the seven levels of f/f rarepair hell

Level 1 (purgatory): It’s the most popular f/f ship in the fandom but its still not very popular compared to other ships

Level 2: small but devoted fanbase, a little bit of new content every now and then

Level 3: a handful of people like it. new content is rare, but not unheard of.

Level 4: a fanbase consisting of 6 people and a shoelace

Level 5: two or three people ship it. one of them can draw.

Level 6: there are a grand total of half a dozen posts in the tag. there’s not even a real ship name.

Level 7: oh boy. you’ve outdone yourself this time. It appears that nobody else has ever even considered this pairing. You are alone. so alone. 

xkcd: Wikipedia article titles with the right syllable stress pattern to be sung to the tune of the original Teenage Mutant Ninja Turtles theme song. (Here’s the song, for reference.)

All of these titles are examples of trochaic tetrameter, which is one of the most common English meters (a trochee is a foot consisting of STRONG-weak and tetrameter is four feet per line). Another example is Twinkle Twinkle Little Star, although that has a deficient last foot, but you can sing any of these titles to that tune as well if you just double the last note.

Trochaic tetrameter creates a strong feeling of sing-song “poem-ness” in English. Most Shakespearean characters, for example, speak in iambic pentameter (weak-STRONG, five feet per line), which sounds more natural, but a few speak in trochaic tetrameter for dramatic effect. For example, MacBeth and Lady MacBeth speak in iambic pentameter, which gives the effect of talking normally: 

Methought I heard a voice cry “Sleep no more!
Macbeth does murder sleep,” the innocent sleep,
Sleep that knits up the ravell’d sleave of care,

Out, damned spot! out, I say!—One: two: why,
then, ‘tis time to do’t.—Hell is murky!—Fie, my
lord, fie! a soldier, and afeard? What need we
fear who knows it, when none can call our power
to account?—Yet who would have thought the old
man to have had so much blood in him?

But the witches speak in trochaic tetrameter, which makes them seem like they’re delivering an incantation: 

Double, double toil and trouble;
Fire burn, and cauldron bubble.

Fair is foul, and foul is fair

Previous xkcd on poetry: metrical foot fetish, ballad meter, trochaic fixation. Language Log also has a long, interesting post on meter


Solange - Lovers in the Parking Lot

I am kind of fascinated by this song, especially the rhythm in which she sings the verses.  At first I thought it was just catchy, but after further analysis I realized that it is almost entirely iambic.  As follows:

(audible breath) Left your heart behind when I laid eyes and said I’m up and done
The young just live and don’t look back or wait for anyone

I couldn’t help but think of a certain phrase of Shakespeare (because who doesn’t think of him with iambs) from Romeo and Juliet (I don’t know why this particular phrase, but it works in my head) that I can imagine her singing in this rhythm (I have altered the line breaks to fit her pattern since her song is not in pentameter):

O, be some other name! What’s in a name? that which we call a rose
By any other name would smell as sweet; So Romeo

You have to imagine the words being spoken at the same speed as her as well, with the second lines delivery being slightly faster, with a slightly different cadence.

After this, of course, Solange changes up her rhythm for a few lines before returning to such a steady, iambic rhythm.  Looking at Shakespeare, the lines could be edited to fit her rhythm, but I just liked the way they seem to fit together.  I like the idea of a Shakespearean play being done in the style of this song and what she does on her EP.

I do not want to be the kind of friend
who only calls you with a new request.
I want to be a friend you can depend
on, one who’ll help you be and feel your best.
I want your love and trust to be deserved;
I want your compliments to be the truth;
I want your health and happiness preserved;
I want to look back later at our youth
and feel all warm and fuzzy thinking of
the friendship we have shared however long,
and know that I’ve done justice to a love
that kept me right when so much else was wrong.
So, please, if there is anything you need,
don’t hesitate to ask as much of me.
—  “Unsung”
Wrote a Valentine's poem while working retail at 10pm

I love to help out handsome guys
With big, brown beards
And bright, blue eyes.
I catch their gaze and find a prize
With whom I’d spend my life.

Undressing him inside my mind,
His big, brown beard
Entwines with mine…
My daydream halts as I help find
Some chocolates for his wife.

6.08 in Shakespearean Verse


This sword thou gavest me to keep a vow;

‘Tis done, and I’ve no purpose for it now.


This gift and thee shall ne’er be torn apart;

‘Tis thine to hold eternal

                                      [aside] like my heart.


A word, Ser Jaime, ‘ere I leave again?


I bid thee say it, good Lady Brienne?


Should favor of the gods prove not be mine

And I yet fail to change the Blackfish mind

If lions claw at Riverrun this night

My honor bids me then for wolves to fight.


This truth I know–


                          –to cross my sword with thine.


I pray we end not so, oaths thus entwined.

[exit BRIENNE]


Then the princess with her maidservants came down to bathe.

When she saw me, she took me up and recognised that I was a Hebrew.

My sister Mariam then ran up to her and spoke,

‘Shall I get a nursemaid for this child from the Hebrews?’ The princess urged her on.

Mariam went to fetch our mother who presently appeared and took me in her arms.

The princess said to her, ‘Woman, nurse this child and I shall pay your wages.’

She then named me Moses, because she had taken me from the watery river-bank. 

- fragment of speech by Moses in Ezekiel’s Exagoge (x)