the new hymns

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Emily Kokal’s solo performance @ The Hyperion Tavern, Los Angeles (04.11.17) (via Liz Cervantes)

  • Hymn
  • Baby
  • “New Song”
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☆ Afuro Terumi & Fubuki Shirou ☆

↳ Hymn For The Weekend - Coldplay

Κλῦθι, θεὰ βασίλεια, φαεσφόρε, δῖα Σελήνη,
ταυρόκερως Μήνη, νυκτιδρόμε, ἠεροφοῖτι,
ἐννυχία, δαιδοῦχε, κόρη, εὐάστερε, Μήνη,
αὐξομένη καὶ λειπομένη, θῆλύς τε καὶ ἄρσην,
αὐγάστειρα, φίλιππε, χρόνου μῆτερ, φερέκαρπε,
ἠλεκτρίς, βαρύθυμε, καταυγάστειρα, νυχία,
πανδερκής, φιλάγρυπνε, καλοῖς ἄστροισι βρύουσα,
ἡσυχίηι χαίρουσα καὶ εὐφρόνηι ὀλβιομοίρωι,
λαμπετίη, χαριδῶτι, τελεσφόρε, νυκτὸς ἄγαλμα,
ἀστράρχη, τανύπεπλ’, ἑλικοδρόμε, πάνσοφε κούρη,
ἐλθέ, μάκαιρ’, εὔφρων, εὐάστερε, φέγγεϊ τρισσῶι
λαμπομένη, σῴζουσα νέους ἱκέτας σέο κούρη.
-
Listen, god queen, light-bringer, divine Selene,
bull-horned Moon, runner through night, wanderer of air,
nocturnal torch-bearing maiden, rich-starred Moon,
waxing and waning, feminine and masculine,
giver of light, friend of horses, mother of time, yielder of fruit,
amber, stern-hearted, illuminator, nocturnal,
all-seeing, wakeful, teeming with lovely stars,
rejoicing in rest and the fine-fated kindly time,
shining, grace-giving, end-bringing, ornament of night,
sovereign of stars, flowing-robed, orbiting, all-wise maiden,
Come, blessed, gracious, rich-starred, shining with triple
light, saving your new suppliants, maiden.
—  Orphic Hymn to Selene (9)
Hymn to Hestia-of-the-Cabled-Cardigan

Each learned stitch is another
Love song
Testament
That I can master something;
Every unravelling of slip shod tangled creation
Is a learning experience that dissipates, as easy as air

Goddess, through knowing You I have come to know
The things that make me feel most at home
I have reached back into my ancestor’s burdeis and farmhouses and pulled out
The skills they, too, would have mastered for their families

Every loving row of yarn
Every goodbye in a length of embroidery thread
Every tricky twist of a crochet hook

Goddess, I am free to meditate along the repeating patterns,
I am free to insert my blessings, my love, my happiness
The solid boundary line of home
Into every creation I pull out of the lines of my palms

Every pattern I hunch over
Every cable I puzzle out
Is a hymn to You, Goddess
Every bruised knuckle and frustrated growl is a libation
Every creation is a living testament to the Hearth keeper, first and last born

I keep You with me gladly

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Hamilton’ Is Known For Its Music, but What Did Alexander Hamilton Listen To? (NYT):

[…] “When it goes there for the hip-hop feel, it really goes there,” Alex Lacamoire, the original music director and orchestrator of “Hamilton,” said in a phone interview about the show. “When it goes there for the musical theater sound, it really goes there as well. I don’t know that there’s any kind of music that really went to: ‘Oh, this is 1776.’”

And while rap aficionados and theater nerds have exhaustively cataloged the rich referential web of Mr. Miranda’s “Hamilton” score, little attention has been paid to the show’s engagement with the music that Alexander Hamilton would have known in his lifetime.

If the show’s creators had decided to “go there” to 1776, they might first have looked to the music of the American maverick composer William Billings. A clear parallel to the partisan braggadocio of Hamilton’s indelible Act I number “My Shot” is Billings’s hymn “Chester,” first published in 1770.

“Let tyrants shake their iron rod,” the hymn opens, with a stirring and catchy melody. “And slav’ry clank her galling chains. We fear them not; we trust in God. New England’s God forever reigns.” Conscripting God to the side of the patriots, it became an unofficial anthem of the Revolution, and is still frequently performed by choirs today.

A Boston tanner who had no formal musical training, Billings was an emblematic musical patriot: He developed an eccentric style marked by boisterous tunes and uncouth harmonies, and was a friend of agitators including Samuel Adams. His first book of hymns, “The New-England Psalm-Singer,” had a frontispiece engraved by Paul Revere.

Rather than riffs on Billings, the only sustained sonic reference to an 18th-century composer in “Hamilton” is to a European, Johann Sebastian Bach. In the Act I scene “Farmer Refuted,” the loyalist Samuel Seabury chastises the revolutionaries in an affected waltz accompanied by twinkling harpsichord, a gesture that Miranda describes in “Hamilton: The Revolution” as “getting my Bach on, essentially.” Mr. Lacamoire said of the song: “Bach died in 1750, so that’s not too far off from what was popular at the time. To me, the harpsichord was a really cool way to represent the Old World, to represent this tight, brittle, repressed kind of feeling.”

Aligning the classical sounds of Bach with the stuffiness of the Old World is a typical gesture in historical musicals, notes the musicologist Elissa Harbert, whose research focuses on musical dramatizations of American history. “It’s often in the music for British or British loyalist characters that we see the most signifiers of European music,” she said in an interview. “The patriot side very often will be represented by very up-to-date popular musical styles.”

Indeed, as Seabury continues to sing, the character of Hamilton intrudes and decimates his argument in a contrasting riposte, inspired not by Bach but by the rappers Joell Ortiz and Big Pun. “It casts the present-day audience in the role of the patriots,” Ms. Harbert added.

[…]

One of the most popular of these propagandistic reworkings was John Dickinson’s 1768 “Liberty Song.” A founding father, Dickinson took the tune of the beloved British naval anthem “Heart of Oak” and exchanged its original text (“Come, cheer up, my lads, ‘tis to glory we steer, to add something more to this wonderful year”) for a political provocation (“Come, join hand in hand, brave Americans all, and rouse your bold hearts to fair liberty’s call”).

Loyalists subsequently fired back with their own revamp, mocking the patriots: “Come shake your dull noddles, ye pumpkins and bawl, and own that you’re mad at fair liberty’s call.” Such dueling sets of political lyrics represent a kind of Colonial counterpart to the hip-hop battles of “Hamilton.”

And though it’s not emphasized in the show, several of the starring founding fathers were musicians themselves. Alexander Hamilton was fond of singing and performed duets at the piano with his daughter. (In “Hamilton,” this domestic music-making is transposed to Alexander’s son Philip and his wife Eliza.) The family piano was a gift from Angelica Schuyler Church, his sister-in-law and a key character in the musical.

[…]

As the orchestrator of Mr. Miranda’s songs, Mr. Lacamoire did seek to capture the sound of early America with a handful of subtle coloristic touches. He researched instruments that were prevalent in the Colonial era and subsequently incorporated snippets of strings, recorder, fortepiano, hammered dulcimer, field drum and even glass harmonica (an invention of Benjamin Franklin) throughout the score. And he cast a ball scene in Act I as a gavotte, a popular dance form in the colonies.

But Mr. Lacamoire intentionally avoided overplaying such references. “There’s a certain point where you feel like you might be trying to be clever for clever’s sake,” he said. “The songs guided me in enough of a direction that I didn’t need to go that deep into what was happening in the era.” […]

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Dear Apparition

“But…what if the silence is broken by the ones you’ve loved? Incredibly present, with heavenly breath to wake you up? With nothing left to poison a portrait of who I’ve become, only elation remains; protecting us from this never ending night. Dear apparition, while my senses last: is absolution far too much to ask? Will you forgive a truly troubled mask?”

Inspired by my friends/favorite band The Dear Hunter’s new album ‘Act V: Hymns With The Devil in Confessional’. Fantastic, beautiful record. Go check it out! It’s on Spotify and stuff. 

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“Now that I think on it,” Ashes mused. “You really cherish your sleep, so why do you insist on doing your magic on an overnight basis?”

“It is a matter of principle,” Moyọ̀ answered with good humor. “It is believed in my homeland that once the sun rises over a thing, it becomes the truth. To finish my structures just in time for the first rays is to witness them become real. Such beauty, it is worth a temporary dimming of my own shine.”

“I can hardly believe you summoned me so far simply to hear your aggrandizing.”

Moyọ̀ spared his most haughty smile for the young bogsneak girl. “Yet you came still, Rántí.”

Earth dragons were rare in Aphaster; Aether and Serir would never have been enough support for him and Eoria had to sing, so Moyọ̀ had called in family instead. Rántí bore more than a passing resemblance to him, but her jaguar markings and noted lack of interest in vanity gave her both ferocity and earthiness that her brother lacked. She smelled of deepstone and cardamom, and by Moyọ̀’s admission had more raw power than he did at their bloodline’s magic (though he had been quick to add that she lacked his precision, delicacy, and sense of artistry).

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i think that the reason that renaissance art appeals so much to me is because of how much of it is inspired by god. here is this golden age of beauty and art and in the middle of it all is catholicism. and this isn’t to say that the catholic church doesn’t have some Serious Issues, but what it says mostly to me is that the crucifixion achieved exactly what god set out to do

jesus didn’t die on the cross because it was easy, or because he knew he would be coming back, jesus died on the cross because the death of the son of god needed to be something extraordinary that humanity would still be singing about thousands of years later. humans are fickle and forgetful creatures, so the ultimate act of salvation had to be brought to our level, to something we could understand. there was no way god could do this without becoming personally involved.

here is your saviour, in a form you can see and understand, so that you will never forget my love for you

it’s easy to become removed from such a vast and nebulous concept like god, but jesus needed to identify himself with humanity, and what better way to do that than through suffering? when jesus cries out to god asking why he has been forsaken, he is not asking as god’s son, he’s asking as a voice for humanity.

so to see an era like the renaissance take up all that is holy and good and turn it into something so visually beautiful and breathtaking is so important to me. the ultimate act of god’s love for humanity is immortalised in art that reaches everyone, regardless of whether they believe or not. 

So Coldplay’s new video for “Hymn for the Weekend” is set in Mumbai and it features a wonderfully vibrant city full of color, laughter and happiness on the day of Holi (the festival of colors). Beyonce wears Indian-inspired clothing designed by an Indian who wanted to depict India in a fun and different way. And you can tell that people commenting on YouTube know nothing about cultural appropriation. Me and my Indian friends loved this video. Hundreds of Indians loved this video. And yet, people are accusing them of cultural appropriation when the truth is, the video shows Mumbai in a fantastic way, portraying the vigor and life of Indian cities without stereotypes. It was a video about Holi, and all the elements were there: temples, colors, fireworks, mythical plays, oil lamps.

This is not cultural appropriation. This is not wearing a bindi cuz “it’s cool”. This is Beyonce wearing Indian-inspired fashion designed by an Indian designer in a video where she is herself in a movie called Rani (Queen). This is wonderful! It shows my country in a beautiful light, it shows Western singers and actresses actually respecting my culture, my fashion, my festivals, and being a part of it with assistance from Indian people themselves. This did not whitewash locals, or stereotype them into Mumbai slums. This portrayed all the brilliant and beautiful things that you see during times of festivities around India. Please, please stop acting as if you think it offends us when it doesn’t. And if it does offend some people, I’m extremely sorry. You must have your own valid reasons, but in this case I believe it’s a personal thing. However, please don’t speak “for the majority of Indians” because so many of us do like it and believe it’s a celebration of authentic Indian culture during Holi. Stop trying to force social justice on everything, especially when for a change India is represented in an authentic and non-Hollywood manner when it’s never portrayed well. I understand that she is not a part of my culture, but I believe in this case, it’s more appreciation than appropriation.