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#but i thought it was pretty clever
msmaryfran · 1 year
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The first rock 'n roll song ever recorded (according to the Rock 'n Roll Hall of Fame) was "Rocket 88" by Jackie Brenston and the Delta Cats in 1951. Bob Seger's hit single "Old Time Rock 'n Roll" was recorded in 1979, when the oldest qualifying records described by the song would have been 29 years old.
At 43, "Old Time Rock 'n Roll" is over a decade older in 2022 than the oldest rock 'n roll was at the time the song was written. Thus making "Old Time Rock 'n Roll" old time rock 'n roll.
Thank you for coming to my TED talk.
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happyheidi · 2 years
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archietheferret
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kedreeva · 4 months
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Okay if you haven't yet, and you have Netflix/Paramount+, consider giving "School Spirits" a chance.
It looks like a silly little cheesy teenage ghosts show, I put it on for background noise, and then got totally engrossed in the mystery. It's VERY well written, very well filmed, the mystery was GREAT and the payoff at the end is also great.
One of the things majorly lacking in shows I've recently tried to watch is that they try to do a twist/reveal at the end that comes out of nowhere. They don't want you to guess what they're doing. This show doesn't do that. This show wants you to guess. They give you seven different mysteries and enough clues to guess (most of) what is going on, so that when you get the final puzzle piece to any given mystery, it feels GREAT.
The story premise is this: a teenager in hs wakes up as a ghost in the hs, and doesn't remember how she died, and with the help of the other ghosts, tries to solve the mystery of her own death.
Simple premise. BEAUTIFULLY executed. Not all of the questions that arise get answered, but the main one (what she doesn't remember) gets solved by the end of the season, leaving the "why/how and what comes next" to be carried to the next season. It does a cliffhanger RIGHT. But now I desperately want to see the second season (which I believe has been approved, so it's a matter of waiting).
So pretty please, if you're looking for something to do and a great, engaging lil mystery to watch, consider! School Spirits!!
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mttonex · 8 months
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me when i merge my hyperfixations
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king-magppi · 2 years
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TODAY'S [Specil] $PAMTON $WEEPSTAKES HAVE INSPIRED TWO DRAWINGS! YAY!!!
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(Click for better image quality!)
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overchromatic · 11 months
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quick sketch of Miku in an outfit i wore out to buy soda
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haunt3dtaylorsversion · 2 months
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Past me, I wanna tell you not to get lost in these petty things, Your nemeses, Will defeat themselves before you get the chance to swing
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bestbookfriends · 2 months
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The fact that Xaden is drawn as much (or perhaps more) to Violet's intelligence as he is to her physique is refreshing. So often an MMC comments on the FMC's looks or emotive qualities, sometimes even their physical strength / prowess. Rarely is the comment made about the FMC's intelligence. I'm here for it.
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snugglesquiggle · 1 month
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Any tips on writing Juzi would be nice to see
(planning a fun scene in SKN)
good timing — i was actually just about to hit submit on a reblog where this was asked in the tags, but this works better as a standalone post.
took so long to respond because i underslept yesterday because i kinda feel that, while there's many areas of writing i'm good at giving advice on, characters are one area where it's all intuition for me right now. but here's a few thoughts
the number one insight that made relationships in general click for me is the understanding that it's all about emotional needs. the core of any relationship isn't whether they like each other, or whether they have chemistry, or whether they do anything else that couples conventionally do. it's answering the question "what do they get out of this relationship?"
could be validation, respect, a sense of security, even just having fun, but i find it clarifies things to be able to frame it as "this character needs something, and that character provides it"
there's a fair amount of room to flesh out J's character to whatever works for you story. in terms of what's established, it's not groundbreaking, but you can understand a lot of what she needs through the lens of middle management. she simultaneously wants to have someone above her and someone beneath her, smugly obedient or smugly superior, but always smug.
this isn't all of her character — her humansona drawing is very suggestive of a repressed drive for expression and individuality — but i think it's the easiest part to relate to Uzi.
because Uzi is a lot easier to get a read on. the text all but announces what motivates her: she wants respects. the edgy teen assertions, acting out in class — she badly wants recognition. (i think deep down, it's partly cope and she needs affection more, which N provides, but this isn't a post about nuzi). she also has a drive to for expressing individuality, but she's far less repressed about it (though of course, being loudly unconventional gets in the way of the whole recognition and respect thing).
and again, this isn't all of her character — her quest for answers about her mother suggests a drive for meaning, purpose even — but this post isn't exhaustive
the thing is, you can see the resonance, but these pieces don't fit together. i think it's easy enough to see the ideal form of the relationship. it's mutual respect, it's Uzi knowing J is proud of her accomplishments and who she is, and J knowing Uzi thinks she's doing a good job or that Uzi will listen to her orders.
but the thing that makes J/Uzi so interesting and spicy is how much it doesn't work. even along their most compatible axis, you can see a much more likely outcome is a rivalry, each wanting spite and outdo (or undo) the other. J would want to slot Uzi in as her underling, which Uzi reject conforming to. and given the things that J takes pride in — efficient, orderly adherence to rules — can you imagine Uzi complimenting that?
a very concise way to put it is an old joke of mine. J/Uzi is a mutual superposition of "i hate her, she's fucking insufferable, but i can fix her" and "she thinks she's so much better than me, but i can make her worse"
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oatbugs · 4 months
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Jack Marsh (2005), Friendship Otherwise - Toward a Levinasian Description of Personal Friendship
#saw carnation lily lily rose by john singer seargent irl today. it was basically at my doorstep all along idk why i never went to see it#it was placed at a corner in the gallery. me and my friend sat down and sketched the paintings of beautiful naked people quite badly. paper#provided by tate britain. she told me about how she couldnt look her boyfriend in the face after a harrowing film about war. when i say the#interview was informal i mean the person who was supposed to be my boss told me let me get you a cider and then he said after#50 years of life he knows people are inherently good and it only takes a little bit of kindness to save this world. he said he tricked#his wife into keeping the baby and then he said he quit his job at a US bank to help people find meaning and in it#he would have liked to find meaning. instead he started climbing with his friends. he said he chews his cigarettes because its a habit from#when he had to hide things from people. the entire time i felt uncomfortable and incredibly enlightened. this is my friends mentor. she has#his pattern of pauses and expletive and penchant for ends-justify-means attitude. i do think im not very clever#but maybe one day i will love you enough to make up for it. i wrote code i dont understand staring at the final error i thought about how#we both thought of how when we're too old to remember the voices of our friends we would like to stand in the pathway of the LHC beam pipe#cut it open and eat light in the freezing cold vacuum (kills you long before radiation will) the invisible puncture wound unfolding dna#back to the start larger than you ever were. you go to heaven once youve been to hell. my friend is in my bed#practicing calculations of eigenvectors by hand and she is uninterested in a visual proof you are uninterested in incompetence#we catch a train this is your kind of burden you tragic hero wincing at that word you only do this because you have to. im the only one#who can. i am a coward in this for the fucking poetry. the visual proofs. the pretty numbers. an architect who was horrible at maths wanted#to be a philosopher and accidentally ended up neck in deep in 70th Error On Visual Studio Code i want to kiss your eyes before we say#goodbye we both know there is no love in the way there should be. I still have your dress in my wardrobe. i hope you make art.#you think im alright head-wise i think you fucking hate me i think ill never be so clever you want me to tell you my idea?#if you wanted more of this world i would have liked to kiss you harder. we cant both be like this. im sorry i cant be with you the whole wa#the love is gone if you have to ask it. his breath catches his eyes feel stiff it is -1.9 kelvin he is near the beam pipe i miss holding#his hand i miss her singing voice i miss his hair and i found the antonym of pain thank you for carrying me home.
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eldritchamy · 20 days
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A question for Uneiverse (to give you an excuse to talk about it, only if you wanna. Since I also just really hearing about it). What's a detail about it that you really enjoy but haven't gotten a chance to use anywhere story related or otherwise just don't get to play with much (silly or serious)
This ask has been sitting in my inbox for over 5 months.
It's time.
And so, we begin with a question of my own.
What IS time?
We're off the map now. Come with me. Take my hand as we walk through the valley of the shadow of time. We're going to uncharted waters, and I'm going to put the fear of god into you. I'm going to make you ask yourself (and me) Amy, how the fuck does you brain WORK like that?
Let me tell you about time and fate, and about what it means to "predict" the future.
And you will begin to understand the scale of what lives within me, eternally gnawing at the inside of my skull, begging for release.
If I asked you to conceptualize time, what would you say? Is it the neat and rigid tick-tick-ticking of regular intervals on the clock? Is is the fluid, indivisible space between?
Is is all just an illusion conceived by the animal brain to account for the changing shape of the universe as one dimension passes through another, which our three-dimensional eyes are too flat to see all at once, and our souls have concocted for us a comforting lie, that we may pretend to know the universe in its whole, by knowing it piece by infinitesimal, grinding piece, seeing the pan-dimensional amalgam of existence as an endless, continuous sequence of cross-sections in a number of dimensions our meat-circuitry can pretend to process?
Time is shadows.
Imagine, if you will, a sphere.
You hold it up against the light. Suspend it in the air, perhaps, for simplicity's sake. And the sphere casts a shadow.
Is the shadow still a sphere?
Far more importantly, is it even a circle?
At even the tiniest fraction of an angle, the sphere casts a shadow that no longer perfectly represents a cross section of the sphere. It has ceased to perfectly capture the nature of the object that cast the shadow, even accounting for the wrong number of dimensions. It's skewed. You can never unskew it. The distortion is irreversible.
And the floor isn't flat.
The sphere casts a shadow at an angle at a surface that ranges in distance and direction from the object casting the shadow. Is the shadow still an oval? Has it become a shape you can't name?
But the shadow isn't cast upon a floor, even an uneven one.
What shape is the shadow of a sphere cast at an angle upon a field of grass blowing in the wind? By now there's no pretending you know the answer. And even if you could snapshot a single instant of a single shape, the very next instant that shape would change in the breeze as the grass shifts.
The world is not a field of grass upon the ground. The world is endless variation of leaves upon trees, forests upon mountains, birds in the sky, hunting for the bugs that crawl on the branches of the trees. Massive floating pools of water churning in the low atmosphere as humans decide whether that one looks like a mouse or a sheep. So many humans walking, their clothes flowing behind them as they talk, eat, buy goods, shed tiny particles of skin and hair into the wind, their breath adding chaos to that same wind and a hundred miles away a leaf turns slightly more to the left than if that human had said nothing.
What is the shadow of a sphere cast upon that world? Twisted by its unfathomable complexity of shapes and movement?
And now, to make things worse, imagine if that shadow were a tangible thing that you could pick up. That could cast its own shadow not on the floor but up against the wall.
And all of that is if the shadow is cast by a perfect sphere.
Imagine you are a being that can see the shape of time. Could you look at the echo of a shadow of a shadow of a reflection in a fun house mirror, and recreate what it once was?
Could you look at a crooked set of lines upon the wall and know the meaning of cause and consequence? Could you predict what consequences of which actions would lead to favorable outcomes when realization dawns on you that
𝖙𝖍𝖊 𝖘𝖕𝖍𝖊𝖗𝖊 𝖍𝖆𝖘 𝖙𝖊𝖊𝖙𝖍, 𝖆𝖓𝖉 𝖎𝖙 𝖎𝖘 𝖘𝖔. 𝖛𝖊𝖗𝖞. 𝖍𝖚𝖓𝖌𝖗𝖞.
Time is an ocean of possibility. Each possibility has consequences. Each consequence a sea of new possibilities. How can you hope to understand the shadow of a shadow of a shadow, and not only know what's coming, but how to stop it?
Nothing is fated. But I said something important that bears repeating. Time is an OCEAN. We'll come back to that.
Time MOVES, at least the way we perceive it. I don't like the phrase "everything happens for a reason." I prefer something of my own creation: for every effect, a cause. To achieve a desired effect - a desired outcome - you must change the circumstances of cause that lead to that effect. But there are limits to your influence.
The time to change the course of a river is when the river is still small. The longer that river runs its course, the deeper it shapes and erodes the ground around it. The larger and faster a river the harder it is to redirect it. It will go where it's going, and there's nothing you can do about it. There is an element of momentum that must be accounted for. An element of inevitability.
The path of one person's life, one set of choices available to them in one specific context, may feel perhaps like the current of a river, when you look back on it. But if different changes were made during its formation, it could have taken a completely different path. Ended in a completely different place. And influenced the formation of completely different paths in the future as a result.
But I'll say it again, and you'll know its significance now: time is an OCEAN. It is not a river, but an IMMENSE network of currents with no clearly defined borders, flowing with or against or around each other in an unimaginably complex churning of possibility and consequence and cause and effect. A shift in one current may brush up against another. The second current may shift with it, or crash violently into it, or ignore it entirely.
For every effect, a cause. But for every CAUSE, many POSSIBLE effects.
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So time becomes a series of choices beyond number. Each choice leading to fathomless changes in the flow. As the earth turns, some currents flow inevitably in certain directions. If not here, then somewhere else. SOME CHANGES ARE INESCAPABLE.
The universe must be dynamic. If nothing changed, the universe would not need to exist at all. Change is the point. Variance is the point. Choice is the point. The universe exists to know itself, and it knows itself through change.
There is an endless sea of currents flowing in various ways with, beside, against, around each other. Some directions of flow are strongly influenced by the shape of the seafloor and the rotation of the earth. There are changes in the world that are virtually guaranteed to exist, whether because the nature of the universe has made them inevitable, or because changes long past have created the currents that are now too old and too deep to change.
Picture a river again. What happens when you throw a stick into it? The stick is swept up in the current and carried along the river.
Throw in more sticks. Same thing, right? You can make small changes without affecting the overall outcome. Within one large shadow of a sphere, the details of a hundred blades of grass whose shadows are lost within the larger shape.
Anchor a large stick to the riverbed so it can't get swept away. Now, it's just one stick. The water will flow around it. There are small ripples. Tiny changes in the river, micro-currents that will affect a localized area. But on the whole? The river still flows. You changed something. But you didn't change the course of the river.
Add stick after stick after stick until the river is obstructed completely, and the current is forced to change shape.
Which stick built the dam?
Which straw should the camel's back blame?
Back to the ocean. Can you dam the sea? Can you build that dam one stick at a time, by throwing sticks into separate currents, hoping the currents bring them where they need to be in time?
There are patterns borne out from the endless flow of possibility as the ocean of time churns. With all those ancient currents running together, what difference does the wake of a boat make on the shape of the waves? How many breaches from how many whales would it take to turn a current south instead of north?
What if you could make a bigger change? What if an avalanche altered the shape of the seafloor, so the rotation of the earth forces new waters to resist the old currents? So the inevitability of the dynamic universe drags forth a new set of possibilities?
There are a LOT of currents. They've been turning for a long, long time, ebbing and flowing with a billion tides and ten thousand quintillion waves. Choices can make new currents. BIG choices, with a lot of consequences, may even change existing ones.
But the ocean still has a geography to it. There are places where water is forced through the gaps between landmasses, or forced into the shallows, or freed to dive into the black beyond a continental shelf. There are places where, no matter how many changes you make, many currents are still guaranteed to meet.
There are fixed points in time.
What if one of those points is a whirlpool, threatening to swallow everything drawn into the place those currents meet?
What about a whirlpool on the scale of worlds and gods?
How do you keep from drowning?
How do you give yourself the best chance, not of AVOIDING the whirlpool of inevitability, but of entering it at the farthest possible edge, where the right momentum, the right decisions made in the moment you are caught in its gravity, may carry you through to the other side, so you still remain when time marches on?
Is it better to see things coming at all? Or is the ability to see time, to speak a language of the universe that no one else can speak, one of the greatest cosmic horrors you can imagine?
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Imagine the burden of time on those who can see it.
Imagine the WEIGHT of being able to see those currents. Of knowing which threads of fate to pull. Of knowing which ripples to make, which waves to break, which currents to shift. Of knowing.
Imagine the complexity of figuring out WHICH changes to make. And the great leviathan of guilt left on your shoulders when the decisions you made - even in pursuit of the best possible outcome - bring harm to the ones you love most, the ones you're most desperate to protect.
Even if you're right.
Even if you played 17-dimensional chess with the wizard-addled corpse of god and knew, with certainty, that if a single problem you had a hand in creating had been resolved more neatly by even minutes, the sticks would not have fallen into place within the dam, and the entirety of creation could have been swallowed piece by piece by the horror you were trying to stop.
Imagine the horror. Imagine the responsibility. Imagine the unending, agonizing pain of the burden of Knowing.
Because what time is, most of all, is a nightmare.
And there's no waking up.
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good-beans · 6 months
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Waahh just a quick thank you to all the Milgram theorists/analysts, you make my brain go brrrrrr!!!! ✨️💖 I love all the cool ideas, and it's always clear how much passion and enthusiasm the fans bring to the project! Thank you :D
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Geela's reference/concept art!
Translation notes under the cut.
I'm really not sure about the "Is she the Minister of Animals!?" caption. The sequence of characters there appear to be "さま大臣動物!?" The first two characters (さま) are the sama- honorific, indicating it's referencing someone of higher status. The last two characters (動物) mean "animal." The middle ones, however, are kinda weird. "大" can be read as "large," or possibly "university," and "臣" means "retainer or attendant." So, taken at face value, this would read something like, "Sir/Ma'am, [are you/am I/is this] the retainer of large animals?!"
However, for what I'm guessing were grammatical reasons, no automatic translator would translate it that way no matter how much I fiddled with things; and would always default back to just spitting the Japanese words back out. However, if two of the characters are switched around (臣大 becoming 大臣), every automatic translator was suddenly able to interpret it, and I could successfully find the characters as words in a dictionary--but it was translated as "Minister of animals" instead of "retainer of large animals." So it would have read more like, "[Are you/am I/is she] the Minister of Animals?!"
Given the sama- prefix and the way the sentence is formed (as well as the fact that "Minister" is the big title we see used in Hyzante), I decided to go with the "minister" translation, but I'm making the assumption that there was a little bit of a typo there. There's a pretty good chance that this is just a grammatically-shorthanded version of "Ma'am, are you the retainer of large animals?!" Or, as always, it's possible there's a completely different potential meaning that I missed.
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wanderingmind867 · 4 months
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I read the Circe chapter of the Sea of Monsters today. I didn't love all of it, but I can't really say I hated the chapter (at least because it gave me a lot of random thoughts and ideas). But still I had one nitpick:
They left Circe and Blackbeard on an island. They stole Blackbeard's ship. What, not willing to bring them with you? Blackbeard may be an evil barbarian, but you left him on a deserted Island with a sorceress. And what even happens to the Queen Anne's Revenge? Do they break it? I can't remember anymore. All I know is: I'd be mad if I were Blackbeard too. I think you could make an interesting story out of Blackbeard trying to hunt them down later for revenge.
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kenzan-kiwami · 8 months
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finished the linework for my kashiwagi tattoo design idea :weary:
RGG Studio Hire Me Challenge [IMPOSSIBLE]
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revenantghost · 11 months
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This arc really slaps us in the face with some banger thesis statements, huh
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