ex. ほら、彼女動物が好きでしょ？(hora, kanojo doubutsu ga suki desho) - Look, she does like animals. (told you so)
ex. ほら！あの木に小鳥がいる。(hora! ano ki ni kotori ga iru) - Look! There’s a small bird in that tree.
ex. ほら、台所に猫がいる。(hora, daitokoro ni neko ga iru) - Look, there’s a cat in the kitchen.
ex. ほら長くなかったでしょ。(hora nagakunakatta desho) - See? It wasn’t that long now was it? (told you so)
ex. A parent tells their child that if they don’t do their homework they will start to fail tests. The child doesn’t do their homework and ends up failing their tests just like the parent said they would. Then, the parent would say: 「ほら言ったでしょ」(hora itta desho) - I told you, didn’t I?
ex. A and B are waiting for C to come so that they can start the party.
A: I think C will come soon since he told me last night he would come.
B: Let’s just start without C.
-A and B see C walking towards them-
A: ほら彼がこちらに来るよ。(hora kare ga kochira ni kuru yo) - Look he’s coming here now. (I told you he would come)
1.YOU ARE NOT YOUR INSECURITIES (Read John 10:10)
Let’s not compare ourselves to other people’s social media pages.
Let’s not look in the mirror and immediately pick out what’s wrong.
Let’s not pick ourselves apart trying to find out WHY a certain guy didn’t like us.
Instead, let’s remember that through Christ, we have been promised a life far greater than anything we could ever imagine. Insecurities don’t control us nor do they do determine the course of our lives. Life is in Jesus!
2.YOU ARE NOT YOUR DOUBTS (Read Matthew 14:31)
Peter thought he was brave enough to go to Jesus by walking onto water, but nearly drowned because of his doubt. And what did Jesus have to say to him? Read Matthew 14:31. In your life, Jesus is standing there ready for you to come to Him and there’s no reason to doubt, but are you willing?
3.YOUR PAST IS BEHIND YOU (Read Philippians 3:13-14)
Maybe your past is hard to shake. You may even have to face the reality of your past every single day, but that doesn’t mean you are bound to it. Keep moving forward with your eyes fixed on Jesus.
4.YOUR GOD IS BEFORE YOU (Read Romans 8:31)
When you make a choice to follow Christ, not everyone will support. Even people who you are close to may not understand. But God is before you. That’s what matters.
5.YOUR WERE WORTH DYING FOR (Read John 3:16)
It’s so easy to get caught up in who didn’t think we were worth dating, worth liking or worth pursuing. But never forget the one who thought you were worth dying for. That’s what matters.
6.YOU ARE A CHILD OF GOD (Read 1 John 3:1-3)
Humbly carry this mindset into every room you walk in. It makes a difference and people will notice for all the right reasons, not because of you, but because of what God is doing IN you. Don’t forget who you are!
VOTD: Hozier - “Take Me To Church,” as performed by Sergei Polunin
Dancing in only a pair of nude tights and adorned with tattoos, ballet dancer Sergei Polunin’s performance breathes new life into Hozier’s now ubiquitous hit “Take Me To Church.” The sun-filled, white room creates an interesting contrast to the lurking darkness of the vocals and allows the athleticism of the movement to take center stage. Polunin’s dance becomes something like an ecstatic possession against the lyrics:
I’ll worship like a dog at the shrine of your lies I’ll tell you my sins so you can sharpen your knife Offer me my deathless death Good God, let me give you my life.
always a little anxiety mixed in with the excitement of a well-loved band’s
record release, but when the band in question is Red Hot Chili Peppers, a band
your parents listened to in college and you have listened to since infancy,
there’s serious concern that they are going to ruin what they got. Leading up
to The Getaway,I
was getting myself ready for the depressing reality of aging band members
struggling to be relevant and sub-par tunes. All of my worries were in vain. The
Getaway is a great album – so great, in fact, that many critics have been
calling it one of the legendary band’s best releases.
The single off The Getaway,
“Dark Necessities,” is a classic Chili Peppers song, complete with clever
lyrics, epic bass lines, and stunning rhythm. The song’s beauty is complemented
with a wonderful video that gives me an excuse to talk about both the Chili
Peppers and feminism, two of my absolute favorite topics.
The video’s duration is split between
classic music video shots of the band playing their instruments, rolling around
on an old couch, and sitting in sinks, and a girl gang skating through L.A..
While the moments with the band are fun, I am going to spend the rest of this
piece going off about how much I love the girl gang in the video.
Women in the majority of popular music
videos are traditionally used as eye candy and/or as the trophy for the male
main character. They’re models who exemplify the media standard of perfection:
they wear nice clothes, expensive jewelry, and makeup, but they definitely
don’t fall down or get dirty. The new Chili Peppers video, however, introduces
the female leads with close-ups of their fresh scrapes, bruises, and busted
toes. These women are not objectified in the video at all; in fact, the only
man with whom they interact is the tattoo artist they have ink their bottom
Having women riding around L.A. on
skateboards may not seem to be a statement, but it’s actually quite a bold one.
This group of young women gets into antics usually performed by men on film.
They spend all day and night riding around L.A., picking up beer at convenience
stores, getting tattoos, and falling down constantly. One portion of the video
focuses exclusively on the women taking hits while riding. They slide across
pavement at full speed, knock into one another, and fly off their boards – all
of which is practically unheard of.
Marginalized groups all too frequently
have to be seen as perfect to demand respect. This is especially true for women
in traditionally male spaces. In order for women to gain the same respect as
their male counterpart, they have to not just be talented, but beautiful;
powerful, but not emotional; intelligent, but not intimidating, and god help
you if you mess up. Modern feminism is pretty good at celebrating female
success stories, but with all those successes, we frequently forget to mention
that women are allowed to make mistakes, and even outright fail. Watching women
dressed in worn-out t-shirts and ragged shorts falling off their skateboards
and slamming onto the pavement breaks the ridiculous image of female perfection
that mainstream media helps enforce.
I firmly believe that art is the best
catalyst for social change; what is at first radical is normalized through
artistic exposure. The Chili Peppers using their substantially influential
platform to normalize girls having the kind of rough and tumble fun that has
been deemed “unladylike” helps women be seen as more than just a pretty face or
something to be protected.
The “Dark Necessities” video, along
with the rest of The Getaway,shows just how good Red Hot Chili Peppers are. The album, while
definitely in the same vein as their previous releases, proves that
accomplishment has not lead to laziness. The band continues to play with
passion and energy, and they don’t seem like they are ready to quit any time
soon. Meanwhile, the “Dark Necessities” video shows that the band is not just
turning out material to be consumed by their longboarding, bro-y fan base; they
are still pushing the envelope, still functioning in a very inclusive punk
On Monday morning, Twenty One Pilots dropped the video for
“Lane Boy,” their latest single off of Blurryface.
Like their previous videos, “Lane Boy” is full of visual metaphors, the most
prominent being the two characters in HAZMAT suits who follow singer Tyler
Joseph around. They’re reminiscent of the opening of verse two: “I’m sorry if
that question I asked last scared you a bit like a HAZMAT in a gas mask.” The
suits mirror Joseph’s movements; this choreography paired with the surrounding
dark forest and Joseph’s trademark Blurryface-era
look (dressed in all black and red with his hands and neck painted black) gives
the beginning of the video a distinct creepiness.
As the song goes on, Joseph scribbles on the front of the
HAZMAT suits and the setting changes: we’re transported to the band’s set at
Bunbury Festival in their home state of Ohio. The writing on the HAZMATs
becomes clearer: one reads “Fame” and the other “Success.” It’s at this point
that Joseph makes a speech that, interestingly, is unheard—it’s only conveyed
to the audience through subtitles: “Why do I kneel to these concepts? Tempted
by control, controlled by temptation. ‘Stay low,’ they say. ‘Stay low.’” This
is a reiteration of the song’s message; Twenty One Pilots have been criticized
in the past for their apparent inability to stick to a genre, so the chorus of
“They say stay in your lane boy, lane boy / But we go where we want to” is them
sticking it to the man, for lack of a better phrase. The video opened with
Joseph kneeling on the ground, with the two HAZMAT suits standing behind him,
but when he gives the speech, all three are on the ground. After the last chorus,
the HAZMATs—Fame and Success—drop to the ground: these concepts are now
kneeling to Joseph, defeated.
If you’ve never been to a Twenty One Pilots show, the second
half of this video is an incredibly accurate representation of the ridiculous
energy surrounding the band and their fans. Tyler Joseph essentially prances around
the stage while Josh Dun frantically wails on his drum kit, lit by an eerie
green light that matches the aliens printed on his in-ears. If you don’t watch
the video for the metaphors, watch it to experience a snippet of a Twenty One
Pilots gig—definitely something you don’t want to pass up.