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Mike Driver
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@notcompletelygone
We need to go back to using sailing ships full time like immediately. Yes it would take longer to get places but the Aesthetic is unmatched
Like there is nothing sexier hthan this
Can’t wait for OP to get scurvy
Are you under the impression that the ships themselves are what caused scurvy
Once again. Do you think this is the fault of the ships themselves
There are things out there that our little minds will never comprehend.
DARK (2017-2020)
you're in her dms. i'm in a time loop and dooming my world to end over and over for her because i can't let go of what I want. and neither can she.
My old posters for the college project. I don't like all of them, but i think some turned out pretty good.
And I want to say that Mozart l'Opéra Rock is the musical that changed my life forever. Love it very much! I first saw it three years ago.
whats ur most favored attractive part of someone actually. physically. im asking like a boobs or ass question but for intellectuals and philosophers.
i think what saves me from a lot of discourse is that i'm simply Not Reading All That
dont ever interact with anyone outside your immediate age range if you do youre either a predator or prayed on dont ever engage or learn about other cultures or youre appropriating even if youre supporting people from those cultures they dont want your support dont ever interact with people of any oppressed class youre not a part of dont interact with anyone that has power over you in any way dont ever interact with working class people dont ever interact with your boss or professors basically you can only morally interact with your identical twin also what if we all killed ourselves right now
because sometimes there are invisible tests and invisible rules and you're just supposed to ... know the rule. someone you thought of as a friend asks you for book recommendations, so you give her a list of like 30 books, each with a brief blurb and why you like it. later, you find out she screenshotted the list and send it out to a group chat with the note: what an absolute freak can you believe this. you saw the responses: emojis where people are rolling over laughing. too much and obsessive and actually kind of creepy in the comments. you thought you'd been doing the right thing. she'd asked, right? an invisible rule: this is what happens when you get too excited.
you aren't supposed to laugh at your own jokes, so you don't, but then you're too serious. you're not supposed to be too loud, but then people say you're too quiet. you aren't supposed to get passionate about things, but then you're shy, boring. you aren't supposed to talk too much, but then people are mad when you're not good at replying.
you fold yourself into a prettier paper crane. since you never know what is "selfish" and what is "charity," you give yourself over, fully. you'd rather be empty and over-generous - you'd rather eat your own boundaries than have even one person believe that you're mean. since you don't know what the thing is that will make them hate you, you simply scrub yourself clean of any form of roughness. if you are perfect and smiling and funny, they can love you. if you are always there for them and never admit what's happening and never mention your past and never make them uncomfortable - you can make up for it. you can earn it.
don't fuck up. they're all testing you, always. they're tolerating you. whatever secret club happened, over a summer somewhere - during some activity you didn't get to attend - everyone else just... figured it out. like they got some kind of award or examination that allowed them to know how-to-be-normal. how to fit. and for the rest of your life, you've been playing catch-up. you've been trying to prove that - haha! you get it! that the joke they're telling, the people they are, the manual they got- yeah, you've totally read it.
if you can just divide yourself in two - the lovable one, and the one that is you - you can do this. you can walk the line. they can laugh and accept you. if you are always-balanced, never burdensome, a delight to have in class, champagne and glittering and never gawky or florescent or god-forbid cringe: you can get away with it.
you stare at your therapist, whom you can make jokes with, and who laughs at your jokes, because you are so fucking good at people-pleasing. you smile at her, and she asks you how you're doing, and you automatically say i'm good, thanks, how are you? while the answer swims somewhere in your little lizard brain:
how long have you been doing this now? mastering the art of your body and mind like you're piloting a puppet. has it worked? what do you mean that all you feel is... just exhausted. pick yourself up, the tightrope has no net. after all, you're cheating, somehow, but nobody seems to know you actually flunked the test. it's working!
aren't you happy yet?
No one:
Toho Productions Elisabeth when she takes off her coat:
Kéktúra, utolsó szakasz
Aki volt már kéktúrázni, pontosan tudja mekkora dilemma tud lenni a közlekedés. Én is órákig latolgattam, hogy a túra utolsó szakaszát hogy közelítsem meg. Eredetileg egy köztes településen akartam hagyni az autóm, ahonnan az indulási és érkezési pont is könnyedén megközelíthető közforgalmú közlekedéssel, de ezt közbiztonsági megfontolások, azaz biztos hogy nem fogom otthagyni a kocsim az utcán Komjátiban, felülírta.
Szóval 2,5 órát buszoztam Tornabarakonyból Jósvafőre. Ezeken a környékeken ez is kalandos tud lenni. A kép Bódvalenkén készült. 2009ben pár művész levonult vidékre, és kipingálták a düledező putrik falait.
Felszállt pár, nagyjából 10-12 évesnek tűnő srác, és közösen pörgették a tindert. Sajnos nem emlékszem hogy 12 évesen mit gondoltam egy 18 éves lányról, de az rémlik hogy 15 évesen egy 21 évest kicsit már öreg, de komoly és érett nőnek tartottam.
Valami zseniális, hogy Jósvafő a vasútállomásától 12 kilométerre van, és útközben van még két másik falu is. Elsőre meglepett, hogy nem annyit fizettem a jegyért, amennyit a menetrendek.hu saccolt, de jegyet se kaptam, szóval érthető a kedvezmény. Ráadásul Színben megállt a busz egy háznál, ahol a sofőr nekiállt nagyon agresszívan alkudozni a helyi erőkkel dinnyére, szóval még folklór műsor is volt.
Na de a lényeg. Ez itt fent már Szelcepuszta. Fantasztikus egy hely. Rajtam kívül a völgyben nem volt éppen senki.
Egy kicsit aggódtam hogy a két éve szanaszét tört gerincemmel és vállammal bírni fogom e a 13 kilós hátizsákkal való vándorlást. A végére kiderült, hogy igen, de mégse.
Hucul ménes távolról, és rázoomolva, ridegbe' tartva.
Hajlamos vagyok elódázni a végletekig a sátorállítást, szóval a sötétség beállta után kutyagoltam a mobil fényénél Volt már emiatt párszor eltévedés, de most kivételesen jól jött ki a dolog. Találtam egy rétet, aminek már már émelyítően kakukkfű illata volt. Kellemes volt erre elaludni. Az állatok is békén hagytak, csak egyszer ébredtem fel arra, hogy valami mászkál a sátor körül.
Derenk. A híres neves szellemfalu, amit kitelepített Horthy a háború idején. A házak helyét ma már csak táblák jelzik. A volt lakosok, és leszármazottaik évente egyszer Lengyelországból, Szlovákiából és a környékről összegyűlnek, és tartanak egy búcsút.
Tök véletlenül derült ez ki számomra, ugyanis a mezőn bandukolva, hirtelen szembetaláltam magam 50+ népi viseletbe öltözött lengyel és szlovák nővel.
2 hónapja nem tumbliztam, nem tudom szokás e még nyugtákat feltölteni a vásárlásokról, meg bejelenteni a lángos árát a balcsinál, de a derenki búcsúban 800 ft.
A fazon aki sütötte, vendéglátás mellett vadászik is. Mikor kérdezte, hogy hol aludtam, és közöltem, hogy sátorban, mondta, hogy ez nem volt egy jó ötlet, ugyanis a környék tele van már medvével, ő is többször találkozott velük.
Nemrég meghalt egy ismerősöm, akinek a tervei alapján rengeteg erdőt, többek között a Szelcepuszta környékit is telepítették. Megígértem, hogy ha arra járok, iszok egyet az egészségére. Tán elnézi nekem a meggyes radlert. Eredetileg mangós-citromosat akartam venni, de azt tényleg tiszteletlenségnek éreztem.
A távolban Bódvaszilas. Az egyetlen pontja a túrának, ahol volt némi kilátás. Az idő is borús volt, szóval jó képek se készültek. Tiszta Bakony feelingje volt a Szelcepuszta utáni résznek , böglyök, muslincák, iszonyat sár, és szitáló eső konstans.
A szilasi stadion, a kaputól balra a fűnyíró személyzettel.
Ez pedig az Esztramos hegy. Elvileg van itt egy via ferrata pálya, meg egy overálos barlang. El tudom képzelni hogy egyszer visszatérek még kipróbálni őket.
A Bódva kezdetű településeket halva az ember rossz közbiztonságra, lepusztult infrastruktúrára, és düledező épületekre gondol. Ennek ellenére Bódvarákó olyan takarosan nézett ki, hogy akár egy budai agglomerációs falucska is megirigyelhetné. Fura hogy közben az ország legszegényebb falvai 20 kilométeres körzetben találhatóak.
Találd meg az őzet a képen. A kis hülye, mikor észrevett, elbújt. azaz odarohant egy fa mögé, és eldugta a fejét. Azt hitte, ha nem lát, akkor én se látom őt.
És a végén, vissza a kezdethez. Tornabarakony bájos egy falu, állandó lakossága 20-30 fő lehet. Mikor négy éve jártam itt, nem gondoltam volna, hogy ez a sztori itt fog befejeződni. Mindenesetre nem bánom, hisz többek között a háttérben látható házhoz nagyon kellemes emlékek fűznek arról az estéről.
Na és Irotán azt a táblát láttad-é a ház falán?
Sokszor mezőgazdasági földek között vezető, de számos kis falut érintő szakasz, amelyen megdöntöttem a saját rekordomat, és 40 kilométert sé
Fovarosi.blog.hu képe.
WATCHED ELISABETH DAS MUSICAL IN FULL FOR TH FIRST TIME?? AND I HAVE A LOT TO SAY WOOHOO
(just a bunch of theories idk actually)
i've seen clips and whatnot before so i have a basic understanding of the plot but actually watching it helped me understand the situation and relationships between the characters more. there's a ton of shit to unpack here...
in my opinion, one of the most prominent themes that i actually failed to notice until now was the fact that all of the (main, at least) character had kind of a need to be understood, to be close to another person, but failing to do so due to their own insecurities.
everyone wants to open up, to have someone to share their troubles with, but are put under such high amounts of pressure that they find themselves unable to. we see that especially between elisabeth and franz joseph in boote in der nacht. they say (translated) "couldn't you just once look through my eyes? / then you wouldn't misunderstand me anymore" and "we cross each other on the sea / and we're lonelier than before" as in both of them are lonely without one another and seek out each other's company (particularly f.j. for elisabeth, but not so much the other way around) but they are both shrouded by misunderstandings which prevent such from happening. like rudolf says in wenn ich dein spiegel wär, elisabeth had built up a wall around her, around her heart, that stops anyone from getting close to her.
despite so, we see throughout the musical, particularly in schwarzer prinz and der schleier fällt that, alongside her more obvious want for freedom, elisabeth too has a desire to be understood and accepted (it's kind of a subconscious part of human nature yk yk), evidenced by the lines of (translated) "let me be both free and secure" and "give my soul a home". however, due to all the trauma she suffered at the hands of her mother-in-law, the pressure of being empress, and f.j. cheating on her later on, she closed herself off to everyone, even her own son.
and that brings me to my next point, which is rudolf. unlike his mother and father, he is rather open about his longing of acceptance and support from others (at least to elisabeth), but is rejected by his family which is pretty much built upon the mindset of "emotions are for the weak". i'd also like to point out the elisabeth's neglect of rudolf partially comes from the fact that she's afraid that he is too similar to her. as said in wenn ich dein spiegel wär, her looking at rudolf is as though she was to look at a reflection of herself, through which she too can see all of her insecurities, which is a great fear of her's.
i don't think elisabeth's neglect (at least as it is represented in the musical) is intentional as we hear her regrets in the next scene with her with rudolf's coffin, but rather she was forced to draw away because of her own mental burdens and her fear of getting close to anyone.
anyways yeah that's it. thank you for coming to my ted talk.
hey everyone
have 1h7min55sec of your life to spare?
watch my elisabeth schönbrunn 2022 edit (with commentary on screen)
highlights
Shoutout to Elisabeth for being the only musical to ever make me skip sleep for 2 nights straight to watch its various productions on repeat
the shadows are literally growing longer babe it was evening before your day began. like actually the shadows are growing longer . bestie the world is dying around you stop holding on. stoppppppp itt
I will NEVER shut up about this because the amount of interpretations of the 1992 production of Elisabeth there are is INSANE.
First, we have the character of Der Tod. Who is he? You can see them as an actual entity who guides souls to the afterlife. You can see them as a physical manifestation of the characters' inner struggles. You can also see them as an entity conjured up by Lucheni in the purgatory as a way to shift the blame off of himself perhaps.
What about his intentions? You can view Tod as an otherworldly, immortal entity who genuinely had feelings for Elisabeth or you can see him as someone who was obsessed with her perseverance and defiance and only wished to collect her soul and did not actually care for her (even though he does say he loved her in the prologue?). One interesting part is how Tod lays Elisabeth's body on the floor at the very end. What could that mean?
On the topic of intentions, there's also the case of Tod's relationship with Rudolf. Was Tod merely using Rudolf to send Elisabeth into despair once her only son had passed? Or was there a genuine connection between the two, with Tod being a true friend to Rudolf and not having much influence on the Kronprinz's choice to actually take the gun?
And the visual aspect of the original 1992 Tod played by Uwe Kröger? Gives you so much room for interpretation as well. Is Tod's form crafted to suit the taste of the characters? Or is it just the usual form he takes when interacting with any human? Is the way he looks ACTUALLY his usual form? Maybe he doesn't even have a body but needs to look human-like so that mortals don't automatically run away screaming. And do the characters actually see him the same way the audience does? In "Maladie", he does come to Elisabeth with virtually no disguise (he doesn't even have the hat he uses in later versions). He kind of claims to be Dr. Seeburger, how come neither the staff nor Elisabeth recognise him when we, the audience, can clearly see it's Tod?
There's also the aspect of Tod willingly participating in Lucheni's staging of Elisabeth's life. He's not really one of the puppets, so does that mean every now and then, whenever Lucheni needs to go over the entire story while arguing with the Judge, Der Tod comes over out of his free will and joins in to play his part? What does he get out of this? Does he simply wish to see Elisabeth or Rudolf again? Who knows!
You can't be certain when it comes to anything about 1992 Tod's character or the entire musical for that matter. It's all up to the viewer to decide what they think is the truth and that's why I feel like so many people can find this musical interesting - you aren't served a ready-made story, but can somewhat choose what you think happens or what certain characters are like. The mysterious feel of it all is what really makes this version stand out.
Green
