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6 Years 104 Days! My art fight attacks from yesterday!

First attack: @jae-felidae Second attack: [artfight]

#My art #artfight #art fight #artfight 2026 #art fight 2026

were--ralph

can't stop listening to this

6 Years 103 Days! My art fight attack from yesterday!

Owner: @hideoutfromreality

#My art #artfight #art fight #artfight 2026 #art fight 2026

knightofleo

demonicae

SOUND. ON.

soundonsoundonsoundonsoundonsoundon!

keiko86chan

Omg 💖

6 Years 102 Days! My art fight attack from yesterday!

Owner: @bluejay-flies

#My art #artfight #art fight #artfight 2026 #art fight 2026

eusexuanal

Settles down on your dashboard gingerly and with a big heaving sigh

halorvic

dominostodoomsday

@bovineblogger

6 Years 101 Days! My art fight attack from yesterday!

Owner: @mewexe

#My art #artfight #art fight #artfight 2026 #art fight 2026

burntcopper

things english speakers know, but don’t know we know.

windycityteacher-deactivated202

WOAH WHAT?

ice-light-red-deactivated201611

That is profound. I noticed this by accident when asked about adjectives by a Japanese student. She translated something from Japanese like “Brown big cat” and I corrected her. When she asked me why, I bluescreened.

moved--306389

What the fuck, English isn’t even my first language and yet I picked up on that. How the fuck. What the fuck.

exomoon

Reasoning: It Just Sounds Right

arkthepieking

Oooh, don’t like that. Nope, I do not even like that a little bit. That’s parting the veil and looking at some forbidden fucking knowledge there.

canthinkofaurl-deactivated20221

How did I even learn this language wtf

titaniumelemental

I had to read “brown big cat” like three times before my brain stopped interpreting it as “big brown cat”

arjan-de-lumens

I’m kinda reading “brown big cat” as “brown (big cat)”, that is, a “big cat” - like a tiger or lion or other felid of similar size - that happens to be brown. “Big brown cat”, on the other hand, sounds more like a brown cat that’s just a bit bigger than a regular housecat - like a bobcat or a maine coon cat or something like that.

the-real-seebs

yeah, a brown big cat is almost certainly a puma. a big brown cat is probably a maine coon.

whetstonefires

yeah, if you put the adjectives out of order you wind up implying a compound noun, which is presumably why we have this rule; we stripped out so much inflection over the centuries word order now dictates a huge amount of our grammar

delphinidin4

Just looked up why we do this and one of the first lines in this article is, “Adjectives are where the elves of language both cheat and illumine reality.” so I know it’s a good article.

Things this article has taught me:

This same order of adjectives more or less applies to languages around the world. “It’s possible that these elements of universal grammar clarify our thought in some way,” says Barbara Partee, a professor emeritus of linguistics and philosophy at the University of Massachusetts-Amherst. Yet when the human race tacitly decided that shape words go before color words go before origin words, it left no record of its rationale.

One theory is that the more specific term always falls closer to the noun. But that doesn’t explain everything in adjective order.

Another theory is that as you get closer to the noun, you encounter adjectives that denote more innate properties. In general, nouns pick out the type of thing we’re talking about, and adjectives describe it,” Partee told me. She observes that the modifiers most likely to sit right next to nouns are the ones most inclined to serve as nouns in different contexts: Rubber duck. Stone wall.

Rules are made to be broken. Switching up the order of adjectives allows you to redistribute emphasis. (If you wish to buy the black small purse, not the gray one, for instance, you can communicate your priorities by placing color before size). Scrambling the order of adjectives also helps authors achieve a sense of spontaneity, of improvising as they go. Wolfe discovers such a rhythm, a feeling-his-way quality, when he discusses his childhood recollection of “brown tired autumn earth” and a “flat moist plug of apple tobacco.”

Brain scans have discovered that your brain has to work harder to read adjectives in the “wrong” order.

TL;DR: No one knows why we do this adjective thing but it’s pretty hardwired in.

cuzosu-blog

@deadcatwithaflamethrower Linguistics tidbit.

thecsjones

Since it’s never credited, this is from Mark Forsyth’s The Elements of Eloquence, and just one reason why I think it’s required reading for anyone interested in prosecraft. Every page is this useful.

dailymoviemusicals-blog

Moses Supposes

randomslasher

Running into this on my dash was like running into an old friend

pyromanicdaydreamer

Thats just what theater kids are like

prokopetz

What I’ve always loved about this bit is

a. this musical number comes completely out of nowhere, with no greater context than what this video captures; and

b. the language instructor clearly can’t hear the music. He’s not from Musical Theatre Land. From his perspective, a couple of twinkle-toed weirdos just randomly decided to physically abuse him for three solid minutes. This isn’t reading anything that’s not intended into the scene – it’s literally the central gag.

rocketplane

@thebibliosphere in case you need some ridiculous Singin’ in the Rain on your dash.

(P.S. I imagined you making the faces at the instructor and it was hilarious)

thebibliosphere

I can but aspire to the level of expressiveness Cosmo Brown has with his face.

sharkselfies

teaboot

If you have ADHD and a manic episode this is what your brain does

cardigan-jam

@hotvintagepoll Donald O'Connor propaganda like look at him go he’s amazing the energy the skill the nonsense of it all

silvermarmoset

Every time I see this I strongly disagree with @prokopetz’s claim that the main, intentional gag is that the language tutor can’t hear the music—the joke is that this is simply what it’s like to have a best friend with a joke to share. Cosmo and Don could speak this number and it would have the same intent in the story—it wouldn’t be as incredible or clear, but it would still convey that Cosmo and Don have a tremendous amount of love and fun between them.

Singin’ in the Rain uses its musical numbers one of two ways: they are either songs performed in-universe as real musical numbers by or for Monumental Pictures, or they are used as extra-universe expressions of fondness between characters. Lena doesn’t have a big villain number. RF never sings about the weight of running a Hollywood studio. Songs—outside the ones everyone in-universe knows are being sung—are a secret language between Don, Cosmo, and Kathy. It’s a subtle meta structure that boosts the narrative impact of Don, Cosmo, and Kathy as people who genuinely like each other and connect in a way outside studio system politics. Look at the purely intimate songs that aren’t staged as studio numbers:

Make ‘Em Laugh—Cosmo is connecting with Don, trying to cheer him up

You Were Meant For Me—Don is connecting with Kathy, beginning their romance

Moses Supposes—Don and Cosmo are connecting as friends by making fun of the same thing

Good Morning—Don, Cosmo, and Kathy are connecting as friends who just shared an all-nighter and came up with a new idea

Singin’ in the Rain—Don is singing because of his connection with Kathy, having just shared a kiss with her

It’s also important to note that some songs transition from in-universe studio numbers to more personal songs—All I Do Is Dream of You is seen by everyone at the house party as a planned musical number, but for Don it’s the first time he really sees Kathy past their spat in the car. Would You is in-universe a song from The Dancing Cavalier, but it transforms into a personal connection song as Don sings it to Kathy at the premiere.

I’m bringing all this up because this is an exceptional way to use musical structure. It’s de rigueur to insist that every musical song further the story, but that’s typically taken to mean that the songs contribute to the plot. Singin’ in the Rain doesn’t do that. Instead, it uses its musical numbers —where it places them, who sings them, who “sees” them—to convey the emotional story, to subtly clue you in on who in this story really matters, who is really connected and really loving each other. It matters that the Hollywood studios are shifting from a silent system to a musical system that Cosmo, Don, and Kathy already naturally speak with, and it matters that these three are, or become, so comfortable with this change that it saves them. They are the only people in this story who shift easily between numbers planned for them by the studio and singing straight out of nowhere. Their songs are their way of sharing something with each other, to the point that the songs and their love for each other merge into the same thing—which is why it feels so right when singing (connecting) becomes the norm for Hollywood by the end of the movie.

Singin’ in the Rain is often thought of as the best musical ever made, and it’s not because the songs are throwaway gags—if that were true, it would be like every other songbook musical that commits to a joke for one song and then forgets it. The songs in Singin’ in the Rain reinforce the strength and love shared between our main three heroes, and constantly recontextualize what it means to shift from one worldview—the artificial lie of the silent movies and singing for other people—to a new one, where conveying love for another person is seen and heard by everyone. I said earlier the songs are about showing fondness, or connection—which is true—but if I’m being honest, I think Singin’ in the Rain is really about sharing joy with another person. It’s about the joy of being with someone you love.