Eurydice, Eat Your Heart Out (Adrino Percy Jackson AU)

In the dark of Cabin 10, staring up at the roof of his bunk, Adrien could hear the distant plucking of a harp as waves lapped lazily against the shoreline.

All things considered, it wasn’t surprising that he was having trouble sleeping; less than twenty-four hours earlier his father’s limo was nearly destroyed by a rampaging Cyclops that the middle-aged fashion mogul dispatched with a quick flick of a sword he drew from seemingly nowhere. From there, it was somewhat of a blur of packing, private jet rides, and clandestine car trips to the sunny shores of Long Island, New York, a silver pen containing the only means of protection he had in case other monsters attacked.


He could still scarcely believe it. If someone had told him that he was the product of an affair between his mother and the Greco-Roman goddess of love and beauty a few days ago, he would have been dialing Gorilla’s number as quickly as he could while backing away from them. Now, surrounded by dozens of half-siblings he never knew existed, Adrien didn’t quite know what to make of his current situation. He still thought he was going to wake up, home in Paris, and the whole thing would have been just a fever dream brought on by bad cheese; the attack, the journey, the music-

Sitting up in bed, Adrien strained his ears over the snoring of his bunkmate to hear the almost aimless melody that meandered its way across the waves. It was a song that sounded so familiar; like the chorus to something he had heard on the radio years ago. It couldnt’ve been coming from far, judging by the way it cut through the sound of twenty-five teenagers’ beauty sleep, so, clutching his pen and carrying his sneakers, Adrien tip-toed towards the door as quietly as possible, stepping out into the warm Long Island night.

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Your Best Lordling
Your Best Lordling

Megalomaniacal murderchild? Suppressing the power of good soul(s) with whom he shares a body? Evolving into a massive, grotesque, and superpowerful version of himself? Kinda greenish? Uh oh.

Arrangement of:

You Idiot - Toby Fox
English - Toby Fox
The Lordling - Toby Fox
Your Best Nightmare - Toby Fox
Stellarum Salve - Robert J! Lake
The Lyrist - Thomas Ferkol

Songs belong to their artists and/or What Pumpkin.

I think this track from the Cherubim album might fit this scene with alternate Calliope. There’s a wind sound effect at the beginning to suggest the large cavernous space of Echidna’s lair and the song begins serious enough to point toward the alternate’s sternness. The gradual evolution of the melody gestures towards a transformation of some sort that may be what the alternate form is about to do to or say to alpha Calliope.


Վահան Տերյան
Vahan Terian

Armenian poet, lyrist and activist widely acknowledged for his sorrowful and romantic poems.

Terian was born in the Armenian Javakhk region of Georgia which was then in the Russian Empire in January 28, 1885. He went to Tblisi for his studies and later to moscow to the Armenian Lazarian University and Moscow State University. Terian was jailed in Moscow by the czarist gaurds for his social democratic political views.

His first published book of poems was “Dreams at Dusk” which made him very famous, The great Armenian author Hovhannes Tumanian calling him “The most original lyric poet of his age.” He published many poem books which were all very successful. Later he published “In the Land of Nairi” in that book he substituted the name Nairi each time it was ment to be Armenia. (Nairi is one of Armenia’s ancient names) to avoid persecution. Many of his poems include spring, shapeless shadows, images of rain, mist, symbols of sorrow, despair but also eventually peace.

“Սենտիմենտալ երգ”

Արդյոք հիշո՞ւմ ես. անտառ էր, առու…
Հեքիաթի պես էր — երազի նման.
Խաղաղ երեկոն խոսում էր անձայն,
Արդյոք հիշո՞ ւմ ես. — հեռո՜ւ էր, հեռո՜ւ…
Արդյոք հիշո՞ւմ ես. երկիրը պայծառ
Ժպտում էր սիրով հավիտենական.
Գարունն էր երգում ձայնով դյութական,
Արդյոք հիշո՞ւմ ես. առու էր, անտառ…
Արդյոք հիշո՞ւմ ես. գիշերն էր գալու,
Հեքիաթի պես էր… Անտառ էր, առու…
Արդյոք հիշո՞ւմ ես. հեռո՜ւ էր, հեռո՜ւ
Կյա՛նք, տխուր հովիտ, հավիտյան լալու...

“Sentimental Song”

Do you remember the forest
The stream that was like a fairy tale
A dream
And the silent evening’s voiceless speech
Do you remember?
It was far far away
Do you remember the shining earth
That smiled in loving eternal mirth
How that Spring sang with magical power
Do you remember the stream, the forest?
Do you remember the night coming on
Stream and wood like a fairy tale
Do you remember far far away
Come to the world of endless memories

Terian continued studying Oriental Languages in the University of St. Petersburg. After the revolution Terian became the representative of Armenians in the Mninistry of Nations, personally working with Lenin and Stalin. He died very young just before turning 35. Each year he is commemorated in the region of Javakhk. There are many statues, streets and museums in his name in several countries, one of the most central streets in the Armenian capital Yerevan is named after him.

“Vahan Derian is part of the education of every Armenian poet, and part of the adolescence of every educated Armenian youth. Quoting Derian—even misquoting him—is standard procedure for high school and college students. His use of alliteration, onomatopoeia, and musical phrase is unmatched in western literature.”

Diana Der Hovanessian

The Story Behind One of Meghan Trainor's Favorite Songs

Meghan Trainor
landed with a splash on the music scene with her hit song, “All About That Bass,” leaving many curious about the young singer-songwriter’s artistic influences. In an interview with Entertainment Weekly, it’s surprising that Trainor calls out not contemporaries like Katy Perry or Adele but the catchy lyrics and melodies sung by one of the world’s most famous crooners of all, Frank Sinatra, as among her inspirations. Discussing the lyric “You may hear angels cheer / ’Cause we’re together,” from the song “Come Fly With Me,” she told the magazine, “No one writes like that anymore, because it’s hard.”

Lyricist Sammy Cahn penned those memorable words—set to music by composer James Van Heusen—at the request of Sinatra himself to headline Ol’ Blue Eyes’ 1958 Capitol Records album, Come Fly With Me, which heralded exotic locales from Capri to Mandalay.

Five years later, the song inspired a film of the same name. Based on the 1960 novel Girl on a Wing, the film was promoted with images depicting three pretty airline stewardesses on a romantic spree through the Fun Capitols of the World.

The sheet music cover incorporates the film’s poster art with an inset headshot of teen heartthrob Frankie Avalon, who sings the lyrics over the film’s opening titles:

Come fly with me!
Let’s fly! Let’s fly away!
If you can use some exotic views,
There’s a bar in far Bombay.

One of the most prolific and respected lyricists of his time, Sammy Cahn’s writing process both embraced and bucked convention. As he explains in the introduction to his Rhyming Dictionary, “away” and “Bombay” in this song are a natural pairing, but Cahn adds his own twist by slipping in an unexpected inner rhyme in the same line: following “bar” with “far.”

Astute listeners, however, will note that Sinatra actually sings “exotic views” as “exotic booze,” which actually causes the next line, “a bar in far Bombay,” to make more sense. Cahn, in fact, originally wrote “booze” but, concerned about censorship, provided “views” as an alternative.

The lyric recalled by Trainor in her interview comes from the bridge and was purposely written in a broad legato style to counter the short “notey” melody that accompanies the words “Let’s fly.” Further, Cahn matches the closing word of the bridge, “together,” with the opening word of the next section, “weather,” creating a smooth transition:

’Cause we’re together
Weather-wise, it’s such a lovely day!

For a Los Angeles screening of the film Come Fly With Me, a special preview invitation was issued in the form of a plane ticket for the fictitious M-G-M Airlines. This was back in the heyday of flight, before ticketless travel and no-frills airlines, and predated the debut of MGM Grand Air, an actual airline company, in the 1980s.

The song also found airplay in another form as “Come Ride With Me,” a Pontiac Bonneville radio commercial in 1961 for dealer Peter Epsteen, seller of the stylish top-of-the-line wide-track car.

This lyric sheet is in the Sammy Cahn papers in Special Collections at the Margaret Herrick Library along with hundreds of songs by Cahn, as well as books on the craft of songwriting that shed light on the lyricist’s profession.

Cahn also wrote “This Car’s a Kick in the Head,” intended for another Pontiac commercial, this one based on “Ain’t That a Kick in the Head?,” notably performed by Dean Martin, who, with Sinatra, was a member of the boozy-cool Rat Pack.

Often called parody songs, Cahn preferred the term special lyrics, since the words were written for a specific purpose such as parties, anniversaries, testimonials, and other special occasions for friends and VIPS, from political figures and titans of finance and industry to movie stars and celebrities.

For Sinatra alone, Cahn furnished special lyrics related to Vice President Spiro Agnew, the Los Angeles Dodgers, Hollywood gossip columnist Hedda Hopper, and fellow songwriter Irving Berlin, among others. Ever grateful, on one occasion Sinatra wrote the following thank-you letter to Cahn:

Writing a lyric for the ages is hard, but you have to begin somewhere. From an inauspicious start with the song “Where the Mountains Touch the Sky,” Cahn teamed with composer Saul Chaplin—then known as Saul Kaplan—to churn out hundreds of tunes during the 1930s.

For more than six decades, Cahn typically sat at a typewriter to bang out the lyrics, resulting in few handwritten lines. His custom of working the lyric inside his head before committing it to paper also resulted in surprisingly few drafts before a final lyric was achieved.

By the time he earned his first Academy Award statuette, for the title song from Three Coins in the Fountain (1954), Cahn had already logged more than 20 years in the business.

This backstage photo from the 32nd Academy Awards shows Jimmy Van Heusen, left, and Sammy Cahn with their Oscars—Cahn is signaling this is number three—for “High Hopes,“ from A Hole in the Head.

Cahn’s advice to songwriters: your words must sing effortlessly and words will not sing unless they are properly wedded to the proper notes. Cahn was the consummate master, putting words to classics including “ Let It Snow,” “Call Me Irresponsible,” “It’s Been a Long, Long Time,” “(Chicago Is) My Kind of Town,” and “Love and Marriage.”

As a lyrist (his preferred term), Cahn was so prolific it’s difficult to imagine that the writing came hard. That said, he would probably be thrilled with Meghan Trainor’s assessment of his work.

Both Sides Now Intro
Years & Years
Both Sides Now Intro

“Hello, I’m Olly Alexander and my torch song I have chosen to cover is “Both Sides Now” by Joni Mitchell. I chose this because I’m a huge Joni Mitchell fan, I have been for a really really long time and this song always makes me cry. I think she’s an amazing lyrist and something about the way she writes about the world makes me feel bit better about being in it”.

Sappho Playing the Lyre. Léopold Burthe (French, 1823-1860). Oil on canvas. Musée des Beaux-Arts de Carcassonne.

Sappho was called a lyrist because, as was the custom of the time, she wrote her poems to be performed with the accompaniment of a lyre. Sappho was one of the first poets to write from the first person, describing love and loss as it affected her personally. Her style was sensual and melodic; primarily songs of love, yearning, and reflection.