God damn them all I was told we’d sail the seas for American gold we’d fire no guns, shed no tears Now I’m a broken man on a Halifax pier the last of Barret’s Privateers
Heres the basic info on this balad, since I don’t actually have the time to do an in-depth analysis. The first time I heard this song was by The Dubliners.
Ok so I’ve been playing for 18 years and i’m a string teacher. Can i just say how IMPORTANT it is for young kids to see a BLACK, MALE-PRESENTING PERSON playing, nae, SHREDDING on a violin? I’ve know maybe 5 black people who played stringed instruments throughout my schooling and teaching (predumably because i’m an upper middle class white woman). In districts where the population is predominantly black, funding is always low, so the instruments are crappy. Kids quit, or the program is dismantled. I’ve seen very few professional string players who are black.
Obviously there are black string players. We just don’t see them because they “don’t look like” string players.
This person is the real deal. They were clearly trained, and seems to have some fiddle training as well. How cool is that?
it’s also because Leonard COHEN (!) was Jewish and this is a quintessentially Jewish line, and changing it to that level of Annoying Certainty is stripping it of its Jewish meaning and imbuing it with that particularly American smug evangelical Christian attitude that makes me tired, so very tired
THAT IS EXACTLY WHY
I don’t think I’ve heard any cover artist sing my favorite verses
You say I took the name in vain
I don’t even know the name
But if I did, well really, what’s it to you?
There’s a blaze of light
In every word
It doesn’t matter which you heard
The holy or the broken Hallelujah
I did my best, it wasn’t much
I couldn’t feel, so I tried to touch
I’ve told the truth, I didn’t come to fool you
And even though
It all went wrong
I’ll stand before the Lord of Song
With nothing on my tongue but Hallelujah
um woah
I will always hit the reblog button so hard for Hallelujah but ESPECIALLY mentions of the elusive final verses which are just about my favorite lyrics ever. Why do people always omit the best part of the song??
In Yiddish
In Hebrew
In Ladino
Yeah, I wonder why the verses that reference specific Jewish mystical and chassidic concepts that aren’t readily understood by American “I love Jews, you know, Jesus was Jewish!” Christians never get any airtime. Funny that.
You say I took the name in vain I don’t even know the name But if I did, well really, what’s it to you? There’s a blaze of light In every word It doesn’t matter which you heard The holy or the broken Hallelujah
These are specifically about Chassidic Jewish theories of the holy language, how each letter and combination of letters in Hebrew contains the essence of the divine spark and if used correctly, can unlock or uncover the divine spark in the mundane material word. And of course, there are secret names of God which, when spoken by any ordinary human would kill them, but if you are worthy and holy and righteous can be used to perform miracles or even to behold the glory of God face-to-face. The words themselves have power. Orthodox Jews often won’t even pronounce the word “hallelujah” in it’s entirety in conversation, because the “yah” sound at the end is a True Name of God (there are hundreds, supposedly) and thus too holy to say outside of prayer.
None of this is to mention how David’s sin in sleeping with Batshevah (the subject of much of the song, with a brief deviation to Shimshon and Delilah) is considered the turning point in the Tanach that ultimately dooms the Davidic line at the cosmological level and thus dooms Jewish sovereignty and independence altogether. From a Christian perspective this led to Jesus, the King of Kings, and that’s all very well and good for them, but for the Jews, the Davidic line never returned and is the central tragedy of the total arc of the Torah. Like, our Bible doesn’t have a happy ending? And that’s what this song is about? There’s no Grace – you just have to sit with the sin and its consequence.
Of course, Cohen is referencing all of this ironically, and personalizing these very high-level religious concepts. Like the point of this song is that Cohen, the songwriter, is identifying with David, the psalmist, and identifying his own sins with David’s. The ache that you hear in this song is that the two thousand year exile that resulted from one wrong night of passion and Cohen feels that the pain he has caused to his lover is of equally monumental infamy. Basically, in a certain light, the whole of Psalms is a vain effort for David to atone for his sin and I think Cohen was writing this song in wonderment that David could eternally praise the God who would not forgive him and would force him and his people into exile. But he ultimately gets how you have to surrender to the inexorable force of God in the face of your own inadequacies and how to surrender is to worship and to worship is to praise – hence, Hallelujah. You can either do the right thing and worship God from the start, or you can fuck up, be punished, and thus be forced to beg for His forgiveness. It’s the terrible inevitability of praise that’s driving him mad.
Like honestly, I identify with this song so strongly as an off-the-derech Jew, I sometimes wonder what Christians can possibly hear in this song, as it speaks so specifically to the sadomasochistic relationship that a lapsed Jew has with their God. It’s such a different song from a Christian theological perspective it’s almost unrecognizable, man. This song continues to be a wonder of postmodern Jewish theology and sexuality from start to finish. Don’t let anyone give you any “Judeo-Christian” narishkeit. This is a Jewish song.
(Sorry about the wild tangent it’s just 2AM and I love this song so dang much, you guys.)
everything about this… this statue, the choppy waves, the cliffs behind her, the echo, the drumming….. aesthetic
Lyrics in Faroese:
Trøllabundin eri eg eri eg Galdramaður festi meg festi meg Trøllabundin djúpt í míni sál í míni sál Í hjartanum logar brennandi bál brennandi bál
Trøllabundin eri eg eri eg Galdramaður festi meg festi meg Trøllabundin inn í hjartarót í hjartarót Eyga mítt festist har ið galdramaður stóð
English translation:
Spellbound am I, am I The wizard has enchanted me, enchanted me Spellbound deep in my soul, in my soul In my heart burns a smouldering fire, smouldering fire
Spellbound am I, am I The wizard has enchanted me, enchanted me Spellbound in my heart’s root, my heart’s root
Did anyone else just get the shivers? Cuz I’m definitely getting the shivers.
Btdubs, the singer is Eivør Pálsdóttir.
Reblogging again for the haunting wizard lyrics
shoutout to the faroe island for being the only real viking island left
it’s not 😦 that kendrick album is amazing though, I literally haven’t listened to anything else since it dropped tbh
Mozzy – Sleep Walkin (Official Video)
I FOUND THE SONGS!!
the one playing in Shuri’s lab is by South African artist Babes Wodumo – Wololo (feat. Mampintsha)
and the one playing when Nakia and T’challa are in wakanda walking about is by Malian artist Idrissa Soumaoro – Bèrèbèrè (feat. Ali Farka Touré)
also here are other songs that appeared in the movie that are not featured in the Kendrick Lamar Black Panther soundtrack or the Ludwig Göransson Black Panther movie score:
(African American) Mozzy – Sleep Walkin
(African American)Too $hort – In The Trunk (in the opening oakland scene)
(South African) Bhizer ft Busiswa, SC Gorna, Bhepepe- Gobisiqola
Reblogging, favoriting and saving as draft for later
Does anyone have the song from the whole south korea sequence as well? like the one that plays in the casino ?
Another season of Leverage watched, with some internal screaming over Eliot’s shoulders.*
Down to most of the bottom hem to finish on the sewing project tomorrow. And a new project added to my mental queue of a blasted pin cushion. My fingers will thank me for not stabbing them while reaching into the cup that currently holds the straight pins.
*Just. broad shoulders that are nicely muscled with a proper overlay of fat to pad them are. really. fucking. appealing. ok? Also, his physicality is likewise appealing. He’s not the only one who is, he just hits some very specific buttons. I mean, can you imagine being cuddled by that? Just. All wrapped up and snuggling into him. GAH!
*stomps off muttering to themself about pretty men and a very annoying case of skin hunger*
Have you heard him sing yet?
(Christian Kane has a band IRL, too.)
*grins broadly* I need to check how much more I need to acquire, because I haven’t been very good about getting more since his first album came out. Mostly because my eclectic taste in music has been wandering elsewhere.
(I had a reminder today about why I fucking adore his singing, because third season has the county music episode, and fuck damnit.)
When I saw a photo of Preytorians and received a brief blurb about their vibe, here’s what I expected: 480p resolution YouTube videos of dudes cosplaying in Ren-faire attire rapping pretty decently over early 2000’s-style beats at a convention.
… Preytorians? I’d never heard of them before last week. The indie hip-hop trio includes Kielen King, Demond Clark, and Sean Wynn. King and Wynn, having both hailed from Portland, had worked together previously before all collaborating online with Chi-town’s Desmond Clark via social media.
These dudes are talented individually, but together they form a powerhouse, which brings us to their debut album: Warmusic: Past and Future. I listen to a fresh album in bits and pieces before I go in to digest the whole thing, which helps me determine whether I dig the sound, or if I’d rather call it quits than commit to what could be up to an hour of listening to an album straight through.
I only needed a good couple of seconds before I decided I wanted the album in its entirety. The album title, Warmusic, is in itself a great description of the work; Past Wars throws rap bars over music you could picture in a war movie. Preytorians describes themselves as “vanguards of truth,” and on this album, they use the turbulent emotions of wartime to inspire listeners rather than to invoke terror or pain.
My favorite element of this album is the uniqueness of its’ sound; it’s broken up into two parts, each completely different in style. Past Wars gives you a more epic, battle soundtrack vibes while Future Wars gives you modern electronic sounds and cool beats.
There's a Mirror on the Wall 