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meta-squash · 3 years

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I did a long thread on twitter analyzing/interpreting You’re My Waterloo for the fun of it, but it was mostly for the amusement/interest of myself and like one other friend on there that likes The Libertines. So I figured I’d transcribe it over here where people might get more out of it? Since it was a twitter thread, the sentences might be a bit weird and stilted, by the way. So:

I'm glad they waited to record Waterloo until 2015. I feel like any other time would have been wrong. I know Peter was playing the slow version back in at least 2007 but I think it would have been sad in a different way if they had recorded it before 2015. Like, in 2015 it's just a straight up love song that's slightly sad because, well, it's Peter. If they had recorded it before I feel like it'd have been a love song with resentment wound through it. There's just a lot of emotion in that song and if there's one thing Peter is really really good at doing, it's Emoting Intensely. But it's not just Peter, the piano is so beautiful and the strings are beautiful and Carl's guitar solo is Intense. It's all A Lot. Like, of all the songs that Peter has written about Carl, about their relationship and career and experiences together, THIS is the one where you can feel most strongly the near-obsessive type adoration. So I’m glad they waited to record it properly when they were friends again (also I’m mildly surprised that it was Carl’s suggestion to rerecord it). Anyway.

Fuck the first verse of this song is a lot. This whole song is a lot. I mean it starts off with such a sad sentiment, it's almost a warning? "You'll never fumigate the demons / No matter how much you smoke." You can't smoke away sadness no matter how much you want to. Bitterly ironic, considering the sorts of things Peter ended up smoking etc to chase away demons, the types of extremes they both went to above and beyond just trying to fumigate. But anyway. "Just say you love me for three good reasons / And I'll throw you the rope." It's just so fucking codependent. So intensely obsessive and codependent. There was a quote, I think maybe from Roger Sargent?, about Peter crying outside a venue in like 2002 because even then he was scared about losing his friendship with Carl to the Something Bigger of fame. This feels like a desperate bid to hang on to that love. But also like Peter is so intense. Every video of interviews where he's sitting next to Carl or gigs when they're friends or reunions or whatever, he just wants to be in Carl's space and have Carl's gaze and his attention and stuff. Like a cat that sits on your work.

Again, a digression. Oops. I said I was in a mood. It's so interesting that while it's definitely a love song To Carl, the only direct mention of Love is asking for love From Carl. It's like he's working on the assumption that his feelings are obvious (they are) and desperately wants reassurance or reciprocation.

"You don't need it / Because you are the survivor / Of more than one life" We know the origin of this is apparently Carl's dead twin brother. But also the offering of a rope only to reassure that no, you don't need it is just so...I don't know...sweet? Especially because while "throw you the rope" is obviously a symbol of rescue it could just as easily be a noose. Except that it's neither. Because he doesn't need it. Because he can survive fucking anything, because they love each other--he hopes. It’s like, if you love me as much as I love you, I’ll try to help you, even though I know you don’t need me because you just need to realize you can do it on your own. "And you're the only lover I had / Who ever slept with a knife" The interview where they talk about this line is so funny. "No it's not about us. But Carl did sleep with a knife and the line about being a survivor is about Carl having a dead twin and Peter saying he was the twin reincarnated. But it’s totally not about us." Anyway. Ugh just so much of this song seems to be about Peter being Super Obvious and open about his love for Carl and Carl being more closed off. Carl being the only lover who slept with a knife; he'll accept the love but he's wary of it and wary giving it.

(By the way by love I don't necessarily mean Romantic or Sexual love. They clearly adore each other one way or another, that's obvious enough. But Best Friendship love is 100% a thing.) (However, the Judy Garland line is so funny to me because "Friend of Dorothy" was a secret code for gay men for a while. And considering the amount of queer literature etc Peter references in everything, there's no way he didn't know this.)

I can't really go in depth into the Tony Hancock line since I really don't know much about Hancock and I know that it was a real touchstone for Peter and Carl. But it plus the Judy Garland line feels like a "neither of us have ever really had a home, but we found one in each other" thing. Which is. A lot. Especially with the "until the dawn" bit, because a main component of so many stories about them from other people is the two of them staying up for days together writing and adventuring and just doing stuff and no one else being able to get in their little bubble.

I love the "ahh" after "Stone the crows" and the way the music starts to swell. It's obvious that the next verse is the Important One. And it is. There's the story about Peter crashing an event at the Old Vic while Carl was ushering to tell him they should be writing together and everyone who's there are dicks. But it's also like...so many layers of what is success and what is appreciation and how do you express love. I assume the flowers are not from his show, that he's collected them from the stage after someone else's show. But it's reusing tokens of mostly empty/superficial/performative appreciation--the tradition of tossing flowers on the stage--as a token of genuine love. Sitting through an entire performance, watching someone else's success and dreaming of being there and then using the token of appreciation for that person to instead give it to the person you yourself appreciate and love and want to succeed with. It's like a promise, a "we'll get there." But also another act of desperation because he's been sitting there for hours. Carl wasn't there to receive the gift and wasn't there to write with him. But he's been chasing words around on the page--the love-words to this song or the words to another one?--and he needs Carl there to really complete it, needs Carl there to hear it. It's very much in line with Peter yelling that they should be writing. This intense "Please be with me please accept the way I express myself please complete my incomplete bits please like me as much as I like you" etc.

And then the chorus which is so interesting. I desperately wish I understood the Gypsy Lane and Stanley Park references. I think Stanley Park is a footie reference but I’m not sure? I'm trying to do all of the interpretation off my own brain and not use the notes on the Genius website or anywhere else but I wanted to see if those two references here had been crowdsourced. Apparently both Gypsy Lane and Stanley Park are places he spent time in his childhood (and I called it on the football reference, yes!). Which is. Wow. Okay. And then there's Waterloo which is a whole thing in itself. It's Waterloo as Waterloo but also Waterloo Station. So Carl is able to be Peter's Ultimate Defeat, the thing that has the ability to ruin him. But also Waterloo Station is near the Old Vic where Carl worked & would go to theatre bars, so it's also a place of familiarity. Since I don't know anything else about the Gypsy Lane reference, I can only assume it's also a place of comfort and familiarity. So Peter's admitting to Carl's power over him, ability to hurt him, but offering to comfort him in return. (Important for later.)

"I'm so glad we know just what to do / And exactly who's to blame" I love this line because it knows it's wrong. Especially in 2015 but maybe even in the early days. They bounced blame back and forth between them for YEARS. Not to mention all the outside bullshit. And obviously they didn't know what to do. The Waterloo/Stanley Park is another reference to a familiar place and a power to hurt/offer to comfort moment. I wish I knew if there was some sort of proper football reference here (aka a QPR reference since that's Peter's team) but I know absolutely nothing about sport so idk.

"Well I'm so glad we know just what to do / And no one's left / Stumbling around / Tumbling around / Fumbling around / In the dark" The way Peter sings this sounds so hopeful and sad at the same time. It's interesting to know this line was written way, way back. Like, this song was apparently one of the first ever songs they demoed. The demo is a lot more frantic and less romantic but jesus christ. The way Peter sings it now it's like he knows that was just an unconscious self-fulfilling prophecy. Like, no, they absolutely were left in the dark, hurting each other over and over and not being able/willing to place blame or to communicate. Except now, in 2015, they're not anymore. (and especially not now in 2021). But it's also another desire for comfort. Like, Peter's offering the comfort here. But he's also just confessed the power to hurt that Carl has. So this is also a "are you going to offer me comfort the way I've offered it to you?" sort of question.

And then there's the solo which. Woof. It feels like a response to Peter's words. Like reaching out with sound. Like a shoulder-squeeze or a hug in response, something nonverbal that’s really trying to catch up and match up to the intense emotions in the words. The music crescendos and the solo is literally waves of notes that roll up and down and up and then it crashes down but lands so softly at the feet of the chorus.

And then we have equal footing, sort of (and Carl as Jesus again). Carl is still Peter's Waterloo, his ultimate defeat (or his place of comfort). But now Peter is Carl's Calvary. Which is the place where Jesus was crucified. Peter’s been offering comfort to Carl, but suddenly Peter has power over Carl. It's like...veneration and threat at once. Carl's Jesus, the savior, but also if he doesn't love Peter, Peter has the power to crucify him (or at least threatens to have that power). Or it's another portent: Carl could be Peter's savior, except that everything falls apart and Carl ends up hurt instead. They both end up hurt instead. So then they're on equal footing.

Which brings them to the "Well I'm so glad we know just what to do," which feels a little sadder but also a little more confident than the other two. The answer is in the "Everyone's gonna be happy / But of course." They need to work to figure out how to make each other happy, how to be comfort rather than hurt. It's not that simple. It never is. The "But of course" is a sarcy acknowledgement of how difficult that actually is. But it's also that sort of quiet hopefulness that yeah, maybe soon we'll figure it out and everyone will be happy and will get to say "of course I'm happy" about it.

#i also did one for the Heart Of The Matter video if people are interested #the libertines #peter doherty #carl barat #apologies to the people who have been in this fandom for ages i apparently like diving straight into the deep end #when i get to a subject I like to learn EVERYTHING about it and totally immerse myself very quickly #i've known the basics of the libs story for a while now just from being into mildly related bands #and liking Peter's lyrics enough to research them a bit #but when i get into something new i do all the research on it as quickly and intensely as i can #also i'm just having fun #analyzing literature/lyrics/etc is what i like doing for fun #(PS I do most of my Libertines blogging on my other blog jesuisgourde)

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schnowydays · 4 years

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The “Herne and the Red Kite” Analysis Nobody Asked For

WARNING: This is probably a very long and unnecessary post.

Wah, so at first I was quite nervous on posting this at all because this is just so embarrassingly long and it is really overly thought out. Plus no one even asked for it and there does not seem to be a need for this since the song is kind of straightforward. But, I still put work into this so I’m going to post it anyways cuz it would feel like a waste if I didn’t. Plus, I’m immensely busy with school right now, so why not just let this fester while I’m away? So,,, here we go:::

Okay, so this was spun out by this post and I just became so interested in what the heck this song was about. I’ve always loved listening to it but I had no idea what the heck was going on - who is Herne? A red kite?? Does this relate to Hadley and Rosalie???

Plus, I love reading analysis on stuff so, here I am, attempting to make my own.

Anyways, to give a quick overview, I am going to be analyzing both the words and the instruments used in the song, going strictly by the studio recording. Everything here will be MY OPINION ALONE so it could be possible that I am horribly wrong on certain things. This research was INCREDIBLY LIGHT so there are probably a lot of details that I missed. Plus, I don’t really have strong music or literature knowledge, nothing beyond what you’re taught in high school. I’ll try to clear up the blocks of text with pictures or videos of things I think are helpful.

I’m basically going to be the English Teacher who finds meaning in everything meme. You know, the:

So, without further ado...

Background

The Song Itself

As we all know, “Herne and the Red Kite” was written by Hadley Fraser and was released on his EP Just Let Go. Although it was released in 2014, I’m not entirely sure when this song was written, so it could have been really any time before then. Just to get it out there, based on what others have already said (from that post, yes), this song is most likely to be about Hadley and Rosalie Craig. Here is the song itself if you’ve (somehow) never heard it before. You can also listen along and read at the same time :D

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Characters in the Song

Herne

Based on only a Google search, “Herne the Hunter”, an English folklore ghost, is really the only thing that shows up. He is mentioned by Shakespeare in The Merry Wives of Windsor in which he is described as “the ghost of a former Windsor Forest keeper who haunts a particular oak tree at midnight in the winter time” (Wikipedia). He is associated with the Windsor Forest and the Great Park in Berkshire. He basically does a lot of not cool stuff, like making cows produce blood instead of milk and making trees die. Another version states that he was made so that parents can scare their children into being more obedient. Herne is also the surname of a bunch of people. Because Herne is such an interesting name to use for a song like this (why didn’t he pick literally anything else??), then there is probably some intention behind the use of this name and probably the connotations that come with it.

Red Kite

So, apparently, the Red Kite isn’t actually a kite but is actually a kind of English bird. Fun fact, during Shakespeare’s time, it was considered to be an insult to be called a kite because this bird, back then, was regarded as quite a lowly bird since it was literally associated with trash. It was related this way because it eats dead things haha... However, it was hunted intensely until it became basically extinct except for a few in Wales. Over time, as the population began to thrive again, the Red Kite became a celebrated symbol of Wales (probably) (source).

According to a lot of different sites, apparently Red Kites also have some meaning to them. I think the most consistent and most important one is how they are a connection between the living and the underworld. This mystical connection binds well with Herne being a folklore ghost who, of course being a ghost, is probably dead. So, already, they are a pretty good match.

A good thing to note as well, birds, in general, are usually used to symbolize freedom. Also, as far as I can tell, there are really no previous stories or songs or works or whatever about Herne and Red Kites together.

Hadley and Rosalie’s Relationship

I got this information from here (brought up by @peonybooks in a chat, thank you!!)

So, depending on where you look, in 2008 or 2009, Hadley and Rosalie met on the set of A Christmas Carol production in Birmingham, although at the time, they were both dating other people. A piece of the set had fallen on Rosalie during that time and basically destroyed her arm. However, she was determined to swiftly come back to the stage because she was afraid that if she hadn’t, she’ll never be able to come back at all. That, and “because [she] had fallen in love with [Hadley]” (my feelings waaa).

Once the production was over, Hadley shipped it back to LA while Rosalie stayed in London. Hadley returned a year later and called up Rosalie for a drink. It was then discovered that they had actually liked each other this entire time!! They just never told each other. They lived together in Crystal Palace after that and married in 2014. This makes it around the time that this EP was released.

Hadley and Rosalie as Herne and the Red Kite

Something interesting I noticed was the relation of their names to these characters. H is for Hadley and Herne. R is for Rosalie and the Red Kite.

Of course, this little fun fact breaks a bit if Hadley is using his real first name, Robert, haha. The “Red” in “Red Kite” can also be a relation to how Rosalie has red hair (thanks @alittlepawblog hehe).

Also, something worth noting is how Rosalie sings all the lines that are in Herne’s perspective, and Hadley sings all the lines about the Red Kite’s perspective. That trade-off is quite neat, actually. They are both narrators together in this story, but they are swapping who talks about who. It makes the whole song feel like they are speaking for each other together.

Lyrics and Instruments

I think for this part, I am going to break it up by when each person sings. So basically, whenever there is a new singer or if they start singing together, that will be a new section. Italics are lyrics, regular print is the analysis.

Instrumental

The story is introduced by an accordion. To be honest, it sounds quite static, or maybe even stoic. There is not a lot of feeling in it, maybe to demonstrate how Herne and the Red Kite’s lives were like before meeting each other.

The sprinkles of hi-hats spring the beginning of the song, which consists of a guitar melody, bass and a violin. The violin has a recurring melody that is highlighted every time there is an instrumental break. It could perhaps represent Herne as both Herne (and subsequently Hadley) is mentioned throughout the song consistently, while the Red kite is only mentioned after the introduction.

Rosalie

Herne lived alone, lived alone in a wood Staring at swallows, wishing he could Join their migration from flower to flower Finally deciding to rest on some bower

Herne is introduced right off the bat, making him kind of the main character. That, and the fact that he has the most lines in the song directly about him. Makes sense if Herne is supposed to stand in for Hadley, since Hadley wrote this song. The fact that he lives in the woods also fits nicely with how he is supposed to be a ghost associated with the Windsor Forest and the Great Park.

The lyrics state he is lonely and stares at swallows, wishing he could join them and fly far away visiting beautiful things (“flower to flower”). Swallows are typically symbols for very very good things, like happiness, protection, connection, conflict resolution, etc. The words “finally deciding to rest” kind of makes it like he has been on this long trek for happiness for a while. He’s been doing this search for so long that he just has to rest, finally. And, in case you didn’t know like me, a bower is “a pleasant shady place under trees or climbing plants in a garden or wood” (thanks Google).

So, just to recap Herne is a lonely ghost who doesn’t want to be this way. He wants to be happy, have a connection with something, but being isolated in the wood just doesn’t let him do that. This may indicate how lonely or just duller things seemed to be for Hadley before he met Rosalie. He didn’t feel a true connection or see true beauty, something he desperately wanted to experience, until her.

BOTH

With another With another

Albeit being very short, these can potentially have meaning behind them. “With another” - another what? They also start singing together here for the first time. Perhaps the “another” is each other, Hadley and Rosalie, or a foreshadow that Herne will be joined by another person or being soon, a sort of set up for the Red Kite, who is introduced in the next line.

Hadley

Herne lifts his head and the Red Kite goes drifting by Suddenly in love with something that caught her eye

Hadley now sings but from the perspective of the Red Kite. Notice before that Rosalie sang the last verse, but all about Herne. They kind of mirror each other in this way.

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With the video above, you can see how, while they drift, the Red Kites move their head a lot. Maybe this is a normal bird movement and I’m just too dumb to know, but they seem to be actively searching below them. I think this derives from how they are scavenger birds. However, instead of spotting food, she spots Herne and is “suddenly in love”. This could parallel into real life, where Rosalie might have seen Hadley in passing on the production and experienced love at first sight. These lines indicate that Herne (Hadley) has clearly seen the Red Kite (Rosalie) as well, probably having the same love at first sight moment, something that can be inferred once the song progresses into the next Rosalie verse.

In this verse, the accordion returns as well, possibly indicating some remnants of the past sadness still lingering. There is uncertainty. However, a new instrument is also introduced simultaneously: the mandolin. To me, it kind of sounds very happy and bright and hopeful, especially in the plucky way it was used. This new instrument, as well as the potentially cheesy representation (rip me), can indicate that something new and exciting is going to begin.

BOTH

Something that's shining so bright in the sunlight Let's hope we never...

If we’re sticking with the definition of bowers being shady, then should it not be very unlikely that the Red Kite or Herne have spotted each other at all? Perhaps through this line, they are saying how unlikely their relationship was to have occurred, but when it ultimately did, it was glorious. In the following line, they say “Let’s hope we never lose that thing that shines in the sunlight ever again”. Maybe it was just so unbelievably good, so amazing, that they were afraid that they would lose it because it just feels so unimaginable. Besides, this flips well into reality since they never told each other they liked each other and kept it secret for a whole year!! PLUS, they were dating others when they first met!! Very unlikely relationship indeed.

...then again, this could just be them saying the other is really great haha.

The accordion is fazed out as if the longer Herne and the Red Kite gaze at each other, the past sadness and loneliness are slowly melting away. The violin returns, swelling into the next line.

BOTH - HADLEY MELODY, ROSALIE HARMONY

...lose that thing that shines in the sunlight ever again

Them singing together makes it like they are in total agreement with each other. It’s like Hadley is making this statement in the melody, and Rosalie supports wholeheartedly with her harmony. From Hadley to Rosalie, and Rosalie to Hadley, they feel like the other outcompetes the sun (the sun!).

Instrumental

The violin melody from the beginning returns, as does the guitar melody. However, after the violin does its melody once, the trumpet now copies it! If the violin represents Herne because of how both he and the violin are introduced at around the same time, then the trumpet could represent the Red Kite, bringing new a much more vibrant, bold and triumphant vibe to Herne’s life. Plus, the fact that the trumpet copies the violin’s melody probably means there is a connection between the two. This would make it somewhat like an instrumental duet or could also possibly foreshadow that something very good is about to happen.

Rosalie

Only one Herne and not enough wood Climbed up the bower and atop it he stood Called down the Red Kite from high up above Come land down here and be my love

Herne feels so attracted to the Red kite that he feels a physical pull to her, so much so that he climbs up on top of the bower. With not enough wood, he’s too far away from the Red Kite, and with only one Herne, it feels like nothing is there to support him in what he is trying to do. So he calls down the Red Kite to be with him instead, kind of like how Hadley called Rosalie for a drink all those years ago. It was him that reached out at the end that called her to him. “Be my love”, they will soon declare to each other during/after that fateful meeting.

This also begins the hunter-bird relationship, if we are going to take this a little more literally. Hunter and bird relationships are very mutualistic. They help each other, with the birds guiding the hunters to their targets and the hunters paying them back in some way, usually through food or other means.

BOTH

Forever Forever

Singing together, they both want to be together forever (haha, pretty obvious?)

Hadley

Red Kite flies down (he's waited his life for this) Whispers to Herne something, whispers, and then a kiss

As the Red Kite flies down towards Herne (as Rosalie gets closer to Hadley, or comes to meet him), Herne (Hadley) thinks that “he’s waited his life for this”. This goes back to the beginning where we know that Herne really wanted to go beyond the wood to see new beautiful things. Now someone beautiful has come to him instead, making his once isolating and lonely world so much more dazzling and loving.

They also whisper, which is a pretty intimate choice of word. And they kiss! Literally spelling out a loving relationship. The happiness, love, protection, connection that Herne (Hadley) yearned for, for such a long time, is finally here.

The mandolin also returns, the hope has its pay off! It continues to play throughout the rest of the song until after a few “Herne and the Red Kite” repeats at the very end of the song.

BOTH

Something that's shining so bright in the sunlight Let's hope we never...

BOTH - HADLEY MELODY, ROSALIE HARMONY

...lose that thing that shines in the sunlight ever again

Once again, they repeat these words, as if to reaffirm this message that they are the best thing to have happened to each other. This is also at the end of the song, you can interpret as the end of this segment of the story, but the start of something beautiful. As time goes on, this magnificent idea they hold of each other never changes, despite anything that happens.

Instrumental

This instrumental segment sounds like a slightly altered version of the instrumental breaks we’ve heard before. It is a lot more energetic, with the first threeish notes being kept from the original, but now tacked on with something extra. Overall, it just sounds so much happier than the instrumental breaks we’ve been getting before.

BOTH

Herne and the Red Kite (repeat)...

This line is repeated 12 times (yes, I counted). The overall feel just sounds so triumphant and happy, like we’re celebrating. The joyous melody has the mandolin fade out, and if you really listen, the trumpet and violin seem to be having a very animated conversation with one another, calling and responding to each other and at times responding really quickly. The same guitar melody that we hear during the instrumental breaks is back as well.

Instrumental

All the instruments fade away, with the violin’s recurring melody closing the celebration off until there is only the guitar left. With only the violin standing out at the very end, it's nice that the original solo melody is now surrounded by all these other exciting things, making it kind of say that Herne is still Herne, but now he is surrounded by so many wonders now that the Red Kite is here. With the guitar having its ending solo, It makes it sounds like this is a tale gone by, and now we talk about it as if it were a folktale or a legend. It kind of feels like we’re just talking about this story around a campfire instead. Herne and the Red Kite grew old and grew old together, closing off the song like a musical “happily ever after”.

Extra Stuff

Interesting Notes

The way it is written sort of sounds like a children’s poem, describing a simple but cute story

The song, overall, personally has a folklore vibe to it haha

There are a few pairs that can be picked out

Herne and the Red kite

Hadley and Rosalie

Male and Female voice (duet)

Violin and Trumpet

Accordion and Mandolin (Accordion is replaced by the Mandolin)

Any time the two sing together, it kind of just reinforces the narrator aspect of things, how they seem to be telling us the story of how they met and ultimately fell in love from a long time ago

Unanswered Questions

Why use Herne of all figures? Herne is supposed to be a very scary ghost. If it truly is supposed to represent Hadley, does this mean he identifies with the ghost in some way? Or did he derive some meaning from Herne’s presence in the works he shows up in?

Conclusion

Waa ok, that’s all I have for now about Herne and the Red Kite. If you made it to the end, thank you so much!! Truly appreciative that you read all the ramblings <3

Here is the super general story: Herne was yearning for something more and was feeling lonely. Then he saw the Red Kite drift by, and for both of them, it was love at first sight. He desperately wanted to be with her, so he called out to her despite the odds or the distance, and as she descended to him, he felt excited that his loneliness was finally going to end. From then on, they shared a happy and joyous relationship until the end of time. The end~

The writing of this post took much longer than the actual light research and speculation part of it. Again, I might be completely wrong because this is just what I think is going on, and I might also just be looking waaaayyy too deep into things. If this is truly a proper, or at least somewhat proper, reflection of Hadley and Rosalie’s relationship, then I feel incredibly soft :’)

If you have any other ideas, or if you agree/disagree with my analysis, please let me know!! I’m really excited to see what others have to say. :D

Until next time, I guess haha

#hadley fraser #rosalie craig #herne and the red kite #personal analysis #personal insight

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miriossunshine · 4 years

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matchup for 💗 @ciels-the-limit 💗

“hi, so since quarantine has led to a lot of self-reflection and a lot more being dropped by fake friends, i've taken a lot of time to sort of figure myself out and re-invent myself as the kind of person i want to be and not what anyone else wants. to celebrate i decided to come to my fave mods, specifically for a bnha student matchup~ i am bisexual, so let's go girls and boys!

personality: i'm an INTP-T, the oldest of three, and a libra. i'm slightly more omniverted, meaning i can be more introverted or extraverted depending, but i lean towards introversion. i keep my friend groups small but i'm on pretty good terms with almost everyone i know. i'm a bit of a tsundere to them though, and i'll never admit how much they mean to me. it just feels weak, ya know? conversation flows easily for me, and i can keep up chat about a pebble if i wanted to. people tend to tell me i'm mature. i'm really competitive and i'll never back down from a challenge. i'm headstrong and confident for the most part, but i feel things pretty deeply and get quite hurt/sad sometimes. i've struggled with a lot of different issues that i'm still working to overcome, but i don't ever like feeling like i'm relying on anyone or putting my burdens on them. i'm very scared of losing people. i have a kinda dark and really sarcastic sense of humor and almost everything i say sounds sarcastic or dead, but that's really just my tone of voice. i find it really hard to try at the things i don't care about, but i pride myself on my determination, creativity, and passion when it comes to the things i like though. i can be pretty bad with new people, and i can't stay interested in anything for very long. my biggest flaws are my hotheadedness, my temper, and my unwillingness to do anything that i don't want to do. i'm also a pretty bad procrastinator and i have a hard time communicating with people who i don't like. i can't sit still to save my life, and i can't focus in class if i'm asked to be still. no clue why, though. i also get distracted easily, so my grades in boring classes aren't exactly the best. i'm pretty good at making friends though! once i decide i like someone there's no stopping me, and i'm very loyal and protective. i am not afraid to cut a bish!

appearance: i'm short and spicy baby! kidding. i'm 5'3 with a bad case of rbf. i've got a more hourglass build and i'm kinda skinny? i have short straight hazel hair {think sokka, but longer}, and the front strands are dyed. my eyes are the same color, and i have monolids that i hate. i have lots of freckles, but only on my arms, back, and legs. i have a dimple on one side because i smile with a smirk. i wear lots of black and greys, but lately i've also been liking reds and teal. i like to dress with ripped jeans or cargoes with stompy shoes or converse, and crop tops or hoodies.

hobbies/things i like: coffee. aside from that, i like cats, music, swimming, archery, volleyball, dance, and literature. i also like anything that comes with an adrenaline rush and a dare factor. roller blades, skateboarding, rock climbing, and paintball are my faves. i enjoy the smell of cinnamon, coffee, the ocean, burning things, and strangely, burnt sugar. my hobbies include songwriting, jewelry making, and jogging. i like to take long walks alone or bike, and i'm always down to randomly go on adventures. i love a challenge, so as long as it's a competition, i'm winning. i also really like psychology and study of human behavior, and i've gotten really good at reading people. i do a lot of charity things and like helping people with their issues, since i like to listen.

the kinds of people i like: i think this might be helpful? i like similar people that i can relate to. if they have similar struggles, or they've been through similar things, i instantly feel like be could connect. intelligence is preferred but not required. i do enjoy a splash of competitiveness though, and i like it when people can go head-to-head with me in things. i like when i'm given nicknames but i'll never say that aloud. my friends call me luci and my close friends call me ciel {my name is luciel lol}. i adore fellow introverts, and also people who are mysterious/intriguing, because then there's more layers for me to unpack! if they can read what i feel {which is tough} then it's a plus.

immediate no's: people who are overtly optimistic or extroverted are a no-go, or the always happy type. i don't really vibe with people who seem 'boring' to me, or just are exhausting to be around. a girl's gotta charge her social battery, ya know? i don't like people who can't read the mood or who are clingy. i don't like small spaces, badly written books, or disloyal people.

okay i'm sorry this was so long but it feels so good to just be whoever i want. thank you so much!”

💕✨💕✨💕✨💕✨💕✨💕✨💕✨💕✨💕✨

angel you’re so sweet i’m so glad you were able to become the person you want to be!!! i hope you’re doing well, and thank you for being so patient!!! 💕💕💕💕 (also monolids are beautiful and don’t let anyone tell u otherwise 😤💜💕💜)

i ship you with katsuki bakugou!

you’re similar in that you’re both hotheaded, competitive, love a challenge, confident, headstrong, and have a temper !! since you like helping people, and prefer people that you’re similar to, i think you would help bakugou come to terms with the parts of himself that he struggles with most. your similarities help you two connect, and because of this, bakugou treats you more like an equal, instead of an “extra” (like everyone else bdnsmsnsks). i think you’d help bring out the best in him 🥺

although he’s not “mysterious” per se, bakugou’s personality does have a lot of layers. he’s confused as to why you’d want to analyze and get to know him so enthusiastically, but it definitely fuels his ego nsndlsbsjsnsk -3-

you’re both a couple of tsunderes and EVERYONE teases you both about it JSKSJWKSJ like “you guys were made for each other~” or “they fight like a married couple!” cue bakugou’s yelling and not so hidden blush hehe-

katsuki really enjoys hearing your voice. even if he just responds with a grunt or a nod, he appreciates your ability to continue a nicely flowing conversation. ngl he loves the actual sound of your voice too, it’s really soothing to him <3

he takes most things incredibly seriously, so when he sees you pushing off assignments until the last minute he gets pretty upset. but it’s only bc bakugou wants you to succeed!!! he will literally drop everything and help you finish your assignment/chore/etc. but he’ll ofc deny that it’s bc he has your success in mind nsnsnsnnssn dummy (￣∀￣)

rock/mountain climbing!!! at first, bakugou saw you rock climbing at a gym and snorted saying he’d “take you to do it for real”. katsuki takes you mountain climbing, up to his favorite spot with the perfect view of the city, and he’s at his calmest. at this point he doesn’t deny your affection, he even returns it. you’ve got yourself a soft baku <3

katsuki picks up on your need for a social recharge, and will tap your hand, asking “you wanna get out of here?” when you nod yes, he’s honestly more than happy to leave an overly peppy social event bdnsmsnsksns. you’re never a bother to him no matter how much his tsundere-ness makes it seem like you are. bakugou’s biggest concern is your comfort, 100% ｡ﾟ(ﾟ´ω`ﾟ)ﾟ｡

i also ship you with kyoka jiro!

she’s quite a chill and reserved person, so the contrast to your hotheaded and confident personality would be rlly cute hehe 👉👈but i also think you’d get along bc you’re both ambiverts, and enjoy the simplicity of each other’s company as well as hanging out with all of your friends!

you’re both lowkey tsunderes to each other ngl. kyoka is v shy with physical affection, and usually shows her love for you by playfully teasing you \(//∇//)\ if anyone (probably mina) were to poke fun at you guys and gush over how cute you’d be if you dated, you both are quick defend yourselves by denying your romantic feelings for each other ndmsnsksjsksnsm (￣∇￣) (everyone can see right thru you guys tho hehe-)

jiro is so excited when she hears that you write songs and enjoy music! she’s shy at first, but with a little persuasion she plays her guitar and brings your lyrics to life by singing her lil heart out to you (*´꒳`*) 💗

she can appreciate your dark humor and you’re both a very snarky and sarcastic couple hehe

kyoka really admires your ability to keep a conversation going. she gets a little awkward sometimes with people, but with you it’s like she can talk about anything for ages!! 💖 she also admires your confidence and determination. those qualities of yours give her the strength to do whatever she sets her mind to! when jiro is on a difficult mission for the hero course, she reminds herself of what you would do in that situation, which ultimately helps her persevere! ｡ﾟ(ﾟ´ω`ﾟ)ﾟ｡

a way jiro likes to affectionately tease you is by giving you nicknames >:3 she picked up on how youd perk up at the sound of a nickname someone gave you, and kyoka has never stopped coming up with creative aliases for you, since （≧∇≦）

you’d look so cool together?? your styles are pretty similar and you swap clothes all the time aaaa (//∇//) she blushes like crazy when she finds you wearing one of her oversized hoodies or t shirts omg >\\\<

you bring out the best in her!! your need for thrill will show itself through your relationship, whether you’re at an amusement park or you want to explore an abandoned hospital at 3 am. jiro is terrified of these things, but when you push her to go with you and let loose, she has the most amazing time! your protective nature makes her feel secure and safe, giving her the ability to just have fun and laugh with you ｡ﾟ(ﾟ´ω`ﾟ)ﾟ｡

#katsuki bakugou matchup #kyoka jiro matchup #mha matchup #bnha matchup #mod honey #ciels-the-limit #submission

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village-skeptic · 7 years

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There are just so many damn things to pull out of this image, and some subsequent Googling to legitimate my initial knee-jerk reaction of "oh hello, William Faulkner" just seemed to bring into sharp relief a lot of interesting connections. These ended more as scattered remarks than as a full proper essay, but it still got long, ‘cause I don’t know any other way to be!

So: thoughts about the symbolic aesthetics of this image; class, trash, and “timelessness”; a constellation of classic literature, film, TV, and pop music connections; and ideas about Jughead Jones in S2, below the cut.

@lessoleilscouchants knows her Faulkner much better than I do, and so encapsulated brilliantly a lot of what I was going to say in her own observations about this aesthetic: “a semi-tragic narrative of class warfare, dead yellow grass, weighty history, bare feet on broken steps, useless resistance against the paths set out for them, and a general sense of doom.” I want to also add a theme from Faulkner's short story "Barn Burning": a son agonizing over whether he should remain loyal to his father in the face of that man's repeated crimes. The choice is complicated by the fact that his father's acts of destruction are clearly a form of protest against the family's place in the profoundly inequitable structure of their society. Hellllooooo FP, Jughead, and South Side Serpent feels! (Although I certainly hope that FP does not suffer Ab Snopes’ fate.)

I got to "Barn Burning" from this really great essay about the material culture of trash and waste in Faulkner's work. Jumping back to the campy elements of Riverdale, it certainly made me think about the ways in which we are all “trash” for this “trash show” - but it also made me move more broadly from the materiality of "trash" to remember that Faulkner's Snopeses are generally considered one of the most famous examples of "white trash" in American literature. (I am scare-quoting this term to be clear that I’m not just throwing it out there, but rather am bringing it up to analyze it.) Despite Jughead calling himself "a damaged loner outsider from the wrong side of the tracks" and Cheryl calling him "a hobo," I'm pretty sure that up to this point, no one on Riverdale has actually used a term that would seem to present itself very naturally: "trailer trash." (Again, not just throwing this term out there!)

This absence is interesting, especially considering the (seemingly increasing) importance of FP's trailer as a physical location where important plot points happen (*ahem*), and as a general shorthand for characterizing conflicts between FP and Jughead, the South Side and the North Side, and the issue of class within Riverdale generally.

And so now we get this beautifully composed image, which is just full of elements of entropy and decay and trash, in all the varied and loaded meanings of that term. I’m going to repost for scrolling convenience - many thanks to @musingmola for the original image of the tweet, and @jandjsalmon‘s close-ups.

There's the trailer itself, with discoloration of the siding - the old and tilting antenna - the bars on one set of windows (but not both) - the blue tarp on the roof at top left. As we know, this is a decaying and neglected home, both literally and metaphorically.

We have the selection of objects outside the trailer, which seem to have just accumulated there over time - there's that breakdown of order, the rejection of social rules about keeping a neat house. The objects SEEM random - an old hand mower, a washtub, the various scrap metal parts behind Jughead, the garden gnome - and there, too, we have that postmodern fascination with evocative fragmentation, with the potential in trash and pieces.

A quick note on "trailer trash," considered now as an identity category rather than as the actual physical objects surrounding the trailer. Although obviously non-white people can and do live in trailers, "trailer trash" is pretty much interchangeable with "white trash." And "white trash" is first and foremost a distancing term that lays down boundaries to try to contain problematic whiteness - whiteness that is poor, disorderly, violent, ungovernable; whiteness that threatens to disrupt and undermine the typical racialized social hierarchies. (This is not my insight - people like Annalee Newitz and John Hartigan, Jr., and most recently Nancy Isenberg have written much more thoroughly about the history, connotations and function of the term.)

Let’s go for the loudest detail first: that white tank top is such a loaded symbol in this context, you guys. It's SO loaded. We all know what the awful colloquial term for a shirt like that is. I don't totally buy the full explanation for the origins of the term here, but the observation that classic films (like Marlon Brando in A Streetcar Named Desire) cemented its symbolic association with violent, unstable, and I would add a sexualized working-class masculinity, is apt.

(So: RAS commenting on the "timelessness" of this shot? Check. Possibly Jughead reaching into his own store of classic film symbology? Also check. I can’t find the promo image of Jughead in that weird jacket right now, but I want to point out that this isn’t the first Brando aesthetic nod we've gotten for S2. I STILL need to know who the fuck Stefano is!)

That bandaged hand is straight-up evidence of previous violence; that wary look and the tense posture implies the promise of more to come, as needed. I am NOT, of course, suggesting the connotations of the shirt as an explanation for that injured hand in this case! Just observing on the general aura of trouble.

Furthermore. This kid normally lives in layers of clothing, and now we've got him down to that ever-so-symbolic sleeveless top, sitting resignedly outside his family home? Way to underscore the idea that the circumstances of Season 2 are going to strip down all those layers, and make Jughead grapple with who he is, where he comes from, where his loyalties lie, what he's afraid of being underneath it all, etc.

Jughead's fascination with writing and film, particularly auteur film - I'm now thinking about that as a layer of cultural armor against being called "white trash." Like, I don't think it's feigned or anything - but it certainly has the happy side-effect of being a way to forestall those accusations of a lack of culture. He's not TRASH; he's a WEIRDO. He's on the fringes, but that gives him the power of insight that you lack. (I should also point out here that @foresightfromforsythe has been doing this Jughead-as-trash-king analysis piece by piece for months now. Whoever runs that account is brilliant.)

The idea of concealing or revealing your fears about who you are and what you've inherited from your parents, got me thinking about another one of my beloved TV shows, in which the main character creates a new identity that allows him to escape the childhood wounds inflicted by poverty, a troubled, alcoholic father/son relationship, and repeated maternal rejection. And I realized that nearly any time that Don Draper is getting touch with his inner Dick Whitman, white sleeveless undershirts come into play in EXACTLY the same ways I've been talking about above.

Dick Whitman and his “Uncle” Mack:

Dick Whitman in the moments leading up to the creation of Don Draper:

And then I got lost in considering the fact that Don Draper's father's name is ACTUALLY ARCHIE; the whole Betty connection; and that in one memorable episode, Don Draper hallucinates about sleeping with a character played by Madchen Amick and then strangling her to death. I don't think that any of that is actually all that useful in reading this image or the direction of Season 2 - I'm not arguing that Jughead is Don Draper - but it sure was fun to think about.

Of course, the connection to Mad Men also gets us to some of the criticism leveled at that show - that it was more in love with its own aesthetic than with exploring the historical issues of the period, and particularly the racial tensions of the 1960s. I'm not going to rehash that debate here, but I *will* observe that Riverdale also loves its aesthetic and has also received some criticism about needing to make its non-white characters more fully realized. There's always the possibility that Season 2 is going to do the "Civil War" storyline in a way that centers mood and aesthetic, which, like, clearly I HOPE IT DOES, but there are ways to do that with more and less heft, you know? I know I'm going to love it one way or the other - for me, it's honestly enough for this show to be Teen Peaks/Maple Syrup Murder Hour, without necessarily saying that it must also be Let Us Now Praise Famous Men. But it's going to be interesting to see just how seriously the showrunners decide to engage with this theme.

Because of course, a predilection for surface-level engagement is another interpretation of the image. For everything that I've just said about trailer trash above, God knows that there is also a certain type of undeniable (and undeniably comfortable) cultural capital in the melancholy aesthetic of rusty metal and decaying trailers and lithe young white men showing off their defined biceps in sleeveless T-shirts. (CS himself also seems to love to play with and remix this aesthetic in his photography and personal aesthetic.) It's the minor-key version of Americana. We might call it, as Everlast does, "White Trash Beautiful."

(Please note: this is the potential departure point for a whole other Current Events meta on the cultural politics of nostalgia and the romanticization of an idealized version of the white working class, which - in short: please make smart and savvy choices, RAS!)

Anyway, now that I've gone and broken the seal on musical connections here, it's time to say that I probably could have just copy/pasted the lyrics to Modest Mouse's "Trailer Trash" here and been done with it. (Here's a great little essay on this song at Pop Matters.)

The ephemeral "trash" of plastic forks and paper plates; the "short love and a long divorce"; calling the people you love "fakes" when they try to compare their trauma with yours, and then realizing that you need them anyway and apologizing as best you can: is there anything more 1x10 Jughead than this? It'll be interesting to see whether it turns out to be S2 Jughead as well.

#riverdale #riverdale season 2 #jughead jones #fp jones #william faulkner #mad men #don draper #dick whitman #class in popular culture #the importance of costuming #high culture and low culture #overanalyzing pop culture #overanalyzing everything #one person's trash is another person's treasure #sorry for that pun but come on #riverdale meta #my words #if you made it through this whole thing I love you to bits!

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regards-alya · 3 years

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Learning Through Movies/Dramas

English is the most important global language that all people around the world use to communicate despite the difference in their mother tongue. However, learning a foreign language, especially English, is not as easy as we thought. Therefore, we have any factors influencing language acquisition. Richards (1985) wrote motivation as a factor that determines a person’s desire to do something. Motivation can be built from anything we love to do; as a hobby. For example, watching a movie or a drama.

A movie and a drama are both performances that tell fictional or realistic stories and conflicts in an organized plot and played by actors who able to portray certain characters. A movie and a drama are also literature works that can help people learn a certain language in a creative way. As stated by Boothe and West (2015), the capacity for language development is expanded and the brain is stimulated with unique and enhanced learning by adding variety and creative thought to the learning experience. There are so many movies or dramas produced and performed in English. However, learning English through movies or drama can be tough as we might not be able to catch the dialogue. Reading subtitles is one alternative solution to help us understand it, but it’s more important to listen and pay attention to the dialogue spoken to improve our listening comprehension. English movies or dramas also serve plots that tell us various cultures from foreign countries. Various plots in movies or dramas can trigger us to think of an opinion and we may learn new things from the movie. The way we think of the movie and how we perceive the story can develop our critical thinking skills.

I do love to take my time when I watch a movie or a drama to learn English properly. It’s more fun to learn it while watching movies because I get to read subtitles and listen to the pronunciations at the same time as it helps me to enrich my vocabularies and improve my listening comprehension. When some words are pronounced by native speakers naturally in the dialogue, it eases us to know how it’s pronounced, especially when the actors have different accents. In a movie, there must be one or more native speakers who came from outside America and they bring different accents in delivering their dialogue that makes the learning process more interesting to follow. Critical thinking can also be improved as I analyze the plot – what’s the meaning of this scene, what’s causing them, etc.

In the process of ELT, movies or dramas can be used as media for teaching listening comprehension as well as developing critical thinking. However, the movie needs to be educational or have a plot that is suitable for learning purposes. For example, School of Rocks or Forrest Gump. I’d like my students to watch those movies respectively and pick their favorite scenes as they tell their peers and teacher what kind of value they learned when they finished watching. They can also pick a scene that is memorable for any kind of reason.

For the practice, we are going to do a short play as it’s related to drama and it’s beneficial to improve their speaking skills. The script can be taken from old literature works, famous works, or even improvised ones. Students are also free to make their own script based on a certain theme that is decided for the task. The play is important to include what the students have learned regarding the language. Taking from the example of the work of The English Teaching Theatre (Wilson, 2016), the play was a creative performance with the script that is related to the language the students learned. It helps them to implement their knowledge in a creative way. By then, scoring will be done based on students’ performances and their creativity.

Ref:

Boothe, D., & Jeff West. (2015). English Language Learning through Music and Song Lyrics – The Performance. Italy: Padova: Libreriauniversitaria.it.

Richards. J, Platt. J, & Weber. H. (1985). Longman Dictionary of Applied Linguistics. England: Longman.

Wilson, K. (2016). Archive for the ‘English teaching theatre’ category. Retrieved from https://kenwilsonelt.wordpress.com/category/english-teaching-theatre

#literature #movies #dramas #english teaching #essay

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