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It’s quite rare for me to listen to death metal vocals and I listen to cutesy j-pop songs even less. I find it difficult to rock out to unintelligible growling and overly cute things just annoy me. But what magic could be uncovered if these two extremes were somehow combined? It could be a delicious juxtaposition, just the kind of oddity that could tantalize my delight in the irregular. But, really, who, if anyone, could pull off such an unlikely merger? Who could possibly tap into that seemingly unreachable potential, achieve balance to the force, and produce something truly amazing?
Ladybeard, that’s who.
Ladybeard is an Australian. An actor. A pro wrestler. A martial artist. A metal singer. A cosplayer extraordinaire. And now, an international pop sensation. I am most pleased to present to you Ladybaby, a group comprised of Ladybeard, Rei, and Rie, and their 2014 single, “Nippon Manju” – which translates loosely to Japanese Sweet Rice Bun – a song about all the fun and awesome things to be found in Japan.
The delight I feel watching this is difficult for me to express. There are just so many levels of expectations and norms being absolutely destroyed in the name of spreading joy, fun, and happiness. I can think of no nobler pursuit. The global celebration of Ladybaby can only make the world a better place.
If you’d like to see more fantastic images of Ladybeard, here’s a link. Here are my personal favourites:
The universe is an amazing thing. While you are “sitting still” reading this post, you, me, and everyone else are hurdling through space at an unfathomable speed. This is almost as amazing as the fact that we, for the most part, don’t even notice that we’re doing it. The Earth rotates 1,600km/h at the equator, which goes down to 0 at the poles, for an average of 800km/h across the planet. Our orbit takes us around the sun at 107,000 km/h and our solar system’s orbit around the galaxy has us going about 792,000 km/h. On top of that our solar system kind of meanders about at 70,000km/h in our section of the Milky Way. On top of all of that, our galaxy’s movement in relation to the background cosmic radiation has us cruising at a cool 2.1 million km/h through the universe. All tolled, we are moving through space at about 3,000,000 km/h OR 853 km/s OR 0.3% the speed of light. That is damn fast.
What the hell does this have to do with ghosts?
Glad you asked. Read the rest of this entry »
For Intransigentia.
______
Lyrics:
I know it’s hard to tell how mixed up you feel
Hoping what you need is behind every door
Each time you get hurt, I don’t want you to change
Because everyone has hopes, you’re human after all
The feeling sometimes wishing you were someone else
Feeling as though you never belong
This feeling is not sadness, this feeling is not joy
I truly understand, please don’t cry now
Please don’t go, I want you to stay
I’m begging you, please, please don’t leave here
I don’t want you to hate for all the hurt that you feel
The world is just illusion trying to change you
Being like you are, well, this is something else
Who would comprehend? But some that do lay claim
Divine purpose blesses them, that’s not what I believe
And it doesn’t matter anyway
A part of your soul ties you to the next world
Or maybe to the last but I’m still not sure
But what I do know is to us the world is different
As we are to the world, I guess you would know that
Please don’t go, I want you to stay
I’m begging you, please, please don’t leave here
I don’t want you to hate for all the hurt that you feel
The world is just illusion trying to change you
Please don’t go, I want you to stay
I’m begging you, please, oh please don’t leave here
I don’t want you to change for all the hurt that you feel
This world is just illusion always trying to change you
Please don’t go, I want you to stay
I’m begging you, please, please don’t leave here
I don’t want you to hate for all the hurt that you feel
This world is just illusion, trying to change you
Please don’t go, I want you to stay
I’m begging you, please, oh please don’t leave here
I don’t want you to change for all the hurt that you feel
This world is just illusion always trying to change you
Hayden is often referred to as the Father of Classical music. Listen and find out why. :)
All three movements of this work are written in sonata form, unlike the second concerto, where rondo form is used in the second and third movements. This concerto is more related to Haydn’s violin concerti than its follower, holding very close resemblance to the Violin Concerto no. 3 in A major, such as the first movement’s etched rhythms, and flowing second themes, a peaceful slow movement, and a brisk finale. Both concerti were composed in the same period of time.
Entrance of solo cello
After the orchestral exposition of the first movement, the solo instrument plays the opening theme with full chords that use all four strings. Virtuosity is developed further in the use of rapidly repeating notes, the very high range, and quick contrasts of register. This movement is dominated by a single theme, although the theme itself includes several motives that Haydn develops separately. Near the end, a cadenza is played.
In the slow movement (scored without winds), the cello enters dramatically on a long note, played while the orchestral strings relaunch the opening theme. Two measures later the cello goes on to imitate this melody. Haydn was fond of this gesture: several times in the movement the cello enters on a sustained pitch. This movement, like the first, calls for a cadenza toward the end.
The finale also has the cello enter on a long note, after an extended orchestral introduction. This spirited finale, written in sonata allegro form, represented another chance for Haydn to show what he could do in spinning out a single theme into a series of short motives and a large variety of rapidly changing moods. The virtuosity of the solo instrument is exploited in this movement, especially in passages where the cello alternates rapidly from low to high, so that it seems to be two instruments playing in counterpoint. Haydn uses the sustained-note entrance several times, the final one on a very high, penetrating G.
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