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alltheweirdkidsinoneplace · 1 year

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Eddie Munson + potential Iron Maiden references

because I'm hyperfixiating and desperate. Also apparently not everyone was raised on 80s metal, so this might be new to some people and gatekeeping is lame. None of this is confirmed obviously and I'm probably reaching but here we go

let's start with the most obvious one: This is Iron Maiden's mascot. His name is Eddie. He's been on every single album cover, most single covers, merch, posters... He looks a little different every time, but he's always undead.

This is the cover artwork for the 1982 album The Number of the Beast. It features A huge version of Eddie, controlling the strings of a red, devil-like creature, which in turn holds the strings of a tiny version of Eddie. The Devil (Vecna, there I said it) is not shown to be aware of Big Eddie controlling him. It's all very double agent, The Spy parallel. Also if you take just the frame of Big Eddie's hand and the devil, it looks A LOT like Eddie Munson's puppetmaster tattoo. With a little fantasy and even more reaching there's also some vaguely mindflayery shape in the background of the image.

(probably irrelevant but still fun fact: This album was released on March 22nd 1982 - EXACTLY four years before Eddie Munson became the main suspect in Chrissy's death)

This one speaks for itself. We've all seen the Eddie prequel book that's gonna come out later this year with literally the same title as this 1983 song.

Interestingly, Eddie has batwings here, aka KAS THEORY CONFIRMED?

This one, holy shit. This is the artwork for the 1986 (!) album Somewhere in Time, and if the year and title weren't enough, there is so much more.

1. Again starting with the most obvious: There is a graffito on the wall to the very right that literally says EDDIE LIVES.

2. Under the graffito we see a hand reaching up from the ground (grave?). The version of Eddie that we get here is a cyborg, and the hand on the ground looks very cyborg-esque as well. The band members are seen a little towards the left as normal humans, so it's not like everyone's just a cyborg in this world. Ergo the hand belongs to a second Eddie, which is very in line with the whole "there is another timeline with shadow selves"-theory.

3. The red clouds in the background are very vecna-y.

4. The little winged figure from the Flight of Icarus cover is seen left of the big tower in the middle.

5. The neon sign of the movie theatre to the very bottom left contains the words "Live After Death" (illegible here, but it's there!)

6. The lyrics on this album! In particular Wasted Years, featuring the lines "But now it seems I'm just a stranger to myself

And all the things I sometimes do, it isn't me but someone else"

- again, very much in line with shadow selves. And even more Stranger in a Strange Land:

"Was many years ago that I left home and came this way

I was a young man full of hopes and dreams

But now it seems to me that all is lost and nothing gained

Sometimes things ain't what they seem

No brave new world, no brave new world

Night and day I scan horizon, sea and sky

My spirit wanders endlessly

Until the day will dawn and friends from home discover why

Hear me calling, rescue me

Set me free, set me free

Lost in this place and leave no trace

Stranger in a strange land

Land of ice and snow

Trapped inside this prison

Lost and far from home

[...]

They found his body lying where it fell on that day

Preserved in time for all to see

No brave new world, no brave new world

Lost in this place, and leave no trace

What became of the man that started

All are gone and their souls departed

Left me here in this place so all alone"

Does that sound like someone left for dead in the Upside Down or is that just me?

7. idk a fuckload more in the cover probablay because it's wild.

Bonus Metallica fact: Master of Puppets was released on March 3rd 1986. Eeven if he bought the album the day it was released (he would) that would have given him under three weeks to rehearse it so much that he could give the most metal concert ever on March 27th.

Anyway that's just from the top of my head; I might add on to it if/when I think of more. PLEASE spam me with your theories I beg you.

Side note: Contrary to popular belief, if you got into metal because of Eddie: That's awesome! Welcome! Again, gatekeeping sucks; we've all had our minds blown by a Metallica song for the first time at some point, so let's be nice to the newcomers.

#don't you love it when several special interests merge like *autism intensifies*#stranger things #eddie munson #kas theory #shadow selves #iron maiden #flight of icarus #the number of the beast #somewhere in time #metallica #master of puppets #stranger things theories

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a-punchline-on-duct-tape · 1 month

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early 2000’s desi!johnny cade.

obsessed with all of the classic bollywood movies.

i mean this era was the best for bollywood.

his favorites are kuch kuch hota hai, khabi khushi khabi gham, (these next few are late 2000’s but shh) jab we met, toonpur ka superrhero, and om shanti om.

bought the soundtracks for all of them.

late 90’s and early 2000’s was a big time for punjabi immigrants, so it’s possible he could’ve had more family or punjabi/desi friends.

i’d say he would be more open about his culture, because way less racism compared to the 60’s.

like he’d be more comfortable wearing kurta pajamas or things like that outside of his house or mostly brown functions.

he’s still sorta quiet about his culture, but not whitewashed.

i’m pretty sure it was said in the book that johnny would stay at two-bit’s house more than the curtis’ so i bet two-bit probably saw johnny in his element a lot.

like he would see johnny wearing shawls or kurta’s the most out of the gang.

also he put the mathews family onto punjabi snacks, like gulab jamun, matri, bhujia, samosas, etc.

his absolute favorite is chaat, but he doesn’t eat it much because he doesn’t know how to make it.

he always has some mehndi design on him, just for the fun of it.

usually really simple designs.

going back to the movie thing, since tulsa is a pretty big town, i think it would have at least one bollywood theatre.

so, he’ll go watch the new movies when they come out, and sometimes ponyboy will come with him.

if the movie doesn’t have subtitles he’ll have to ask johnny whats going on every so often.

thats all i got rn 👍🏾

#desi johnny cade #johnny cade #johnny cade headcanons #the outsiders johnny #johnnycake #the outsiders #theoutsiders #outsiders headcanons #the outsiders headcanons #johnnycade #johnny

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yridenergyridenergy · 1 year

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Phalaris Vol.II - Yokosuka Arts Theatre [2023/05/01] live report

Setlist

Hibiki

Schadenfreude

Uroko

Mouai ni Shosu

Utsutsu, Bouga o Kurau

Ningen o Kaburu

Devote My Life

Eddie

GRIEF

Beautiful Dirt (2018 Ver.)

Otogi

The Perfume of Sins

Encore:

DOZING GREEN (Acoustic Ver.)

Un deux

Utafumi

T.D.F.F.

Revelation of mankind

First live in which the fans can officially cheer, and we gave it pretty much our all from the moment that the venue turned dark!

I don't remember much about the SE. First, there were three vertical rectangular screens in the back that showed some Roman or mythological painting in the centre, with the long Phalaris album cover mirrored left and right. That reminded me of the UROBOROS era a lot.

Then, the members came on stage and I kept getting struck by the obversation that they were almost all dressed very Phalaris-like! Shinya was in a white outfit as usual, but Die had some foggy black and white tunic (I was on the complete opposite side of him so I couldn't catch all the details); Toshiya had a quite dense black lace head piece like a mourning veil with a brilliant gold crown to hold it in place, a kind of black robe, black dress shirt underneath, skinny black shorts that were about mid-thigh, black boots or high socks, with a separate black lace long skirt; Kaoru wore low and ample black sarouel pants with a sort of black captain/major jacket thar had golden highlights (for makeup, he put some fade to highlight his cheekbones and little 'corners' near his temples with shade around his eyes); Kyo was more normal, wearing super wide beige pants with a large punk shirt (it read in Katakana something-Mugger?) but the highlight was definitely the spiky collar he wore! He had subtle makeup and his hair is short, spiky and blond (maybe blond-pink, or that was a trick of the lights?).

The band had clearly missed our incessant cheering. People still ended up crying out once in a while in the past year but it wasn't official and most definitely held back because it was against the rules. But now, to be granted that freedom again! I was running on very poor breathing and the mask had a tendency to dry my mouth a lot, so I was lucky that this was a seat-assigned concert where I could easily bring a beverage, but my throat's condition turned out better than expected!

The descriptions of songs will definitely be perfected through the next few shows, but here are segments that I remember:

Hibiki was sung emotionally of course but maybe not "uniquely yet", I would say. I certainly was hell into it though.

For Schadenfreude, it's such a poetic, long song, that it felt like the band was still working on giving it its live personality as well, even though they performed it in a previous tour, I think. Also, it surprised me that Kyo did not request that we sing "Ikedomo jigoku ka". There was less interaction with the audience throughout that song, I think. For the back screens, there were some scenes of a mage or ghost, as if they were drawn by the same artist who did Rinkaku and Agitated Screams of Maggots. The lighting was mostly red from what I remember, but I'll have to see it again.

Uroko was a surprise, just like un deux and Revelation of mankind. I had hoped that there would be Uroboros tracks mixed in with the Phalaris songs, but Arche is a good alternative! It felt so great for both us and Kyo that we were able to shout "Anata shidai de" again. The whole band was really into Uroko, Kyo reproducing some of the gestures from the PV, which was shown on the back screen.

By the way, we cheered and clapped after virtually every song, even though the audience sometimes stays quiet after quieter songs. Remember, it only takes one person to have guts and break the silence for the rest to let loose too!

Mouai ni shosu felt tamer than Utsutsu, bouga o kurau. The latter had piercing lines of light from what I recall and Kyo was way more into it. The sound was horrible when you weren't in the middle though, so I couldn't hear Kyo sometimes, even when he later came to the left ramp of the stage right beside me. But during Utsutsu, he went to the right ramp and went a bit crazy, so it's damned that the mic or speakers didn't render the ranges in those two songs well at all. In Utsutsu, Kyo seemed to expect us to sing the second: "Nananananananaze nanda?" He pointed at us when singing: "Onaji ningen desho". And when talking about the laughing eyes, he circled his right eye with his index and thumb.

In Mouai ni Shosu, Kyo also pointed to us when asking: "Docchi da, docchi ga ii?"

Ningen wo kaburu, we did the traditional bits of: "Dare no tame no ikiru no darou?" but for some reason, I thought we backed up Toshiya more with his "Blessing to lose heart" finals.

General things I don't remember which songs they happened in: Toshiya spun two or three times widely with his base and he jumped from Kyo's crate with it, which Kyo promptly took possession right after he left; Kyo signed the throat slicing a couple of times especially in the first half, and he asked us if we were ready to keep going, to break our necks, etc. There was one song where he slid to his knees in the wide space in front of his crate while singing.

During the first break for the change of gears, Kyo sat on Shinya's platform and looked at us nonchalantly, scratching his head but obviously demanding more shouts from us. Before one of the breaks, he threw his mic way up and let it drop on the ground, a technician rushing to place it back on the crate immediately after.

13 had totally different imaging in the background this time. When talking about throwing everything away, Kyo gripped his shirt tightly and gestured pulling it widely toward the back. He seemed to sing the last part in English (Never die), more attentively, like he corrected or clarified the pronunciation. Kyo also slowly put his red mic cord around his neck as he kind of kneeled on his crate while singing about looking down the 13 flights of stairs.

I was right in front of Kaoru but he only came up to the edge of the stage two or three times, compared to Toshiya, Kyo and Die. It felt like Kaoru was really focused, just sometimes teasing us with a kind of frown or nod. He did come on the left ramp of the stage once near the end of the main set, where we could see his fade makeup near his ears dripping down his face because of his sweat. By the way, his speakers in the back feature two new drawings. One is white with a black drawing that honestly looks like his head with a previous makeup but no pupil, upside down and being sucked into a void, while the second is a white drawing on black that seems to represent a skinny big-headed form all haggard-looking with weak but grim arms up at its side.

Kyo came to the left ramp during Devote my life! I really could almost not hear him, but he had us sing the "Zankoku na" throughout the song. He gestured mostly at the fans on the second floor/first balcony. He trotted back to the main stage with a technician ready to take care of his mic cord again.

I can't remember which songs, but Toshiya came to the left ramp and the right one too. Quite sure he was there twice on the left? The second one was right on time for his bass part in one of the songs. By that time, Toshiya had removed his veil (dramatically thrown toward the back of the stage from the front), his lace coat was off and we could at least partly see his chest. He smiled so much throughout the show and he was so dramatic during his single picks especially at the start of the concert.

During Eddie, Kyo called us "kuso, kuso, kuso", pointing at different spots of the crowd. I think he wanted us to sing some parts but it's a very fast song hah.

GRIEF was so intense too. The whole band liked bringing back that song. It might be then that Toshiya was really active?

Oh man, in GRIEF, at the part where we traditionally clap to the rythm, Kyo started clapping too as if he was seriously mocking us, like he was saying we were lobotomized zombies, but it became more and more disturbing to see, more "loose-screws"-like as he did wider and more disorganized claps as he went.

Otogi was so cool! Not yet the sensual performance it ought to be, but Toshiya certainly brought it all! It started with Kaoru playing loyd guitar noise with the three screen panels filling in red from the bottom, then the song's actual first notes were played. The mandela was present in the video, sand, a spiral staircase, etc. It just surprised me so much that the colour associated with that song would be red. Anyway, Kyo was a bit sensual in the way he moved, but he was totally outshined by Toshiya during the slower part. I think that it was at "Hakai no yukusaki/The destination of destruction" that Toshiya opened his dress shirt way wider with his right hand, then traced from his heart all the way to his crotch and just convenientlt transitioned onto his bass to play, then he waved his right arm super wide at the same time as Kyo did so with his left for the parr about: "The spreading of the sky, Go to the Madara". The song ended with the screen filling with bright red again but from the top this time. Holy hell what a song.

The Perfume of Sins man, refer to my previous post. I just want an official recording with that growled "Eyes, nose, ears" segment. Gimme, gimme, gimme! From what I remember, Toshiya was really into this song too.

They left after the main set and it took a while for them to return, even if we were actively screaming for it this time.

When they did come back, it was very serene as the musicians had chairs installed for them and they played Dozing Green in acoustic. It was quite an emotional rendition, but I specifically remember Toshiya setting his bass vertically, so his half-naked legs were literally hugging the bottom part of it.

The rest of the encore kind of blurred into something intense. We didn't get much room to breath or think. Die finally came to the left ramp, wearing those leather tights he showed on Instagram recently and very short shorts. He headbanged right in front of me and I don't know how he could not have possibly meant for me to be able to touch his hair, but I felt it was more respectful to retract my hand a bit. He seemed super happy and like a rock star overall.

For the encore, Kaoru changed to a black "Witched" (?) T-shirt with white and red lines on the front, while Shinya was in black, Toshiya kept the bottom part of his earlier outfit but changed the top for a white arm-less dress shirt, and Kyo changed to a different band T-shirt (some heavy metal band with scribbles for a logo and some Japanese on the back).

Before the last song, Kyo asked if we were alive a few times, then got interrupted by someone who shouted something inaudible, which made him pause in what he planned to say and he went frowning, uttering an: "Ah/huh?" Then he fires us up for the Last Song!

It seemed to me like Revelation of mankind was the wrong song to end, because there is less opportunity for the members to interact, the song demands too much concentration, but everybody on sight was glad to have it.

Kyo stayed for a short time on stage afterward to clap with us and demand more. Then he waved goodbye. Kaoru did so much teasing and threw a lot of picks. He perked his head up and nodded in a smug way when somebody called his name while he was drinking from his Thermos at first. Toshiya and Die smiled so much at the end. Toshiya distributed stuff but the highlight is how he poured the rest of his water bottle on his head, then used his towel to remove some, tied it and threw it very far into the crowd. Die also threw his somewhere. Kaoru stayed last and did the hand/bow thing when he finally left the stage.

#Dir en grey #Phalaris #live report #tour23 Phalaris vol II #I need to go to sleep hah

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sonimiki · 1 year

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BT: Lower (One’s Eyes)/ロウワー

This is a base translation, meaning these are not singable/translyrics but rather a translation which seeks to provide a more direct meaning without having to worry about the constraints of rhythm/etc.

That being said, my translation style prioritizes meaning/helping English speakers to understand the beauty of the song’s lyrics over strict literal accuracy, so keep this in mind while reading.

そう簡単な祈りだった　端から

sou kantan na inori datta hana kara

That’s right– It had begun as nothing more than a simple prayer.

段々と消える寒暖

dandan to kieru kandan

Gradually becoming disillusioned with you,

今から緞帳が上がるから

ima kara donchou ga agaru kara

The curtain’s about to rise– it’s showtime,

静かな会場を後にさよなら

shizuka na kaijou o ato ni sayonara

Thus we’ll soon say goodbye to the quietness of this theatre

言いかけていた事が一つ消えてまた増えて

iikakete ita koto ga hitotsu kiete mata fuete

I’d cut myself off from saying one thing, but soon the urge to say another would rise

背中に後ろめたさが残る

senaka ni ushirometasa ga nokoru

Left with a guilty conscience ever weighing-down upon my back

従いたい心根を吐き出さぬように込めて

shitagaitai kokorone o hakidasanu you ni komete

I wouldn’t dare obey my heart’s desires– instead bottling them all up,

胸の中が澱のように濁る

mune no naka ga ori no you ni nigoru

And now it feels like my heart has been polluted with their rotten remains

受け止めたいことが自分さえ抱えられず

uketometai koto ga jibun sae kakaerarezu

There are things in theory I’d like to come to terms with, but I just can’t

持て余したそれを守っている

moteamashita sore o mamotte iru

I’ve been keeping them all to myself, though I might explode from it

霞んだ声はからからに喉を焼いて埋め尽くす

kasunda koe wa karakara ni nodo o yaite umetsukusu

With a mangled voice, a throat that feels both completely dry and choked up at the same time,

何を言うべきか分からなくて

nani o iu beki ka wakaranakute

I never know the right thing to say

感じてたものが遠く放たれていた

kanjite ta mono ga tooku hanatarete ita

So I’d let my feelings out somewhere far, far away

同じ様で違うなんだか違う

onajiyou de chigau nandaka chigau

Same as always– something about it wrong, just feeling a bit wrong1

何時まで行こうか　何処まで行けるのか

itsu made ikou ka doko made ikeru no ka

How much longer until we go? How far are we even able to go?

定かじゃないなら何を想うの

sadaka janai nara nani o omou no

If you “don’t know yet”, well then what’s keeping you from knowing?

僕らが離れるなら　僕らが迷うなら

bokura ga hanareru nara bokura ga mayou nara

Should we be fated to part, should we be fated to lose one another,

その度に何回も繋がれる様に

sono tabi ni nankai mo tsunagareru you ni

I pray we may be reunited each and every time such a thing happens2

ここに居てくれるなら　離さずいられたら

koko ni ite kureru nara hanasazu iraretara

If you’d just do me the honor of staying, staying and never to part,

まだ誰も知らない感覚で救われていく

mada dare mo shiranai kankaku de sukuwarete iku

Then I’ll get to remain the only one who knows what this salvation feels like

平穏とは消耗を以て代わりに成す

heion to wa shoumou o motte kawari ni nasu

“Peace” is replaced with attrition3

実際はどうも変わりはなく

jissai wa doumo kawari wa naku

But in truth, there’s hardly a difference between them

京楽とは嘘で成る

kyouraku to wa uso de naru

“Pleasure” is founded upon sin4

「綻ぶ前にここを出ていこうか」と

“hokorobu mae ni koko o dete ikou ka” to

“Why don’t we get out of here before it all goes to hell?”

都合の良い願いを同じ様に同じ様に呟く

tsugou no ii negai o onaji you ni onaji you ni tsubuyaku

…Again and again, I’m whispering that too-good-to-be-true wish to myself

何処から聞こうか　何を見失うか

doko kara kikou ka nani o miushinau ka

Where to even start, what it is that I’ll lose--

定かじゃないから此処を動けない

sadaka janai kara koko o ugokenai

The uncertainty of it all has rendered me frozen in place

僕らが疲れるなら　これ以上無いなら

bokura ga tsukareru nara kore ijou nai nara

Should we ever tire, should we ever feel as though we can’t take anymore

その度に何回も逃げ出せる様に

sono tabi ni nankai mo nigedaseru you ni

I pray we may be able to run away from it all each and every time

心が守れる様に　奪われない様に

kokoro ga mamoreru you ni ubawarenai you ni

So we may protect our hearts, so they may never be stolen away,

互いに託して　身体を預けてよ

tagai ni takushite karada o azukete yo

Let’s entrust them to one another-- put your trust in me

君と泣く　君と笑う　君と怒る

kimi to naku kimi to warau kimi to okoru

To cry with you... To laugh with you... To get angry at something with you...

君と歌う　君と踊る　君と話す

kimi to utau kimi to odoru kimi to hanasu

To sing with you... To dance with you... To talk with you...

何時まで続くだろうと同じ様に同じ様に呟く

itsu made tsuzuku darou to onaji you ni onaji you ni tsubuyaku

“I wonder how much longer this’ll last” Again and again, I whisper

いま忘れないよう刻まれた空気を

ima wasurenai you kizumareta kuuki o

I wonder how much I’ll think back on

これから何度思い出すのだろう

kore kara nando omoidasu no darou

This moment that feels so etched into my brain, in a “you’ll never be able to forget” way

僕らだけが

bokura dake ga

Should we-- as in nobody else--

僕らが離れるなら　僕らが迷うなら

bokura ga hanareru nara bokura ga mayou nara

Should we be fated to part, should we be fated to lose one another,

その度に何回も繋がれる様に

sono tabi ni nankai mo tsunagareru you ni

I pray we may be reunited each and every time such a thing happens

ここに居てくれるなら　離さずいられたら

koko ni ite kureru nara hanasazu iraretara

If you’d just do me the honor of staying, staying and never to part,

まだ誰も知らない感覚で僕の生きているすべてを確かめて

mada dare mo shiranai kankaku de boku no ikite iru subete o tashikamete

Then please, as I live on with this feeling nobody else has yet to feel, look at that existence itself5

正しくして

tadashiku shite

And tell me if it’s right

This is a line I can’t really think of a way to transcribe its wordplay into English, but essentially 違う (chigau) can mean both different and wrong. It’s being used as an antonym to 同じ (onaji), but also incorporating that double meaning in here I believe.

I know there is a popular translation going around which I think accidentally misinterprets the 様に (you ni) here to be used with the meaning of “in order to”, however I’m pretty sure the kind of 様に (you ni) here is the sort used to make wishes. Example: 神様の恵みがあります様に。= May the blessing of God be upon you

Literally “peace, as it is to be defined, exhaustion is made into its replacement”. But 消耗 (shoumou) might also refer to 消耗戦 (shoumousen), i.e. attritional warfare. This is a military strategy where a country attempts to beat the enemy by basically wearing them down until they’re flat out of resources and any real way to fight back. My personal take on this lyric is it might be referring to how in the singer’s mind, feeling “peace” has been replaced with feeling “exhaustion”. Yet “nothing has really changed”, since the singer cannot spit out thier feelings and thus bottles this “exhaustion” up despite its existence, as if peace were still present. Also just a side note, but I enjoy the wordplay here with 代わりに成す (kawari ni nasu) and 変わりはなく (kawari wa naku).

A bit more liberal here. But I’ve only ever seen 京楽 (kyouraku) used in settings meant to evoke religious/fantastical imagery... 京楽の悪魔 (kyouraku no akuma) or a demon of pleasure, etc. 嘘 (uso) means lie but it can also refer to the more ambiguous idea of just something not beign what you thought it was... So I thought “sin” would be the best choice here, given the song’s themes. For similar reasons, I also have translated 救われる (sukuwareru) or to be saved as “salvation”.

Credit to StiglerCS_TV on Twitter for helping me to understand this line! Felt like I was all “awwww yeah I totally get this” until the very end which suddenly stumped me haha

#nuyuri #flower #oktavia's translations #uhhhhhhhh i forget what i wanted to say anyway hopefully i can give back to the vocaloid community with base translations too #BASE translation

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sweepseven · 2 months

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Cirque du Soleil Alegría In a New Light review

So far the kindest thing I've done for myself in 2024 was go all the way to London to see this show. What a lovely, desperately needed reset. No need to linger on the preamble because team: this show continues to be damn near perfect. It felt like a true gift to be there. There are three total changes I would make if it were to suit me perfectly. Just three. That's insane. For comparison I love Ka with all my heart but I'd make probably fifty changes if given the opportunity. The three I'd make are:

Less clown time (though I swear the reason is different from my usual clown complaints)

Replace duo adagio

Reinstate Valsajoïa, the single greatest original song Cirque has produced since probably 2016. Possibly even 2008.

So let's talk about those three, and also the other one million reasons this is Cirque's greatest show in nearly 20 years.

Preshow animation: My friend and I had a time getting to Royal Albert Hall on time so I didn't get to soak in everything to quite the extent that I prefer to before a show starts, but the moment I walked in my guess that this show in this setting was the most perfect pair imaginable was validated. I don't think I'm even being biased because it's so recent - I genuinely think the only set that could maybe suit this theatre better is Quidam. The crown of the stage disappeared into the darkness above, creating an astounding sense of immersion and scale, and even the iconic mushroom acoustic diffusers look like they belonged to the set. The rigging was a delight to see too - I'm always fascinated by how they adapt the rigging to adjust for the lack of pylons. It wasn't as cozy as a Grand Chapiteau, of course, but the audience is so dense and extends so high, and the entire setting is so elegant, that the size and scope were a perfect match.

The animation itself was Fleur messing around with the Old Birds. Pretty unremarkable. He didn't shout Alegria! like in the original show, but then again I'm not sure I remember him doing it back in 2019 either. Bring it baaaack, it's iconiiiic.

Opening: Gonna confess up front that I was in tears for the duration of Mirko. The current singer duo, Sarah Menesse and Cassía Raquel, are incredible in every way. I'll talk more about them further down but it bears stating now that I was in shambles within the first five seconds. Details I never want to forget: the silhouette of the Nymphs' wings behind the curtain; the sharp, prim, yet commanding presence of the White Singer on the right side. I was completely taken by her in four notes.

Acro poles: This was a strong act five years ago and I think it's only grown tighter with time! This show wastes no time on ceremony and dives right into the action, which is a fun contrast between the old and new versions. The original made a grand show of parading and presenting the different factions. Here it's more bam here are the Aristocrats, bam here are the Bronx real quick, now everyone out of the way, we're getting right to it. Where the original was the story of forcibly overthrowing an old order, this one respects the structure of the past while willingly - if cautiously - making way for the future. This act does a very good job of illustrating that. The Aristocrats look like a fun, if slightly catty bunch! You almost want to be one... until you meet the Bronx.

Cyr wheel: I completely forgot Rinalto Vera is back for this act. I had only just recovered from Mirko and then this fucking song starts and I'm beside myself all over again. This is the kind of thing that makes me hold onto faith that the old Cirque is still in there somewhere - this, the musical refs to La Nouba in Drawn to Life... they know how to respect their old shows! When they bother, they do it beautifully! I only wish they treated their new creations with the same respect and care they pay to their golden era.

Anyway Ghislain Ramage is the only person I want to see on a cyr wheel ever again. I saw him work magic in Kooza and that was without the deliberate weight that comes from a non-rotational act. Something about him seems impossible - like he's too tall to be that lithe and fluid, or that you couldn't possibly evoke so much emotion from a cyr wheel act. He does. Every moment of it was mesmerizing.

It's the nitpickiest thing I could possibly say, but I do think something is lost in not having this act performed by an Old Bird or Aristocrat. Though since the mirror imagery of the original wasn't brought over to IANL, I suppose it's not completely necessary. Still. That was an element that really brought an inimitable quality to the original act and I wished there was an analog in this version. It could very well have made it the best act in the entire show. Yes, the entire show, which is crazy because you already know how I feel about.......

Duo trapeze: Fuck me, people. This act. It's a wonder I can be relied upon to behave rationally because it. is. utter. perfection. The only thing that holds me in my seat is the fear that if I move or blink I'll miss a split-second. I forgot the White Singer was onstage because I was too busy watching. That is fucking unheard of. My hands were clasped over my heart. I was beaming in awe the entire time. No other artist has had the particular effect Nicolai Kuntz has on me. Fucking this?? That relaxed, cross-legged on a goddamn trapeze gazing in admiration? That is shit designed to kill me. That is fucking lethal.

Anyway the skill level in this act is exquisite from both Nicolai and Roxane - another perfect act that has somehow grown more perfect with time. And what I love most about it is that though although they're a duo, although the song is called Querer, although the entire point is that they're impossibly aligned, it still feels just shy of romantic. The love being expressed here is not specifically for one another, but for flight itself, and the joy of sharing it with someone who understands. I might be projecting, since this act feels like a live illustration of my personal love for trapeze, but they have never seemed like lovers to me. More perfectly kindred spirits, and it serves the act beautifully.

Fire knife dance: Excellent! Impossibly high energy! The crowd adored it! We had one drop, which I've never seen in a fire act, but the artist handled it with fun and grace. There is nothing negative to be said for this act, but I can't not mention how exceptional Tuione Tovo was. Holding that against this artist feels like a teacher never giving A+s because "there's always something better." But there really was something undefinable in Tuione's energy and smile that isn't quite here.

Aerial straps: How many times can I say "a perfect act has become yet more perfect"? I've seen a lot of straps acts, people. Like, too many. I have immense respect for the discipline so it's not hard to impress me, but it's quite difficult to surprise me. There is a drop to ankles in this act that surprised me. I gasped. This act looks at every other romantic straps duo act and says "ok amateurs." The little smooch had the audience in raptures. The snow is used to better effect than the world deserves. It's just exquisite.

Hoops: I know Elena Lev is the queen, but I think this artist might actually be better! And she's so young! She's got her whole career ahead of her! This is probably the best hoops act Cirque has going for it right now, and that's really saying something. She does the "spin like fifteen hoops" thing better than I think I've ever seen anyone do it. Her control over her apparatus is unmatched.

Powertrack: OOO-EE! POWERTRAAAAACK. Top five act in the show right here, and it would earn that position through energy alone. And it's got a fuck ton going on for it besides. Every trick is massive. Every one is executed with fierce, tangible joy. Fleur has an excellent highlight moment that's indicative of a character adjustment in the new version (see below) that I really loved. I wanted to see Lucie Colebeck's triple bad (the first and so far only female triple tuck in Cirque history!!) but it was performed by another artist tonight. Still amazing. Watching this act makes you feel like you can run a marathon.

Duo adagio: The one and only let down of the whole show. I just do not like these Nymphs. I don't like their wings, I never have, and I can't believe Cirque is so opposed to returning to something just a notch closer to the luxurious feathers of the original. Their wings feel like a symbol of their overall impact on the show: kinda just there and we don't really know why. This act was the same. And it's a goddamn shame because Cassía's Vai Vedrai is power made musical. Slotting this act so late in the show makes it feel like a rotational act and it's just not fair to the artists or the song, probably the second most famous in Alegria's history. Last time I got handbalancing in instead and it was a gorgeous story of an Angel supported by a Bronx that was reiterated in high bar. Any sort of connection to the broader show is unfortunately missing in this act, which seems to only exist to remind you that the Nymphs are characters. I'd prefer to see this replaced with a return to the slow, luxurious contortion style of the 90s. Or imagine Dralion's ballet on lights here!! Or ribbon manipulation from the early days. Maybe a little too similar to hoops, but don't forget this is the show that has swinging trapeze and aerials traps and...

Flying trapeze: My light, my love, my delight. The Flying Tunizianis are immaculate. This is perfect flying trapeze act construction imo: some swings to let the audience know what's happening, an easy trick or two (planches) to prime them, then flips and twists galore to show what the fuck it's really all about. And! Importantly! A pause in the middle with a few styles and splits to bring back some grace and remind you trapeze is more than just guessing what the fuck you just saw. It is so, so good. For myriad stupid reasons I haven't flown in a month, and I'm so excited and inspired to get back at it after seeing this act. iirc the biggest tricks were triples and a double double (or full out? it all happened so fast!!). Either way, difficulty level second only to Mystere and I would argue better act composition overall.

However. I felt the removal of Valsajoïa acutely. It was nice to hear a little Icare, but if we didn't need it for aerial high bar's comeback, we certainly don't need it here. I suppose they were going for a more "daring" sound, but tbh I don't think it does a lot to enhance the act further, especially with the way the Tunizianis have choreographed it. The result isn't as graceful nor as impactful, even with the (tragic! teasing!) snatches of Valsapena and Valsajoïa still left in there.

I spent the whole act praying for some kind of suicide dismount and the very last was a reverse one and lost my fucking mind. My inspiration trick, my signature, my beloved!!! I gotta learn a reverse one bad.

Finale: What is there left to say? It's brief, it's gorgeous, it's effective: just like the transition from opening to acro pole, the transition from flying trapeze to finale is quick and honest, and the whole thing is over before you know it. It feels like a real thank you for joining the cast in the journey of the show. A joyous, magical feeling.

Music: I leaned back and scrubbed my face with my hands just now. That's what it's like trying to summarize what the fuck was going on vocally and instrumentally in this show.

It. Was. Splendid. I was utterly convinced that no one could do an IANL White Singer like Irene Lombard, and then here's comes Sarah with a flavor and characterization all her own. Where Irene was an angel, Sarah was a witch. She was sharp, she annunciated, every note was a call to action that drove the plot forward. Some songs were her strength (like Mirko), and some I prefer Irene (like Querer). At all times both singers' presences were impossible to ignore, and for a show with such a reputation for well-recognized, highly awarded music, the legacy is not lost.

This is also a very mobile band, which I always love. Accordion and cello parade around at times, sometimes even to emphasize character arcs (like the accordion following one clown after he's cast out of court to highlight his sorrow to both comical and emotional effect). Drums have a fantastic, well deserved Kooza-esque highlight moment during fire knife dance. Though you don't see them every moment, there's no point in the show that you can miss the fact that the music is live. They've struck an exceptional balance between highlighted and unobtrusive.

If anyone would like a recording of this performance's audio, drop me an ask and I'll be glad to share.

Clowns: My primary critique. Listen: they are so good. But I think Cirque noticed that and responded by giving them too much time. Their every act is strong but maybe 2-3 minutes too long, and it has the effect of pulling focus from the theme of the show and settling it on their shoulders instead. The result weakens both: they are not highlighted enough to carry a show like the Luzia clown main character does, and they take up too much time for the audience to realize they are meant to be one story among many.

Taken as they are though, the clown acts really are excellent. They are not tedious in the moment, only when held up against the broader landscape of the show. Their relationship still feels a little transgressive in a beautiful, comforting, validating way. Muted though the love story is, something about that adds to the honesty as much as the bravery. It deserves a ton of praise for that. Everyone in the room was fully invested in them. Snowstorm was beautiful and the music does so much to enhance the storytelling they give us.

(I did not remember the extended gun cleaning/masturbation gag from 2019 but that was the only part where I was like okay, let's move it along, boys.)

Misc.

Fleur doesn't seem like much of a bad guy anymore, and though I miss his old ornery edge, I'm not bothered by his current phase. He helps paint a picture not of a broken kingdom, but of a confused one, which leaves room for collaboration and acceptance reinforced by acts like acro pole and powertrack. There is room for both regimes in this new future. When it comes time to hand the crystal over to the White Singer, he does so without an ounce of reluctance or apprehension. It's a gesture of "let's do this together," not "you take the lead." It's very warm and effective.

Le Bal isn't quite as fun as it was in 2019. It wasn't positioned as a joking funeral march but rather just further hijinks between Fleur and the Old Birds. Like the lack of mirrors in cyr wheel, this wasn't a detriment to the show as it exists today, but it was a simplification of something that was once a little more dynamic.

Overall: As always I am exhausted just writing this. I beg you: see Alegria. Travel as far and as long as you can to make it happen. It is worth it. I live in fear that it'll never come back to do a full and proper North American tour (NYC deserves it, god damn it, it's been over six years), but if it never does, I'll know I made every effort, and I'll know it paid off in droves.

#cirque du soleil #alegria #reviews

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365filmsbyauroranocte · 2 years

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Drive My Car (Ryûsuke Hamaguchi, 2021)

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primeministerofantarctica · 9 months

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A3! reading club: act one (chapter 1-6)

(cw: talking about parental neglect and abuse, orientalism, one mention of suicide)

Hey, ten out of twelve isn't bad, all things considered! This very well could have gone down in October. Also, since it's February (March if you wanna be generous), does that mean everyone in Harugumi's slightly younger than their Year One ages now? Ack, timelines are confusing.

Izumi casually talking about how Yukio neglected her and following it up with "well, it was probably because he loved this theater so much!" is. Oh, girl. No wonder she snapped when Sakyo suggested he'd abandoned Mankai, because if he hadn't loved it, then why did she have to go through with that?

I'm not versed enough in Japanese particles but I recognize "daijoubu" and Tsuzuru watching this trainwreck unfold and saying something along the lines of "are you guys, like, okay?" is extremely funny.

Then we get to Sakuya and Masumi's family situations, which. From a meta perspective, it makes sense to want to give your minor protagonists the freedom that having parents limits. That's why the trope of "young protagonist in kid's spec fic media is conveniently an orphan" is so common. (was? I think it's becoming less common now.) The problem lies in the lack of willingness to follow through with the emotional conflict it creates, or resolve said conflict in a satisfying manner. Sure, I'm assuming they weren't starved or physically abused, but being treated like a burden when you're a child is still fucking traumatizing! Basically I think Izumi Sakuya and Masumi should start a union. And I'm glad later chapters go the reasonably more toned-down route of "my parents have a reasonable amount of trust in me to make these kinds of decisions".

Also, can we talk about Sakuya and Masumi, because they're one of my favorite brotps here. The way Sakuya appoints himself as Masumi's surrogate big brother? He's so eager to potentially share a room with him ;-;. (personally I hc that Ms. Sakuma was expecting another child before the accident or whatever killed them, so Sakuya's been a big brother without a younger sibling all this time </3)

Wow, that doesn't sound like a metaphor for anything! You're right, Izumi, why would you go the easy route of taking something prepackaged and guaranteed when a bunch of wildly different spices can create a delicious meal if you know how to utilize them right?

Am I grasping at straws here. Probably.

The little ka-ching sound effect is adorable.

Tsuzuru, I'd think "antagonist" should be near the top of the list...also, there's plenty of plays that have been pulled off with two or three actors. Just put on "night, Mother" or something. (Joking. Don't look up night, Mother if you're sensitive to themes of suicide.)

"Tsuzuru, you picked this troupe because it had a dorm, right? ...Then maybe our best bet is to focus on more people in your shoes."

"People in my shoes? In other words...."

"The homeless?"

I CAN'T ASJHGSKSDSK

he's literally doing the 😔 face i'm on the floor.

HE'S HERE! Funny how Izumi's right about Citron not being a regular tourist right off the bat. He may not be from another troupe, but he's definitely "in character" right now.

Also, oof. Citron's my second fave in Harugumi after Sakuya, but it's glaringly obvious how much of his character is rooted in orientalism. Sure, maybe it's an act, but why is he talking about how "shameful" showing skin is when his top is (conveniently for us) THAT low-cut.

On another note, I know people have pointed out his distaste for pig's feet as evidence for headcanoning him as Muslim, but I haven't seen anyone point out how he calls Veludo Way a "mecca" of theatre. Like yeah, mecca can just mean hub, but...why didn't they just say hub? Words Have Connotations. I'm not saying this coding is good or bad, it's just a neutral observation.

AND HERE'S THIS BASTARD (affectionate)

Oh, Kasumi! (insert pointing reaction pic bc I've run out of photo space.) It's Kasumi, guys! :D

#astra rambles #a3! reading club

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adversitybloomed · 4 months

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spell out your url using song titles!

A - All I see is Darkness by Icon for Hire D - Dismantled by Icon for Hire V - Venom by Icon for Hire E - Empire by Beth Crowley R - Ready for Combat by Icon for Hire S - Stand My Ground by Within Temptation I - Iron by Within Temptation T - Theatre by Icon for Hire Y - You Are My Light by Zhao Lusi B - Blindside by Icon for Hire L - Last one Standing by Icon for Hire O - Our Solemn Hour by Within Temptation O - On the Moon Above by Cathy Ang in Over the Moon M - Mercy Mirror by Within Temptation E - Endless War by Within Temptation D - Defying Gravity by Idina Menzel

tagged by: @caracarnn ( ty ! ) tagging: @battleguqin + @cuckoo-among-beasts + @thuganomxcs + @orangeshinigami + @sparesovereign + @ka-go-me or steal & tag me !

#🌸 𝐑𝐄𝐀𝐃𝐘 𝐓𝐎 𝐏𝐋𝐀𝐘 𝐀 ✧ dash game #🌸 𝐉𝐔𝐒𝐓 𝐀 𝐌𝐔𝐒𝐈𝐂𝐀𝐋 ✧ playlist #( this was sooo hard )

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ramayantika · 11 months

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Film Theatre

I miss going to the theatres with family and friends. Now we have several OTT sites and our own phones and laptops to watch the latest release that day itself. It does feel nice to have movies and shows on your fingertips but what about the raw experience of watching a movie in a film theatre.

The dark air conditioned hall illuminated with the projector and the large screen showing countless as you patiently waited for the movie to start. You see the faint blue/red lights marking the stairs to lead people to their assigned seats. One or two trip over your shoe and mumble a sorry while you wave them off with a smile.

Then you have the national anthem played after which the film certificate shows up. You brace yourself for the movie to start. Be it eros or inox you see those large animations on screen coming to life in front of you as they reveal the production house. A minute later is the opening shot of the movie.

You watch the movie come alive in front of you. You laugh and cry with the characters as if you are with them right then and there. Goosebumps arise on your skin, you feel your heart soar at the love confession, your eyes tear up when one of the main leads die a heart wrenching death. The colourful costumes dazzle your eyes and your mind is filled with long songs from the movie.

Bade parde ka karishma hai yeh ji... jahan kahaniyan sach bannke prastut hoti hain.

#samridhi speaks #desiblr #Indian cinema #theatre #movies

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yuzukahibiscus · 1 year

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【Takarazuka・Flower Troupe】Yuzuka Rei　The set of the “Double-headed Eagle”, the dance ball...an assembly of glamorous beauty. The stage set in the politically unstable 19th century Austria, it portrays the story of the joy and struggle of finding true love

【寶塚・花組】柚香光以「雙頭鷹」為舞台的舞會⋯集結了美輪美奐的美感。舞台設置在政局動蕩的19世紀奧地利，描繪了尋找真愛的快樂與掙扎

(Original article from Fujin Koron 原文來自婦人公論)

The set of the “Double-headed Eagle”, the dance ball and the numerous military uniforms and dress – all of this is an assembly of glamorous beauty. This famous work by Shibata Yukihiro was performed again and again, and this time it would be revived in the Grand Theatre after 30 years under the adaptation and direction of Koyanagi Naoko. Yuzuka delivers the joy and struggle of finding true love. It is refreshing to see how the tragic love story of Rudolf and Marie was approched as a human drama in the politically unstable 19th century Austria.

「雙頭鷹」的佈景、舞會和眾多的軍服、長裙——這一切都是美輪美奐的集結。在小柳奈穂子的潤色和執導下，時隔 30 年後在大劇院再演。柚香光傳達了尋找真愛的喜悅和掙扎。看到魯道夫與瑪麗的悲戀在如何政治動蕩的 19 世紀奧地利燃起愛火是富有新鮮感的。

The dignity of the Habsburgs and how dangerous it was

Compatible with the blonde hair, and other matters such as the military uniform, Yuzuka Rei plays the role of Rudolf, the Crown Prince of the Austra-Hungarian empire.

While associated with the dignity of the Habsburgs, he also faced the danger of being confined to positional restrictions.

Upon a fateful encounter, he met Marie whom he looks at her with gentle eyes, calling her “a little blue flower”.

哈布斯堡王朝的尊嚴與危險

與金發、軍服等相得益彰的是，柚香光飾演的奧匈帝國皇太子魯道夫一角。

在與哈布斯堡王朝的尊嚴聯繫在一起的同時，他也面臨著被局限於皇太子位置所限制的危險。

一次宿命的邂逅，他遇見了瑪麗，他用溫柔的目光看著她，稱她為「一朵藍小花」。

◆ Summary of “MAYERLING” 「梅耶林」概要

In 19th century Vienna, Crown Prince Rudolf (Yuzuka) spent his every day bound by a political marriage without love and his affairs, aspiring to lead a free life just like his cousins such as Johann Salvator (Minami Maito). One day, Rudolf fell in love with the pure baroness’ daughter Marie Vetsera (Hoshikaze Madoka). Unaware of the looming political conspiracies, they often met up again and again...

19世紀的維也納，皇太子魯道夫（柚香）的每一天都被沒有愛情的政治婚姻和事務所束縛，憧憬要過著像他的表兄弟約翰 · 薩爾瓦多（麻衣美奈美飾）一樣的自由生活。有一天，魯道夫愛上了純潔的男爵夫人的女兒瑪麗 · 韋瑟拉（星風まどか），不覺政治陰謀在即，兩人屢屢相見⋯

Minami plays as Johann Salvator. Taking the role of a storyteller, she plays a man who celebrates freedom, showcasing kindness and masculinity naturally.

水美飾演約翰 · 薩爾瓦多。如同故事的旁白，她很自然地飾演一位善良、呈現男性魅力，高呼自由的男人。

Towaki Sea plays as the Archduke Franz Ferdinand, whose role was more deepened in this rendition. Her acting radiates the reflection of passing of time in light and shadow.

永久輝せあ飾演法蘭茲・斐迪南大公，隨著再演變得再給深化的角色。從她的演技，反映著時光的光與影。

It was impressive to see that Marie is not only cute, but also shows a sense of motherhood and Rudolf almost seem like finding her for salvation.

看到瑪麗不但可愛，也有母性的一面，魯道夫更要向她尋求救贖，是很深刻印象的。

Takarazuka Spectacular “ENCHANTEMENT–Luxurious Perfume–” 「–ENCHANTEMENT–華麗的香水」

This is a revue delivered by Noguchi Kousaku which is inspired by the “ka” (香 = scent) from Yuzuka Rei’s name.

It’s a beauty and glorious performance delivering the sweet and fragrant scent to the audience.

Not only is there the forest in Paris, but also the NY streets and a night club where the gentlemen are assembled.

It is exploding with the various colours and charms of this stylish Flower Troupe.

It looks like a hot dance battle in the night club where the men are wearing unique suits. It is heart-fluttering to see the connection between doukis Minami and Yuzuka.

這是野口幸作的一個レビュー，靈感來自於柚香光名字中的「香」。

這是一場美麗而輝煌的表演，為觀眾帶來甜美芬芳的香氣。

不僅有巴黎的森林，還有紐約的街道和紳士云集的夜總會。

時尚花組爆發著各種色彩和魅力。

男人們穿著獨特的西裝，就像是在夜總會裡進行一場火熱的熱舞大戰，看得見同期水美和柚香之間的聯繫，讓人怦然心動。

#yuzuka rei #hoshikaze madoka #minami maito #towaki sea #柚香光 #星風まどか #水美舞斗 #永久輝せあ #花組 #flower troupe #takarazuka #hibiscustranslation

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