#Glissando (h)

[spongebobsoundtrack]

Skaila Kanga, Richard Myhill - Glissando (h)

Plays in:

37a. "Procrastination" 

92. "Atlantis SquarePantis" 

97a. "20,000 Patties Under the Sea"

112a. "Porous Pockets" 

200. "Goodbye, Krabby Patty?"

#spongebob #spongebob squarepants #audio #music #procrastination #Atlantis Squarepantis #20000 Patties Under the Sea #porous pockets #goodbye krabby patty? #Glissando (h) #Skaila Kanga #Richard Myhill

[ddarker-dreams]

Entanglement.

Yan Kafka x F Reader.

Warnings: Yandere themes, unhealthy relationships, power imbalance, unwanted kissing, mild not SFW implications. Word count: 1k.

“You’re still refusing to wear the clothes I gifted you, dearest?” 

A dulcet voice smoother than the finest silk coos from behind. 

You don’t deviate from your original task. Just outside the window, the cold, unforgiving vacuum of space looms. A mere panel of specialized glass is the only barrier between you and infinite nothingness. The concept used to frighten you, to a paralyzing extent. It got to the point your oh-so-benevolent captor had to make adjustments. Using some technology you’re unacquainted with, the dark canvas morphed into a familiar, more palpable set piece: the scenery of your home planet. 

You’ve since overcome this hurdle and no longer require the mirage’s services. 

Space isn’t what you fear anymore. No, it’s the woman with the future in her eyes who holds that distinction. 

“It isn’t to my taste.” 

“I know,” she agrees. Her perfume is near stupefying when it invades your senses. “It's to mine.” 

Kafka is either aggravatingly unassuming or laser-sharp with her intentions. You’re never given time to adjust to her fickle ways, the second you think you might understand her, she reveals just enough that you’re right back where you started. 

Gloved fingers hover over your wrist, causing your hair to stand on end. As if she’s playing a glissando on the piano, her fingers slowly creep up, from your forearm to your bare shoulder. Presently, you’re wearing one of the few garments you were allowed to bring. It’s a plain, white dress that she longs to stain with her own palette. 

Her arms envelop your midsection from behind. She nuzzles her nose into your neck, swaying you back and forth while she hums a haunting ballad. Can she hear the skipping of your heart? Does she consider it just another instrument to compose her hedonistic harmonies? 

“Are the stars truly that interesting?” she murmurs against your skin. “Surely, they aren’t prettier than I am, hm?” 

“Maybe. At least they understand the concept of personal space.” 

“Oh, I do as well. I just choose to ignore it when it comes to you.” 

“I wish you wouldn’t.” 

You can feel her smile.

“You’d be lonely without me. Maddeningly so.” 

“Insanity is tempting if you’re the alternative.” 

She laughs, the sound low and husky, belying any offense taken, if you had the hubris to think anything you said could hurt her. Before you can register anything, she twirls you around. In this new, uncomfortable intimate position, you’re forced to look her in the eye. There’s no quality of hers that unsettles you more. They draw you in and devour you like a black hole, picking apart actions you haven’t even committed yet. 

It reminds you, similar to the path she walks, that nothing you do will ever amount to any meaningful change in your circumstances. 

Kafka settles her gloved pointer finger and thumb on your chin, tilting your head up. Whatever she’s thinking is as unknowable as the universe itself. Her fondness for you is an illness without a cure — even she must know how sick it is. Something tells you that if a remedy for it ever existed, she’d refuse to take it, and would instead crush the vial before your eyes. 

“What a beauty you are,” she praises through lidded eyes. “There is no greater joy than knowing you feel every second we’re apart, just as I do.” 

Irate, you try moving your head away, but this causes her grip to tighten. Never enough to hurt — it’s only meant to warn. 

“I take it you don’t like the cosmetics I brought back, either?” 

Kafka delights in asking questions she already knows the answers to. If she had anything resembling a hobby, you suppose that would be it. 

The skin beneath her eyes crinkled with amusement at your abrupt vow of silence. You fight off a shiver at the look. It’s all-consuming, dangerous in a way that rouses your primal instincts. She leans down close enough that you can feel her breath fan against your face. Her head tilts in a deliberate show of faux curiosity. 

“Is your tongue frozen? Should I think of a way to warm it up?” 

The hand that isn’t holding your head in place toys with the strap of your dress. 

Swallowing thickly, you shake your head. You know when to surrender in a losing game. 

“... No.” 

“No?” She repeats, mimicking the inflection of your voice. “Ah, well, that’s a shame.” 

You almost sigh in relief when her hand retreats. She reaches into a pocket on the inside of her coat and pulls out a tube of lipstick. She applies the roseate pigment, maintaining smoldering eye contact with you all the while.

After what feels like an eternity, she descends upon you, her lips seeking yours in a fit of scathing passion. You freeze up at the unexpected boldness. She takes advantage of your reverie, interlocking your lips in a languid motion. There’s no urgency to the kiss, she takes her time with you, just how she likes it. 

Her hand presses against your back, urging your chest to arch into hers. It isn’t until her hand starts venturing down that you return to your senses. In a fit of panic, you raise your hands to push her away. The defiance gets you nowhere — she catches your wrists with ease and holds them in place. 

Fortunately, she pulls back, although she doesn’t relinquish her grip. 

“I knew this color would look good on you,” Kafka sighs, almost wistful. Then, she raises your wrist and presses a lingering kiss against your pulse point. It leaves a smudged lipstick stain behind. “That leaves the issue of the outfit. Hm, what to do, what to do…” 

As if hit with an epiphany, her eyes light up in microscopic supernovas. “I know. If you need my help applying makeup, then why should getting dressed be any different? Why, you should’ve said so sooner.” 

Indignant, you seethe, “That isn’t…! Fine, I’ll put it on myself. Just— just turn around, okay?” 

“Of course. Anything for my sweet, shy girl.” 

Surprisingly, Kafka acquiesces. She pivots on her heel and covers her eyes with her hands. A teasing gesture, if you had to guess. 

Just when you believe you’re regained a semblance of control over the situation, she throws in a comment that snuffs out this fledgling hope. 

“I’ll give you to the count of a ten before I come and help you myself.” 

#just wanted to write a little something for my Woman #kafka x reader #yandere kafka x reader #honkai star rail x reader #yandere honkai star rail x reader #yandere #yandere x reader #my stuff

[90secondnewbery]

The High King by Lloyd Alexander

1969 Newbery Medal Winner

Adapted by Laurel H, Frances D, and Thuan D. (2024)

From Chicago, IL

Judges' Remarks: This movie is inspired! It was a smart idea to tell the story mostly with voiceover narration that supplemented the visuals of the characters enacting the story—that strategy very efficiently got across most of the major plot points while keeping everything coherent and understandable. All the performances were full of fun energy and committed emotion, and I was amused at how Eilonwy was played by a dog! The costumes for the other characters were resourceful and impressive too, from Taran's weird wig and mustache, to the witches, to the various beards and cloaks deployed throughout. The sound design was good too, especially the music during the fight scene between Fflewdur Fflam and the witch Mag, or the harp glissando when we first see the sword Dyrnwyn. There were so many ingenious special effects, like how one dying "cauldron-born" was multiplied into many, or how camera trickery was used to make Arawn magically transform himself to look like Gwydion with a swoop of the cloak, and then instantly brought back from Gwydion to Arawn when Taran smacks him with the sword—very cleverly done (and also, similarly, when the sword Dyrnwyn vanishes)! The stock footage of an explosion when Annuvin was blowing up was a nice touch, and I loved the resourcefulness of how one witch was turned into three through editing sleigh-of-hand. This movie had elaborate and colorful costumes, hilarious acting, exciting action scenes, a tight script, lots of humor—and it was impressive how most of it was all filmed in a single room! A winner!

Permalink

#Youtube

[bruh-haikyuu]

REQUEST: Can you do a scenario where lev meets his s/o because she playing the piano or singing. Thank you. Love your writing.❤️

A/N: Thank you for requesting!! Ok Sasha storytime 😳😳 I used to be in a piano class since I was 5 (I quit, but I still play just for fun). And I joined this competition when I was 9 and got selected as one of the finalists - and I was so fucking surprised bc jesus, I play averagely for all I can say... I’m not the best, but I’m definitely not the worst. But there was this messed up system where more familiar faces/winners would definitely be chosen. And despite some other kids messing up a lot, the MCs removed me first bc “Sorry, no one knows you around here. You played better than some others, but maybe if you talked more, you could win. No one really wants a winner they’re not familiar with.” I couldn’t really say anything. I knew they were right. So I left with a Certificate of Participation and not even proof that the judges chose me as a finalist. THIS particular event got me so fucked up for so long that I tried to get myself sick/injured so that I wouldn’t have to go to my piano classes for 4 weeks straight. Eventually, I pulled out after my exam and started playing for myself, with the songs that I enjoy, whenever I want. So,,, fuck those MCs and my teacher, I’m a bad bitch you can’t kill me 😎 *plays Superbass by Nicki Minaj* FEM!READER BELOW

duende. | haiba lev

summary: in which lev has no sense of direction, but finds a lone sugarplum fairy along the way.

word count: 2438

warnings: none

(n.) the feeling of profound awe experienced when viewing a piece of art, watching a performance or listening to music that has deeply moved a person

It’s difficult to tell precisely... but Lev was definitely lost.

It wasn’t his fault the school had to be so large! What’s the point of having so much staircases when they weren’t going to lead to one conjoined hallway? It was like a maze, except Lev knew he wasn’t getting anywhere near a familiar area.

Crap! he cursed, pawing nervously at his empty pant pocket. I left my phone in the clubroom.

Light was already fading from the west-side window and he hadn’t come across anyone for the past 15 minutes. He recalled something Taketora said about a part of the school being dead deserted. Was this that place? He couldn’t tell.

He was getting impatient. If Lev didn’t hurry up and submit his additional worksheets to Sakamatsu-sensei before sundown, it was over. Goodbye to the club’s training camp. Goodbye to becoming the greatest ace Nekoma has ever had. Goodbye to everything he ever cared about.

Instinct taking over, he ran as fast as his legs could carry him and called out to the empty hallways for someone. Anyone. “Hello?! Sakamatsu-sensei...?!”

And when the vacant corridors replied back to him, Lev stilled, frozen.

“...Piano?”

Alisa had told him something about ghosts once. It was right after she’d gone out to watch some horror movie with her friends. Lev couldn’t remember exactly her words, but his sister had “slept” with her eyes open that night and he wondered if he should be taking her advice seriously.

But this didn’t sound like a ghost. Something that sounded so beautiful wouldn’t have any murderous intention behind it... right?

The melody reminded Lev of those old ballets his grandmother would play on TV when she visited. Every glissando a delicate spin by one of the performers, and every perky note a tiny leap. He could almost see them, those beautiful dancers, and Lev wondered—if he were to trace the music to its source, would he find a charming sugarplum fairy waiting for him?

His feet were already ahead of his thoughts. Lev couldn’t even tell where he was in the gallery of clubrooms. His senses of direction numbed, he relied on his ears and the sweet, sweet melody of the piano that was getting warmer. And warmer. Warmer.

Hot.

“Or...chestra Club?” he read out, the placard’s kanji wrapping itself around his head. Peering through the rectangular window of the doors, Lev zeroed in on the bareness of the room, save for the large grand piano settled in the center.

This is the place... right? he thought, retreating slowly. No one’s here.

Looking around for good measure, Lev scratched his head. Ah, geez, I don’t even know where I am anymore. He reconsidered throwing away his curiosity and return to his quest for the third year’s Teacher’s Room before his Biology teacher could scold him for his incompetence. But the little fluff of hair peeking out from behind the piano swayed him over and he didn’t even stop to think when he barged through the doors.

“Fairy!”

The girl who squeaked in shock really did convince Lev for a millisecond that she was a fairy. Straight out of that stage his TV had replayed for him. Tiny in stature, eyes shining like morning dewdrops and fingers pressed again the white keys, thin and graceful as if you were producing magic. All excluding the lack of a pair of shimmering wings sprouted on her back, you were an enigma in this barren universe.

“I’m human,” you said, voice like air. Breezing and pushing like wind.

Lev approached the center of the room, speculating if your glamour would disappear if he were to come closer. “T-That song you played. That was from a ballet, right?”

“It’s Tchaikovsky,” you replied bluntly, grinning. “I feel like I’ve seen you somewhere before, can’t recall... We’re not too familiar, but you’re awfully rude for a first year, aren’t you? At least address me with the proper suffixes if you’re going to assume my species like that, Giant-kun.”

Speak for yourself! he thought, becoming more and more amused by this fanciful person. “I mean, you don’t look like a high school student either—”

You, completely ignoring him, returned your attention the piano, playing another song. This one faster, more fluid. Seeing your hands up-close, Lev eyed the muted details of your hand. A gentle blush on its skin, illuminated by the sunlight from the large window sitting ajar. His sister would kill to have a hint at your manicure routine.

So this is what a pianist’s hands looks like.

“Oh, I remember now,” hands coming to a rest on your skirt, the fairy girl turned to him, as elegant as ever. Now that the room was silent, there was a nervousness that lingered in the air. “You’re one of Kuroo’s boys, aren’t you?”

Hearing the familiar name of the no-nonsense captain of the Volleyball Club, Lev perked up, “You know Kuroo-san?”

“Of course, we’re in the same class after all.”

Same class. That would mean—no way!

“Y-you’re older than me?!”

You gave him a bright smile. Added to your fairy-like personage, Lev couldn’t help but to notice that this upperclassman of his was aware of his existence. There was actually a girl—who was awfully cute and just his type if he thought about it—in this godforsaken school who knew about Nekoma’s ‘ace’, Haiba Lev.

This was a dream, right? No, he shouldn’t be saying such a thing. In fact, Lev had gotten so engrossed in this reality that he didn’t realize how much he was staring into your beautiful face before you piped up again.

“Oh, it’s almost time for me to lock up. I forgot to ask, did you need anything when you came in here?”

Wait, what time is it?!

Lev let out a strangled noise between a dying boar and a tearful sob. Collapsing on the floor before his worried senpai, he squeezed the papers in his hand. Oh, it was over now. Over, over, over. Hello wretched make-up exam, goodbye glorious training camp...

Kneeling down next to him, you peeked at his wincing face. “H-hey, are you okay? Is there anything I can do to help?”

Raising his head to look into your swirling eyes, Lev pursed his lips. Damn, you were totally going to think he was uncool after this. Grabbing you by the shoulders, he lowered his head in a bow.

“Senpai, could you show me the way to the third year’s teacher’s room? I’ve got an assignment to submit before 5 pm and I don’t know where I am! Please, senpai, I need to—”

No more words were exchanged when you grabbed Lev’s collosal hands in your delicate ones and dragged him through the door. You sped and hurtled down the corridors, bringing him along with you in this strange joyride. It was a funny sensation, similar to being towed around a park by a wild dog on a leash—except you weren’t a dog, but simply a shorter person whose size reminded him a bit of Yaku-san...

“S-Senpai—?!” he wheezed out, long legs pedalling in front of him. For someone nearly half his height, you were really fast; he wondered if you should’ve went for the Track and Field Club instead of the Orchestra Club.

Just as he had thought of letting go before you became a physical hazard to him, you skid to a halt in front of a door. Panting, you smiled up at him. “Here we are. Y-You’re not late, right?”

Eyes darting between the doors to the teacher’s office and you, the burning intention of a hug fuzzed out Lev’s brain—unfortunately, that would have to wait until later. Shoving the door open, he dashed inside the near-empty office and handed over his pile of crumpled assignments to the jaded Sakamatsu-sensei, face red.

Filing through the papers, the Biology teacher griped. “Well, all the assignments I asked for you to do are here... I’ll inform the Volleyball Club supervisor that you’ll be able to join the training camp this weekend.”

Saved. He was saved.

Exiting the office, he bowed before you—his fairy godmother—and murmured. “Thank you, senpai! You saved my life... ”

“Y-You’re welcome,” you said. “But I don’t think I went as far as “saving your life”, um... what was your name?”

“Haiba! Haiba Lev. Thank you so much!”

When you giggled, Lev heard the choirs of angels fill his head. God, he really wanted to hug you, stuff you in his pocket and bring you home with him to coo at and cuddle.

“The pleasure is mine, Haiba-kun. You’re an interesting person, you know? I’m glad we met.”

Lev really felt like he’d won the lottery. Was this finally his chance? Was he going to get a super cute, older girlfriend before his intolerable seniors? Unthinkable! Yet here he was, indulging in the soft smile of Nekoma’s resident sugarplum fairy, as if his entire gag reel of clumsy flukes never existed.

“Ah! I forgot to lock the doors to the clubroom!” you yelped. Even in panic, Lev thought you looked cute. “It was nice getting to know you, Haiba-kun. The main staircase is right over there, so you’ll be able to get back without getting lost. Be safe!”

Before he could offer his hand in accompanying you—at least being next to you for as long as possible—you had already sped off into an indistinct corner, the amber light of sundown fading with your shadow. And once again, Lev was alone.

Damn. He didn’t even ask for your name.

══════ ⋆★⋆ ══════

“You’re asking me... if I know a girl in my class called ‘Fairy-senpai’?”

The gaze in Lev’s green eyes were resolute. “Yes.”

Kuroo sighed, wiping off his sweat with a towel. Day by day, he swore, the first-years were getting more and more difficult to deal with. “Someone named Fairy who hangs around in that derelict part of the third floor sounds shady as hell. And what club did you say she was from?”

“Orchestra Club.”

“We have an Orchestra Club?”

Lev was getting nowhere with the rooster-headed captain; it was either that, or Kuroo was intentionally leading him to a dead-end out of sheer mischief. Anything could happen with him.

It had been a total of 18 hours since he’d last seen you, and Lev’s head had never felt any emptier. He’d startled his parents and Alisa enough by playing one of his grandmother’s ballet DVDs once he’d arrived home. But it wasn’t the same. Even the visual movements of the ballerinas and the skill of the ensemble didn’t amount to your solo rendition.

Yours was more natural, more sturdy. Something he could feel and see without opening his eyes or reaching out to it. Smitten with your performance, Lev slept that night, head filled with the thought of seeing you again, his little sugarplum fairy in the maze of doors and desolation. And maybe, he’d even get your number this time.

“She’s really good at the piano and has a twinkly smile. Fairy-senpai is a bit short too, really tiny,” Lev hesitated to continue, looking around for safety “... A bit like Yaku-san’s height.”

“What’s this I hear about my height? Hey, Lev! Why aren’t you practicing your digging receives?!”

Wincing at the stinging kick thrown at his back, Lev pouted miserably. Watching the poor behemoth being dragged away by the demonic upperclassman, an implausible feeling of pity struck through Kuroo, and he called out for the libero.

“A cute girl who looks like a fairy, can play the piano and is in the Orchestra Club? In our class?” Yaku repeated after Lev and Kuroo’s explanation. Tapping his chin in deep thought, he replied dubiously. “Doesn’t that sound a bit like L/N-san to you?”

“Ehh? L/N-chan can play the piano? I never knew that.”

Yaku clicked his tongue indignantly. “That’s because you barely talk to her. Maybe if you attended cleaning duty properly, you would’ve realized that when you’re paired up with her.”

The sound of his seniors bickering was already white noise to him. L/N. Repeating the syllables on his tongue, Lev tasted a sugary relish linger in his mouth. What a beautiful name. A fitting name, and suddenly, he already sensed that your first name would be just as wonderful.

“Though I’m impressed that you managed to get a full conversation out of L/N-san. Did you scare her or something?” Yaku snickered at Lev’s unappreciative scowl. “It’s just that L/N-san only says something when she’s required to. Otherwise... she’s really quiet. I’ve only heard her say ‘thank you’, ‘I’m sorry’, ‘yes’ and ‘no’ for the past three years, everything else we know about her comes from gossip.”

Lev’s chest swelled up and he smirked. “Maybe she likes younger guys like me.”

“I think she likes you because you’ve got nothing going on in your head at all,” the team captain scoffed attracting the giggles of his surrounding teammates. “You are right though, Lev. L/N-chan is a really cute person... I might get interested one of these days.”

“H-Huh?! C’mon, Kuroo-san! I’ve got dibs on her first!”

Nearly there, the captain thought. Lev’s ears were already burning red, a clear sign of his impulsive outburst. And when the timing was right, the Volleyball Club loved to use his recklessness for profit.

Crossing his arms in faux doubt, Kuroo shrugged. “I don’t know... I highly doubt you’ll attract her attention if you’re not even a regular on the team...”

Furrowing his brows deeply, Lev snatched a ball from the ground and stared deeply into the captain’s lacklustre eyes. “I-I’ll show you! I’ll become a regular on the team and the ace! That’s why I’m going to go practice right now, right, Yaku-san?!”

Even Yaku, completely amused and alarmed, had to do a double take. “R-Right... Do your best then.”

“I will!”

Chuckling at Lev’s shrinking back, Kuroo patted himself on the back for a job well done. Kenma, who had watched the entire nasty exchange go down, was stuck between a rock and a hard place.

Weakly punching his childhood friend on his shoulder, he grumbled. “Great... Now that he’s fired up about some girl, he’ll keep asking me for more tosses. Kuroo, if I pass out because of your ‘encouragement’, you’re paying for my health insurance.”

Lev couldn’t hear the new conversation happening between the team’s setter and the captain, but that didn’t matter right now. He was going to practice, become better, then the best. Then ask you out, his sugarplum fairy in the third floor’s Orchestra Club clubroom. Lev felt invincible.

#alisa keeps an eye out for selener #haikyuu!! #haikyuu #haikyu #haikyuu x reader #haikyuu imagines #haikyuu fluff #haikyuu scenarios #haiba lev #haiba lev x reader #haiba lev imagine #haiba lev scenario #lev haiba #lev haiba x reader #lev haiba imagine #lev haiba scenario #nekoma x reader #lev x reader #bruh haikyuu writing #sfw

[awinger24]

UPDATE: Posted a revised version of this cover. Now with better orchestral samples and programming.

Originally composed by Brian H. Kim. This is a fan-made cover and orchestral arrangement. The original soundtrack respectfully belongs to Wonderland Music Company/The Walt Disney Company.

Anyway on to this track, everything is made in Logic Pro X.

Orchestrating from the original piano based cue, I give props to Brian for coming up with such a beautiful melody. The only thing I could critique is for the emotional moments, the upright piano comes in. It seems to be the show's overall mood. Toffee's theme overall was first to be characterized by the upright piano, even the Blood Moon Waltz is too (later is accompanied by a music box). If that's how it is, it's alright. Ramin Djawadi for Game of Thrones' score and it's go-to emotional moments are accompanied usually by a solo cello.

Anyways, the way I arranged this cue is have the woodwind instrument exchange solos (In order: flute, clarinet, flute, clarinet, english horn, oboe, and piccolo). I was inspired by Randy Newman's opening cue to the Pixar film "A Bug's Life" and a couple of John Williams poignant moments.

I still have the synth strings and brass in to give SVTFOE it's retro-synth feel.

I have the suspended cymbal and mark tree played at the moment Eclipsa opens up a gift (being a rooster's beak?)

They are accompanied by string chords and arpeggiated piano/harp chords. The wind solos are doubled by vibraphone, celeste, and even first violins to give it more color.

For the large and grand emotional climax, I have all woodwind, brass, and strings playing all at once doubling the melody and harmony. The mark tree gives it texture. All creating tension and release. The brass comes as the horns and trumpets double the synth brass counterpoint. The trombones and tuba outline the chords. Also added harp glissandos and mark tree to give some magical texture when Eclipsa and Globgor kiss.

At the very end (which was edited out of the final cut of the episode), you would hear a modified toy piano which is Eclipsa's usual palette. Doubled with piccolo and glockenspiel to give it some color, and the synth string and violins play the sustaining G note in octaves.

I still gave the piano something to do.

I say I did a good job on this cover. Thank you Brian H. Kim. I hope one day you'll listen and read this. I'll continue to grow to these desires as an orchestrator and music producer in-training when all I got is a laptop and 25-key MIDI controller.

Sheet music will be on the way.

#star vs the forces of evil #svtfoe #eclipsa butterfly #globgor #brian h kim

[thisstrangeobsession]

Sometimes I forget that I’ve actually done a production of J&H (it was a last-minute vanity project for a horrible person who also directed and I did not have a good time) and just sang through all the ensemble pieces for the first time in like 4 years. There’s some really fun stuff in there when you ignore the lyrics. Alive! Reprise in particular. There should be a glissando instead of a button at the end, though.

And yeah, I spent the entire process thinking of how I’d direct the show...

#and of course i went into rehearsals off book #i almost always do but for this one obviously i didn't have to try

[claudehenrion]

To be, or not to be... vaccinés ? That’s the (real) question !

  Je suis surpris par le nombre de mails de lecteurs qui me demandent : ''Et vous, vous allez vous faire vacciner ?'', ou, pire encore : ''Faut-il se faire vacciner ?''... comme si mon avis pouvait avoir une valeur autre qu'indicative (mais certainement pas incitative !). Je pense que ces questions ne sont que le reflet du degré de ''paumaison'' (néologisme nécessaire en ces temps où tout le monde est ''paumé''!) de nos compatriotes. Ma réponse à titre personnel est un ''NON'' sonore et décidé, et vraiment pas ''à l'insu de mon plein gré'' : il faudra que leurs mesures punitives et coercitives soient violentes pour faire de ce Non un ''Oui contraint et forcé''. Mais au delà de cette réponse qui n'engage que moi, regardons ce que recouvre la querelle actuelle entre les pro et les cons (comme disent joliment nos amis anglo-saxons).

  Il ne devrait faire de doute pour personne que ''le monde d'avant'' (sous entendu : avant l'invasion de nos vies et de nos récepteurs-télé par le Sars-Cov-2 alias covid 19) avait connu bien des épidémies, parfois moins mais souvent infiniment plus meurtrières que celle que nous vivons si mal... Et il faut espérer qu'il en connaîtra encore bien d'autres, car cela voudrait dire que nos apprentis sorciers en mal de mauvaises décisions n'auront pas totalement détruit l'espèce humaine (à ce jour, le doute est permis : bien fou qui parierait sur la présence d'une humanité civilisée dans 50 ou 100 ans !)... Où lisai-je il y a peu que ''une épidémie n’est jamais qu’une invasion de notre territoire le plus personnel –notre corps– par des êtres vivants ou assimilés, pour qui nous sommes malgré nous des hôtes de passage, qui paient parfois au prix fort cette hospitalité forcée''... Sous cette définition, ce ne serait donc pas la seule invasion que nous subissions en ce moment-même. D'ailleurs, au fil du temps, notre Président a déclaré la guerre à l'islamisme... ''et en même temps'' au covid (avec autant de succès à chaque fois !).

  ''De tout temps, l'Homme'' (ex-début rituel de nos dissertations d'antan) a lutté contre les invasions humaines ou microbiennes de 3 façons : la lutte frontale, la fuite plus ou moins stratégique, et la paralysie devant la menace (qui débouche parfois sur des stratégies de collaboration). On peut se demander à laquelle de ces 3 stratégies se rattachent nos gesticulations anti-covid (dont certaines, hors classement, remontent à notre cerveau reptilien, celui du sauve-qui-peut... ''coûte que coûte'', si j’ose !). Dans notre cas, l’arrivée, espérée de beaucoup, d’un vaccin anti-Covid est une étape de lutte qui suit une attente (= le temps des chercheurs), et le confinement est fuite en arrière qui devient paralysie devant la menace.

  Une autre question n'a jamais été posée par aucun des petits grands hommes qui nous entraînent en permanence de Charybde en Scylla : le discours officiel ne connaît qu'une seule idée, répétée ad nauseam sur toute ''la planète'' et même au delà, qui voudrait nous faire croire que, tout comme d'autres ont attendu le Messie, Godot ou l'Arlésienne (dans des registres assez différents !), nous ne vivrions que pour, par et dans l'attente du ''Vaccin'' salvifique, ce nom devant, par la seule magie des syllabes qui le composent, nous sauver de l'Enfer (comme quoi, tous leurs plaidoyers sur le laïcisme --qu'ils appellent la laïcité-- se heurtent au bon vieux principe dit ''de réalité'' : l'homme a besoin de plus que ses seules limites, on n'en sort pas !). Or, je le répète depuis des semaines : ce dont on nous parle (on nous menace ?) n'est pas un vaccin. C'est, avant tout, un fiasco ! Et au delà ?

  La définition d'un ''vaccin'' ne tourne qu'autour d'une seule idée : on part d'une souche (virale ou bactérienne) atténuée, et qui va protéger d’une souche plus pathogène. Dans le cas qui nous cause tant de souci, il ne s'agit pas du tout de cela, puisque, pour reprendre la description qu'en donnent  le ''think-tank'' bien connu Polémia et le docteur Antoine Solmer, médecin spécialiste (retraité), écrivain et essayiste : ''Dans les ''vaccins (?)'' mRNA-1273 de Moderna , et BNT162b2 de Pfizer/BioNTech, une séquence d’ARNm de Covid est intégrée dans une structure lipidique nanoparticulaire qui s’insère dans nos cellules. L’ARNm y stimule la synthèse de la protéine S qui fait fonction d’antigène viral, et notre organisme déclenche alors sa réaction immunitaire de défense. Dans tout ce processus technico-magique-d'avant-garde , il n'y a pas beaucoup de traces des braves ‘’vaches’’ qui sont la seule raison d'être du mot ''vaccin'' ! Pourquoi conserver le mot lorsqu'il s'agit de désigner autre chose ? Et n’allez pas me dire que c'est par inculture ou par volonté de noyer le poisson (poison ?) : je ne vous croirais pas !

  Alors... Le terme vaccin est-il toujours adapté ? Oui, si on admet que le mot, comme tant d'autres, a perdu tout sens, toute raison d'être, toute logique, et qu'on se met à appeler vaccin tout système qui leurre notre organisme en lui faisant croire à une maladie contre laquelle il doit se défendre, car c’est bien de cela qu’il s’agit, in fine, et le Dr Solmer (bis repetita placent !) a créé le vocable ''Parabellum'' (du proverbe latin Si vis pacem, para bellum (= si tu veux la paix, prépare la guerre). pour désigner ces leurres. Sauf que, ce ''glissando'' d’un terme à l’autre, nous fait changer d’ère biologique... et ce alors que de nombreux ''vaccins-à-venir'', tels le BBIBP-CorV et le WIBP de Sinopharm, le CoronaVac de SinoVac (chinois, tous les trois) et le Covaxin de Bharat Biotech (indien) sont de vrais ''vaccins'' au sens plein du terme et que d'autres y ressemblent beaucoup, tel le ChAdOx1-s d’Astra-Zeneca (anglais), le Gam-COVID-Vac ou le Spoutnik V Gamaleya (russe), ainsi que l'un des 2 projets en cours chez Sanofi. Et un petit nouveau de Johnson & Johnson.

  Il reste tout de même, rappelle Polémia, la grande ''disputatio'' entre tous les savants, les  professionnels, les spécialistes autoproclamés du ''20 Heures'' et les soi-disant experts de la cellule élyséenne, sur ce qu'il faut faire... ou pas ! En tant que français, nous sommes théoriquement tenus de nous soumettre aux consignes delfraissyo-macroniennes, qui ne connaissent que les deux vaccins à ARNm, alors même que les candidats de Sanofi-Pasteur, à base de vecteurs viraux, sont annoncés pour fin 2021. Mais d'autres attitudes ont été prises par les autres pays, devant ce grand sujet de désaccord. Par exemple, Mexique, Royaume-Uni, Argentine et Inde autorisent le vaccin d’Astra-Zeneca, en urgence. En Chine, c'est le vaccin expérimental Sinopharm et en Inde, le Covaxin®... La question suivante est : ''Nos experts sont-ils les seuls au monde à être ''bons'' et tous les autres sont-ils des pommes... ou existerait-il, contrairement à tout le discours officiel, d'autres démarches que celles qu'on nous impose comme étant ''les seules possibles'' ?

  Une épidémie est réputée ''bloquée'' lorsque la population est protégée dans des pourcentages qui varient entre 30 % (pour le choléra) et 90 % (pour la rougeole). Pour le covid, on a lancé que ce chiffre doit être ''supérieur à 60 %.''.. sur des bases manquant de toute expérience, il faut le dire. La vérité est-elle... au dessus ? au dessous ? et de combien ? En attendant, nous continuerons à être soumis aux affirmations non-démontrées, d'autant plus que la polyvalence de ces protections en cas de mutation du virus n’est pas à l’ordre du jour : on nous noie sous des mots du type ''flou mais rassurant'', accompagnés d’autant d’adverbes (flous, aussi) qu'il faut pour permettre de larges interprétations des prises de position officielles.

  J'espère avoir aidé un peu ceux qui se posent la question, à moins qu’ils ne se retrouvent totalement perdus... Dans les deux cas, mon seul apport, à peu près sans ''ajout'' personnel, ne se veut que le reflet de tout ce que j'ai pu lire et consulter (souvent sans avoir tout compris... ce dont je demande pardon). Mais j’insiste : contrairement aux ''experts de l'Elysée'', je rapporte, je cite, mais je ne tranche pas !

H-Cl

[thenewlittleprincess]

Hey, Sunflower!

"Chico Jimenez here, on KELP, on a sunny morning, Monday, November 17, 2025 at 7.24 am, with the best of Latin music por los chicos y las chicas de El Paso, Texas."

"La vida está una bella cancion! Woof!"

"Some words of wisdom from our mascot, Charlie Chihuahua. And that last song by Tomas Andrzewski, Tierra del Amor, bouncin' up the Latin charts, was surely a beautiful song.

"And now we have a special guest on KELP Morning. Let me welcome La Princesita!"

"Hola! Muchas gracias! El Paso,  vos quiero muchá!"  says the Princess.

"De nada, princesita. Now I've noticed you always say that, everywhere you go. What is it? Vos . . ." asks Chico.

"Vos quiero muchá!"  says the Princess.

"Now, in Tex-Mex, that doesn't mean a hell of a lot. What exactly are you tryin' to say, say in English?" asks Chico.

"Oh! It means 'I love you all!'" says the Princess.

"Oh. Around these parts, we'd probably say something like 'Los quiero a todos'," says Chico.

"Yeah, I can understand that but it sounds really formal, like I'm not that close to them. I want to be a close bessie of me fans in Texas!" says the Princess.

"OK, and I think you are. You're really popular around here, with Latinos and Anglos alike," says Chico.

"I'm so happy! Love to be loved! That's why I said I love them too!" says the Princess.

"I hear you've got a new song, just to introduce to El Paso," says Chico.

"Right 'tis! Every Monday I do a new song for the week. Last week, it was 'Princesistos, Princesistas'," says the Princess. "I sang that in . . . let me see if I can remember all the names . . . Tucson, Phoenix, Las Vegas, Salt Lake and Trinidad," says the Princess.

"And I have to say somethin': I heard some terrible news that ladrones were copyin' these radio broadcasts off the radio and sellin' them like podcasts at like 50 Units a pop. I want to kill them, truth be told, grubby li'l snide creatures they are! Dunno' give yar brass to los ladrones! No le des vos pisto a los ladrones!" says the Princess.

"Dad says there's somethin' about I'm not allowed to release videos on the ICT except Latin ones through Pina Colada. I want to do these ones about Guatemala in English, so everyone can understand them, not just Latino people, because Guatemalans need all the help they can get now," says the Princess.

"But, at Christmas, at the same time we release our Spanish-language videopack, "Princesita", Pina Colada will release these songs about Guatemala in English and Spanish, in another videopack, called "Princess At War." So you can buy them off the ICT at their normal prices. Just don't try to jump the queue or it'll cost you a fortune!'" the Princess says.

"OK, thank you for warnin' our listeners, princesita. Now, what is your new song?" Chico asks.

"It's called 'Hey, Sunflower!' It's about the flowers and we are livin' in the same world but they're the lucky ones! Like the junta in Guatemala doesn't affect them at all. They stay beautiful while the people get hurt," says the Princess.

"Well, that surely sounds interesting! OK, your band is here now so you can go over and do the song for us," says Chico.

"Cheers, Chico!" the Princess says.

Coco Loco leads on acoustic guitar. It is a classic flamenco rumba but played fast: Am G F but instead of going down to Em, it is what the Princess calls “rolled down and quickly wound back up” : Am G F G Am. It sounds something like the video at the bottom of the page.

The Princess joins in, improvising melodies off that chord pattern on her electric piano.

Then Pom-Pom starts the drum machine.

The Three Angels are shaking three tambourines and banging out the machine's beat on them too.

All-About-The starts the bass line.

Then everyone is doing Am in unison and the Princess starts singing  . . . or is it shouting?

Hey, hey, hey, hey, hey, hey, hey, hey!

Then everyone plays that Am G F G Am pattern and the Princess really does sing.

The sun is shining, just like every day

We can go out and play the same games we always play

But something's changed today, we cannot see

We're no longer equal, no longer free

We must be careful

They're [the Three Angels back up the Princess with harmonies here] watchin' you and me

[Then the Princess alone] Watchin' you and me

[A little melody with Coco's guitar and the Princess' piano in unison]

[The whole band backs up the Princess]

Hey, sunflower

As beautiful as you were yesterday

Hey, hey, hey, sunflower!

Golden [clap, clap] shining [clap, clap]

You don't care

Our country's dying

'Cos you can always be free

You can laugh at the people you see

[Stop]

[Musical Interlude - The Princess starts a melody on the electric piano and the whole band copies it - Then everyone plays chords except the Princess, who does the "supersonic" improvised melodies, with flourishes and glissandoes, for which she is famous]

[As the band plays chords, the Princess sings, playing the same chords on her piano]

Diego, he walked out of his factory

Because what they pay him's not enough to eat

He and all the workers took their cries to the street

Now they're all gone

The Army's victory

But their children are cryin'

[The band provides singing back-up for the Princess on the next two lines]

"Mummy, feed me!"

"Mummy, feed me!"

[The whole band backs up the Princess]

Hey, sunflower

As beautiful as you were yesterday

Hey, hey, hey, sunflower!

Golden [clap, clap] shining [clap, clap]

You don't care

Our country's dying

'Cos you can always be free

You can laugh at the people you see

[Musical Interlude -  The Princess and Coco "duel" on the piano and guitar with melodies]

[Then the whole band plays Am louder and louder and the Princess shouts:]

Wo-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-h! Ya! Ya! Ya! Ya!

[Then the Princess reverts to singing and playing chords as the band backs her up musically]

The Army chased the people out of their houses

Droppin' fire from the sky shootin' all around

The fathers can only come back to work

By sunset they're in town with their wives and boys and girls

They have nothin' but food and bunk beds

[the Three Angels back up the Princess with harmonies here]

No more land

[Then the Princess alone]

No more land

[The whole band backs up the Princess]

Hey, sunflower

As beautiful as you were yesterday

Hey, hey, hey, sunflower!

Golden [clap, clap] shining [clap, clap]

You don't care

Our country's dying

'Cos you can always be free

You can laugh at the people you see

[The Princess and the band, slowly] Hey ... sunflow . . .er

[The Princess shouts, alone] As beautiful as you were when we were free

[The Princess and whole band sing together]

Hey, hey, hey sunflower

Nothing has changed for you

Take me to yesterday with you.

[Musical conclusion - The Princess leads the band on melodies]

"OK , thank you, that was great!" says Chico.

"De nada, Chico! Cheers for lettin' me sing it here!" says the Princess.

"Come sit down and have some water, muchacha. You sound winded!" says Chico.

"Cheers!" says the Princess.

[The sound of the Princess drinking]

"See, your band is breakin' out Cokes and . . . all kind o' stuff to chill out [Laughter from Chico and the band]. Just make yourselves at home, ladies and gentlemen. Nuestro estudio es su estudio!  Princesita, it's a cute little song about flowers but you sure did get the politics into it," Chico says.

"It's not politics like Democratico Revolutionario and Cristiano Nacional anymore. They used to argue. But this is different. This is life and death. And I cannot sing songs about flowers and let people forget what's happenin' to el pueblo de Guatemala, like everythin’s fine," says the Princess.

"And President Hemingway reported to Congress about Guatemala this week,” Chico says.  “And she said basically what you've been saying. I guess you're happy about that?" Chico asks.

"Of course, everyone who's tellin' the truth is gonna wind up sayin' the same thing, aren't they?" says the Princess. "And your President is tellin' the truth. Full marks. She's honest. But where are the troops? Why are the junta still there? Tellin' the truth is good. It's godly. But ya have to DO somethin' too or it's music to watch people get killed to. So we've got to keep on beggin' and pleadin' until she gets it straight and DOES somethin'!"

"I'm sure that'll come," says Chico.  "I'm sure that'll come, muchacha. Our system is kind o' slow here but eventually things do get done.”

“Like I always say, ‘Pronto llegara, nuestro tiempo,’” says the Princess. “Can your listeners understand that?”

“Yes, they sure can,” says Chico.

#Guatemala #2025 #new lyrics #original fiction #child #popstar #interview #radio #our time #sunflower #faith in god #tex-mex #thenewlittleprincess #dictatorship #revolution #flamenco #rumba #guitar #Spanish

[one-lonely-whumperfly]

Coda’s New Life - Part 4

Whatever was in the syringe Coda’s new owner injected into him, it didn’t knock him out. It did, however, make him horribly weak and unable to move. His owner simply slings him over his shoulder and carries him towards the forest. At first, Coda’s excited. The forest! It’ll at least feel somewhat like home.

The house and the large amount of land it’s on is nestled far into the forest, away from the town. Coda isn’t sure if this is a good thing or not. He notices what looks like a run-down barn not too far away.

His owner drops him to the snowy ground, earning a yelp from the faun. He’s still too weak to even try and soften the fall.

“I suppose I should let you get acquainted with the other one. But first, it’s time to break you in.”

Coda barely manages to look back, starting to tremble. “B-b-b-b-break m-m-me i-i-in…?”

His owner walks over, now clutching something in his hand. It’s split into seven different pieces of leather, all with something shiny attached to the end. Despite his fear, Coda can’t hide his confusion. What is this thing?

The leather is raised, and slammed down hard against his back. He can feel it tear into his skin, slicing large wounds into his back. Coda screams louder than he ever has before.

“P-please s-s-sir, st-stop…!” He starts to sob, but the leather just keeps coming. It strikes his back and his legs until Coda can hardly feel anything but pain, and the weak screams die down as he loses his voice. Then, just like that, it’s done.

“Get up.”

The faun whimpers, struggling to get to his feet without hurting himself any further. “I… I-I c…c-can’t…”

A boot connects with his stomach, and he yelps, sobbing. “Please, I-I’m s-s-sorry…! I’m t-trying!”

“Try harder.”

Coda whimpers again, trembling arms trying to pull himself out of the snow. He just barely manages to get to his knees before his arms give out again. He lets out a strangled whine as he hits the cold, his back feeling like it’s tearing open.

His owner suddenly yanks him up by his hair and drags him forward, ignoring the weak begging and sobs. He pushes the door to the barn open with a flick of his wrist, dragging Coda along the rough, cold wooden floor.

“Venison! Come meet the new kid.” He calls out before throwing Coda to the floor. All the faun can do is whimper and curl up.

A hand tangles in his hair, and he freezes. “If you try to run, I promise you, you’ll be begging me for death.” Coda gulps and nods. The man let’s go and leaves, slamming the door behind him.

Coda whimpers again as he tries to get comfortable on the floor. He has several splinters lodged in his skin, now, and every small movement hurts. He hears rustling next to him, and gasps.

A tall faun emerges from behind several bales of hay. There’s a large collar secured to his neck that he promptly yanks off, approaching the trembling faun. He sighs when he sees the blood dripping down his body and stops, turning to grab something: a cloth, a water skein, and bandages. He walks back over and kneels down beside Coda.

“P-please don’t h-h-hurt me–”

The other faun sighs again. “I’m going to clean your back, okay? It’ll sting.” With that, he starts to wipe at the wounds on his back.

“Ah!” He cries out, sobbing quietly.

“Hey, it’s okay. You’re okay. What’s your name?”

Coda can hardly think from the pain. He whimpers softly. “C…C-C-Coda.”

The other faun nods. “Glissando.” He replies, pointing to himself. “All right, all done cleaning. Now I just need to wrap your wounds. Do you think you can sit up?”

Coda nods and struggles to get into a sitting position. “Ow… c-can you help me?”

Glissando holds back a sigh as he carefully helps him to a sitting position and quickly wraps the wounds. 

“Th-thank you.” Coda smiles when he’s done. The taller faun just nods, moving away.

“A word of advice, since you don’t seem to be used to this; stay out of Zephyr’s way if you want to avoid beatings. And you should probably do what he says. Basically, do the opposite of what I do.”

Coda tilts his head. “Huh? You don’t listen to him?”

“Nope, and I don’t plan on ever listening.”

“But why?”

The look in Glissando’s eyes silences Coda. “Listen, I gave you my advice. Take it or leave it, but don’t go prying into my decisions.” 

Coda looks down quickly. “S-sorry…”

Glissando watches him for a moment before grabbing a blanket and tossing it to him. “You should get some sleep. You look exhausted.”

The faun can’t argue with that. He yawns, curling up on the floor and pulls the blanket around himself. All of his worries and pain seem to fade as he falls asleep.

#mine #whump #drabble #Coda #Glissando #Gliss

[hellopromusic]

Itoshima Distance 

Lyrics: Mari-Joe Composition: Hoshibe Sho  Arrangement, Keyboard, Programming: Okubo Kaoru  Violin, Viola: Muroya Kouichiro  Alto and Tenor Saxophone: Takegami Yoshinari  Chorus: ANGERME, M!ho  

I'm using the another version because I feel it evokes the feel of the song better. Its very date like and has imagery from Kyushuuu, including a lot of things mentioned in the lyrics. Read the lyrics, then watch the video... this really is great stuff.

History

This song was in the the debut single of 4th generation member Kamikokuryo Moe and the last single to feature 2nd generation member Tamura Meimi.

As Itoshima is a city in Fukuoka Prefecture, the lyrics "suitou to" (好いとうと) and "yaken" (やけん) in "Itoshima Distance" are of the local Hakata dialect.

Some Landmarks in the Song

Kego Park 

Cosmos are Autumn flowers that bloom at Nokoshima Island 

Tenjin is a busy downtown section of Fukuoka City 

This is a song that came out when I had gone back to school and was not hardcore into H!P. I first heard it like a year ago. The outfits for the video and the music really cemented this song as one I would love forever. It was also one of the songs that helped relieve my "Tsunku stepping down" tension as I discovered Sho could make great songs as well. He can not replicate that "Tsunku" flavor, but Sho's songs were really good. Sho has blessed Angerme with some great songs, between him and Takui Angerme's post "Exclusively - Tsunku" discography is very nice.

Anyways this song makes me nostalgic for a place I've never been. Making me long to do activities I've never done, and drive in my car with a lover I've yet to meet. This could have been a super sexy kayokyoku song if it were slowed down a bit and they switched up the instrumentation. Mari-Joe's lyrics are great, but to get that kayo feel, there needs to be less words, but that’s neither here nor there... my pipe dreams, lol.

Song structure

The song is in f minor. The BPM is 120, and the time signature is 4/4. 

Intro Pre-verse 1 - Song's melodic theme Verse A1 - Doushita no Verse B1 - Chotto Matte Pre-Chorus 1 - Itsumo Chorus A1 - Suitou to Chorus B1 - Suitou to Pre-Verse 2 - Slutty Sax solo Verse A2 Verse B2 Pre-chorus 2 Chorus A2 Chorus B2 Bridge - Teasing Sax solo Chorus A3 Chorus B3 Pre-verse 3 - Song's melodic theme Outro

Lyrics

This song embodies too little too late. The protagonist in this song is a girl getting broken up with... Its that kind of sad song. So on a car ride home, the boyfriend breaks up with the protagonist and as they ride home. Her mind is filled with regret and denial. She remembers only the good times and likely has no recollection of the things that made the boyfriend want to break up. She believes in her heart of hearts that if the boyfriend remembers the goodtimes, he will choose her again.

I'm not sure if they live in Fukuoka City and are traveling to Itoshima, or the other way around. But  I, personally, love the image of a country girl being impressed by going to the big city and have a date, a little udon, some karaoke, like its a big deal. Then going home feeling like she was a city slicker and wanting to shake the country life. So I'm voting for them living in Itoshima. However all the Japanse fans seem to say they are on a trip to Itoshima, but in the end, it doesn't matter.

One of my favorite lines is when she talks about how she has looked through the car window so many times, seeing beautiful things, showing the window was a conduit for joy. But now in the reflection of the same window she now sees a person she loves, but doesn't recognize... oh its poetic. Its like, she associates so many good memories with the window, I guess they take trips often. But now, currently, at the moment, the window is a conduit for pain.

Composition and Arrangement

Instruments in the track are the piano, bongos, saxophone, strings, guitar, bass guitar. To paraphrase the great Maa-chan, You should give the instrumentals a listen from time to time. This one is great.

In this song I have less "oh that part was great" and its just overall a top tier song in my mind. I like all the parts and every section has at least 2 or 3 things I like. I would be here all day listing them. But if I had to pick a crowning moment of awesome, its the melody in the verses. It ebbs and flows like the waves crashing on an Itoshiman beach... That 7th and 8th bar in each of the two verses... just yes... Then they lead to that perfect rhythm on  "Itsumo." These guys are playing for keeps. I'm a huge fan of singing naturals in melodies, they give this sort tension that I love prolonging. Well in this melody they sprinkle a couple in for the music wotas like me. Probably my favorite use of it is in the chorus when they are singing the natural 3rd on Omoidashite (the "i") and Ano Machi parts (the "ma"). This is an example of "if the song was slower and had less lyrics" I would have loved it more. That natural 3rd could have been so much more satisfying, but instead its just (a very welcome) part of a vocal movement in the melody.

The song is sonically spacious. It feels as if there are only like 3 instruments playing at a time, so its not over crowded with musical ideas. The most prominent feature is the bassline that is just throbbing with sass. Sometimes there is more, but it just feel open like a trio and I appreciate that openess.

I don't think I've ever really talked about my musical foundation, but I come to music from (largely) Jazz and Video Game Music. My Jazz roots give me an affinity for live musicians in both performance and recording. I love lots of programmed stuff (ie. VGM), but a composition really shines when its played by live musicians. Which is why contemporary VGM is at a kind of apex for me (but that’s a conversation for another time). Anyways, whenever a Hello!Project song uses live musicians to record a part, it really makes me stand up and listen. In this song, Takegami Yoshinari came and laid down some sax solos for the song and it really shines because of it. It might be the most distinguishing sonic factor of the song. I heard other fans complain when Tsunku uses the same "sax riff" in multiple songs, well this one is all original and bespoke for the song. I'm sure H!P usually shys away from live musicians because its more expensive to tour with musicians and playing tracks for the girls lets them get used to the same musical experience. Anyways, even if its just in recording, I appreciate the live musicians in my pop music. Another reason to love H!P.

The strings are live as well by Muroya Kouichiro. A lot of the string's "emotion" that’s in this song are much better live, as opposed to synthesized. The way the notes are blended and stretched... these are the benefits of live musicians (not decrying programmed music, just highlighting the benefits of live musicians). The harmonies the violin and the viola play could be replicated with a synth (keyboard), but the uniform technique for both parts they play could not be replicated on the keyboard. For example, all throughout the songs the strings have these quick Glissandos to end the phrases where they start on one note and finish like a 3rd or a 5th lower in the span of one beat. In the first verse listen to the strings while Kanonon sings "Oshiyoseru," it does what I'm talking about. That sort of flourish is all throughout the song in the strings and it a bit difficult to synthesize, you only get those flairs from live musicians. The drums are programmed, but having a live percussionist would have pushed this to the max for me. But this is pop music and they are trying to appeal to the masses, not aural slutz like me, lol.

Also a word on M!ho, she has been featured on many a Sho song (not that she works exclusively with him or anything), and she makes an appearance in the background of many parts of this song including the Pre-verse (usually singing the "Ah"s and "Ooh"s). I think tonally, no one could match her in Angerme. In addition, M!ho is a professional, and it was probably MUCH quicker and easier to have her do those other harmonies. M!ho's vocal control is much stronger than any of the girls in the group (save probably Meimei).

Anyways, this review is just more of my fanboy ramblings...  My guilty pleasure...

Omake!

Found this thread on a Matome. DISCLAIMER: I'm no professional translate, if you see I made a mistake instead of ridiculing me, help me get better! I've left the Japanese for those who can read it, and those that can't have to suffer through my translations guwahaha~ Also this was translated after I wrote my review, so any similarities are coincidental.

48: 名無し募集中。。。＠＼(^o^)／

A song about a woman from Kyushuu's countryside (around Kumamoto?) who left Fukuoka city with a guy to go on a date in Itoshima, huh?

I suppose that in old school Enka there was often a situation where a woman from Northern Japan was leaving Tokyo and I wonder if we are in a period where women are leaving Fukuoka City.

九州の田舎（熊本あたり？）から福岡に出てきたな女が彼と糸島にデートしてたという歌だな 昔の演歌は北国から東京に出て来た女と相場が決まってたが 福岡に出て来た女というのが時代かなと思う

87: 名無し募集中。。。＠＼(^o^)／

>>48 At the moment there likely are a lot of Kyushuu women leaving Fukuoka city 今福岡に出てくる九州の女って多いらしいな

________________________________

96: 名無し募集中。。。＠＼(^o^)／

Even though its a song about Itoshima, somehow they didn't say the names of any of Itoshima's places... Kego Park and Nokoshima Island are right by Fukuoka City

糸島の歌なのに同地の地名が出てこないってどういうことだ？ 警固公園や能古島は隣りの福岡市だぞ

115: 名無し募集中。。。＠＼(^o^)／

>>96

This couple lives in Fukuoka and often was driving to Itoshima The protagonist remembered this retrospection of when they were enroute to Kego Park, Nokoshima Island, etc...

このカップルは福岡在住で糸島までよくドライブしていた その回想の途中に警固公園や能古島も行っていたことを思い出した

148: 名無し募集中。。。＠＼(^o^)／

>>115

If thats the case, even though they traveled to Kego park and Nokoshima Island, it would have been good if they would of incorporated Keya no Ooto (in itoshima), Marutaike Park (in itoshima, they also have an illumination event as well), or Meoto Iwa into the song.

だったら芥屋の大門、丸田池公園、夫婦岩を盛り込めばいいのに

__________________________

97: 名無し募集中。。。＠＼(^o^)／

Doesn't this song give more the impression of pop from the late 80's early 90's more than what they call Kayokyoku.

歌謡曲というよりは80年代末期から90年代初頭のポップスって印象

____________________________________________

267: 名無し募集中。。。＠＼(^o^)／

As opposed to Akina, isn't this closer to that area before Shouno Mayo, Kubota Saki, etc...? 明菜より前の庄野真代とか久保田早紀とかあの辺じゃないかね？

(Not gonna lie, I'm so excited I found some new Artists to research! Kubota Saki looks like BAE ver. 1.2.0)

#hello! project #angerme #music review #jpop #jポップス #アイドル #music #analysis

[scientific-academia]

1.2 Scales

The year is 1863 and Johannes Brahms, at the age of 30, has fastened a political statement. Completing composition of Variations on a Theme of Paganini, Op. 35 and publishing it as a piano study with the designation “studien”, he has aligned himself with the followers of the late, musical conservative, Robert Schumann. This antagonized the progressive New German School in Weimar. Indeed, we’ve been dropped into the center of the War of the Romantics. Sound familiar? Essentially, old versus new music. How about now?

Opposing Ideals: (left) Johannes Brahms, (right) Franz Liszt

Encouragement abound for the interested reader to continue digging! The combatants, musical pieces, critiques, newspaper headlines, etc. are all worth their own discussion. Today though, the thirteenth variation of Paganini’s twenty-fourth caprice deserves special mention. Within the ledger lines of the sheet music is a very special motion called a glissando. As it takes place on a piano, it could even be called discrete glissando, meaning that there is audible gliding between two notes, with distinct tones heard between the glide’s endpoints.

This is clearly from Disney’s Peter Pan.

Picture the above photo, except less pirate-y... and more glissando. Piano glissando can be: all the white keys, or all the black keys, or with impressive timing, every key in order. During these moments in the variation, the pianist cares less about what notes are being used in the overall piece. The same cannot be said for everywhere else in the music. There are some notes during the melody which when played would sound very off indeed.

Why is this happening? In effect, the piece of music has been restricted to a set of acceptable notes to limit dissonance. In Western music (our system of choice), the set of acceptable notes is a seven-pitch, or heptatonic, scale. So five of the constructed notes discussed last time are thrown out. These notes are chosen based on the special rules of the scale and there are a lot of them. Seven very popular sets of rules are called Ionian, Lydian, Mixolydian, Dorian, Phrygian, Aeolian, and Locrian. These are also called modes, and some theorists would be quick to note that the relationship between modes and scales are more subtle than described above. Let’s ignore that until a bit later.

The two modes to be discussed initially are the Ionian and Aeolian modes, more commonly referred to as the major and natural minor scales.

The Major Scale

We can start from C4, or middle C, at 440*(1/2)^(3/4) Hz, or 261.6 Hz and move up two whole steps, then a half step, then three more whole steps, and finally another half step. This brings us to the next octave in our initial pitch class, C5.

So the notes in the C major scale are: C, D, E, F, G, A, and B. Super easy! No accidentals required. We could also put the twelve semitones into a ring and draw connecting lines as follows.

Doing the same for every major scale makes... a mess... but it’s fun to visualize.

The Natural Minor Scale

This time, our progression moves through a whole step, then a half step, then two whole steps, then another half step, then two final whole steps. Using any of the diagrams above, we see the set of pitches in the A natural minor scale are A, B, C, D, E, F, and G! Again, really easy with no accidentals!

This means though that C major and A minor are actually the same set of notes, and only the ordering is different. Another phrasing would be that A is C’s relative minor. Conveniently, we can pair up all relative scales by rotating the above circle. G♯ sits to the left of A, and is therefore the relative minor of B major, which sits to the left of C. This can also be reversed for relative majors!

Alternatively, G major and G minor would be considered parallel, because they have the same base tone, called the tonic.

Writing the two scale progressions with whole (w) and half (h) tones, we say the major scale follows w,w,h,w,w,w,h and the natural minor scale is w,h,w,w,h,w,w. Note again a rotational relationship. Moving the first two letters of the natural minor scale to the end produces the major scale!

Other Minor Scales

There are also the harmonic and melodic minor scales which raise the seventh note or the sixth and seventh notes by a half step. So the harmonic A minor (hereafter Am) is A, B, C, D, E, F, G♯ and the melodic Am has an additional sharp with F♯ instead of F.

The Rest of the Modes

So where do the other five modes come in?

Consider again the C major scale. When it starts on C, it is the Ionian mode. Now shift the scale to D, but keep all the original tones: D, E, F, G, A, B, C. This is D Dorian. It is essentially the minor (Aeolian) scale but with a raised sixth note. Continue shifting to E. This is E Phrygian. Then F Lydian, G Mixolydian, A Aeolian, and finally B Locrian. Not so tricky after all. The order of these modes can be remembered by a mnemonic device such as I Don’t Particularly Like Modes A Lot.

The Circle of Fifths

So now we fast forward 155 years and the modern musician reads from left to right and sees two things: a clef and a series of accidentals. Odds are it’s a treble clef but the accidentals are relatively unpredictable. These describe the key of the piece, or movement, or section. Take for example a piece with no written accidentals following the clef:

Can you guess the name of this one? We know because of the key signature, which in this case is blank, that this song is either in the key of C major or A minor. To determine between the two, one would need to look at which tone is being positioned as the tonic through phrasing and other analysis. As a freebie, the excerpt of Ode to Joy above is in C.

Not all key signatures are so simple however. Generating a Dm scale gives the set of notes: D, E, F, G, A, B♭, C. The relative major, B, has five sharps!

In the first two bars of Scarborough Fair, the pianist never even gets to play a B♭, but the signature is more about the overall key and tonic center no matter how frequently the flat accidental is added.

The specifics of each key and how many flats are present is all too much for the average musician to remember right away. One of the most important tools of introductory music theory is called the Circle of Fifths. This tool has a myriad of interesting properties to be discussed over the next several lectures which relate keys and chords and progressions and so on. Leave space for each of the twelve semitones to fit inside and outside of a circle. Start with the key of C at the top. The next fifth is the fifth note in the current scale progression. So the fifth to the right of C is the fifth note in C major: G. Then, jumping by fifths in the same way as in Pythagorean tuning, we wind around the circle until we return to C. On the inside, we can plot the relative minors using the rotation trick again.

To remember the ordering of the fifths, students often implement other mnemonic devices. In this case, clockwise from the key of F might read: Father Charles Goes Down And Ends Battle. Likewise, counterclockwise from B♭ reads: Battle Ends And Down Goes Charles. This works for the minors also.

So how might this help remembering the accidentals in each key? Consider that C has neither, while G has... G, A, B, C, D, E, F♯... one sharp. From writing out Dm earlier, we know the relative major, F, contains one flat! Likewise, D has two sharps: F♯ and C♯ and B♭ has two flats: B♭ and E♭. Incredibly, the pattern continues all the way around the circle.

Can you guess how the War of the Romantics ended? If the fight between classical and more modern music is unsurprising to you, its because notions of the war are still present even today. Sooner than later, proponents of House and Alternative styles might be competing with a newer form of music not yet invented.

For Thought:

1) Glissando and portamento are two words which both essentially mean a slide between notes. Many individuals however would be quick to point out subtle differences. Try to construct as accurate of definitions for each as possible, or argue towards the idea that they are in fact the same.

2) Identify one system of music which does not use heptatonic scales and describe their alternative.

3) Construct any natural, melodic, and harmonic minor scales that have not yet been discussed and calculate the frequency differences between the sixth and seventh tone for each scale. Generate the D♭ Locrian mode from the appropriate major scale and indicate which major scale was used.

4) Determine the order that flats and sharps appear as one moves around the circle of fifths. Does this line up with the order they appear in key signatures? Do the overlapping areas at the bottom of the circle cause any issues?

5) Eduard Hanslick once said of Wagner’s Götterdämmerung, “One can listen to this incoherent ardour amidst the fluctuations of deafening and nerve-racking orchestral effects for only a short time without relaxation.” Which side of the war was Hanslick likely on? What specific type of music was he against?

Next Time: Chords

#music theory #circle of fifths #brahms #liszt #richard wagner #hanslick #major #minor #heptatonic #glissando #music scales

[heroinadiary]

Watching him dash away, swinging an old bouquet (dead roses) Sake and strange divine Uh-h-h-uh-h-uh you'll make it Passionate bright young things, takes him away to war (don't fake it) Sadden glissando strings Uh-h-h-uh-h-uh, you'll make it Who'll love Aladdin Sane Battle cries and champagne just in time for sunrise Who'll love Aladdin Sane Motor sensational, Paris or maybe hell (I'm waiting) Clutches of sad remains Waits for Aladdin Sane you'll make it Who'll love Aladdin Sane Millions weep a fountain, just in case of sunrise Who'll love Aladdin Sane We'll love Aladdin Sane Love Aladdin Sane

[finalexamgrade3-blog]

how do you calculate your semester grade

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[testimusicali-blog]

DAVID BOWIE - ALADDIN SANE

DAVID BOWIE – ALADDIN SANE

ANNO: 1973 ALBUM: Aladdin Sane DURATA: 5:06 minuti

  Watching him dash away, swinging an old bouquet (dead roses)

Sake and strange divine Uh-h-h-uh-h-uh you’ll make it

Passionate bright young things, takes him away to war (don’t fake it)

Sadden glissando strings

Uh-h-h-uh-h-uh, you’ll make it

  Who’ll love Aladdin Sane

Battle cries and champagne just in time for sunrise

Who’ll love…

View On WordPress

#ALADDIN SANE #DAVID BOWIE #VIDEOCLIP

[federico-blasi-blog]

DAVID BOWIE - ALADDIN SANE

DAVID BOWIE – ALADDIN SANE

ANNO: 1973 ALBUM: Aladdin Sane DURATA: 5:06 minuti   Watching him dash away, swinging an old bouquet (dead roses) Sake and strange divine Uh-h-h-uh-h-uh you’ll make it Passionate bright young things, takes him away to war (don’t fake it) Sadden glissando strings Uh-h-h-uh-h-uh, you’ll make it   Who’ll love Aladdin Sane Battle cries and champagne just in time for sunrise Who’ll love Aladdin Sane  …

View On WordPress

#ALADDIN SANE #DAVID BOWIE #VIDEOCLIP

[claudehenrion]

La ''Shoalgérie'’, et autres fautes prétendues ''mémorielles''...

  On se promet de moins parler de nos politicards (poly-tocards ?), de passer moins de temps sur ce qui, dans le fond, n'est que preuves de l'inculture et de l'immaturité des princes qui nous gouvernent si mal. Mais vraiment, quand le chef de l'Etat tient tellement à disserter sur des sujets dont il ignore absolument tout, on est bien obligés de revenir à ces arguties énervantes ! Alors... on imagine sans peine un petit prof' d'histoire à Amiens, très-ancré-très-à-gauche, qui a inoculé au jeune lycéen Macron les rudiments et les sédiments d'une pensée clonée... Clonée, mais fausse, mauvaise, mensongère, à côté de tout. ''De gauche, quoi !'', en un mot...

  Les hommes politiques culturellement marqués à gauche ont une forme de génie pour ressortir de la naphtaline des idées et parfois des mots dont ils ignorent le sens mais dont une presse servile et aussi inculte qu'eux va se hâter de faire des ''incontournables''. Mitterrand, Chirac, Hollande, et même l'ineffable Jospin ont tous laissé des petites phrases qui leur ont survécu : contrairement à ce qu’affirme le proverbe latin, ''verba manent'', souvent ! Mais il faut se rendre à l'évidence, Macron semble imbattable à ce petit jeu de ''qui perd, perd'' : c’est dès avant son entrée en fonction qu’il nous avait déjà étouffés sous des raz-de-marée d'approximations culturelles, historiques, morales et autres et de contre-vérités, toutes indéfendables.

  La dernière en date (qui ne sera pas la dernière, hélas !) porte sur une série de confidences faites au retour d'un voyage en Israël (pendant lequel il a tenu, dans son désir puéril de ressembler à ses prédécesseurs, à se ''chiraquiser'' un grand coup, espérant peut-être ''marquer les esprits'' et séduire les arabes). Sans doute ému par les évocations (effectivement difficiles à entendre tant les mots décrivent ici des vérités aussi atroces qu'incontournables) qui se sont succédées autour du 75 ème anniversaire de la découverte de l’horreur d'Auschwitz, il a été piégé par son inculture ''politiquement correcte'' et s'est laissé aller à des confidences dont pas une seule n'aurait dû être ne serait-ce que ''pensée'', tant elles sont absurdes.

  Tout d'abord, on a découvert qu'il ne regrette pas sa ''sortie'' masochiste sur ''l'Algérie, crime contre l'humanité'', ces mots qui feraient mourir de honte tout autre que lui. Mais on sait, après deux ans et demi de fréquentation, que son orgueil incommensurable le rend incapable de regretter quoi que ce soit qu'il ait fait ou dit... même faux, même stupide, même absurde. Ensuite, il s'est laissé aller à un ''glissando assai sensa motto'', sorte de divagation autour du mot ''mémoriel'' (pour lui ce que l'insupportable ''sociétal'' était pour Hollande : le  célèbre Tricosteril du capitaine Haddock !). Il est des mots qui, voulant tout dire, ne veulent rien dire et sont donc utilisables dans tous les sens, mais sans en acquérir un pour autant.

  La situation, pourtant, est facile à comprendre, sinon à raconter : chaque mensonge historique sur l'Algérie (avant, pendant et après la ''guerre'' de 1954 / 1962) est ressenti comme une insulte délibérée par la communauté ''pied-noir''... et comme une incitation à la violence et une justification de la haine extrême par de nombreuses tranches de la jeunesse musulmane installée en France. Il n'existe donc que deux lignes de conduite possibles : la première, la plus souhaitable à long terme (la plus improbable à court terme), c'est de rétablir la vérité sur l’œuvre française dans ce pays (oeuvre à laquelle tous, absolument tous  les ''pères de la révolution FLN'' ont rendu hommage, les violences terminées), sans cacher les quelques excès -inévitables- qui ont bien eu lieu, mais en ne camouflant pas leur caractère exceptionnel. Macron, qui est habité par les fantasmes sinistres d'une gauche dévaluée, rongé par les remords injustifiés d'un faux humanisme revisité, et imaginant qu'il peut encore espérer retrouver des voix à gauche, en est incapable.

  La seconde, un pis aller, serait de s'abstenir d'en parler : ''le silence est d'or'', dit le proverbe. Mais de cela aussi, il semble être incapable, et il laisse donc parler son inculture et cette idée que le fait d’être élu lui aurait conféré ipso facto le droit à une réécriture de l'histoire conforme aux pires cauchemars des vrais historiens... et de ceux qui ont vécu ces époques et se souviennent. Dans ce cas présent, le réflexe politicard, qui reste puissant en lui, lui a conseillé de minimiser la portée des mots prononcés en dissertant autour de chacun d'entre eux, réflexe qu'on peut presque comprendre, mais pas excuser. Il voulait, tente-t-il de justifier après coup, se placer du point de vue de Sirius, devant l'Histoire, et autres balivernes inacceptables. Ce qui est dit a été dit, le rapprochement incriminé a bien été fait, et il n'était ni bon pour le futur, ni vrai : je défie quiconque de trouver un seul point commun entre ces deux événements, que l'on se place d'un point de vue ''mémoriel'' (sic !), devant ''le poids dans l'instant'' ou ''au niveau de l'Etat'' (et là moins qu'ailleurs, évidemment !).

  Un proverbe anglais recommande : ''never complain, never explain'' (ne jamais se plaindre, ne jamais expliquer). On aurait aimé qu'il fasse partie du bagage culturel de notre Président : que de sales moments nous auraient été épargnés !

H-Cl.