In Hebrew

You say I took the name in vain I don’t even know the name But if I did, well really, what’s it to you? There’s a blaze of light In every word It doesn’t matter which you heard The holy or the broken Hallelujah

These are specifically about Chassidic Jewish theories of the holy language, how each letter and combination of letters in Hebrew contains the essence of the divine spark and if used correctly, can unlock or uncover the divine spark in the mundane material word. And of course, there are secret names of God which, when spoken by any ordinary human would kill them, but if you are worthy and holy and righteous can be used to perform miracles or even to behold the glory of God face-to-face. The words themselves have power. Orthodox Jews often won’t even pronounce the word “hallelujah” in it’s entirety in conversation, because the “yah” sound at the end is a True Name of God (there are hundreds, supposedly) and thus too holy to say outside of prayer.

None of this is to mention how David’s sin in sleeping with Batshevah (the subject of much of the song, with a brief deviation to Shimshon and Delilah) is considered the turning point in the Tanach that ultimately dooms the Davidic line at the cosmological level and thus dooms Jewish sovereignty and independence altogether. From a Christian perspective this led to Jesus, the King of Kings, and that’s all very well and good for them, but for the Jews, the Davidic line never returned and is the central tragedy of the total arc of the Torah. Like, our Bible doesn’t have a happy ending? And that’s what this song is about? There’s no Grace - you just have to sit with the sin and its consequence.

Of course, Cohen is referencing all of this ironically, and personalizing these very high-level religious concepts. Like the point of this song is that Cohen, the songwriter, is identifying with David, the psalmist, and identifying his own sins with David’s. The ache that you hear in this song is that the two thousand year exile that resulted from one wrong night of passion and Cohen feels that the pain he has caused to his lover is of equally monumental infamy. Basically, in a certain light, the whole of Psalms is a vain effort for David to atone for his sin and I think Cohen was writing this song in wonderment that David could eternally praise the God who would not forgive him and would force him and his people into exile. But he ultimately gets how you have to surrender to the inexorable force of God in the face of your own inadequacies and how to surrender is to worship and to worship is to praise - hence, Hallelujah. You can either do the right thing and worship God from the start, or you can fuck up, be punished, and thus be forced to beg for His forgiveness. It’s the terrible inevitability of praise that’s driving him mad.

Like honestly, I identify with this song so strongly as an off-the-derech Jew, I sometimes wonder what Christians can possibly hear in this song, as it speaks so specifically to the sadomasochistic relationship that a lapsed Jew has with their God. It’s such a different song from a Christian theological perspective it’s almost unrecognizable, man. This song continues to be a wonder of postmodern Jewish theology and sexuality from start to finish. Don’t let anyone give you any “Judeo-Christian” narishkeit. This is a Jewish song.

1) "YouTube Homunculus has opinions about a cartoon for babies that I don't like. He also profusely apologized for said opinions due to the backlash."

What they found is that when presented with voices speaking Kamba, the elephants were supremely unbothered. The Kamba are mostly farmers, many work for the park services, and they rarely present a danger to elephants.

When presented with the voices of adult men speaking Maasai, the elephants drew close to each other and started investigating. The Maasai are largely cattle herders, and they sometimes come into conflict with elephants over water and grazing lands.

However, the elephants did not seem nervous when presented with the voices of women or young boys speaking Maasai. They were aware that only humans with deep voices were a threat to them.

They also seem to recognize that if humans are talking, they aren't necessarily a threat. Humans pursuing large game like elephants are stealth hunters. If you can hear them coming, they're probably not trying to hurt you.

hey we are all really small do you want to sleep in a pile

Cottagecore.

So the Spoon Theory is a fundamental metaphor used often in the chronic pain/chronic illness communities to explain to non-spoonies why life is harder for them. It’s super useful and we use that all the time. But it has a corollary.  You know the phrase, “Stick a fork in me, I’m done,” right? Well, Fork Theory is that one has a Fork Limit, that is, you can probably cope okay with one fork stuck in you, maybe two or three, but at some point you will lose your shit if one more fork happens.  A fork could range from being hungry or having to pee to getting a new bill or a new diagnosis of illness. There are lots of different sizes of forks, and volume vs. quantity means that the fork limit is not absolute. I might be able to deal with 20 tiny little escargot fork annoyances, such as a hangnail or slightly suboptimal pants, but not even one “you poked my trigger on purpose because you think it’s fun to see me melt down” pitchfork.