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Whitney Houston (1995)
ASΓ
Inbox me (1) thing you want to know about me.
DO IT PLS
no cap,, I will answer

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Repost or bad luck on Christmas π
Lil Nas said so
Sorry guys but if Lil Nas said so...
when christian artists change the line in hallelujah from βmaybe thereβs a God aboveβ to βI know that thereβs a God aboveβ >:c
#idk why iβm so unreasonably angry#maybe cuz itβs my fav line
itβs also because Leonard COHEN (!) was Jewish and this is a quintessentially Jewish line, and changing it to that level of Annoying Certainty is stripping it of its Jewish meaning and imbuing it with that particularly American smug evangelical Christian attitude that makes me tired, so very tired
THAT IS EXACTLY WHY
I donβt think Iβve heard any cover artist sing my favorite verses You say I took the name in vain I donβt even know the name But if I did, well really, whatβs it to you? Thereβs aΒ blaze of light In every word It doesnβt matter which you heard The holy or the broken Hallelujah I did my best, it wasnβt much I couldnβt feel, so I tried to touch Iβve told the truth, I didnβt come to fool you And even though It all went wrong Iβll stand before the Lord of Song With nothing on my tongue but Hallelujah
um woah
I will always hit the reblog button so hard for Hallelujah but ESPECIALLY mentions of the elusive final verses which are just about my favorite lyrics ever. Why do people always omit the best part of the song??
In Yiddish
In Hebrew
In Ladino
Yeah, I wonder why the verses that reference specific Jewish mystical and chassidic concepts that arenβt readily understood by AmericanΒ βI love Jews, you know, Jesus was Jewish!β Christians never get any airtime. Funny that.
You say I took the name in vain I donβt even know the name But if I did, well really, whatβs it to you? Thereβs a blaze of light In every word It doesnβt 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 wonβt even pronounce the wordΒ βhallelujahβ in itβs entirety in conversation, because theΒ βyahβ 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 Davidβs 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 thatβs 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 doesnβt have a happy ending? And thatβs what this song is about? Thereβs 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 Davidβs. 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. Itβs the terrible inevitability of praise thatβs 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.Β Itβs such a different song from a Christian theological perspective itβs almost unrecognizable, man.Β This song continues to be a wonder of postmodern Jewish theology and sexuality from start to finish. Donβt let anyone give you any βJudeo-Christianβ narishkeit. This is a Jewish song.
(Sorry about the wild tangent itβs just 2AM and I love this song so dang much, you guys.)
holy shit. woah.
This.
That last bit from @stoneandbloodandwater, thatβs a great articulation of the well of feeling, memory, storytelling, and culture packed into one of the most Jewish songs ever to get real famous. The song is both surrender and defiance, and that those are actually a single path together, not two opposite choices.
A small addition: This song is such a deeply resonant Jewish touchstone that every synagogue I have ever attended uses its melody in services from time to time.
It is so important, so powerful, so spiritually resonant that we use it in prayer.
If memory serves me, the cover we most often hear came about specifically because Jeff Buckley was like βman, this song is badass but I donβt know that I can do its concepts justiceβ and Leonard Cohen was like βyou need different verses? Here, I wrote over eighty of the fuckers, pick what you want to useβ and so Buckley put together verses that spoke to him as a non-Jew about sexuality and this idea of a failed relationship.
Which wouldnβt be an issue if Christians didnβt then take his adaptation (done, I emphasize again, with Cohenβs blessing) and rewrite it in ways THAT DO NOT COME FROM THE ORIGINAL VERSES.
Yes, this.
This is a good time to remind people that Leonard Cohen wrote a novel titled Beautiful Losers and it is filthy, epic, brutal, experimental, fraught with problematic conceptions of sex and gender and still so amazingly tender and gorgeous. Itβs written as a letter from the narrator, a very clear stand-in for Leonard, to his male lover (named only F) about their mutual lover Edith, who is also somehow an indigenous saint named Catherine Tekakwitha.
https://en.wikipedia.org/wiki/Beautiful_Losers
this is the text of good fortune, reblog in 60 seconds and $1200 will spontaneously materialize in your bank accountπππͺπ»π€
Iβm excited for the love that is on its way to me. π
Yes
Yes

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It is to Madame Justice that I dedicate this concerto, in honor of the holiday that she seems to have taken from these parts, and in recognition of the impostor that stands in her stead.
V FOR VENDETTA 2005 β James McTeigue
Douglas Island News, Alaska, November 15, 1918
Nothing like absolutely vIBING with people who lived 102 years ago
if yall dont reblog this at least once today yall fucking up
Yes.

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Never not reblog.
The best thing is that you can see Keira preparing to internalize/ignore it, and Benedict speaking up gives her the opportunity to not do that. Her eyes close, then she smiles, nods, and lets it go, and thatβs beautiful.Β