was glee, desire and a frightening belief that this was how things should always have been, that life was a mistake, and death the true state of things. Again and again the bell tolled, a constant backbeat to the song of the bones, and the corpses ran up and over the hills of the graveyard, massing in ever greater numbers. Simon drove on in terror, hands white-knuckled on the steering wheel, trying and failing to ignore that hell itself was rising outside of his car. The road began to rise, and Simon found himself driving across a berm separating the two sides of the cemetery. It was only inches wider than his car; the slightest mistake would send him tumbling down a hillside into the graves below. It writhed sinuously across the graveyard, lazy curves daring Simon to maintain his speed and risk the plummet. Simon slowed as much as he dared, speeding up again after each curve in a futile attempt to increase the distance between his car and the tide of monsters. Below him, a deep howl began to grow, rising as one from the throats of the pursuing creatures. Where the bones whispered of death, this sang of blood, hot and cloying, viscous rivers of it washing across the world. Simon shivered uncontrollably and stepped on the accelerator again, risking the corners a bit faster. "In one half half mile, donnn't look back." Simon's eyes flew instinctively to where his rearview mirror should be, but found nothing but the stump of the handle sticking from the windshield. He flicked his eyes to each side mirror, but saw nothing but the glint of bone and stone as moonlight gleamed off of the army behind him. A rumble began to grow, almost subsonic, shaking the car as if an earthquake was starting. Panicked, Simon twisted around to see what was happening, taking his eyes from the road. "Don't don't don't don't don't don't," the GPS chanted mindlessly, but Simon had already looked, and was transfixed by the sight. Behind him, the ground itself was rising, heaping up in great grave-covered hillocks as if something titanic were rising from beneath it. The truth, he soon saw, was even worse. The graveyard itself was standing, forming into a colossal creature that drew from the ground around it to grow continuously larger. The army of corpses swarmed at its feet like cockroaches, sliding seamlessly aside to avoid each tremendous step as it strode above them. It moved amorphously, flowing from step to step with ever-changing limbs, and with each stride it closed the distance between itself and Simon. The only constants in its body were its eyes, which burned like the stained-glass windows of the church and which were fixed unerringly on Simon. "Turn right to remain on unnnnnnamed road!" Simon's attention was jolted back by the GPS's unusually strident cry, just in time to feel his left wheel leave the road and spin uselessly on the grass. He jerked the wheel to the right as the back left tire joined the front on the grassy slope, and the car tilted sickeningly to the side. "No, no no no no!" screamed Simon, hauling on the wheel, and the car lurched back onto the road, now angled to shoot directly off the right side. He screamed again, wordlessly this time, pulling the wheel back to the left and stomping on the accelerator as if it could save him. The car fishtailed, but ended up back on the road, pointing straight along it. Heart hammering, Simon accelerated once more, trying to outpace the ground-shaking steps behind him. Even with the car racing as fast as he dared go, Simon could feel the monster gaining on him. He began to smell the stale, dank air of the church's breath closing in around him, wrapping him in its awful miasma. The thought of breathing it in filled him with terror, and he held his breath as he drove onward, ever faster. Still the monster gained, until the thudding of each steps made the car jump and the wheel jerk slightly under Simon's hands. Black spots were beginning to dance in front of his eyes, but he knew that to breathe in was death, and so he grimly spurred the car even faster, determined to make it as far as possible. If he was to succumb, it would not be easily. Abruptly, the GPS spoke up once more. "In one hundred feet, turn left left left down no road. Fifty feet. Left now now now." There was nothing but graveyard to his left, but ahead of him, the road stretched on into the night, and Simon's lungs were burning. In desperation, he twisted the wheel to the left, and the car sailed off of the road momentarily before jolting onto the hill with a crash that drove almost the last bit of air from Simon's lungs. Astoundingly, there was a walking path ahead of him, winding precariously through the tombstones. Behind him, the monster roared, and the blood howl of the corpses ran under it like a promise of doom. Simon slalomed wildly through the graves, his throat clenched as his lungs frantically tried to suck in air, the world-shaking footsteps of the monster crashing behind him, and then suddenly a black gate was before him and his car was bursting through. The airbags went off with the impact, and Simon gasped in a lungful of acrid, chemical air. Coughing, he frantically pushed down the airbag, freed himself from his seatbelt and leapt out of the car, falling to the ground in his haste to escape. His car, the front fender dented and one headlight smashes out, sat in the entrance to a graveyard. A broken chain lay on the ground behind it, and the wrought-iron gates hung open. The moon rode high in the sky, illuminating a quiet scene: peaceful graves, tastefully placed trees, a caretaker's house on a hill in the center. Nothing moved; nothing stirred. Shakily, Simon climbed back into his car and drove slowly to his sister's house. He left the radio off, and the silence was broken only by the occasional directions of the GPS. Pulling up to the gate of her community, he punched in the code for her townhouse to be buzzed in. The speaker crackled to life. "Simon? I'm glad you're here! Was traffic bad?" The GPS spoke up once more: "Resuming original path. This detour has saved you four minutes!" "Simon? Is that you? Simon?!" his sister asked, but Simon put his head down on the steering wheel and laughed until he wept.
A. Did Tony The Tiger have a black nose or blue nose...??
Jiffy peanut butter or "Jiff " peanut butter...??
Oscar Meyer wiener or...Oscar Mayer..??
What is Gordon's or Gortons...??
Cheez It's, Cheez It'z or Cheez It...??
Braggs apple cider vinegar or… Or "Bragg"...??
Chuck E. Cheese or Chuck E. Cheese's
Oreo double stuff cookies spelled with one F or two...??
Chic-fil-A... or Chick-fil-A...??
Tostino's or Totino's...??
Cliff Bar or Clifbar...??
Nestlé Quick or Quik...??
Morton's Salt or Morton Salt
Coke Zero...OR Coca-Cola Zero...??
Pepsi Clear OR Crystal Pepsi...??
Jim Bean or Jim Beam...??
How is Johnny Walker spelled...??
Absolute Vodka or Absolut Vodka...??
Van De Camp's pork & beans OR just VanCamp...??
Mike 'N" Ike or Mike and Ike...??
Sweet-Tarts or Sweetarts...??
Pixie Stix Or Pixy Stix...??
York Peppermint Pattie slogan "Taste The Sensation" OR Get The Sensation...??
A, Brussel sprouts or Brussels sprouts...?? B. Tumeric or Turmeric...?? C. Jujubees candy OR Jujubes...?? D. Foldgers coffee OR Folgers coffee...?? E. Haas Avocados OR Hass Avocados...?? F. Guiness OR Guinness...?? G. Did Sunkist have the letters U & N separate or connected...?? H. Hillshire Farms or Hillshire Farm...?? I. Jack's Links Beef Jerky OR Jack Links Beef Jerky...?? Stores & merchandise:
Home Depot or The Home Depot..??
Payless Shoe Store or Payless Shoe Source...??
Cosco or Costco...??
Sketchers or Skechers..??
Was it...Oxy Clean or Oxi Clean..??
Was it depends or just… depend..??
Herbal Essence or Herbal Essences ...??
Phililps spelled with two L's OR only one....Philips
White-Out OR Wite-Out...??
Sonics OR Sonic...??
O-Reilly's OR O-Reilly
Sally's Beauty Supply or Sally Beauty Supply
Liquid Plumber OR Liquid Plumr..??
41 Lay-Z-Boy OR La-Z-Boy...?? A. Victoria Secret OR Victoria's Secret...?? B. Marie Calendars OR Marie Callender's C. Proctor & Gamble OR Procter Gamble...?? D. Lucky's grocery store or Lucky grocery store...?? E. Noxema OR Noxzma...?? F. Vasoline OR Vaseline...?? (not 100% sure on this one) G. Man's Warehouse or Men's Wearhouse...?? H. Panténe Shampoo (with the accent over the E) OR just Pantene...?? People: 42. Evil Knievel or Evel Knievel...??
Charles Schulz or Charles Schultz...??
Sally Fields or Sally Field...??
Did Sally Fields say "You like me you really like me" or You like me right now you like me"..?? 46. Christopher Reeves or Reeve..??
Barbara Streisand or Barbra..??
Dan Ackroyd or Aykroyd...??
Rod Sterling or Serling...??
Betty Page OR Bettie Page...??
Tammy Faye Bakker OR Tammy Faye Baker...??
Jo Ann's Fabrics OR Jo Ann Fabrics...??
Mother Theresa or Mother Teresa
WHEN was Mother Theresa made a Saint..??
Did Jane Goodall work with Monkeys or Gorillas...??
Suzanne Summers or Suzann Somers...??
Chuck Barris...dead OR alive...??
Was Madonna born with that name or was that her stage name and her real name was Louise Maria Cjccone...??
Host of Bizarre Foods Andrew Zimmerman OR Andrew Zimmern...??
Kaddafi OR Gaddafi ...??
Was Ed McMahon the spokes person for Publishers Clearing House or American Family Publishers...??
Was Eli Whitney inventor of the cotton gin African American...??
Wynona Ryder or Winona Ryder...??
Louie Armstrong or Louis Armstrong...??
Jimmy Hendrix or Jimi Hendrix...??
A. Gilbert Godfrey OR Gilbert Gottfried...?? B. Mr. Olympia Franco Columbo Or Columbu...?? Random Changes:
Time Square or Times Square...??
What color was Hitter's eyes...brown or blue..??
How many people in the JFK assassination car...4 or 6..??
The Smithsonian Institute OR Smithsonian institution...??
Coldwell Banker or Caldwell Banker...??
Smokey "The" Bear...or just Smokey Bear...??
Niagra Falls or Niagara Falls...??
What color is the sun...Yellow or White...??
Did the Staples sign always have a hook on the "L"....??
Did Canon cameras alway have a fang-dracula tooth on the C...??
Did Mr. Monopoly/ Rich Uncle PenneyBags have a Monocle eye-piece..??
Was it Thomas the train or Thomas the Tank Engine...??
Crossman air pistol are Crosman air pistol
Cliff notes or Cliff's Notes...??
Daylight savings time or daylight saving time...??
I can't believe I ate THE whole thing OR I can't believe I ate THAT whole thing...??
Did Converse shoe's have the star (chuck taylor patch) on the inside or the out side of the shoe...??
ZipLock Bags or Ziploc Bags...??
Was there always the Duracell Bunny or Only the Energizer Bunny...??
Where was the battery on the Energizer Bunny...it's back or side...??
John Deer or John Deere...??
A. Did/do car mirrors read "objects in mirror are closer than they appear" OR "objects in mirror MAY appear closer than they are"...?? B. Kelly's Blue Book OR Kelley Blue Book...?? C. Did google have a lower-case g or an upper-case G...?? D. Sherman Williams or Sherwin Williams...?? E. ScotchGuard OR ScotchGard ...?? F. How many strips dose a skunk have...?? G. Addidas OR Adidas...?? H. Stay PUFF Marshmellow Man OR Stay PUFT Marshmallow Man...?? I. Was the Roman Numeral 4 (four) like-this "IV" OR this "llll" J. Milk it does THE body good OR milk it does A body good...?? K.This is your brain this is your brain on drugs...OR this is your brain, this is drugs, this is your brain on drugs…?? L. The Charlie YouTube video that went viral said what… Charlie bit my finger, and it really hurt...OR Just "Charlie bit me, and that really hurt...?? Dash's & A's (Lambda's)
United States Postal Service logo with the letter A or lambda...??
Did U-Haul have a separated dash..??
Did Fed-Ex have a dash
Did Kit-Kat have a dash
Did K-Mart have a dash...??
Did Coca~Cola have a dash OR just a square dot on top..??
Famous Paints & Art: 93. Did the Mona Lisa have a smile..??
American Gothic painting...was the woman looking strait OR off to the side..??
The Last Supper painting by Leonardo DaVinci did it have a chalice on the table are a bunch of little clear glasses...??
Is the thinking man statue's hand on his forehead or on his chin...??
Dose the famous painting of King Henry show him holding in Turkey Leg...??
The Abraham Lincoln Monument... Dose Lincoln have both hand open or one hand clinched...??
The Portrait of Dorian Gray OR The Picture of Dorian Gray...??
Dose The Vitruvian Man by Leonardo DaVinci have 4 arms or 6...??
A. Was Michelangelos painting of the Sistine chapel have God's hand reach down to Adams OR Was Adams hade higher reaching strait across...?? Car Logos: 101. Volkswagen symbol VW connected … Or VW with a line through it...?? Volkswagon OR Volkswagen
Ford logo, with or without the curly Q..??
Volvo with or without the Aero..?? 104. Alfa Romero or Alfa Romeo... ??
Spelling words: 105.Dilemma or Dilemna..??
Definately or Definitely..??
Liquify or Liquefy..??
Racoon or Raccoon...??
alot or a lot...??
Bananna or Banana...??
Barbeque or Barbecue...??
A. Refridgerator or Refrigerator...?? B. Ceasar OR Caesar...?? C. Marshmellow OR Marshmallow...?? D. Parmesean, Parmigian, Parmesan OR Parmagiana ...?? Movies & Quotes: 112. Did Tom Cruise wear Ray-Ban sunglasses while dancing in Risky Business...??
Wizard of Oz did the wicked witch say "fly my pretties fly...??
Wizard of Oz..."I don't think we're in Kansas any more or "I've a feeling we're not in Kansas anymore ..??
Star Wars…"Luke I am your father" or "NO I am your father"..??
Did C3PO have one Silver Leg...??
Forrest Gump..."Life is like a box of chocolates" or...Life WAS like a box of chocolates..??
118, Forest Gump OR Forrest Gump....??
Field of dreams… "if you build it they will come" or if you build it HE will come..??
Mr. Rogers… "It's a beautiful day in the neighborhood" or it's a beautiful day in THIS neighborhood..??
Jaws...We're going to need a bigger boat or YOUE'R going to need a bigger...??
Was there a bite taking out of the word Jaws on the cover movie poster...??
Snow White… "Mirror mirror on the wall" or Magic mirror on the wall..??
James Bond (Moonraker) 1979 did Dolly have braces or no braces....??
Did E.T say "phone home or "home phone"...??
Did Sinbad make a movie wren he played a Genie...??
Did Ricky Ricardo from I Love Lucy ever say "Lucy you got some splainin to do"....??
Star Track...Did anyone ever say "Beam me up Scotty"...??
Did Hannibal say "Hello Clarice" in Silence Of The Lambs...??
Silence Of The Lambs "It puts the lotion on it's skin, or else it gets the hose again"...OR "It RUBS the lotion on it's skin"...??
Did Dracula ever say "I want to suck your blood...??
132.Was the Gremlin with the white Mohawk called Spike or Stripe...??
What kind of van was the terrorist driving in Back to the Future...a minivan or VW bus...??
Crocodile Dundee said "that's not a knife THIS is a knife" OR "that's not a knife THAT'S a knife"...??
Was the A-Team Van Black with a Red stripe OR Black & Gray with a Red stripe...??
Mommy Dearest or Mommie Dearest...??
In "Mommy Dearest" was there the quote..."("No More Wire Hangers!")...??
Water Boy OR "The Water Boy"...??
Casablanca did he ever say the line "Play it again Sam"...??
A. Old television show (all in the family) theme song said... and you knew WHO you were then, girls were girls & men WERE men OR and you knew where you were then girls for girls & men were men...?? B. TV show judge Judy, did she ever have a gavel or not...?? C. Al Pacino's famous quote "I'm out of order? You're out of order, this whole court rooms out of order!" OR "you're out of order your out of order this whole trial was out of order" D. Alice In Wonderland, Did Tweedle Dee & Dumb have propeller hat OR yellow flags...?? E. Did the Cheshire Cat in Allison Wonderland say "We're all mad here" OR 'Most everyone's mad here"...?? F. Was the Lone Ranger's catchphrase "Hi Ho Silver Away' OR "Hi Yo Silver Away"....?? G. Did Clint Eastwood (Dirty Harry) say "Do YOU feel lucky, well do you punk...!!" OR "DO I feel luck, well do you punk...?? H. The Original Annie "It's A hard knock life" OR It's THE hard knock life"...?? I The lyrics to Grease Lightning "this car is automatic, it's systematic, it's hydromatic... OR automatic, it's systematic, it's ultramatic...?? J. Lassie...Did Timmy ever Fall Down The Well And Lassie Went For Help...?? Movie & TV show titles:
Interview with a Vampire...or interview with THE vampire..??
Was it....Sex in the city or Sex and the city..??
Transformers Dark SIDE of the Moon or "Dark of The Moon"...??
The Rum Diaries OR The Rum Diarie...??
"The Gorge Lopez Show" or just, "Gorge Lopez"...??
A. Water Boy OR The Water Boy...?? B. How to Kill a Mockingbird OR To Kill a Mockingbird...?? C. You Got Mail OR Got Mail...?? D. The Adams Family OR The Addams Family...?? Cartoons: 145. The Bernstein Bears or The Bernstain...??
Was it the Flinstones or the Flintstones..??
Was it Johnny Quest or was it Jonny Quest...??
Looney Toons or Looney Tunes..??
149 Did curious George have a tail or no tail...??
Did Mickey Mouse have suspenders...??
Did Mickey Mouse have a tail...??
Did Inspector Gadget have a mustache...??
Did Mighty Mouse have an 'M" on his costume...??
101 Dalmatians,,, Cruella Deville, OR Cruella de Vil...??
Three Little Pigs, did the Big Bad Wolf say..."I'll blow your house Down" OR... I'll blow your house in"...??
Did Tinkerbell write out the word walk Disney in the opening title of Disney movies...??
Did Pikachu from Pokémon have a black stripe on his tail...or no stripe...??
Music & Songs: 158. Mamas & the Papas California Dreaming...I begin to pray or pretend to pray...??
Queen....JUST we are the champions...OR we are the champions of the world...??
Prince… We're going to "Celebrate" this thing called life…OR "get through this thing called life"…??
Bee geese----How deep is your love? "I really need to KNOW" or "I really MEAN to LEARN"...??
How many Village people were there 5 or 6...??
Panic at the disco... I write sins not tragedies..."Haven't you people ever heard of closing THE goddamn door?" OR "A" door...??
The Doors... Light My Fire...You know that it would be untrue You know that I would be a liar If I "WERE" to say to you... OR if I "WAS" to say to you...??
The Doors (Roadhouse) "Keep Your Eyes On The Road Your ____ Upon The Wheel" ...?? HANDS OR HAND...??
Michael Jackson...You've been hit by You've been "STRUCK" by a smooth criminal...OR just You've been hit by You've been hit by a smooth criminal...??
A. Michael Jackson song, (The Way You Make Me Feel)..."you really turn me ON" OR ..."you really turn me GOOD"...?? B. Elton John "your song" lyrics said...How wonderful life is now you're in the world OR How wonderful life is while you're in the world...?? C. The song sweet dreams by Rhythmics said... sweet dreams are made of these OR sweet dreams are made of this…?? D. Don't tell my heart My achy breaky heart OR Don't tell my heart My achy breaky heart...?? E. "YOU can dance if YOU want to but leave your friend behind because your friend doesn't dance and if YOU don't dance then you're no friend of mine" OR "WE can dance if We want to, WE can leave your friends behind Cause your friends don't dance and if they don't dance then they're no friends of mine. F. Is there a Rock Band called MEGADEATH OR MEGADETH...?? G. Somebody's Watching Me (by Rockwell) "It" always feels like somebody's watching me and I GOT no privacy" OR I always feels like somebody's watching me and I HAVE no privacy" ...?? OR "I always feels like somebody's watching me and I GOT no privacy"...?? Geographic:
Which direction does the prohibited sign go...right to left OR left to right...??
Are street lights green yellow & red OR red yellow & green...??
Is South America under North Americe OR 1000 mile over to the east...??
Is Australia the land down under..??
Was Italy shaped like a boot kicking Sicily..?? Now it's more like a high-heel touching Sicily..
Is China bigger then America or smaller...??
Is the North Pole a land mass' ice cap or is the North Pole just water...?? Human Anatomy:
Is the Heart on the left side of your chest OR directly in the middle of your chest...??
Are your kidneys in your lower back OR up higher by the ribcage..??
Do your intestines go back and forth horizontally OR more vertical and bunched-up...??
Are the eye sockets on a human skull hollow, can you see back into the skull if you point a flashlight into the eye sockets OR are the eye sockets cover with bone..??
A, Did the human skull have 6 small holes in the front of it...!! Not including the eyes, nose, mouth...!! six nail size holes, two in the chin, two in the checks & two above the eyebrows...!! Biblical Changes: (There are hundreds of Bible changes BUT here is the most notable one's...!!)
In the begin God created the "heavens" and the earth OR the "heaven"
Isaiah 11:6 "The Lion shall lay with the Lamb"...or "The wolf shall dwell with the lamb"..??
The Lords prayer Does the Lords prayer say… Gods will be done "ON" earth as it is in heaven… Or "in" earth as it is in heaven..?? Forgives us our "trespass" or forgive us our "debts"..??
Matt.7 "Judge not less you be judged" OR "Judge not, that ye be not judged."
Luke 17:34 I tell you, in that night there shall be a husband and wife" in bed; the one shall be taken, and the other shall be left...OR... I tell you, in that night there shall be "two men" in one bed; the one shall be taken, and the other shall be left.
John 14:6 I am the way, the truth and the light OR I am the way, the truth and the life...??
Matthew 9:17 Neither do men put new wine into old wine skins: else the skins burst...OR Neither do men put new wine into old bottles: else the bottles break...??
Acts 5:15 they brought forth the sick into the streets, and laid them on mats...or Insomuch that they brought forth the sick into the streets, and laid them on beds and COUCHES, that at the least the shadow of Peter passing by might overshadow some of them.
Luke 5:24 24 But that ye may know that the Son of man hath power upon earth to forgive sins, (he said unto the sick of the palsy,) I say unto thee, Arise, and take up thy mat, and go into thine house. OR I say unto thee, Arise, and take up thy "COUCHE" and go into thine house.
Mark 13:10 And the gospel must first be "preached" among all nations...OR 10 And the gospel must first be "published" among all nations...??
Luke 19:23 Wherefore then gavest not thou my money into the "BANK", that at my coming I might have required mine own with usury?
Luke 3:16 16 John answered, saying unto them all, I indeed baptize you with water; but one mightier than I cometh, the latchet of whose "sandals" I am not worthy to unloose: he shall baptize you with the Holy Ghost and with fire: OR John answered, saying unto them all, I indeed baptize you with water; but one mightier than I cometh, the latchet of whose "SHOES" I am not worthy to unloose: he shall baptize you with the Holy Ghost and with fire:...??
Luke 22:20 Likewise also the cup after supper, saying, This cup is the new "COVENT" in my blood, which is shed for you...OR Likewise also the cup after supper, saying, This cup is the new "TESTAMENT" in my blood, which is shed for you...??
Genesis 31:37 Whereas thou hast searched all my "possessions", what hast thou found of all thy household "possessions"? set it here before my brethren and thy brethren, that they may judge betwixt us both...OR Whereas thou hast searched all my "STUFF", what hast thou found of all thy household "STUFF"? set it here before my brethren and thy brethren, that they may judge betwixt us both...??
Genesis 28:14 And thy seed shall be as the "SANDS OF THE SEA"...OR And thy seed shall be as the "DUST OF THE EARTH" and thou shalt spread abroad to the west, and to the east, and to the north, and to the south: and in thee and in thy seed shall all the "FAMILIES" of the earth be blessed...?? OR all the "NATIONS" of the earth be blessed...??
Luke 19:3 And he sought to see Jesus who he was; and could not for the "crowd" because he was little of stature...OR And he sought to see Jesus who he was; and could not for the "press", because he was little of stature...??
193: Luke 19:13 And he called his ten servants, and delivered them ten "talents", and said unto them, Occupy till I come...OR 13 And he called his ten servants, and delivered them ten "pounds", and said unto them, Occupy till I come...??
Luke 1:35 And the angel answered and said unto her, The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee: therefore also that holy "CHILD" which shall be born of thee shall be called the Son of God...OR The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee: therefore also that holy "thing" which shall be born of thee shall be called the Son of God...??
1 Peter 2:7 Unto you therefore which believe he is precious: but unto them which be disobedient, the stone which the builders disallowed, the same is made the "CORNER STONE" OR the stone which the builders disallowed, the same is made the head of the corner...??
195: John 3:16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him "SHALL NOT" perish, but have everlasting life...OR For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him "SHOULD" not perish, but have everlasting life...?? 196: Revelation 5 And I saw in the right hand of him that sat on the throne a "SCRLL" written within and on the backside, sealed with seven seals...OR 5 And I saw in the right hand of him that sat on the throne a "BOOK" written within and on the backside, sealed with seven seals...?? There's many more Bible changes spelling errors poor grammar and historical inaccuracies which never existed in the KJV before...!!