herald trumpet

I will preface this one by saying that I am mad ill - like, ugly sick, weird fever, unexplained contextual bends in my reference sphere - and so I thought what better time (and also gotta keep busy or death will claim me, 100 percent) to tackle the episode with the Metaphor of the Three Candles, which is a staunch, businesslike metaphor and will probably keep me nailed down as my head (two? three sizes larger than usual?) bobs about the corners of the room.

So: things may be shaky.

We begin with the camera cutting straight from a close-up of Wakaba’s onion dome to an exterior shot of Utena gazing wistfully out the window, which slowly pans in, giving the impression that Utena is eavesdropping on Wakaba’s conversation from a completely separate building, but, y'know, everyone makes mistakes.  Why read into it?   I mean you could say that it serves to underscore the way that Utena cannot usefully take on board Wakaba’s common-sense advice to Prince Onion - that a fundamental schism has taken place [see episode 20, faithful fans] and that Wakaba is no longer able to save her from the attentions of predatory dudes, having demonstrated herself to be entrenched in a culture that enables them.  But it’s probably just clumsy editing.

All this talk of first kisses has Utena thinking about her prince, which means it’s time for the cock tower to loom out at us once again.  We find that Akio has baked a cake.

It’s even rarer to find a guy who can bake a metaphor.  This all has the feeling of sympathetic magic about it - maybe the dude has learned a few tricks from his witch sister.

Utena fawns over Akio’s cake-making skills.  Wakaba arrives and repeats Utena’s fawning word for word.  Utena successfully identifies this as flirtation when Wakaba is doing it, but doesn’t make the connection to her own behavior. Then she looks at Akio and makes this face:

And then her eyes stray down to Anthy and her face changes.

She knows, on some level, at this point.  Doesn’t she?  That’s guilt, isn’t it?
The candles gutter in the wind.

Then, inverting the Friendship Between Girls tarot card, Wakaba tells Utena that if she doesn’t lighten up, she’ll never fall in love.

A smash cut to the sacrificial authority figure from Episode 1 underscores that Wakaba is currently doing the work of the female wing of the patriarchy, the collaborationist Stasi of this divided state, who strive to keep everyone behind the Dudely Curtain at all times.   The guidance counselor tells Utena that she needs to be more feminine, because going through life in drag on the battlefield is no way to be.   Utena risks never developing into a functional member of this society if she persists in ignoring her role.  The representative of genuine power present here puts this another way.

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Know how to triumph over envy and malevolence. Showing contempt, even if prudent, achieves little; being polite is much better. Nothing is more worthy of applause than speaking well of someone who speaks ill of you, and no revenge more heroic than merit and talent conquering and tormenting envy. Each blessing is a further torture to ill will, and the glory of those envied is a personal hell to the envious. The greatest punishment is making your good fortune their poison. An envious person doesn’t die straight off, but bit by bit every time the person envied receives applause, the enduring fame of one rivalling the punishment of the other, the former in everlasting glory, the latter everlasting torment. Fame’s trumpet heralds one person’s immortality and announces another’s death - a sentence to hang by envy’s anxious rope.”

- How to Use Your Enemies by Baltasar Gracián (trans. Jeremy Robbins)

“There were no trumpets, no gladsome shouts of welcome, nothing but the smell of tar, the thump of ropes, and the raw voices of seamen crying, ‘Landing! Tie her!’

For years Mary had imagined landing in Scotland as an adult queen returning to her childhood home. She and François together, of course, standing at the rail, seeing a great company of mounted councilmen awaiting them, silken banners flying, caparisoned horses gleaming, heralds shouting their trumpets, crowds cheering.”

- Mary Stuart’s arrival in Scotland after the death of François II, from Mary Queen of Scotland and the Isles by Margaret George

My God glories in war and darkness. He pours His wrath upon the world and is heralded by trumpets and fire. He breaks our chains and razes our cities to the ground. He is the silence between a lightning strike and the clap of thunder. He is simultaneously terrible and awesome. To see Him is to die. To be touched by Him is to burst into flames. To love Him is to accept madness, for it is right to fear Him.

Don’t tell me that we don’t acknowledge every bit of our Lord.

anonymous asked:

um. okay. i need a writing tip. how do you describe music?

Oh, my sweet summer child. Speaking as someone who has spent like 37k of her current WIP trying to figure that out, I can pretty safely tell you that there is no magical how-to. But, as I have slogged through trying to describe not only real music but also to create from nothing the sound, style, and legacy of a fictional band, I have a few pointers for you:

  1. Listen to music while you’re doing it. Yes, this is obvious, but what I mean is really listen to it. Listen to every layer and instrument individually (or a similar song if the song you’re describing isn’t real) and write down every word that comes to mind, whether it be an adjective, a noun, a verb, whatever. Because describing sound begs synaesthesia. You have to talk about it in terms of color and movement and texture because you can’t actually just transliterate the sounds. Ya dig? It’s hard, but it’s an absolutely delightful way to stretch your descriptive muscles. If you have to listen to the same fifteen seconds of a song 79 times, so be it. Get some good headphones and scrub away. (This is pretty much all I’ve been doing for weeks. I’ve listened to the saxophone solo off “Money” probably a hundred times in the last 48 hours.)
  2. Read music criticism. It doesn’t even have to be of the music you’re talking about. Grab a copy of Rolling Stone or a music biography and just explore the way musicians and music experts talk about it. This is a style of writing I’ve been deliberately trying to mimic for parts of this project, and let me tell you, it has been a fucking riot to write. Because this kind of writing is inherently colorful and often totally over the top. A lot about music and musicians is larger than life. So don’t be afraid of that. 
  3. Learn the vocab. There are very specific terms for a lot of the effects you hear on any given CD (yes, I still buy CDs because I’m old), and that’s terminology you should learn. Wah-wah and reverb sound like gibberish until you actually know what they are. So, look stuff up. Find a music glossary or whatever and educate yourself. You can’t talk about music if you don’t actually know what you’re hearing. If you aren’t a musician, talk to one. It’s like listening to native speakers talk in another language. It’ll teach you better than anything else how it’s really supposed to sound, and you’ll get a better sense for when what you’re saying is ‘off.’ Research. It’s vital.
  4. Comparison is your friend. As soon as I say ‘church organ’ you know exactly what sound I’m talking about. Ditto ‘saloon piano’ or ‘circus music’ or ‘heraldic trumpet.’ Certain sounds are instantly recognizable to anyone who’s been walking around with working ears for a few years, and using those universal points of recognition is a great way to give a reader who may not be a musician or aficionado some idea what a song in fiction sounds like. Alternatively, you can use non-musical sounds to describe musical ones. For instance, “machine gun drums” are going to sound very different from a “bird call” from a flute. Get creative.
  5. Talk in terms of emotion. Kind of like good writing, good music comes from a place of feeling, and telling a reader what that feeling is does half your work for you. A “mournful” song is different from a “joyous” or a “furious” one. Is it a murder ballad or arena rock or a breakup song? Use the vocab and set the mood. 

Put that all together and if you’re me you end up with something like this: 

“The song delved into its last dizzy spiral, a grinding slide into ominous darkness with one long wordless vocal that could have been an orgasm or a death groan.“ (This came straight out of my WIP.)

Outrageous? Absolutely. But for this particular band and this particular song, that is totally, entirely the point. I’m a music junkie and I get really into this, and what I’ve found is that if you give it the time it needs–both to actually pay attention to every layer of the music and pick every word you use with the same fastidious care–it’s actually blast to write. Which is how I ended up with a concert scene that goes on for literally sixteen pages, most of which any sane editor will probably, at some point, make me cut. So the last piece of advice is to have some fucking fun with it. Be outrageous. Be extravagant. I think every rock star who has ever lived would want you to do exactly that.

DAY 2103

      Jalsa, Mumbai            Jan 17/18, 2014               Fri/Sat 2 : 22am

……….and so on and on and on … the events trumpet a herald which is desperately seeking to move ahead … ahead to bed !! 

Its one of those days …

My love to you 

Amitabh Bachchan

This limited edition English fine bone china tea caddy commemorates the 60th anniversary of the Coronation. The design reflects the pomp and pageantry of the Coronation procession; the Coat of Arms is from the heraldic bearings of the coaches. The border decoration is taken from the silk damask banners of the State Trumpets which heralded the moment of crowning at Westminster Abbey.