Like it is not an exaggeration to say Shiro had a weird mindscape cage fight with Emperor Goddamn Zarkon and was nearly murdered. Literally the only reason he won/was saved is because of his bond with Black.
Which has been emphasized to be really strong as early as, y’know, the first dang episode. And who when they did the dumb cheerleader pyramid thing to try and form Voltron, this stuck with Black, really strongly, and, y’know what?
I think that makes perfect sense. Of course it would. She’s been intermittently hurt, hunted, trapped, and losing everything to a huge ugly falling out and war centered partially around her. She finds a paladin, she gets out, and immediately, it’s back to fighting for your life-
And then, that. The fact that the new paladins have no idea what they’re doing. That they’re kind of silly and kind of frustrated and are willing to throw up their hands and go “Nothing else is working. Let’s just. stack. Cheerleader pyramid. Do this. Hunk, why are you on my head.”
It’d be, honestly, hilarious. When was the last time Black had fun like that? When was the last time she could, giant space lion thing notwithstanding, feel normal?
And that even fits perfectly with Shiro as well because, honestly, part of him was probably feeling the same way. When was the last time he could just do something irrelevant and be moderately inconvenienced without his life or somebody else’s on the line?
I feel like what fundamentally upsets me so much about a lot of the hypothetical permanent Lion-swapping meta is that it often without even really meaning to suggests like… that the Lions don’t care? That Black is just a sword in the stone waiting for another King Arthur and not a person who would be grieving Shiro in his absence as much as the rest of the team? Or that she’d only focus on Keith out of “worthiness” and not how lost and scared and out of his depth he’d feel?
Because it’s not like the team’s going to go “aah! We need to have seven people!” run to Earth, grab a hypothetical Ryou Shirogane and just all start treating him exactly like Shiro? Because, interpersonally you don’t have specific slots that you replace and the root of the Lion-paladin bonds really feel like interpersonal friendship, openness- a specific kind of harmony.
all the awards, holy hell, @bluestale hell yes hell YES HC ACCEPTED
i literally dropped the animation i was working on because i got emotional just reading your message earlier today at the memories of that song - then i listened to it, and immediately doomed myself - soooo here, here you all go, please join me in having feelings about Blue?? it’s a storyboard-style video but i had to do something with all of these feelings aw geez.
hey shelly can u recommend some blogs (specifically Jewish but if there are others u think are quality that's good too)
hi hello! umm let me see. i reblog most of my jewish stuff from my bff @debz0rz, so maybe she has some suggestions for good jewish blogs? @jewishomgcp is also great for general jewish stuff in addition to fandom jewish stuff.
some quality folks whose blogs i adore: @reservoircat (tbh lenora was one of the first people i ever followed when i got on tumblr and literally bless her for never changing her name/brand i love her and her life and her cats she’s great), @xerem is fab for like, social justice and qpoc solidarity and amazing stuff in general (also they’re my kid and i love them*) (*not my actual kid), @omgcphee is legit amazing re: race and fandom/racism and fandom and how those things interact and phee is just fantastic in general, @angeryginger is just hilarious and i love her. @adulting and @unfuckyourhabitat are my go-to “how to not fuck up 100% of the time” blogs.
some marvel blogs i love (that avoid the general marvel drama thank gd): @isjustprogress (andi’s tags are the best thing and she writes amazing fic and i’m love her), @enigma731, and @spectralarchers (gifsets for DAYS)
There are quite a few Irish activities that come to mind, here are some that I greatly appreciate:
Hurling is a native sport of Ireland, believed to be around 3,000 years old. It is an outdoor game played between two teams and the objective of the game is to use a wooden stick (called hurley) to hit the small ball (called sliotar) into the goalposts of the opponent, either over the crossbar for one point or under the crossbar (into a net) for three points. From afar, hurling can be said to resemble hockey but aside from using sticks to hit a small object into a goal, the similarities kind of end there. The sliotair can be caught in the hand but after four steps, the player has to either bounce or balance it on the hurley or the player has to pass it on by either slapping it away with an open hand or hitting it with the hurley.
As long as the player has one foot on the ground, other players are free to charge him to try and get the sliotair. Aside from a plastic protective headgear with a faceguard, no protective padding is worn by the players. The headgear is an upgrade from what there used to be as hurling was (and still is) a pretty violent sport and players could sometimes gain horrific injuries from being hit by the sliotair or a hurley. Injuries have not been completely eradicated from hurling, even though the headgear became mandatory from 2010 onwards. I don’t really want to imagine how it used to be when hurley sticks weren’t quite flattened as they are now and they used to have “Claddagh” spikes on them. (I couldn’t find any pictures of how a hurley stick might have looked like before)
Hurling is the second most popular sport in Ireland, Gaelic football being the most popular one. However depending on the counties where both sports are played, hurling can be the most dominant sport instead of Gaelic football.
When one talks about Irish dancing, everyone thinks of a particular form of Irish dancing that became famous outside of Ireland thanks to a certain interval act during a show in which this dance was performed.
However Irish dancing refers to a couple of different traditional dance forms, usually divided into social dances and performance dances. From social dances, a further two forms are recognised: céilí and set dancing.
Irish set dancing is when four couples dance arranged in a square. This type of dancing, known as quadrilles, is heavily influenced by Continental European quadrille dances.
Céilí dances have more varied formations that can be performed by as few as two participants and as many as sixteen participants. However céilí dances may also have an unlimited amount of couples organised in either a circle or a long line. The term “céilí dance” was actually invented in the late 19th century by the Gaelic League, as the original Irish word “céilí” refers to a social gathering featuring Irish music and dance. Sometimes there will be céilí dances in a céilí, sometimes there will set dancing and sometimes there will be a mixture of both.
For performance dances, there is one kind that is recognised and this is arguably the most well-known type of dance: Irish step dancing. This type of dance was popularised in 1994 by Riverdance, which went from being an interval act in Eurovision to being its own show in a very short amount of time. Step dancing is characterised by the rapid leg and foot movements and keeping the arms stationary. On a competitive level, step dancing requires the dancer to adopt a rigid upper body, straight arms and back and very quick and precise legs and feet movement. The dancer wears either “soft shoes” or “hard shoes” for the performance. It is hard shoes that are used to create the rhythmical clicking.
Singing - Sean-nós singing
“Sean-nós” is Irish for “old style” and sean-nós singing is a unique style of singing that is never accompanied by music. It is defined by Tomás Ó Canainn as being “a rather complex way of singing in Irish, confined mainly to some areas in the west and south of the country. It is unaccompanied and has a highly ornamented melodic line.” However the name doesn’t always refer to that particular style of singing. Sometimes it can just mean the traditional style of singing and so isn’t ornamented. The definition of what sean-nós singing is varies from person to person,
In any case, when one speaks of sean-nós singing today, it usually refers to a type of singing that is long, melodically complex and very stylized. Ornamentation in singing is usually understood as the replacement of a note or the emphasis of a note by adjoining notes. There are various elements included in sean-nós singing, such as: nasalisation, brief pauses, extended notes and varying the melody in each verse. The songs sung in this traditional style were meant to express different kinds of emotions, most notably love and sadness. A common theme of these songs was also the loss of family or friends, either by death or immigration. (back then, immigration was treated not much differently from death) Some songs were even meant to record historical and local events, for example there is one song that records the tragic drowning of a flock of sheep and a handful of humans on board of a sinking boat - the tragedy was amplified by the fact that amongst the humans, there was a couple engaged to marry and they were accompanied by their guests. They were crossing the lake to go to the wedding.
Songs in sean-nós singing are typically sung in the Irish language, something that some traditionalists insist songs should have if they are to be considered to be part of the sean-nós singing tradition. However there are a few songs in the tradition that are sung in a mixture of Irish and English and there are even a few songs that splice some French, Latin or other European languages into Irish. However these cases are far less common.
One thing that I find highly interesting about sean-nós singing is that anyone who hears this style of singing for the first time may be inclined to think that it sounds Arabian or something very similar to it. This connects very well to the Hamito-Semitic hypothesis, a hypothesis that is not widely accepted but it does bring up some interesting similarities between Irish and the languages from the Afroasiatic group, which includes languages like Arabic and Hebrew (Hamito-Semitic was an older name for this group of languages). Over the years, people have started to support the idea of there being a North African cultural connection with Ireland. Although it isn’t supported archaeologically (nor even genetically), it is difficult to ignore the linguistic similarities found and the sean-nós style that seems so eerily familiar to certain singing styles found in North Africa and the Middle East.
A brief note on some of the instruments used in traditional Irish music. I don’t know how to explain my love for traditional Irish music, except that it sounds unique in it’s own right. and there’s a sense of rhythm and energy to it that I haven’t found elsewhere.
Common instruments that are traditionally used in Irish music are the uilleann pipes, fiddle, tin whistle, bodhrán and flute. From the 19th century onwards, button accordion and concertina started appearing in traditional Irish music as well. The banjo is a relatively recent addition, first being used by Irish musicians in America in the 1920s before being imported to Ireland. The usage of the guitar in traditional Irish music dates back to the 1930s, which makes it another recent addition. The harp plays a rather minor role in traditional music when with other instruments, despite being the national symbol of Ireland. Traditional harp playing died out in late 18th century before being revived in the 20th century.
The fiddle is the most significant instrument in Irish traditional music. The fiddle is actually just another name for the violin, there is virtually no physical difference to be found between them. However what is different is the style in which it will be played. Actually there is no “standard” style, there are multiple regional styles. The most known ones are from Sligo, Donegal, Clare and Sliabh Luachra. (perhaps the one from Sligo is the best-known one outside of Ireland)
The word “uilleann” is Irish for “elbow”, which pretty much sums up how the uilleann pipes are supposed to played. Instead of using lungs as is the case with Highland bagpipes and most other types of bagpipes, one has to use their elbow and side for the uilleann pipes. They’re extremely complex instruments and there is one saying that states that it takes “seven years learning, seven years practicing and seven years playing” before you can be considered to have mastered the instrument. The uilleann pipes are believed to have first developed at the beginning of the 18th century, evolving from pastoral and union pipes. The use of uilleann pipes nearly died out before it was re-popularized by the formation of the organisation Na Píobairí Uilleann.
What should be noted about the harp is that it never was an instrument commonly used alongside other instruments in traditional Irish music. So it would be mostly due to this that the harp plays a rather minor role in traditional music today. Which is a bit strange as the harp is probably one of the oldest surviving native instruments of Ireland, dating as far back as the 10th century, if not further. Interest in playing the harp has greatly increased since it was revived and there are once more experienced harpers in Ireland and around the world. So why would the harp not have a bigger role in Irish music? The harp originally belonged to the musical tradition of the Irish aristocracy. There used to be strict rules on how it should be played and this knowledge was passed on orally. Harps were almost never associated with the contemporary folkloric music of the common people (the ancestor of the traditional music we know today). Harpers from that time period were highly regarded and occupied a high social standing, alongside the poets and scribes. They were very significant to the old Gaelic order. Once this crumbled, once the Irish aristocracy became extinct… the native harping tradition soon followed suit. The harping tradition survived in fragments by later harpers who were influenced by the Italian Baroque art music. By early 19th century, the harping tradition had completely died out. It wasn’t an easy job for musicians in the 20th century to try and revive the harping tradition as they only had very few manuscripts in which melodies of the harp had been noted down. A few have been trying to reconstruct the original harping tradition based on these manuscripts and also comparing to the traditional Irish music in the hopes of gleaning a few melodies from there that might have come from the harping tradition.