Homebrewed: An Introduction To Dungeon Synth

https://i.imgur.com/UCNvDsT.jpg


#Examples


For anyone wary of delving into a large primer on a metal adjacent genre, below are a two examples of both classic and modern dungeon synth. While albums are a more complete example, I have narrowed it down to two songs.

Dungeon synth is fascinating if not a little cryptic in its history and existence. If any of the above two examples are interesting or the concept of grim musicians making fantasy synth, then I urge you to travel further.


#Introduction


Dungeon Synth is a style of at-home made fantasy synth. Despite it being a modern incarnation, its history is rooted in the 1990’s black metal scene, when its members created ambient synth projects and circulated those releases through tapes. These black metal side projects laid the groundwork for dungeon synth’s atmosphere and ethos regarding aesthetics, production, and distribution. Dungeon synth is primarily a solo endeavor with one person writing, playing, producing, and distributing the music. Today, it has become a diverse genre and cottage industry with tape labels, forums, festivals, and an international fanbase devoted to its history and development. Branching out from its beginnings to include a spectrum of sound, dungeon synth has transitioned beyond its dark ambient beginnings to a sound that includes neoclassical, new age, medieval, and even chiptune music. The space between fans and creators, since its beginning, has been small, leading to an intimate scene that exists today almost entirely on the internet.

This aspect of a virtual community and scene has shown itself unintentionally resilient within current events. The process of creating music in isolation and sharing it with an international fanbase through virtual albums and mailed media is something that has been unaffected since the wake of a global pandemic. Livelihoods of the creators and parcel service interruptions aside, dungeon synth, along with other virtual genres, has the potential to be a blueprint for future musical scenes that exist without in person contact. This divorce from the physical aligns with dungeon synth’s escapist aesthetics, as its thematic storytelling offers an at home journey that is safe and s

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D51 February 23rd ACT reading section discussion

Alright so I jotted down a list of questions/answers while me and my friends were talking about the reading passage (this one, at least to us, was one of the more difficult reading sections we’ve taken in general). I hope you guys find this helpful and PLEASE REPLY if you remember any questions that I did not jot down below (or if you just wanna give us general feedback). (I could make one of these for english depending on how people respond to this one)

Prose Fiction/Literary narrative passage (the one that was passage A, passage B) Q1: what was the mother’s favorite part of making her maps (something along the lines of that) A: “working with the editors” Q2: what’s one word that both the narrator and the mother would use to describe the maps A: “its beauty” Q3: what’s one word that would describe the works of the mother as well as the girl in passage B A: both the works were “meticulous” Q4: How did people react to the work of the girl in passage B A: “in awe” Q5: What’s one example that the author meant by using the word “vastness” A: “the tiers upon tiers (the multiple tiers or something)” Q:6 what’s a similarity between the structure of both passages A: “both passages involve the daily routines of the main characters” Q:10 “which quote shows that fossils are art like the maps were art” (something along the lines of that) A: not sure what the answer was but I selected answer choice D. for that one lol

Social Science Passage (the one about the godamn shells) (these questions are numbered inaccurately) Q1: the author would most likely agree that the dutch collectors were A: “irrational” Q2: the first paragraph’s purpose was to A: “provide examples of how shells were used in societies” (something along the lines of that) Q3: The french would’ve found Australia or whatever continent it was first had they not… A: “spent time collecting shells” Q10: “how does the author show the reputation of shell in comparison to the paintings” (something along the lines of that) A: he shows an example of the most recent price of the painting

Humanities Passage (the one about the native american DJ) Q1: In what time frame does the DJ say we can bring about change in our children A: momentous/instanteous ; through words of encouragement Q2: which event happened first chronologically A: “the DJ arranged the music for his own enjoyment” Q3: What was the purpose of the third passage A: something along the lines of his people (the native Americans) felt that

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Coming Back Stronger Than A Nineties Trend: Taylor's Songs Ranked By Lyrics, Part Two

Before anyone goes scrolling down to find Part One: I posted it back in August. Part Two was supposed to happen a lot sooner, but I intuitively sensed more music was coming and decided to hold off.

...Alternatively, my computer crashed (bridges burn) after I'd written an entire draft without saving (I never learn) and I moped about it instead of starting over (at least I did one thing...shit. Uh, blame it on my ADD, baby?).

The release of evermore taught me a terrible lesson about how procrastination and failing to follow through can totally work in my favor, so here we are. Fortunately (and unsurprisingly) none of the seventeen new songs we got fell into the lowest tier, so the only update I have to make to this ranking is that what would've been #126 is now #143.

143. Today Was a Fairytale

Ah, yes, those classic fairytale tropes: princes, damsels in distress, magic in the air, interplanetary travel. (I’m not saying 2010 Taylor could see the future, but…) Here, in a song that references the most metaphorical of genres, we end up with another not-metaphor: “I can feel my heart/It’s beating in my chest.” Presumably the rest of the bridge, in which Taylor continues cataloguing her vitals (“My liver is detoxifying/Various metabolites”) was left on the cutting room floor.

Best line: Honestly, I can’t name one, but not because the lyrics are bad. This is song is built on a strong premise—how the fluttery feelings of a crush can make the most mundane date feel like a magical fantasy, turning pumpkins into carriages and dark grey t-shirts (the most boring item of clothing in existence) into suits of armor. Every line (with the exception of the two mentioned above) contributes equally to developing that premise. These lyrics aren’t flashy; they’re just examples of solid craftsmanship.

Swiftian™ tropes: fairytale imagery, temporal specificity (6), finding romance in mundane places, the two genders (dress & t-shirt AKA picking up & being picked up), sartorial specificity

142. Superman

The inverse of “Today Was a Fairytale,” funnily enough: kind of a flimsy premise—Superman self-insert fanfic, basically—but filled with individual lines that make you go “hey, that’s clever.” The bait-and-switc

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Essay on The Dreaming Pool - Literary Analysis

Hi guys! Today I've decided to share a literary analysis I did of The Dreaming Pool by Anthony Reynolds. For context, I'm a French student currently majoring in English literature/translation (amongst other less important stuff). This semester, we've been focusing on analyzing short stories, and I decided to apply that knowledge to one of my passions: League lore.

Disclaimer: I do not claim that my words are absolute. This is my analysis of a short story, and my conclusions. Feel free to disagree with me. For all I know, Anthony Reynolds did not think this far when he wrote this, I’m just applying the knowledge I have thanks to my degree to something I deeply care about.
Furthermore, most of what I'm saying is stuff that has already been theorized and/or known. I'm mostly trying to use textual evidence to support some claims. And there are probably a few things you may not even have noticed!
It's going to be a very long post, so if you read it, you have my thanks! And if you're lazy I'll leave a TL;DR at the end...

https://preview.redd.it/roitwcoywj361.jpg?width=1920&format=pjpg&auto=webp&s=38df4d8bba1289e2775eb550a44f26f9236f91da

General structure:

Before going into the textual analysis, let’s take a general glance at the story. From mere sight, we can gauge that the structure of the story is divided into two parts: italicized parts, which are dreams, and regular parts, which are… ‘reality’. It’s interesting because this structure forms a loop. The story starts with a dream and ends with a dream. And indeed, the very idea of loop is going to be very present throughout the whole text:

  • Dream loops. The dreams are existing in loops.
  • Anger. Anger is cyclic. It’s in Syndra’s whole character. It’s in Sirik’s whole character. It’s also in Kalan’s whole character. These three characters are full of spite. For each other, or for something else. And this cyclic design is quite interesting because it reminds me of Kayle’s “Cruelty begets suffering, suffering begets cruelty”. The very idea of cycle is that things never end, but it is true in this instance. Anger is what led Syndra to destroy Fae’lor. It is then what drives Sirik to come back and kill her (it really isn’t balance; we can see how spiteful she is of Syndra and Noxus). It is again anger and spite which drive Kalan to insult Syndra and that will comfort her in the idea of throwing him i
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Throwback Write-Up #24: Tricky - Maxinquaye

Artist: Tricky

Album: Maxinquaye

Release Date: 20 February 1995

Listen: Spotify

Apple Music

YouTube

#Introduction

Maxinquaye is the debut album by British rapper and producer Tricky. Having garnered a lot of unexpected positive attention from critics and audiences alike upon its release in early 1995, it later became the cornerstone of the genre now known as trip-hop.

I decided to do this write-up for several reasons, one of them being that I think this genre deserves more attention on this sub and among hip-hop heads in general. Tricky’s sampling skills are up there with the best beatmakers of the 90s and his combination of muttered, almost spoken word rapping and use of female vocals to depict the internal anguish and the reality around him is unquestionably unique. If you’re unfamiliar with the genre, there’s no better place to start, especially if you’re a fan of creative sampling and music that envelops you and takes you to another place.

Furthermore, it is a fascinating story on a personal level. It’s the story of a regular guy continuously falling upwards into rather unwanted success, coming into his own as an artist and coming to terms with fame and attention. It is also an important piece in the puzzle of how trip-hop as a genre came to be. Tricky wasn’t the first artist to combine the signature elements of it, but his distinctive approach certainly stood out among his contemporaries and made him into one of the figures synonymous with trip-hop as a whole. I go pretty in-depth on who Tricky is and how the pieces of the puzzle fell together since the accounts of his life that can be found online are rather disjointed. If you’d rather only read about the musical contents, feel free to skip to the section titled “Brand New You’re Retro”.

One last thing I’d like to note before we begin: Tricky is a pretty enigmatic figure, and a lot of the sources that can be found on the internet contradict each other. That’s why I decided to go to the ultimate one: his 2019 autobiography “Hell Is Round The Corner”. There is a chance, as there always is with this sort of thing, that the narrator is unreliable, but if there’s no way to know th

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I saw 192 movies in theaters in 2019. Here is my full ranking.

This year I went to see 192 different movies in theaters, plus one rewatch. That's up from 162 in 2018, 140 in 2017, 9 in 2016, and 5 in 2015. I usually go 3 or 4 times per week, mostly on weekends. I keep track of dates/theaters/movies/ratings for fun and save all of the stubs.

My ratings are what I give the movie right after seeing it, with no real 'checklist' or anything, mostly just initial thought/enjoyment/opinion. It's not meant to be taken super seriously, I'm not a professional reviewer.

This is my full ranking for the year, from favorite to least-favorite, with a few small reviews/thoughts thrown in:


Monos - 10/10 - Hands-down my favorite movie of the year and honestly high on my all-time list. It's Apocalypse Now meets Lord of the Flies, with some Beasts of No Nation thrown in. It builds a unique, lived-in world that's believable and brutal. Beautifully-filmed, some of the best shots of the year (the ending shot gets seared in your mind). Modern and grounded look at a militia/cartel fighting against an unnamed enemy in a Colombian jungle. It almost feels post-apocalyptic instead of 'cartel vs government', which I really loved. You get to imagine your own backstory as the story unfolds. Unforgiving and gut-wrenching, but hopeful too. Got a lot out of its cast. Can't recommend this movie enough. Really disappointed this didn't make the Best Foreign Language Film shortlist. "Masterpiece" gets thrown around a lot, but in my mind this is the only one this year.

Marriage Story - 10/10

The Farewell - 10/10

Journey to a Mother's Room - 9/10 - Biggest surprise of the year, came out of nowhere. Deeply-personal story between a mother & daughter. It's very basic on the surface, and there's not much story (you start at Point A, and end at Point A), but it's the most emotional movie of the year. If you don't cry at least 3 times during this, you're probably not human. It's all about the unbreakable connection you have to your parent(s), from the day you're born until the day you die. It only takes place over the course of a few months, but feels like lifetimes. Beautiful little movie about separation, loss, and human connection.

Waves - 9/10 - *I could write 20 pages on how much I loved this movie. To keep it short, it's got a perfect soundtrack, perfect setting, awards-worthy performances (from Kelvin Harrison Jr., Sterling K. Brown, and Taylor Russell). Visceral sto

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I want to get off of Mad Ahab's Wild Ride. Continuing my commentary on Moby Dick with chapters 37-44. The image of the ungraspable phantom of life IS the key to it all, and that is the one thing Ahab can't grasp.

Original post, with commentaries on the first 9 chapters, chapters 10-24, chapters 25-36

———

CHAPTER 37

Now that Ahab has formed his death cult, he soliloquizes—and Ishmael is either eavesdropping or fabricating, but either way he means to convey the spirit of the man if not his letter. Ahab's voyage through life leaves "pale waters, paler cheeks" in his wake, sowing chaos wherever he goes yet where he goes he goes with unobstructed course and direction. His ripples are smoothed over by the billowing envy of men, but he cares not; he cares not for monuments and memorials, no, only for deeds done and the merit he acquires for himself in his own eyes. For when the sun sets, his "soul mounts up!"—his task as unceasing as the day-and-night cycle, but his soul reflecting not the light of the sun as the moon, but weighing on him with his task like the "Iron Crown of Lombardy", a small crown forged from the nail of Jesus' cross, the weight of sacrifice Ahab's to bear.

The clouds that set on his brow are no object; his Atlantean task is the crucifixion he bears, having been dismasted and reborn. He fancies himself not the son of God, but His equal in will and war, Satan made a man—set apart from the rest in charisma and intelligence, cloistering himself in his superlative ambitions whose reach leaves no room for human connection, and indeed actively forsake it through hard-hearted, eloquent guile that convinces pragmatic men to stake their lives on his goal.

Ahab must've had a perverse spiritual awakening while he lay dying, paved by his education, but instead of becoming a prophet and trying to speak God's truth, he's become the mad king whose words are iron spun like gold, who mistakes his enlightenment for alienation because he's unwilling to share it. Rather, he's content to dismiss those who disapprove of him and to brood about what he lacks: the simple pleasures of casual conversation, light-hearted humor, basking in sunlight,—"damned! most subtly and most malignantly! damned in the midst of Paradise!", his soul hibernating to incubate horrors.

Ahab reflects that leaguing his men was "not so hard a task", since he'd apparently convinced everyone—thoug

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Guy Gavriel Kay: A Song for Arbonne Review (of the spoiler-filled variety)

(The following review is a transcription from audio)

Recap

I’m excited to revisit a book that has been so important to me, but I’m really thrilled because we are finally talking about a book from the High Fantasy subgenre. I’m sure there are a lot of definitions about this term out there in the fandom – and also a lot of arguments about defining it – so let me just say that I’m using the term High Fantasy simply to mean a fantasy story that takes place entirely in an imaginary self-contained world with its own rules and properties. The Lord of the Rings is the classic example of High Fantasy, but also there is Game of Thrones. And for a lot of people High Fantasy is Fantasy – this was certainly true for me as an adolescent – and I expect that we’ll read a lot more of this sub-genre as we go.

Now, this is not universally the case, but it often makes sense to begin any dive into a work of High Fantasy by talking about the world before getting into the plot and characters, so let’s do that first. In A Song for Arbonne, Kay imagines a world more-or-less similar to Western Europe during the High Middle Ages, which is the classic period of the Middle Ages between the year 1000 and the onset of the Black Death in 1348. So, this is a world with knights and castles, kings and counts, and a continent full of people speaking different languages and arranged in independent polities but which shares a common religion.

That religion is going to be important, so let’s start with that. We don’t actually know all that much about the religion, but because Kay is working within a high-medieval paradigm he’s able to insinuate a lot by simply presenting us with a priestly monotheism at least broadly similar to medieval Christianity. There is a single God, whose name is Corannos, and he has priests and temples. There is some kind of hierarchy among the priests, though it’s not clear if that organization supersedes political boundaries. What is clear, though, is that this religion is at least nominally important for lay-people as well, and in this world knights are called “corans” and they are officially members of the Order of Corannos who have been consecrated by a priest. Sadly, we don’t ever see this consecration in action in the book, but we can envision something similar to a medieval knighting ceremony like the one described by Ramon Llull in the late thirteenth century.

Now there’s a catch to the universality of this religion on this continent: there is on

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Album of the Year 2014 #13: Arca - Xen

Hi y'all! Welcome back to Album of the Year 2014, our daily writeup series where we go over some of our users' favorite records from the first year of our sub's existence! Today we've got u/mallboi's very personal discussion of Arca's first studio album, Xen.

November 4th, 2014 - Mute

Listen:

Apple Music

Spotify

Youtube

Background

Alejandra Ghersi is a Venezuelan musician, producer and multi-media artist currently based in Barcelona. Under the moniker Arca, Ghersi has released a slew of varying projects under the electronic umbrella, including this year’s excellent KiCk i. As a producer, Arca has worked with such artists as FKA Twigs, Björk and Kanye West, among others.

On November 4th, 2014, Mute Records released Arca’s debut studio album, Xen. Months later, in an interview with Dazed, Ghersi reflected on her debut album saying:

>“Those were all projections of my psyche; of how I viewed my own sexuality and how I engaged with people through the lens of sensuality. Xen is an 'it'. I lean towards calling Xen 'her' in response to the fact that society historically leans towards men having more power. Me calling Xen 'her' is an equalization of that."

Review

Ten years ago, on the eve of my eighteenth birthday, I received a call from my doctor confirming the worst. Up until that point in my life, the term “progress” was synonymous with growth. Over the phone, I was informed that an atrophy had begun and would continue to progress over a lifetime. More tests to follow. There is no cure or treatment.

My mother was fidgeting, trying to put on the face all parents do when they realize there’s nothing they can do. At eighteen years, boys become men according to the outdated expectation placed upon them by others. I needed to be strong; not for myself but for her, my family and my friends. At least we had an answer to why I waddled about, struggled to climb steps and collapsed while running. Swallow your pride and let your mind carry the load your body can’t hold. Progress.

Like tempered glass, this seemingly optimistic mindset shattered in the months that followed. A reckless, late-night Google searc

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Written in Uncertainty asks, What is Magic?

Website | Spotify | Anchor

Magic is a fundamental part of the world of The Elder Scrolls. This is one of a few models for magic that you’ll see in fiction, where it’s either an inherent property of a certain class of people (like wizards and witches from Harry Potter, who can just do magic while others can’t), or an interaction with another class of being altogether, as many religions claim. In this model, magic is relational, rather than something that is neutral. However, TES follows a lot of recent fantasy in treating magic as an inherent property of the world, like electricity.

The Origins of Magic

It’s all-pervasive in TES; It’s something that is not only used by mages, but is part of the very make up of Mundus. The Third Edition Pocket Guide to the Empire puts it like this:

>Imperial Theosophy teaches us that our world was born from magicka, the creative force that informs and sustains all life. The sources of magic are the many and diverse heavens beyond the void, collectively known as the Aetherius.

If this is true, then magic is essentially the Higgs boson of the Elder Scrolls universe, a thing that allows all other things to exist. However, as much as this is poetic, I have my doubts about the idea that magic is the driving force behind everything. I’m not totally sure that the Pocket Guide is reliable because it grounds its claims in theosophy, which might have a different definition from theosophy in this world, but if we run with the actual definition, it’s the idea that knowledge of God can be achieved through direct ecstatic revelation. If that’s the case, then the perception that magic is part of everything from the start is already coming from a being (a mortal) that is already surrounded by magic. Not necessarily the best position to evaluate it from.

While that perception isn’t entirely right, there is something to it. The talk of the “many and diverse heavens” that comprise Aetherius, which is the source of magic, seems to be in line with what most other sources tell us. The core of this is that magic was introduced into the world by Magnus, the architect of Mundus, and the sun and stars, holes that were torn when he an

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Ariana Grande’s ‘Positions’ - A Case Of Style Over Substance - Album Review

In an attempt to navigate new audiences and transcend genre barriers, an artist’s credibility is often held in limbo. For some, the change provokes an undiscovered edge, something fresh, and a clear cut explanation as to why the stylistic overhaul has taken place. The flip side, however, often proves detrimental to the status of the artist, as I find it leaves a permanent mark within the discography, that I’d bet my money on them wanting to forget. An artist who is currently caught in the crossfire is reigning pop princess Ariana Grande. Defining herself as a staple, and a cultural pop monolith head and shoulders above the competition as of late, it’s clear she’s decided to usher in her next era. Whilst her venture into r&b has inevitably been in the cards, with Ariana and fans alike foaming at the very thought of it, her efforts carry all the usual stylistic suspects, with all the unfortunate substanceless baggage.

While it’s unquestionable that ‘Positions’ is first and foremost Ariana’s official claim to the top of the r&b ladder, I want nothing more than to perceive it as a minor detour away from her humble pop roots. Although I had reason to believe ‘Positions’ would yet again trump the Ariana discography, given her previous triumphant streaks that saw her entertain the kooky eccentricity of Pharrell Williams on ‘Sweetener’, and later, master an honest rendition of pop with the heartbreakingly introspective ‘thank u, next’, ‘Positions’ less than glamourous roll-out should have indicated anything but a continued hot streak. I suppose that’s where the suspicions grew from. As Ariana deviated from a blue-print she had made her own, the less and less relevant to its successors ‘Positions’ would become.

What started as cautious apprehension, became an unfortunate reality upon the release of the album’s lead single, ‘Positions’. Sure, it boasts those trademark Grande vocals as she showers us with this sensual prowess, sounding like a seductive temptress, all whilst preaching of being a dedicated lover, but outside of what feels like a guarantee, given Ariana’s proven vocal pedigree, it’s all just so forgettable. With its toothless, overproduced instrumental, subpar application of her range and this inaudible enunciation - a blast from the past that consistently haunts Grande on ‘Positions’ - I struggle to believe that this was Ariana putting her best foot forward.

Things don’t get much better when approaching the album in its i

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17 Best Constellation Tattoo Design Ideas for Men and Women in 2020

The Introduction of Constellation Tattoo Designs

In astrology, the 12 constellations of the zodiac are synonymous with the position of the universe. When a person is born, the positions of the stars on the ecliptic indicate a person's innate character and talent. The 12 constellations of the zodiac symbolize the psychological level and reflect the way a person behaves. So the zodiac is divided into 12 constellations, called the 12 constellations of the zodiac. Followed by Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius, Pisces. What constellation is your soul? Are you thinking of getting a constellation tattoo design for yourself?

Constellation tattoo design of studiobysol via Instagram

Constellation Tattoo Design: The Origin of the Constellation

In ancient times, in order to facilitate the identification and observation of celestial phenomena when sailing, the stars scattered in the sky used imagination to connect them. Half of them were named in ancient times. The way of naming is based on the myths and shapes of ancient civilizations. Therefore, some people get a mythology tattoo or constellation tattoo design. The attached meeting. The other half is named only in modern times, and is often named after nautical instruments. In ancient times, the way of "Lianliankan" was different because of the different regions! In the 21st century, the world has unified the constellation map to divide the sky into 88 regions and 88 constellations. Star and constellation tattoo design is very popular nowadays.

Constellation tattoo design of nieun_tat2 via Instagram

How to Represent an Astrological Sign?

Whether you are Taurus, Aquarius, Aries, Scorpio, Sagittarius, Pisces, Capricorn, Virgo, Cancer, Scorpio, Gemini or Libra the possibilities are numerous and fall into 3 categories, through which you can choose your own constellation tattoo designs:

The figurative drawing: a cute lion, a bull's head, a scorpion, a stylized scale...Animal astrological signs lend themselves well to figurative representation. Obviously, if you're Virgo or Gemini it's a little more complicated. Connecting animal and your soul as a constell

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A Case Of Unapologetic And Unadulterated Brashness As The Unsilenceable Duo, Run The Jewels Spring Into Fruition On ‘RTJ4’

The melding of multiple minds has proven to be a testing tribulation in the hip-hop landscape, as album cycles have welcomed a plethora of mix and match combinations of collaborators trying their hand at melding influences and individual artistic visions into something greater, yet to no avail. Yet from this new and improved approach and formula, rises from the ashes one of hip-hops front runners, Run The Jewels. The dynamic duo comprises Atlanta native, Killer Mike, and Brooklyn’s own El-P, both no strangers to wearing the eccentric colours of each distinctive roots on their shoulders. This is no less the case on the newest installment of the long-standing series of self-titled albums, ‘RTJ4’, as the two mix their identities of brilliance and eccentric flavours for yet another haphazard and exhilarating sound. Only on this occasion, the two seem to strike particularly close to home with an overarching and omnipresent tendency to unapologetically criticise corrupt societal standards that continue to plague the modern world.

The introductory track ‘yankee and the brave (ep. 4)’ manages to encapsulate the core workings of the duo into such a minute and microsized framework. Announcing their arrival as the two aforementioned, nondescript figures, the sentiment of the song is largely representative of both Mike’s and El-P’s outer influences and regional iconography. This same focus of capturing their core appeal from the album's opening moments bleeds into every aspect of the song. The bold, warped, invasive synths that are matched with thunderous percussion act as the attention-grabbing flair RTJ have become synonymous with. Morphing the track into a chaotic and decrepit landscape the instrumental brings forth a sense of sustained tension and distress that can only be described as a pure shot of instrumental adrenaline. Mike and El-P trade verses back and forth as the two go toe to toe with equally intimidating, gritty, and authoritative verses. A teaser of the sublime performances welcomed on the album.

Every track thereafter manages to capture the same raw insanity and sheer dystopian flavour that the two seamlessly captivate time and time again. ‘ooh la la’ brings forth the regal additives of classy, yet piercing piano keys, a top scratchy and zany manipulated vocal refrains. The confrontational instrumental is only bolstered by the equally gritty and authoritative presence of El-P and Mike, who, despite working with a similar set of tools from the trac

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Special Feature: Holocaust Remembrance Day – to remember and pay respect to those who perished and those who survived.

On January 27, 1945 the men and women of the 322nd Soviet Rifle Division liberated what remained of the Auschwitz camp complex. Auschwitz and more specifically the death camp of Auschwitz-Birkenau was the place where the Nazis had in prior years murdered more than a million people in gas chambers, by shooting, starving, beating them and in many more, unimaginably cruel ways. It is a place that has since become synonymous with the Holocaust – the systematic, bureaucratic, state-sponsored persecution and murder of six million Jews and up to half a million Roma, Sinti, and other groups persecuted as "gypsies" by the Nazi regime and its collaborators – itself and thus the end of which marks an appropriate date to commemorate the victims of the Holocaust.

Yet, while the Nazis had killed so many in Auschwitz, by the time the Red Army arrived only a fraction was left. Some 65.000 prisoners, mostly but not all Jews, had been forced on a death march by the Nazi adminstration of the camp. Some 7.000 sick prisoners and prisoners of older age or younger than 15 were left. What we know as the liberation of Auschwitz is different from the mental image we have of huge crowds converging on the Allies' jeeps as it was in Buchenwald, Dachau, Belsen or Mauthausen. The prisoner left there were not easy to find the prisoners that still remained. And while their initial reaction was joy and emotion, there also was confusion and fear.

Eva Mozes Kor, then 10 years old, describes liberation as such: > We ran up to them [the Red Army soldiers] and they gave us hugs, cookies and chocolate. Being so alone a hug meant more than anybody could imagine because that replaced the human worth we were starving for. We were not only starved for food but we were starved for human kindness. And the Soviet Army did provide some of that.

At the same time, Kor describes uncertainty and fear about where to got and what to do now: > I didn't even know where on earth I was, much less where my home was. You had to be a little smarter than I, a ten-year-old girl in a concentration camp to know what direction to start out in and where to go.

Another description of this day comes from Primo Levi, Italian survivor, famous for the literary accounts of his time. In the following

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The Angel Esmeralda Group Read | Week 9 | Hammer and Sickle

First published in Harpers in 2010, Hammer and Sickle is the longest story in the collection, running to 34 pages and comprising 18 short(ish) sections (in my Picador paperback). It unfolds from/alongside real-world events (the global economic crash of 2007-8 and the ensuing downturn) and revolves around a similar central theme to Cosmopolis, namely the relationship between technology and capital. I've started the discussion by introducing six salient elements/concepts, adding a note on my favourite aspect of Delillo's writing at the end, language.

Summary:

(Seems to be the norm to include a summary but please skip ahead to ‘Discussion’ if you generally recall what happens in the story)

Jerold Bradway, our narrator, is a hedge fund manager serving a sentence in a minimum-security prison for mainly white-collar criminals. The inmates converse in their dorms, receive visitors, occasionally cross a highway bridge to play in/spectate on a soccer game on the grounds of an old school, and watch TV in one of the common rooms. A fifteen-minute news broadcast on a children’s TV channel is shown in the afternoons. As part of the programme, Jerold's two young daughters present a stock market analysis, delivering a series of strange and inflammatory reports on the global economic crash, their lines eventually devolving into rhymed incantations of famous communist leaders’ names. The inmates become increasingly excited by the reports, apparently cheering and yelling in support of the communist figures, seeming to welcome the disintegration of the capitalist system. At the end of the final report, as the inmates file out of the common room, Jerold stays in his chair facing his eldest daughter, who has remained on camera. After some moments of father and daughter staring at each other through lens and screen, the image cuts out. In the final section, Jerold wakes in the night and sneaks out of the prison. He goes to the highway bridge and stands above the traffic, watching it pass, knowing that he will return to the compound. He looks down at the cars and imagines himself from their perspective, looking up, wondering who he is.

Discussion:

The traffic

The story is bookended by descriptions of highway traffic seen from the vantage of an overpassing bridge. The highway is depicted as a domain of fast-paced activity and forward motion, populated by countless discrete lives following their own private trajectories. It produces pollution, loud noise, and

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📅︎ Sep 02 2020
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Why beautiful prose can't come from a thesaurus

Every aspiring author, at some point, is cautioned against the siren's song of the thesaurus. Despite this, every aspiring author, at some point, opens a thesaurus to find a more interesting-sounding synonym for "purple" (aubergine, puce) or "walked" (traipsed, prowled) or "uncomfortable" (discombobulated, apprehensive).

The result is almost never pretty.

The truth is that beautiful prose is almost always constructed from simple language that is easy to understand. Don't believe me? As examples, let's look at the beginnings of four opening chapters that I personally find staggeringly beautiful:

The Night Circus by Erin Morgenstern:

>The circus arrives without warning.
>
>No announcements precede it, no paper notices on downtown posts and billboards, no mentions or advertisements in local newspapers. It is simply there, when yesterday it was not.
>
>The towering tents are striped in white and black, no golds and crimsons to be seen. No color at all, save for the neighboring trees and the grass of the surrounding fields. Black-and-white stripes on grey sky; countless tents of varying shapes and sizes, with an elaborate wrought-iron fence encasing them in a colorless world. Even what little ground is visible from outside is black or white, painted or powdered, or treated with some other circus trick.
>
>But it is not open for business. Not just yet.

Strange the Dreamer by Laini Taylor:

>Names may be lost or forgotten. No one knew that better than Lazlo Strange. He'd had another name first, but it had died like a song with no one left to sing it. Maybe it had been an old family name, burnished by generations of use. Maybe it had been given to him by someone who loved him. He liked to think so, but he had no idea. All he had were Lazlo and StrangeStrange because that was the surname given to all foundlings in the Kingdom of Zosma, and Lazlo after a monk's tongueless uncle.

Annihilation by Jeff VanderMeer:

>The tower, which was not supposed to be there, plunges into the earth in a place just before the black pine forest begins to give way to swamp and then the reeds and wind-gnarled trees of the marsh flats. Beyond the marsh flats and the natural canals lies the ocean and, a little farther down the coast, a derelict lighthouse. All of this part of the country had been abandoned for decades, for reasons that are not easy to relate. Our expedition was the first to enter Area X for more than two years

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📅︎ Jan 11 2020
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My Introduction

I was exposed to two cults in my lifetime, the Nation Of Islam and the Soka Gakkai International. I never officially joined the Nation Of Islam, however I came close. I had been going to the Monday night meetings and attempted to write a letter that was necessary for joining. The letter was rejected over and over, so I said, "This is a sign that this isn't for me." I still went to the NOI Sunday morning meetings which overtime just became nauseating with the same old stuff, no progress as it pertained to black people, homophobia, and reactionary ideas of 50s morality. I sadly joined the SGI pseudo-Buddhist cult at age 25.

I first heard of SGI in during the 2013 October Pride. By this time I had been chanting on my own for some months. I picked up that booklet The Winning Life. I read the book front and back, but it didn't motivate me to join. I reached out to Nichiren Buddhist communities on Facebook and that's how I ended up in contact with a SGI member. I went to my first introduction to Buddhism meeting with a MD in January 2014. On the way, I was put off by him saying that everyone was chanting to become happy. After the opening chanting, I told the man I had to study Biology. I did, but I also wanted to get out of there. The MD gave me a World Tribune to read. I never read it. It reminded me too much of the NOI's Final Call.

Summer 2014: I researched Soka Gakkai by way of Wikipedia, as I hadn't heard of Reddit yet. So far, what I had read was glowing, but I still wasn't convinced to join.

Affixing breakthroughs to SGI activities

August 2015: I had a financial aid problem in college. Chanting and doing Gongyo wasn't working. Then I had went to a study meeting, imbibed the concepts and little by little the problem resolved. I connected the resolution of the problem to chanting, and doing activities.

September 2015 First seed of doubt:

This is from the September 2015 Living Buddhism pages 60-61.

"If members persevere with strong faith to the very end, they will be victorious, even if they should die from illness. There are many who, while suffering from illness, have chanted for kosen-rufu and the happiness of others, and continued to reach out to encourage those around them right up to the very moment of death. Their lives and their bravery in the face of death have given courage and inspiration to countless others. Such people will quickly be reborn with healthy bodies. I knew a

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📅︎ Sep 11 2020
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[Spoilers All] A detailed analysis of the Trespasser murals, with supporting evidence | Part Six

^(Other Posts in the Series:) ^([Part One]) ^([Part Two]) ^([Part Three]) ^([Part Four]) ^([Part Five]) ^([Part Seven])

>It started with a war. War breeds fear. Fear breeds a desire for simplicity. Good and evil. Right and wrong. Chains of command. After the war ended, generals became respected elders, then kings, then finally Gods. The Evanuris.
>
>^(-) ^(Solas)

Welcome, and thank you for reading once again! After a super long hiatus, I'll finally be tackling one of the biggest questions I had after completing the Trespasser DLC: the truth behind the ancient war Solas mentions, that led to the apotheosis of the Evanuris. Many, including the Dalish, have theorized that this war was waged between the Evanuris and the Forgotten Ones. In this post, however, I hope to show you another perspective - with plenty of evidence to back it up.

So, if you're interested in my theory on the real identity of the ancient Elvhen Dreamers, and the truth behind an ancient conflict that would change the fate of Thedas forever, please read on!

^(Note:) ^(This post will contain some spoilers from Tevinter Nights, which I have hidden like this:) >!boo!!<

Elvhenan, The Origin of Greed

>"We hear stories of them living in trees and imagine wooden ramps or Dalish aravels. Imagine instead spires of crystal twinning through the branches. Palaces floating among the clouds. Imagine beings who lived forever for whom magic was as natural as breathing. That is what was lost."
>
>^(- Solas on Elvhenan)

Elvhenan, meaning "place of our People," was an empire of immense, heart-aching beauty. Palaces of deep blue crystal floated among the clouds, and Thedas was a realm where imagination defined reality. The primordial magic that permeated the very air was as natural as the sky that beings ["glor

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📅︎ Mar 16 2020
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Alternative method for Verbal: 155 to 170 in ~50 active learning hours

To preface this, I am a native English speaker and professional engineer. I appreciate that this is an extreme case, but want to share my learning strategy in case it works for some of you.

See body paragraphs for links to material, including a spreadsheet and audio MP3s I derived through significant effort myself. Everything I used is free, but there's no reason why you can't do this alongside paid material.

Timeline

Here is what I did, roughly in order (spread out over 3 months because of some procrastination and test anxiety)

  • Baseline: PP1 (169Q/155V)
  • 1 month, 1 hour a day after work doing my word list
  • 2 months, 6 hours a week of listening to my word list (concurrent with word list)
  • 3 books of varying styles
  • Progress test: PP2 (169Q/163V)
  • 10 essay skeletons + intro & first body paragraph
  • GRE at home (170Q/170V/5.5)

Word list (~30 hours)

I tried Anki and Magoosh and found they didn't work for me. I got frustrated, forgetting words just hours after I had "learned" them, but my theory (if you believe in Bloom's taxonomy) is that to be proficient in a word, you need to be able to synthesize your own sentences. I pulled extra definitions from the Oxford Dictionaries API for extra context and variety alongside those already in the Anki deck. My method for learning Barron's 3500 words was:

  1. Convert an Anki deck into a spreadsheet (GDrive download) (3500 words). I used RMIT's Sans Forgetica font and faded colors so I couldn't subconsciously read the definitions or neighbouring words - an interesting concept to say the least.
  2. Mark and filter out words I definitely know (1500 remaining)
  3. Read multiple definitions/synonyms and hand-write a new sentence in a new context. At the end of each evening, review that evening's list and redo any forgotten words.
  4. At the end of the list, randomise the spreadsheet, review the entire list and repeat, filtering out words I definitely know (200 remaining)

The result of this was I only had to go over each word one or two times before I was proficient at not just recognizing the words, but also their nuances because I had used them myself.

Passive MP3 reviews (~50 hours)

I don't have any science backing th

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📅︎ Aug 24 2020
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FBE BTE II: Book Kota Ibushi in AEW | Part 1: PURGE

Note: COVID doesn’t happen cause that shit nasty.

AEW Dynamite

AEW Tag Team Champions Kenny Omega and ‘Hangman’ Adam Page were set to face The Young Bucks at AEW Revolution, but just a week before the PPV, The Inner Circle’s Proud N’ Powerful ambushed Adam backstage ahead of their match later that night, Page suffering a concussion after a Spike Piledriver through a table onto exposed concrete! AEW officials and referees rushed to the scene to stop the pair from doing any more harm, a distressed Kenny Omega going after Santana and Ortiz only to be stopped by refs. Kenny checked on Page, helping him to the medical room where the cameras cut, and later in the night it’s revealed that Page can’t compete tonight, in their scheduled match against Proud N’ Powerful, or in a weeks’ time on Saturday vs The Young Bucks, the Hangman reluctantly having to pull out of both. The Proud N’ Powerful match would be scrapped, but Revolution’s Tag Title bout would stay on; Omega would have to either find a new partner or face Matt and Nick alone. The following episode, we’d see Kenny look around backstage for a replacement, but eventually, he’d run into Adam Page; the Hangman had been searching for Kenny too, and he informed Omega that he should be all good to go. Page was evidently not alright due to his concussion, but a desperate Kenny was ecstatic that he could finally go in 2 on 2, the doctors and medical team frantically trying to stop Page from entering the match. However, Page assured Tony Khan he wouldn’t do anything drastic, and Tony knew that Page’s health and safety could only be controlled by the Hangman himself. The Young Bucks acted sympathetically, but they knew that this would be an easy win for them if Page continued.

Revolution 2020

Kenny Omega and Adam Page (c) vs The Young Bucks

AEW Tag Team Championship

Matt and Nick were out first, visibly confident as they made their way to the ring, and the audience was intrigued to see whether Adam Page would actually turn up, or if Omega would have to face them by himself. Their theme hit, and out walked Omega, championship over his shoulder but no matching title in sight. Omega waited a bit, taunting The Young Bucks, and the crowd readied themselves for Omega vs The Bucks due to Page’s absence, however, the theme music of the Hangman played, and the audience popped for the tune, but it wouldn’t be Adam Page walking out, no, instead it was Omega’s long-lost lover…

KOTA IBUSHI!

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Immortalising The Unsilenced Pain Of A Generation On Juice WRLD's Posthumous Album ‘Legends Never Die’

It goes without saying that the untimely demise of an artist, or anyone for that matter, is often a demanding catalyst to reminisce. This motif becomes increasingly difficult when the point of speculation comes from an individual that made it their prerogative to proclaim a perpetual sense of pain and previously taboo ideologies through a desired means of expression. This sentiment remains an unendurable one when relating it to the tragic passing of Chicago native Juice WRLD. Prolific for using his platform to document the unfortunate deprived and troubled demeanor, the promising up and comers had a sense of relatability that few others ever could attain. This harrowing reality remains truthful throughout his gut-wrenchingly raw posthumous album ‘Legends Never Die’, as even beyond the grave Juice manages to continue his life-dedicated legacy. Only on this occasion, the honour falls to the constituents as audience and industry alike are granted a mournful opportunity to honour the cumbersome conclusion of a cultural spectacle.

What is made immediately prominent are the raw and intimate aspirations of the project, as the body of work seeks to undress the perhaps unresolved regions of existence. ‘Anxiety - Intro’ carries this sentiment to the grave, as the short-lived spoken monologue explores back and forth dialogue pertaining to Juice’s troubles with substance abuse and music as a form of escapism. Paired with sombre and melodramatic synths, the multifaceted dreamlike reality is established as a cinematic opener that refuses to settle. The piece extends beyond the confines of purely musical boundaries as its existence stands as an ode to the inspirational and monumental stance Juice acclaimed within his short-lived time in the limelight.

Avoiding the criminal act that so many posthumous albums blatantly conform to, the project prides itself on following a logical progression of artistic growth and style. In an age where capacity and name appropriation is championed as a means of blatant greed and advertisement monopolisation, ‘Legends Never Die’ prioritises the presence of Juice. The track ‘Conversations’ is an example of this ingrained desire to capture logical extension and artist progression. Built upon a foundation of flamboyant, glitchy synths and the relentless galvanised distortion of a Ronny J crafted bass line the production through and through exists as an matured ode to the late maestro. This sustained honour is further done justice through

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DJ Khaled & Drake Struggle To Conquer Artistic Identity On Latest Tracks ‘POPSTAR’ & ‘GREECE'

The amalgamated powers of music’s own proclaimed stars are often a call for immediate crossover appeal, and subsequently mainstream success. When made somewhat of a public spectacle through continuation, the act becomes an almost routine and mutual means of catapulting the potential for success. So what happens when the single most marketable and mainstream prolific figure of a generation, seen in vocalist Drake is paired with the cartoonish quirk of outlandish media sustained icon DJ Khaled? The answer, unfortunately, is a rather foreboding and predictable pair of derivative, half baked cuts that spiral into the preeminent pantheon of success based on name recognition and blunt star power. What would perhaps be unfamiliar origins for the emerging stars of today, comes as second nature to the aforementioned moguls. No strangers to the reconstruction and progression of careers based upon a loathsome appreciation for brand recognition, Drake and Khaled actively pursue their next monumental endeavour on latest tracks ‘POPSTAR’ and ‘GREECE’.

Of the two, the more refined and akin to the ever prevalent limitations of Drake is the braggadocious, lavish anthem ‘POPSTAR’. The high-flying recount of Drake’s materialistic lust and luxurious living habits are all too familiar within the canonical repertoire of the singer's back catalog. Boasting a far more tasteful and tame existence in regards to lyrical substance and presentation than previous ventures of flaunting tyrannical success and positional power, the track gains momentum from pre-established cuts, putting Drake into a methodical place of comfort. The emphasis on recycled and overly saturated material effectively enables the grueling process that allows Drake to nestle into his now droning and unambitious performance arc. This sentiment becomes an abhorrent realisation on the chorus of the track, as Drake adopts a painstakingly squeaky, yet comatose blemished trance. The lulled, monotone performance feels dated and stands tall among a thriving abyss of equally deprived and lackluster approaches from the monolith. Things take a change for the best throughout the verses, as Drake snaps into a measured, yet vivacious energy that seemingly dispels a long-running string of prolonged hibernation. Accompanied by glaring, eerie synths, when placed into an impassioned momentum the track adopts intermittent moments of moody, impending threat, a style long forgotten by recent accounts of greed and ambition from the s

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📅︎ Jul 18 2020
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I wrote a lore guide in the form of a book that one could find in the world. Thoughts and suggestions? Does anything seem too cliche or contrived?

Deiana: A History and Description

As Understood In the Year

198 A.A.M.

Vol. 1

By: Dormun, Scholar of the Three Continents, Keeper of the Thirteen,

Last of the Mechanists

Foreword

I am a scholar. As such, I strive for truth unbiased and untainted by widely believed falsehoods. That said, it would be dishonest of me not to mention a few things about myself before continuing, as I am a fallible being.

Though I am a dwarf, I studied under Headmaster Arys, an elf of the Valen Academy of Historical Arts, where divination is a common tool for learning about the past and future. As I had, at the time, little aptitude for magic, I found their extensive library of firsthand documents more useful.

After Master Arys died (he was well over two thousand years old when I met him) I traveled to Armon to study under a human professor named Geralt the Mechanist at the Atmosian Institute of History and Wayworkings. This in 75 A.A.M., well before the Armonian Wars began. Under him I learned the now lost art of Mechanism, as well as the history of humans in Deiana and the way their society functions. Being that he was a human and that humans are quite short-lived, it was not twenty years after I began to study under his tutelage that he was laid to rest, and I fear many long-kept secrets were laid to rest with him.

Ever thirsty to learn more, though, I began to study under Killian Olmerson, a halfling history and religion teacher at the same institute. It was under him that I learned the Halfling way of life and delved into the realm of the Thirteen. I studied with Olmerson for many years, and we became colleagues and friends. But alas, halflings, too, live short lives compared to dwarves, and he died fifty years after our meeting.

I pursued knowledge on my own after Killian’s death. I studied religion and magic at several temples and with many cults over the course of the next one hundred twenty-three years. I became knowledgeable on the subject of the divine and grew close to many deities during the time of my studies. Now I am old, and I have few opportunities to learn more. My bones, once like iron, are brittle. My beard, once like fire, has now the color of ash. In my old age, I have elected to share what I have learned in my studies.

Now I come to the purpose of this foreword. I have laid out my qualifications, and so now I must lay out my flaws. I have studied with the elves, humans and halflings, but I loathe the brutish nature of my race. I have spen

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📅︎ Nov 13 2019
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Thoughts on Revoice

(Thank you guys for being so patient. I've been trying to really put my best into this little write up, but I admit not only is it a bit late, but a bit long winded too.)

My personal “verse” that would describe how I felt about the conference would probably be 1 Peter 1.22

>You were cleansed from your sins when you obeyed the truth, so now you must show sincere love to each other as brothers and sisters. Love each other deeply with all your heart.

TLDR; Revoice was a great time of Jesus centered worship, robust Gospel fellowship and socializing. The poignant thoughtfulness, candor and honesty, as well as their love for the Lord and His Word, of the speakers during the day and in the main sessions were clearly apparent. If you didn't already approach the conference with the idea that it was rotten and liberal to the core, it was natural to come away with a sense the the Spirit was presence and that God was at work.

---

Hello, I’m Jude (not my real name). I typically try to lurk, but (even as an introvert) I have a weakness for good conversation, teaching others and helping others learn - so I don’t actually lurk much here. I’ve been a Christian since I was six, though only really started to look into and grow in my faith around the time I entered my teenage years. I also really hate conflict, have crippling self-esteem issues and have some deep seated problems with trusting in and appropriating for myself, God’s goodness and his love for me. (These mostly stem from a pretty dysfunctional childhood that I’m still trying to learn from).

It’s always important to be sure that communication goes smoothly and that everyone is on the “same page” so to speak. Something I’m always saying is that it’s crucially important to define your terms. I tend to use the terms “gay”, “homosexual” and “ssa” (and related) all somewhat interchangeably. One of the underlying ideology of the Revoice conference (and Side B itself) is that it’s unwise and not useful to reduce people’s experience to merely sin (sexual or otherwise), especially something as nuances and as multifaceted as human relationships, interactions and community. So please don’t tune out when I talk about “gay this” or “gay that” - I’m not referring to people going out and committing sodomy or actively pursuing similar lusts in their hearts. All it means is a collection of experiences wherein one is attracted (emotionally, spiritually, physically and yes even sexually) to members of the same gende

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📅︎ Aug 02 2018
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Lamentations - introductions

LAMENTATIONS
&nbsp;

Introductions
&nbsp;

Theophile J. Meek, The Interpreters’ Bible, volume VI
&nbsp;

>Since the Old Testament is an anthology of the literature of the ancient Hebrews, it contains many different types. Among these is the elegy, well represented by the book of Lamentations, whose five chapters are five separate poems, each complete in itself.
&nbsp;

>I. Title
&nbsp;

>The book … was known by its first word, ’êkhāh, which is an exclamatory particle, meaning “How!” By the rabbis, however, it came to be called Qînôth, “Dirges” or “Lamentations…
&nbsp;

>The dirge seems to have originated as a funeral spell to keep the dead in their place and protect the living from them, and its composition was in the hands of women professionals (cf. [compare with] Jer. [Jeremiah] 9:17-22). In course of time, however, it came to be a genuine expression of grief over the loss of a loved one (cf. II Sam. [Samuel] 1:17-27). In Lamentations (cf. Amos 5:12; Ezek. [Ezekiel] 26:17-18) it is a poem commemorating the destruction of Jerusalem by the Babylonians in 586 B.C. and is similar to the laments which the Sumerians composed over the fall of some of their great cities, particularly Ur. However, only chs. [chapters] 1-2; 4 are dirges in the strict sense of the word; ch. [chapter] 3 is a personal lament, ending in a prayer, and ch. 5 is a prayer.
&nbsp;

>II. Place in the Canon
&nbsp;

>In the Hebrew Bible the book is in the third division, the Writings, as the third of the five Megilloth or Rolls, the others being the Song of Songs, Ruth, Ecclesiastes, and Esther. In the Septuagint [the ancient Greek translation of the Hebrew Bible] it came to be placed in the second division, after Jeremiah… Like the other Megilloth, Lamentations is used liturgically, being read in the synagogue on the ninth of Ab, the fast day observed in commemoration of the destruction of Jerusalem. Its canonicity seems never to have been questioned.
&nbsp;

>III. Literary Form
&nbsp;

>Chs. 1-4 are alphabetic acrostics of twenty-two stanzas, one for each letter of the Hebrew alphabet in their usual order in ch. 1, but with ע [`] and פ [P] transposed in chs. 2-4. In chs. 1- 3 the stanzas contain three lines each, with the exception of 1:7 and 2:19, which have four lines. Ch. 4 consists of two-line stanzas exclusively. In ch. 3 all three lines of e

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📅︎ Oct 10 2019
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[meta] What *isn't* frisson? There seems to be some confusion, as if frisson is simply any powerful emotion -- especially sadness -- evoked by content.

[EDIT: Since people are skipping the "wall of text" -- it is long -- here's a sub for those who enjoy the poignantly sad posts: http://www.reddit.com/r/baww . I enjoy them too. There's literally a subreddit for it. And it's from the sidebar.]

Most of us subscribers love frisson. However, some of us don't quite understand what "frisson" is.

For the most part, much like the Supreme Court's "test" on what constitutes "obscenity" in terms of protected free speech, frisson is tested on an "I know it when I see it" basis. As in, I know what frisson-inducing content is when I see it.

Alternatively, I know what isn't frisson-inducing content when I see it.

However, that shouldn't stop us from whittling down what it means. In fact, it just might be easier to define what frisson isn't.

Here's the impetus behind my post: in the past few weeks -- and maybe it has something to do with the holidays -- there has been a rise in the influx of submissions that aren't really frisson-inducing -- especially sappy, sad, powerfully emotional content.

Absolutely, whether someone feels frisson from a piece of content is subjective; however, there are at least some parameters on what frisson-inducing content should and shouldn't be. Like I said, it may be easier to just say what type of content isn't frisson-inducing.

First of all, just because frisson, itself, is subjective as to whether someone feels it from a piece of content doesn't mean that overall, categorizing content as "frisson-inducing" is entirely subjective.

For example: there's a difference between action movies and romantic movies in terms of categorization -- they're totally different from each other. It would be subjective to say whether a certain action movie is good or bad, or a whether a certain romantic comedy is good or bad. But you can definitely categorize them objectively, as in Die Hard is NOT a romantic comedy, and Love Actually is NOT an action film. Yes, both categories can be subjectively rated -- some may find Die Hard insufferable, others may find Love Actually amazing or terrible -- but the films are separate in categorization.

Same goes with frisson content. For example, a sappy, sad, sob-story video of a child slowly withering away from cancer evokes a strong emotional response -- there's no denying that. And maybe there's a 0.1% of the population that doesn't feel anyth

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The Republic: Desire and moderation

[Continuing from The Republic: The poets need to be tamed.]

Book 1 ended when Socrates had bested Thrasymachus in argument, and Book 2 started with a more amicable exploration with friends. Book 2 ended with Socrates denying the gods to Adeimantus, and book 3 continues that very same discussion, with that very same person, about that very same subject. It makes you wonder why the book ends where it does.

Looking a little deeper we see that Book 2's discussion of the gods was about the stories the children are told and the ideas they represent. If children are told about passion and intrigue, they will covet such things for themselves. If heroes die just to exact revenge, pettiness will enter their souls. Thus Socrates wants to control what they value, by controlling what they hear. And through his reasoning, he has denied the gods of their romantic stories, for they can represent nothing but truth.

Ultimately, we are not speaking of the children, but of the soul. When speaking of the soul, the gods are archetypes. But archetypes are not valued, they are experienced. We decide something is fair and beautiful, not because of conscious decision, but because we project the archetype onto the situation at hand, and it makes sense or seems right to respond in such a way. But Socrates denies this. The reality of the unconscious will get in his way. Instead, he fools himself into believing the gods are values, that is, their meaning is given as a result of Feeling, and hence in the conscious domain. If Socrates can control that which the children value, he will then, by extension, control everything they strive for, for we only strive for what we value. So, although Book 1 ended with Socrates changing his view on Justice, and thus making progress, he ends book 2 denying the archetypes of the unconscious. He has made progress by accepting the S function, but is resistant to accepting the unconscious itself, by asserting that everything can be consciously controlled if you are aware of outside influences.

This is where book 3 picks up. After the discussion what they value and thus strive for, they will now cover what they fear as well. This too is based on stories of the gods and related beliefs, though about how the gods acted and instead how it relates to you. Specifically, Hades' domain. Bloom comments on the difference:

>Here Socrates’ critique is co

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A Dangerous Teaching

In SGI, there is this concept called substituting faith for wisdom. It's a concept that surfaces quite a bit in the literature.

"President Toda explained this passage from the standpoint of the implicit meaning as follows:

The line 'The wisdom of the Buddhas is infinitely profound and immeasurable' means that the wisdom of Nam-myoho-renge-kyo is infinitely profound and immeasurable, The passage 'The door to this wisdom is difficult to understand and difficult to enter' refers to the 'door of faith' in the Gohonzon. By substituting faith for wisdom, we can enter the 'door to this wisdom.' This door is 'difficult to understand and difficult to enter." - The Heart of the Lotus Sutra page 32

"Firm faith in the Gohonzon leads to the highest wisdom. This is the principle of substituting faith for wisdom." Ibid. 55

"Moreover, Nichiren Buddhism teaches the principle of substituting faith for wisdom. Correct faith itself becomes wisdom. Through believing in the Gohonzon, we in the Latter Day of the Law can gain the same benefit as we would by carrying out all of the six paramitas, including the paramita of obtaining wisdom. In conclusion, those who believe in the Gohonzon and advance toward kosen-rufu together with the SGI can gain benefit of the six paramitas. Those who persevere in carrying out activities for kosen-rufus lead lives of the highest wisdom. The examples of your many seniors in faith attest to this. When we look back on our lives later on, we can see this clearly." Ibid. 78

(If you are a hoarder who defected after 1996, you can find these between the May 19, 1995 World Tribune and the April 5, 1996 World Tribune).

"By 'substituting faith for wisdom' - bringing forth Buddha wisdom through faith in the correct teaching - we, as ordinary people, can triumph over fundamental darkness just as we are. The power with which we can subdue fundamental darkness is solely the power of faith,our minds and the inherent enlightened wisdom our own lives." Learning from the Writings: The Hope-Filled Teachings of Nichiren Daishonin

(Now factor the above quote with this one from the February 1, 2019 World Tribune, "Rather than announce themselves, devilish functions may appear in obscure and tricky ways, sometimes arising under the guise of common sense and virtuousness, or inconspicuously assailing us in our most vulnerable areas. Fortunately, we have very reliable ways to discern these devilish functions:

  • Develop faith based on a
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📅︎ Nov 21 2019
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Advice from a Y2/Alumnus predicted 43

[Update - I got 42.]

I was planning on waiting until I actually got my results to post this (and subsequently decide not to post it if my results were awful) but I then realised that by then I'd probably have forgotten everything I meant to say, and besides I personally think exams mostly went relatively well and I shouldn't be too far off my prediction, so here's my IB advice specific to each class I took:

English Literature & Performance SL

Paper 1:

Don't bother learning your whole book to a mediocre level, instead learn specific scenes to an excellent level. I went into the exam with 4 scenes in mind which could fit a multitude of prompts and with detailed ideas for how to stage each of them. (For reference, our school did Ian McEwan's Atonement and the scenes I had in mind were the fountain scene, Robbie's dream of Cecilia, the first time Robbie sees the leg in the tree, and the very end of Part 2.) Remember that not every school does the same novel so the IB will make the prompts very vague and open-ended - just look at past papers if you need evidence of that - and because of that you can use one scene for tonnes and tonnes of different questions. You should still slightly adapt what you write to bring a focus onto whatever the question specifically wants, but 95% of your answer can and should be one of your "stock" answers that you prepare in detail beforehand. To quote Ron Swanson, "don't half-ass two things, whole-ass one thing". As for what to actually prepare in these stock answers, moderately abstract interpretations are your friends. If you can have a dancer represent something or someone (such as the leg in the tree, for those of you who know Atonement), or include a thought tunnel, or present a scene from multiple perspectives using a rotating stage (like the fountain scene, to show the three characters' different interpretations), or have two actors represent the same character with one narrating thoughts and one acting, et cetera et cetera et cetera, go for it. Don't go overboard, but better to go overboard than underboard. Also, don't forget to mention every detail. What type of stage are you using? What music, if any? Lighting? Finally, make sure to begin your answer with an introduction which explains the purpose of this scene in the novel as well as any important literary features used, and feel more than free to quote the text throughout your answer.

Paper 2:

Similarly, don't learn the entire poems either

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📅︎ May 27 2017
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Decoding the meaning of the track titles for the "Attack on Titan" Original Soundtrack

For anyone familiar with Attack on Titan's soundtrack, they would all know that most of the music made for Attack on Titan have "gibberish" titles, to quote someone else.

What many people don't know, however, is that all of these "gibberish" titles, properly decode into something that gives a proper meaning to a song title. Or well, in some cases there's no real meaning at all.

Meet Hiroyuki Sawano, the composer behind Attack on Titan's music. He has stated in many interviews that he doesn't enjoy giving his music regular titles too often. His reasoning for this? Because it would find it boring, or uninteresting. I can't find the exact quote currently, so don't assume this is the exact words that Sawano himself said.

If you follow Hiroyuki Sawano's works, you'll notice that most of his soundtracks that were released post-2010, or more specifically post-Gundam Unicorn, have these kinds of titles. The people in the Hiroyuki Sawano Discord Fan Server and I often refer to these "gibberish" titles as being "Sawanised". I may use this term in this post.

Anyway, I'm here to break down the meaning every track title from each Attack on Titan soundtrack that has been released.

I'm sure not all of these will be "correct", and I will try to mark any spoilers where necessary. If I've made any mistakes, let me know.

Without further ado, I'll start from the beginning.

#"Attack on Titan" Original Soundtrack

The very first OST release for Attack on Titan. Fairly tame, by Sawano standards anyway. There are some curveballs, however.

>1, ətˈæk 0N tάɪtn

Means "Attack on Titan". Most people should be able to figure this out, but as far as I'm aware, it doesn't spell out any kind of pronunciation of the words, rather it is more just using characters from a different language to make it look like the words "Attack on Titan".

This track has vocals by Mika Kobayashi, with lyrics by Rie.

EDIT 4: Credit to /u/o-temoto for this passage:

"This one's actually just an attempt at phoneticization using something mostly resembling IPA, which would normally be: əˈtæk ɒn ˈtaɪtən"

"They messed up the stress marks, made a stylistic substitution for "on", and omitted the schwa in "titan", but it's basically ordinary IPA."

>2, The Reluctant Heroes

Vocal tracks like these typically have "normal" track titles, although for Attack on Titan specifically, there are a few (like ətˈæk 0N tάɪtn) that aren't "normal".

>3, eye-water

My personal favourite track of the album

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Bad Poetry: #2 "How Not to Flow"

#Bad Poetry

Episode 1-2: “How Not to Flow”

Hello again OCPoets!  It's your friendly, neighborhood mod, u/actualnameisLana here, once again hosting a new weekly webseries: Bad Poetry.  This series will take a close look at some of the worst, most obvious, and most common mistakes that authors make in writing a poem.  I think we can learn a lot from what makes bad poetry so soul-crushingly bad.

It's been observed that there is a dearth of critique in modern poetry, followed by low-quality writing across much of the field.  I quite agree.  Most modern poetry is technically flawed, and artistically flaccid.  Many people have abandoned poetry, saying they don't know what's good and what isn't. Usually they do know -- but they've been shown wretched poetry and told it was great, so they've lost faith in their own judgment.  First, if you think a poem is horrid, it probably is. But with practice you can learn to elucidate why it is horrid.  And then you can avoid making those same mistakes in your own writing.

Each week I’ll be selecting one common flaw, and opening a discussion about it, so we can talk about why it happens, how it happens, and most importantly how to avoid it happening in our own poetry.  These episodes are not intended to be an exhaustive treatment of the flaw, merely a place to start discussion about it among the community.  Don't just take my word for it.  Ask questions of your peers about what works and doesn't work.  All ideas and opinions on the subject are welcome, even ones which disagree with my analysis of the flaw.

With that in mind, let's look at...


#I.  How to Flow

We all have our pet peeves. One of mine is the word flow. In my three decades as a poet, posting my work to forums and message boards, I’ve read it literally thousands of times. It’s a rare situation in which I don’t see “It flows” or “It doesn’t flow” offered as an explanation of what’s good or bad about a poem being discussed. What bothers me about the word—beyond the fact that I hear it so often—is that folks generally don’t seem to understand what they mean by it. They intuitively recognize flowing text when they read it, but they’re not sure what actually constitutes it. If I ask them what makes a particular stanza or poem “flow,” they’ll answer with semi-synonyms that are equally vague: “It’s the rhythm,” they’ll say, or “the pace,” “the style.” They can’t really define it.

I’m afraid I can’t either, at least not

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Art Is Everything & Nothing

I've decided to make this a work in progress as there is nowhere else to put it.

The Art of Everything & Nothing

We as people don't know what we're doing, why we're doing it, and have little clue on what to go on. This drives us crazy trying to find it. Ironically, there’s an art to driving yourself crazy. There’s an art to becoming uncrazy too. Sometimes we think we have the answer. Usually, that answer is wrong. So we need a way to find answers.

There is an art to definition, and an art to creating systems. The art of creating systems we call engineering. We have engineered a system to find answers, and call this reasoning. However, Kurt Godel has proven that any system can not prove itself using its own rules. Reasoning, as a system, can not be proven to be correct unless it is contextually in another system. So, we are always left with further questions. Or, infinite questions. If one were to abstract incompleteness theorem to reality, then it has proved infinite systems, each contextually building upon the other. In other words, according to his Incompleteness Theorem in Mathematics:

...{system{system{system{system...

Math provides definition, but is ill-defined. Proof is required for Mathematical theorems to be accepted, but is not itself provable. There are some generally acceptable ideas of what Math is, such as applied logic, applied reasoning or simply the conceptual language of the universe. As Math has not an agreed upon definition, these explanations are subjectively decent.

Moving outwards from Math and back towards reasoning. Reasoning involves asking questions. Questions fall into certain categories. Who, what, why, how, where and when are the types of questions we can ask. Answering these questions involves the use of philosophy and definitions. A philosophy is an answer with reason or reasons.

Who is art? Everyone. We are all art, nature’s art, and artists. No matter what you may believe about yourself, you make art. This is evidenced by what art is.

Art is everything. There is an art to everything in existence, imagination, and experiences people have yet to formulate, come across, or may never come across. However, paradoxically, art is also nothing. This is the case because there is an art to paradoxes (this will become more apparent when I explain why art).

There are man-made and nature-made arts, we call these artificial and natural, respectively. There is an argument to be made that everything is natural, as people are

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A Concise Etymology of Daedric Nomenclature - Real-World roots of the names of Daedric Princes (WIP)

A Short Introduction

>"What's in a name? That which we call a rose
By any other name would smell as sweet."
>
>--William Shakespeare, Romeo and Juliet (II, ii, 1-2)

Many have criticized the endeavor to analyse video games as pieces of art. The late Roger Ebert opined that "the nature of the medium prevents it from moving beyond craftsmanship to the stature of art". As I'm sure many reading this would agree; such an opinion is purely subjective and based on a long held stigma against video games. Make no mistake, video games are works of art in their own right, and they deserve to be analysed (and cherished) with the same passion and respect as literature, film, music and any other artistic medium.

And so that's exactly what I'd like to do.

This piece, which I hope will continue to expand, is an attempt to look at the creative influences that inspired some of the quintessential elements of the Elder Scrolls. The mysterious Daedric Princes have long been a source of fascination to many, and, for the most part, their creative origins suggest an intentional use of subtle references which elevate and enliven The Elder Scrolls. Such references enrich typically banal storytelling elements and allow for creators to subtly incorporate preconceived concepts and symbology whilst avoiding hitting their audiences over the head with heavy handed allusions. Where gaps in substantial etymological sources exist, only creative license on the part of the creators may be a sufficient explanation. In this writer’s opinion that is more than acceptable, it is heartily welcomed, as such license is the essence of creativity itself.

Much work on the etymologies of Daedra has already been done. Here, I would like to collate and clarify some of that work whilst adding my own research and opinions to the mix. Please feel free to comment, correct, and add.

Azura

Azura’s name is probably derivative of the Sanskrit “asura”, a group of power-seeking deities in Hinduism and Buddhism. Such an analogy problematizes Azura’s identity as asuras are, at least in Hinduism, considered to be malevolent, whereas Azura is referred to as one of the few “good Daedra”. This may, however, be an intentional complication on the part of Bethesda in order to highlight intrigue surrounding the ethical uncertainty inherent in all Daedra.

The name is also a reference to the color “azure”, that of the cloudless sky, a color that is regularly associated with Azura. Poetically

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📅︎ Sep 04 2018
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To "troll a tune," what does it mean?

Hi guys. I'm working on Japanese translating project, and I ran into this crazy Japanese word 輪唱、which I discovered to mean "chant in a chorus," "a musical round," and weirdly "trolling."

I searched synonyms of trolling, and there were a few hits. So 輪唱 shows up around the "fishing," section, as in trolling for fish. And then it pops up again with the English phrase "to troll a tune."

I searched that exact phrase and found mostly Japanese cd titles, but also a line from a translated passage of Agamemnon, which says "think I perchance to sing or troll a tune."

What does this mean? Any help would be loved!

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📅︎ Jul 07 2017
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The Awoken - Part Five

Uldren and the Black Garden

Uldren had continued scouting the Solar System with Jolyon, who was already famous among Crows, snipers, and scouts. They had already been on many big missions together, and were ready for the biggest - the Black Garden. Mara had forbidden entry, but Uldren couldn't stand the thought of some Guardian being the first inside. Next thing you know, Mara would be inviting them in to do Crow work.

Their departure was meant to be secret. But when they set out for their ship, they found the promenades and galleries aswarm with cheering throngs of Uldren's fans and followers. He waved, turning, grinning, in a better mood than he would maybe ever be again. And if one dark mote burned within him, it was the fear and certainty that these people love him only because he was closest to their Queen. Did they ever ask themselves why he was constantly breaking her rules? Why he always ventures so far from her?

Uldren had always sought his sister's approval. He knew and accepted that. But he wanted her approval for something she did not anticipate. Something that she did not plan or foresee, and did not account for: he wanted to surprise her. He wished to test the length of the chain. Either he would be truly free of his sister or the chain was longer than he had managed to run.

Uldren hated the Traveler. He believed the Guardians had "colouring book morality" - Light is good, Dark is bad. They moved through the world without caring about how it worked. So he had done everything to Guardians he could think of - shot them up, shot them down, sent them on doomed quests, dunked their Ghosts in intolerably stinky selenophenol, drilled holes to bury their obnoxious patrol beacons inside solid rock, tricked them into disassembling mighty weapons. But every time he got into a gunfight, he wondered what it must be like to do it without any sheer raving terror. What would it be like if he were a Guardian?

When the two of them arrived at the Black Garden gate - everyone knew where it was, it was just getting inside that was the trick - Uldren and Jolyon needed a plan. They couldn't possibly take down a

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Words of Power explained: Breath of elements (Fire Breath included)

This post is special because I will expose my thoughts about the most popular shouts of Skyrim, and the most basic ones which do elemental (frost, fire) damage and one of them freezes the opponent. However, we lack a Shock Breath one but sooner or later a dovah or mortal will find the proper words to make it happen.

Fire Breath

Inhale air, exhale flame, and behold the Thu'um as inferno.

  • Locations: The Throat of the World, Sunderstone Gorge, Dustman's Cairn.

Yol (Fire)

QETHSEGOL VahRUKIV KiiR JUN JAFNHAR WO LOS AG NahLaaS NaaL YOL DO LOT DOVah LODUNOST (This) stone commemorates (the) child king Jafnhar who was burned alive by (the) fire of (the) great dragon Lodunost.
  • Meditation: "In your tongue, the Word simply means 'Fire.' It is change given form. Power at its most primal. That is the true meaning of 'Yol.' Suleyk. Power. You have it, as do all dov. But power is inert without action and choice. Think of this as the fire builds in your su'um, in your breath. Su'um ahrk morah. What will you burn? What will you spare?" Power: The Fire Within. +25% increased fire damage.
  • My interpretation: Jafnhar the Young was a king murdered by the dragon Lodunost in ME 61 at the summit of the Throat of the World by a fire attack^(1). The voice produces a flame which burns in the lungs of the master and blows against the opponent, in the same fashion Lodunost burned Jafnhar. The energy of the word becomes offensive, provokes damage to the skin. The flames produced by Yol are ephimeral in mortals due to the small amount of air the lungs can contain; the dov haven't that limitation, making the breath a deadly fire canion.

Toor (Inferno)

AESA WahLaaN QETHSEGOL BRiiNahii VahRUKT THOHILD FIN TooR WEN SMOLiiN AG FRIN OL SahQO HeiM Aesa raised (this) stone for (her) sister, Thohild the Inferno, whose passion burned hot as (the) Red Forge.
  • My interpretation: Sunderstone Gorge is a very interesting ruin, hidden deep within a cave complex and without a confirmed background or purpose, its reason to exist is unknown as Thohild the Inferno. Her moniker refers to the passion she had inside, on her soul. This passion burns so bigly as the energy delivered by the word, the hell is so hot as the flames provoked by the Thu’um; it raises twice of the temperature of any average fire, causing twice as damage to anybody who stands in its path. The word amplifies the flame and burns the breath of the tongue with the same strength of the pas
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📅︎ Jan 15 2019
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A (very long) list of Tagalog words with repeating syllables

A few years ago I put this list down on paper just for fun because I was amused at how many words with repeating syllables Tagalog has. I just remembered that exercise a few days ago after seeing this post and after some procrastination I finally got to type it down! Of course not every single word here is essential in everyday life, and there's a lot of extra inessential info so it might not be the best resource for beginners, but I do hope someone somewhere out there will find this fun exercise helpful somehow

A few notes:

  • These are arranged based on the structure of the repeating syllable. C = consonant, V = vowel
  • The /ng/ sound is considered as one consonant
  • The vowels i/e and u/o are mostly considered the same except in some cases
  • The noun/adj/verb designations are pretty arbitrary in many cases. Just assume that almost everything is a root word with no category
  • Words that are archaic or only used in a special context will be indicated as such
  • My own personal comments will be in {}
  • Stress and final glottal stops are indicated by diacritics here because this is meant as a reference but in actual usage they are all just spelled as plain letters
  • I will not include words whose repeating elements are standalone words on their own and with meanings derived from that repeating element, because then this list will never end. For example, sama-sama ("together," from sama "to join") will not be included, but halo-halo (a kind of dessert) will be included despite it being derived from the standalone word halo, because the repetition gives it an all-new meaning

And most importantly, this is mostly based on my own experience of Tagalog, not an official dictionary. Practically all the definitions given here are mine and I haven't double checked and validated all of them (yet). I spent the formative years of my childhood in a house in Cavite where half the people speak Cebuano, so there might be some discrepancies here with Standard/Manila Tagalog. If I got a word wrong or if anyone has any additional words to add, please leave a comment! If anyone needs an example of usage or any further clarifications, please leave a comment!

And without further ado...


The List

◆ V Repetition

áà (noun/adj, baby talk) dirt, dirty;
óo (particle) yes, affirmative;
úù (noun/verb) poop, to poop [softer version of táe, often used w

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📅︎ Jul 01 2018
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Fleshing Out Curse of Strahd: Tser Pool, the Vistani, and the Ultimate Tarroka Reading

After leaving the Village of Barovia, your players should come across the encampment at Tser Pool. For goodness sake, please don't skip this. The Vistani are amazing and the fortune telling session is always fun for PCs. Skipping Tser Pool is like completely ignoring a cornerstone of the campaign.

**** Master Table of Contents **** - Click here for links to every post in the series

Prepping the Adventure

Death House

The Village of Barovia

Tser Pool, Vistani, and Tarroka

Old Bonegrinder

Vallaki

The Fanes of Barovia

The Winery

Yester Hill

Van Richten's Tower (and Ezmerelda)

Kresk

The Abbey of St. Markovia

Argynvostholt

Berez

Running Werewolves and Lycanthropes

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📅︎ Jul 13 2018
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(Spoilers Extended) Littlefinger's Third Knight: Ser Byron and the Long-Lost Tyrek Lannister

#Littlefinger's Third Knight, Ser Byron, is… Tyrek Lannister? Littlefinger (believes he) has three hedge knights working for him: Sers Byron, Shadrich and Morgarth. I've long believed Ser Byron is the missing Tyrek Lannister, but never looked deeply in to it. Now I have, and given how little we know about either of them, there's a rather shocking amount of evidence that Tyrek Lannister is currently in Vale in the guise of Ser Byron the Beautiful.

  • Does that mean I believe Tyrek and Byron are one and the same?

This post will examine that hypothesis and see how it holds up.

&nbsp;

#T-Y-R-E-K and B-Y-R-O-N First, a neat little hook, reminiscent of Alleras/Sarella.

Tyrek and Byron's names follow the same formula:

T Y R E K
B Y R O N

&nbsp;

"Y-R" repeats and the consonant/vowel structure is the same.

Fun! But hardly definitive.

&nbsp;

#It's Ser Byron The Beautiful! Here's everything we're told about Byron, all of which comes through the eyes of Sansa with the exception of his Appendix entry:

> —SER BYRON THE BEAUTIFUL, SER MORGARTH THE MERRY, hedge knights in Lord Petyr's service (DWD Appendix)

&nbsp; >"Dutiful and beautiful," said an elegant young knight whose thick blond mane cascaded down well past his shoulders. (FFC Ala II)

&nbsp; >"Knights they are," said Petyr. "Their gallantry has yet to be demonstrated, but we may hope. Allow me to present Ser Byron, Ser Morgarth, and Ser Shadrich. Sers, the Lady Alayne, my natural and very clever daughter . . . with whom I must needs confer, if you will be so good as to excuse us."

>The three knights bowed and withdrew, though the tall one with the blond hair kissed her hand before taking his leave. (FFC Ala II)

&nbsp;

Sounds pretty Lannister, huh? And the kiss recall's Joffrey's here: >Instead Joffrey smiled and kissed [Sansa's] hand, handsome and gallant as any prince in the songs… (GOT S II)

&nbsp;

There's another hint that Byron's interested in Sansa: >Just as Petyr had promised, the young knights flocked around her, vying for her favor. After Ben came Andrew Tollett, handsome Ser Byron… (WOW Ala I)

&nbsp;

Let's turn now to the likewise "handsome" Tyrek Lannister.

&nbsp;

#Meet Tyrek Lannister! ##Tyrek's First Appearance: Lancel's Textual Twin The first time we "see" Tyrek is in AGOT Eddard VII. We aren't even told his name. >They found Robert drinking beer from a polished horn and

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📰︎ r/asoiaf
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👤︎ u/M_Tootles
📅︎ Apr 05 2017
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The myth of the Soviet-German "parade" in Brest-Litovsk in 1939.

Originally, the idea for this text was sparked by the discussion under a recent post in this sub, where the "joint Soviet-German parade in Brest" was mentioned and since it's not the first time this topic is brought up, I decided to talk a bit more about it. The parade is mentioned in books: The War of the World, Niall Ferguson, Red Blitzkrieg. September 1939: Soviet armored troops in Poland. Even Wikipedia has a seemingly well-sourced article on it, referencing memoirs and even archival documents, that all seem to indicate that there indeed was a parade. Let me try to explain why this was not exactly a parade. Just as a side note, my English isn't ideal (especially I lack the knowledge of specific military terms), so if anyone finds mistakes - feel free to correct me.

On September 14, the city, and on September 17, the Brest fortress was occupied by the 19th motorized corps of the Wehrmacht under the command of General Guderian. On September 20, units of the 29th tank brigade led by Kombrig Krivoshein approached Brest and negotiations began on the transfer of Brest and the Brest Fortress. Negotiations continued the next day, and already at 10 am on September 22, the German military flag, fluttering over the fortress for exactly five days, was lowered to the sounds of the German orchestra, and the units of the 76th Wehrmacht infantry regiment left the Brest Fortress. On the afternoon of September 22, the Germans also left Brest in the same organized way without any incidents, giving the city away to the Soviet troops. Guderian wanted to conduct a full-fledged joint parade, but then agreed to the procedure proposed by the commander of the 29th tank brigade S.M. Krivoshein: “At 16 o'clock, parts of your corps in a marching column, with standards in front, leave the city, my units, also in a marching column, enter the city, stop on the streets where the German regiments pass, and salute the passing troops with their banners. Orchestras perform military marches ”[1]

The order for the 20th German division on September 21, says: “1. On the occasion of the obtainment of Brest-Litovsk by Soviet troops on 9/22/1939, in the afternoon, between 15.00 and 16.00, the march will take place at the headquarters of the 19th army corps in front of the commander of the 19th Army Corps Guderian and the commander of the Soviet troops ... German and Soviet divisions will participate in the march "

As you can see, the

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📰︎ r/badhistory
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📅︎ Nov 20 2018
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From SGI to Back Where I Started

Background: Prior to SGI, I had been exposed to the Nation Of Islam (NOI) for years. So I initially used it as a comparison to SGI.

I first heard of SGI in during the 2013 October Pride. By this time I had been chanting on my own for some months. I picked up that booklet The Winning Life. I read the book front and back, but it didn't motivate me to join. I reached out to Nichiren Buddhist communities on Facebook and that's how I ended up in contact with a SGI member. I went to my first introduction to Buddhism meeting with a MD in January 2014. On the way, I was put off by him saying that everyone was chanting to become happy. After the opening chanting, I told the man I had to study Biology. I did, but I also wanted to get out of there. The MD gave me a World Tribune to read. I never read it. It reminded me too much of the NOI's Final Call.

Summer 2014: I researched Soka Gakkai by way of Wikipedia, as I hadn't heard of Reddit yet. So far, what I had read was glowing, but I still wasn't convinced to join.

October 2014: I was broke and lonely. So I reached back out and went to my first Kosen Rufu Gongyo meeting, although back then it was still called World Peace Prayer Meeting. The title of the meeting grabbed my attention. I was taken to the meeting by a YMD. On the way, he mentioned doing Gajokai. The way he described it sounded more like Nation Of Islam's Monday night FOI (Fruit Of Islam) meetings as it pertained to protecting the center. Overall, I liked the meeting. I noticed the extolling of Daisaku Ikeda however, and I decided not to focus so much on him because at the time Ikeda was 86 years old. I figured that he didn't have long to live, and the worst thing to do would be to affix an aging person to my practice. After all, when Elijah Muhammad died, that was a megablow to a lot of his members. Also, October 2014, I went to a study meeting where I bought an intro to Buddhism study book. I read it and ultimately decided that the next book I was going to read and finish would be the Lotus Sutra. I knew I would be telling people about nam myoho renge kyo, but I didn't want to be talking about a book I'd never read. Also, I participated in the Pride shakubuku at the October Pride.

So, in 2015, I bought and read Burton Watson's 1993 translation of The Lotus Sutra.

April 2015: After 18 months of practicing on my own, I received my SGI Gohonzon. However I kept my activity participation frequency low. I bought the

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👤︎ u/Qigong90
📅︎ May 09 2020
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Immortalising The Unsilenced Pain Of A Generation On Juice WRLD's Posthumous Album ‘Legends Never Die’

It goes without saying that the untimely demise of an artist, or anyone for that matter, is often a demanding catalyst to reminisce. This motif becomes increasingly difficult when the point of speculation comes from an individual that made it their prerogative to proclaim a perpetual sense of pain and previously taboo ideologies through a desired means of expression. This sentiment remains an unendurable one when relating it to the tragic passing of Chicago native Juice WRLD. Prolific for using his platform to document the unfortunate deprived and troubled demeanor, the promising up and comers had a sense of relatability that few others ever could attain. This harrowing reality remains truthful throughout his gut-wrenchingly raw posthumous album ‘Legends Never Die’, as even beyond the grave Juice manages to continue his life-dedicated legacy. Only on this occasion, the honour falls to the constituents as audience and industry alike are granted a mournful opportunity to honour the cumbersome conclusion of a cultural spectacle.

What is made immediately prominent are the raw and intimate aspirations of the project, as the body of work seeks to undress the perhaps unresolved regions of existence. ‘Anxiety - Intro’ carries this sentiment to the grave, as the short-lived spoken monologue explores back and forth dialogue pertaining to Juice’s troubles with substance abuse and music as a form of escapism. Paired with sombre and melodramatic synths, the multifaceted dreamlike reality is established as a cinematic opener that refuses to settle. The piece extends beyond the confines of purely musical boundaries as its existence stands as an ode to the inspirational and monumental stance Juice acclaimed within his short-lived time in the limelight.

Avoiding the criminal act that so many posthumous albums blatantly conform to, the project prides itself on following a logical progression of artistic growth and style. In an age where capacity and name appropriation is championed as a means of blatant greed and advertisement monopolisation, ‘Legends Never Die’ prioritises the presence of Juice. The track ‘Conversations’ is an example of this ingrained desire to capture logical extension and artist progression. Built upon a foundation of flamboyant, glitchy synths and the relentless galvanised distortion of a Ronny J crafted bass line the production through and through exists as an matured ode to the late maestro. This sustained honour is further done justice through

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📰︎ r/popheads
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📅︎ Jul 11 2020
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A Case Of Unapologetic And Unadulterated Brashness As The Unsilenceable Duo, Run The Jewels Spring Into Fruition On ‘RTJ4’

The melding of multiple minds has proven to be a testing tribulation in the hip-hop landscape, as album cycles have welcomed a plethora of mix and match combinations of collaborators trying their hand at melding influences and individual artistic visions into something greater, yet to no avail. Yet from this new and improved approach and formula, rises from the ashes one of hip-hops front runners, Run The Jewels. The dynamic duo comprises Atlanta native, Killer Mike, and Brooklyn’s own El-P, both no strangers to wearing the eccentric colours of each distinctive roots on their shoulders. This is no less the case on the newest installment of the long-standing series of self-titled albums, ‘RTJ4’, as the two mix their identities of brilliance and eccentric flavours for yet another haphazard and exhilarating sound. Only on this occasion, the two seem to strike particularly close to home with an overarching and omnipresent tendency to unapologetically criticise corrupt societal standards that continue to plague the modern world.

The introductory track ‘yankee and the brave (ep. 4)’ manages to encapsulate the core workings of the duo into such a minute and microsized framework. Announcing their arrival as the two aforementioned, nondescript figures, the sentiment of the song is largely representative of both Mike’s and El-P’s outer influences and regional iconography. This same focus of capturing their core appeal from the album's opening moments bleeds into every aspect of the song. The bold, warped, invasive synths that are matched with thunderous percussion act as the attention-grabbing flair RTJ have become synonymous with. Morphing the track into a chaotic and decrepit landscape the instrumental brings forth a sense of sustained tension and distress that can only be described as a pure shot of instrumental adrenaline. Mike and El-P trade verses back and forth as the two go toe to toe with equally intimidating, gritty, and authoritative verses. A teaser of the sublime performances welcomed on the album.

Every track thereafter manages to capture the same raw insanity and sheer dystopian flavour that the two seamlessly captivate time and time again. ‘ooh la la’ brings forth the regal additives of classy, yet piercing piano keys, a top scratchy and zany manipulated vocal refrains. The confrontational instrumental is only bolstered by the equally gritty and authoritative presence of El-P and Mike, who, despite working with a similar set of tools from the trac

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📰︎ r/rap
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📅︎ Jun 06 2020
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[TOMT] A word that means "natural or appropriate for a certain thing"

I've used this word many times in the past regarding music and orchestration. For example, one would say that rapid, dense musical passages would be (this word) to or of an organ, while it would not be the case with a tuba.

It's a word that sort of describes the quality of being appropriate or natural for a certain thing.

Or, to give another more vague example, if two things can do the same thing, but it comes more naturally or easily to one of the two things, it would be (this word) to the thing that's more easily able to do it.

It's different than words like "natural" in that the word implies that an action is natural to the actor BECAUSE of the innate characteristics of the actor.

So, in the context of orchestration for example, a good composer would not try and give a big thumpy bass line to a flute, because it wouldn't be (this word) to a flute.

Thanks in advance for any ideas! I'm pouring over thesaurus.com as we speak.

EDIT: The closest word to it would be "natural," as in "it comes naturally to them." However, when plugging "natural" into thesaurus.com, the only definitions it offers (and thus the synonyms it links) aren't exactly what the word means when we say "it comes naturally to them."

EDIT 2: Another "close" word would be intuitive. I don't think this is the word I'm looking for, but in the contexts I've described above, the two words would work similarly.

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👤︎ u/IdiotII
📅︎ Oct 08 2018
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A Dangerous Teaching

In SGI, there is this concept called substituting faith for wisdom. It's a concept that surfaces quite a bit in the literature.

"President Toda explained this passage from the standpoint of the implicit meaning as follows:

The line 'The wisdom of the Buddhas is infinitely profound and immeasurable' means that the wisdom of Nam-myoho-renge-kyo is infinitely profound and immeasurable, The passage 'The door to this wisdom is difficult to understand and difficult to enter' refers to the 'door of faith' in the Gohonzon. By substituting faith for wisdom, we can enter the 'door to this wisdom.' This door is 'difficult to understand and difficult to enter." - The Heart of the Lotus Sutra page 32

"Firm faith in the Gohonzon leads to the highest wisdom. This is the principle of substituting faith for wisdom." Ibid. 55

"Moreover, Nichiren Buddhism teaches the principle of substituting faith for wisdom. Correct faith itself becomes wisdom. Through believing in the Gohonzon, we in the Latter Day of the Law can gain the same benefit as we would by carrying out all of the six paramitas, including the paramita of obtaining wisdom. In conclusion, those who believe in the Gohonzon and advance toward kosen-rufu together with the SGI can gain benefit of the six paramitas. Those who persevere in carrying out activities for kosen-rufus lead lives of the highest wisdom. The examples of your many seniors in faith attest to this. When we look back on our lives later on, we can see this clearly." Ibid. 78

(If you are a hoarder who defected after 1996, you can find these between the May 19, 1995 World Tribune and the April 5, 1996 World Tribune).

"By 'substituting faith for wisdom' - bringing forth Buddha wisdom through faith in the correct teaching - we, as ordinary people, can triumph over fundamental darkness just as we are. The power with which we can subdue fundamental darkness is solely the power of faith,our minds and the inherent enlightened wisdom our own lives." Learning from the Writings: The Hope-Filled Teachings of Nichiren Daishonin

(Now factor the above quote with this one from the February 1, 2019 World Tribune, "Rather than announce themselves, devilish functions may appear in obscure and tricky ways, sometimes arising under the guise of common sense and virtuousness, or inconspicuously assailing us in our most vulnerable areas. Fortunately, we have very reliable ways to discern these devilish functio

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👤︎ u/Qigong90
📅︎ Nov 22 2019
🚨︎ report

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