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@five-flats

generic blog with (very) occasional posts about classical music
singer | pianist | flautist | he/him
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when christian artists change the line in hallelujah from “maybe there’s a God above” to “I know that there’s a God above” >:c

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

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hachama

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

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cutecreative

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

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.)

holy shit. woah.

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dduane

This.

That last bit from @stoneandbloodandwater, that’s a great articulation of the well of feeling, memory, storytelling, and culture packed into one of the most Jewish songs ever to get real famous. The song is both surrender and defiance, and that those are actually a single path together, not two opposite choices.

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jewishnursey

A small addition: This song is such a deeply resonant Jewish touchstone that every synagogue I have ever attended uses its melody in services from time to time.

It is so important, so powerful, so spiritually resonant that we use it in prayer.

If memory serves me, the cover we most often hear came about specifically because Jeff Buckley was like “man, this song is badass but I don’t know that I can do its concepts justice” and Leonard Cohen was like “you need different verses? Here, I wrote over eighty of the fuckers, pick what you want to use” and so Buckley put together verses that spoke to him as a non-Jew about sexuality and this idea of a failed relationship.

Which wouldn’t be an issue if Christians didn’t then take his adaptation (done, I emphasize again, with Cohen’s blessing) and rewrite it in ways THAT DO NOT COME FROM THE ORIGINAL VERSES.

Yes, this.

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cryptotheism

Sometimes people will come into my inbox like "Random YouTube Homunculus is racist actually" and when I can actually be bothered to look into it, it's always either:

1) "YouTube Homunculus has opinions about a cartoon for babies that I don't like. He also profusely apologized for said opinions due to the backlash."

2) "YouTube Homunculus almost definitely killed 17 women with a gun during a vacation to Thailand six months ago."

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tryharddj

you got homunculous and the concept of man mixed up again chief

No I did not. The government grows YouTubers and TikTok stars in huge tubes like sea world and then release them to the public specifically to make twitter more annoying to use for me personally.

Saw the words Youtube Homunculus and thought you meant the russian dude who was raising a homunculus and posting videos about it to youtube

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mlarayoukai

The Russian WHAT

What’s not clicking?

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Apparently there's an evolutionary theory that the reason why Africa has so much wild big-ass megafauna while the big-ass megafauna on all the other continents went extinct is because they evolved right beside humans, and knew us well enough to not get hunted into extinction.

So while everything from giant koalas to giant sloths barely had the time to think "what the fuck is that" before getting pierced by a spear and getting their bone marrow gently fed to babies and the toothless elderly, Africa had elephants who had all the time in the world to learn to tell apart human languages and teach the next generations of their herd which human sounds mean that this tribe won't hurt you, but humans who make this kind of sounds are a danger. And hippos learned to conclude "I think I'll fuck up this two-legged weird shit on sight."

That’s true about African Elephants being able to distinguish between human languages, BTW.

The original study they did on this is really cool, and it showed that not only can elephants distinguish languages, they respond differently depending on the general age and gender of the person spekaing. The researchers played recordings of different people speaking either Maasai or Kamba. All the speakers were saying the same thing, "Look, look over there, a group of elephants is coming."

What they found is that when presented with voices speaking Kamba, the elephants were supremely unbothered. The Kamba are mostly farmers, many work for the park services, and they rarely present a danger to elephants.

When presented with the voices of adult men speaking Maasai, the elephants drew close to each other and started investigating. The Maasai are largely cattle herders, and they sometimes come into conflict with elephants over water and grazing lands.

However, the elephants did not seem nervous when presented with the voices of women or young boys speaking Maasai. They were aware that only humans with deep voices were a threat to them.

They also seem to recognize that if humans are talking, they aren't necessarily a threat. Humans pursuing large game like elephants are stealth hunters. If you can hear them coming, they're probably not trying to hurt you.

Anyway, elephants are amazing and one of the creatures high up on my list of "non-humans who are probably people."

Reblogging for those fabulous details.

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bearie

kittens conversation:

hey we are all really small do you want to sleep in a pile

other kittens: yeah

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i'm going to have to go through my followers and block a bunch of people because my posts keep getting circulated by the "Catholic Qanon Nazi" side of tumblr

I figured it out.

Cottagecore.

Since I started posting a lot about plants and gardening, my posts keep getting picked up by the "cottagecore" bloggers, which are a solid 30% tradwife blogs

That's probably an exaggeration but wow, there sure are a lot of "Anti Feminist Traditional Gender Roles" bloggers that are obsessed with the "rural" aesthetic

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jenroses

Have I told y’all about my husband’s Fork Theory?  If I did already, pretend I didn’t, I’m an old.

So the Spoon Theory is a fundamental metaphor used often in the chronic pain/chronic illness communities to explain to non-spoonies why life is harder for them. It’s super useful and we use that all the time. But it has a corollary.  You know the phrase, “Stick a fork in me, I’m done,” right? Well, Fork Theory is that one has a Fork Limit, that is, you can probably cope okay with one fork stuck in you, maybe two or three, but at some point you will lose your shit if one more fork happens.  A fork could range from being hungry or having to pee to getting a new bill or a new diagnosis of illness. There are lots of different sizes of forks, and volume vs. quantity means that the fork limit is not absolute. I might be able to deal with 20 tiny little escargot fork annoyances, such as a hangnail or slightly suboptimal pants, but not even one “you poked my trigger on purpose because you think it’s fun to see me melt down” pitchfork.

This is super relevant for neurodivergent folk. Like, you might be able to deal with your feet being cold or a tag, but not both. Hubby describes the situation as “It may seem weird that I just get up and leave the conversation to go to the bathroom, but you just dumped a new financial burden on me and I already had to pee, and going to the bathroom is the fork I can get rid of the fastest.”

I like this and also I like the low key point that you may be able to cope with bigger forks by finding little ones you can remove quickly. A combination of time, focus, and reduction to small stressors that can allow you to focus on the larger stressor in a constructive way.