No, non sono emiliano He/she/they I DIDN’T CHOOSE THE FISH LIFE, THE FISH LIFE CHOSE ME
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Aemiliaromagna - Emilia Romagna - Tumblr Blog
Prelude to Ecstasy, a short film by The Last Dinner Party, directed by Harv Frost
Prelude to Ecstasy, a short film by The Last Dinner Party, directed by Harv Frost
Saw someone making a joke about how Odysseus confronting the suitors happens when he’s naked and no hate for the joke I get that a lot of people think public nudity is funny but like… that part of the story is really important to me.
This is a man that has been on a journey and fucked over and changed and played with by fate for years to the point where he is almost forced to strip his identity and rebuild it for survival. When he returns to his Home Land yes he is wearing a disguise but he was also the one raining king of Ithaca. No one recognized his face, his voice, the only one to truly recognize him was his neglected and dying dog. When he reveals his true self he literally has to strip himself bare before any one realizes.
The idea of the thing that kept you alive and kept you fighting being the same thing that makes it easier to strip your core beliefs and personality bare and rebuild yourself into something not even you can recognize in the end is really impactful for me.
Sie sprachen nur von Deiner Mutter, so gnadenlos ist nur die Nacht. Am Ende bleib ich doch alleine. Die Zeit steht still und mir ist kalt.
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Florence Welch attends the Valentino Pavillon des Folies at Paris Fashion Week
Hi! I absolutely love all of your detailed posts about Richard, they make my day when you post them, I was wondering if you could make a compilation of very wholesome moments with fans? I'm afraid that Rammstein will never come back to the US and I'll miss my chance of meeting him in person and I'd love to see some sweet fan interactions ❤️ Dankeschön ❤️❤️
Hi 🤍
Please excuse my late reply to this, but I love this ask! It's known that Richard can be very warmhearted towards fans and gives out bone-crushing hugs left and right - I found several accounts of fans who met him and will accumulate these in the following post 😊 (sources are linked at the end of the post.)
First some stories of fans who shared their experiences on the internet:
One fan met him before a concert, he gave the fan a hug and they say that to this day, they haven't forgotten the feeling of this hug.
Here's an account of a fan who met Richard at a resort in Mexico: "Richard never acted like we were imposing on his time or being a hindrance, even though he was with a table of friends. As soon as we were in eye contact range, his entire demeanor changed. He lit up like a Christmas tree and stood to shake our hands, stood close to us to chat for a few minutes - five minutes, tops, and gave us hugs as we left before shaking our hands again."
After a concert: "The hug I got was bone crushing. I was right in front of him. Cried my way through Frühling [...]. He checked on me and asked me if I was ok. Said i was fine and even the amount of times I'd seen them play, i got so caught up in the emotion. Richard told me they were the most moving moments for him at least and pulled me into a huge hug that if i think about it, i can still feel. Sounds weird but when you get a hug like that you dont forget it."
Richard seems to be a bit camera-shy while being out and about (declining selfies most of the time), but offers/asks for hugs himself as a return, as told by a fan who met him at the Chicago Airport. The fan apologized after asking for a selfie, yet Richard immediately asked her to give him a hug afterwards.
At a concert at the Palace of Auburn Hills in Detroit back, May 2012: "For some reason, I thought of making a sign that said "Pick für mich, bitte". We were right at the barricade and I decided to flash the sign. I don't even know what I expected out of it. Well, Richard fucking Kruspe went to his mic stand, got a pick, went to the security guard in front of the railing and told him to give me the pick. The guard and I had chatted prior to their performance, so he looked at me with a "way to go, kid" look. People around me cheered. Best concert memory ever. Nothing but a class act."
Another fan reports him being quite talkative and attentive during parties - apparently really listening to the other person and showing real interest. He really likes to talk about music and guitars and seemingly likes hearing the opinions of fans.
Meeting the band in front of their hotel: "His hug was the tightest, and he smells SO GOOD, I wanted to ask what was his perfume. I told him I loved Emigrate, he gave me the biggest smile and thanked me."
Then we have voice from withing the fandom on here - the lovely and helpful @anwiel13 said this about meeting him at a Meet&Greet (thank you again for sharing this! 🤍):
"Once he entered the room, we immediately know it. Not that he did something, but he really has this big personality, in very good way. He was smiling all the time, unless taking photos, than we was all his gothic deep stare self. He was also super nice to two girls, who were absolutely nervous, telling him how much they love him. We all know he hear this all the time, but he really looked like he is listening them and make them feel not like crazy fangirls annoying him with their feelings. If that's make sense. He hugged one girl when she asked him and again, did not looked like she's annoying him with this. He left very quickly after taking photos and signed our things. Overall, he was very nice and caring. I heard somebody complain about him being all snobby and annoyed during some M&G, but he was nothing like this during the one in Prague."
Plus I have found two 'essay'-posts on here describing fan-experiences at Meet&Greets and afterparties:
Here Richard is described as really warmhearted, smiling and patient with the fans:
A very wholesome interaction (with a cute Paulchard momet) with a fan who brought selfmade fan art with her:
And since of course I found some experiences with other band members on my research-way, here are my favourites of some of the other guys 😊:
At an afterparty: "I spent a long time talking to Flake who is beautifully underappreciated. He's such a wise man with an incredibly dark sense of humour. [...] Flakes English isn't great but he seemed to really appreciate that someone would talk to him in German and happy to help me figure out words I wasn't familiar with and vice versa. I really appreciated it as he did slow down his natural German speaking speed to help me continue a conversation in German as native speaking speed was just a little too fast."
At a meet and greet: "Schneider gave me such Dom-Daddy vibes that I would have got on my knees if he asked. He was so friendly, asked about myself and I was able to give him a letter from my best friend who had spoken to him years before, and he was so happy to take it."
At an afterparty of Till's solo tour (London concert): "I went to see Lindemann in London and was invited to the after party and ended up trying to open a bottle of wine with a set of keys with Till and then ended up drinking vodka and chatting to him for a few hours. Such a humble human and one of my biggest role models in life - he made me want to become a fire performer and he said I looked great doing what I do."
"Did a meet & greet on the 2019 tour and a bunch of the after parties. Doom is an incredible dancer and Paul and Richard give the best hugs." (I've read several times that Schneider seemingly kills it on the dance floor 👀)
Sources: 1 2 3 4 5 6
All in all, it's always amazing reading about fans having nice experiences with them - but let's not forget (since some people do exactly this), the band members are also just human beings like you and me, don't owe the fans smiles and good moods, and it's not a crime to have a bad day once in a while (with less enthusiastic interaction with fans) or just wanting some peace or being in a hurry, since they all do have private lives🤝🏼
Adorable Flake, Till and Richard gifs
Literally not a single soul asked for more information about my idea for a Florence + the Machine jukebox musical of Shakespeare’s Othello (because, well, why would they?) but I have a lot of time on my hands so buckle up because you’re getting more information
(If you want to be able to better picture my mad rambling, I'd recommend playing the songs so you know what parts I'm referring to)
Opening number: 100 Years (from High As Hope)
We open on an almost empty stage with Desdemona slowly stepping into the spotlight as she sings the first few lines (I believe in you and in/our hearts we know the truth/And I believe in love and the/darker it gets the more I do); if we want to get super specific she’s wearing a white dress that’s a similar shape to the one Florence wears on the album art because just yes yes yes and also angel imagery for the win and ALSO over the course of the production her dress becomes pale pink or grey and then very gradually gets darker but in fact the nightdress she wears when she dies is back to white again. She does not bleed, people, she is the only character that dies without bleeding (!!!!!!!) and I will never shut up about that. Anyway, she sings up to the repetition of “and never, and never turn to night” with orchestral accompaniment and then when the “Then it’s just too much” line hits and the beat comes in things change. More lights come on and the chorus (wearing all black) move slowly into the stage; they’re tap dancing, creating the beat/ rhythm of the song. As they’re moving in Desdemona seems to show some level of fear towards them, constantly switching focus to see them approaching her on all sides; they represent the inescapability of her being the tragic hero. Notable: Desdemona is performing ballet and maybe some lyrical but I’m kind of imagining her en pointe for a lot of this; the chorus is performing tap. At natural breaks in the music and rhythm the tap dancers freeze in place for Desdemona to dance whilst she sings the next lines. On the second rendition of “then it’s just too much” vocal accompaniment to Desdemona’s melody begins and members of the chorus grab Desdemona’s shoulders and arms to pull her backwards, as she continues to sing she tries to break away from them and they follow her/she falls into other chorus members. They close in on her and she is completely covered until the rise in the music on the next rendition of “And then it’s just too much” when she reaches upwards and is lifted above the group, set down on the same line. The chorus continue to seemingly fight her through the next two lines. Then entrance of Othello comes on “I let him sleep, and as he does”. He does not sing yet. What we’re seeing here is more about Desdemona’s thoughts than it is actual events; Othello enters and takes Desdemona’s hand to briefly dance together, including him lowering her almost to the floor and then snatching her back to her feet again on “my heart bends and breaks so many, many times”. They stand opposite each other for “And is born again with each sunrise” and Desdemona reaches to touch his cheek. Othello catches her hand in the air and holds it so she walks with him as he begins to exit (he is walking backwards) and he sings the repeat of the line, but as they approach the wing he turns and exits alone, abandoning Desdemona on stage to be taken hold of by the chorus again in the following instrumental. For the final verse the chorus join Desdemona in singing but she is still the only main character on stage
Othello and Desdemona Duet: I’m Not Calling You A Liar (I should mention I’m not listing these in any particular order and also I do not have a copy of Othello with me rn to double check that I've got order right so I won't be trying just in case I get mixed up)
Gonna be so honest I feel like if you know the song then this one is self-explanatory, but I would also really love a quiet, sad, short reprise of it in the last scene with Desdemona on the bed reaching up to cup Othello's cheek and whispering "And I love you so much/I'm gonna let you kill me" before she dies
Emilia and Iago Duet: Back In Town
Iago and Emilia are alone on stage. The song begins after the exit of Desdemona at stage left and Emilia, who followed her almost to the wings, is subsequently standing alone at down or centre stage left and does not immediately know that Iago is standing somewhere behind her upstage right. Emilia steps slowly away from where she was been watching Desdemona leave and slowly starts to approach the audience as the music begins, and sings the first two lines believing she is still alone - Never really been alive before/I always lived in my head. Iago steps forward from the shadows and sings the next two lines (And sometimes it was easier/Hungover and half dead) taking Emilia by surprise, as though he is simply stating fact to her and she is forced to nod along and accept them . At this point Iago takes over the song and from now on sings most of it as a solo. He approaches Emilia across the stage and takes hold of her - notably by the wrist, not by the hand, to pull her in as he sings “I’m back in town why don’t we go out?” and on “spin” of the next line twirls her across the stage and straight into him so she falls against his chest and he is holding her up. The choreography continues in a relatively similar fashion as the song goes on; it is a slow dance, they are constantly close together, it is not entirely believable that Emilia wants to be there. To a casual eye it may appear that they are simply dancing together, but when you actually watch them you can see that her movements are always half a beat behind his, and always in the direction that he moves her. He never lets go of her for long, and in the brief moments of freedom that she catches she tries to move away as though it is part of the dance, as though she thinks she can hide her true intent beneath fluid motions that mimic his own, but every time he notices and forces her back. This is both a metaphor for their entire relationship and foreshadowing of her death. By the time he’s sing “And if you get spat on that’s just your big city baptism, you’re the star of the show” it is plainly evident that he is trying to convince her to do something for him. On this line Emilia finds herself with her back pressed against Iago’s chest as they both face out to the audience, his hand raised as though showing her a name is glowing lights, and she follows the movement of his hand with her head and with awe, eagerness, and the slightest edge of terror in her eyes. From here, as the lines continue, Iago turns and dips her slowly towards the floor. Emilia’s leg extends and he reaches his free arm to force her raised foot into pointe/demipointe; she is not committed to this dance, but he will force her to be. On the final lines Iago lifts her back to standing and pulls her close to him, moving her hands so she is clasping them together and he is clasping hers to his chest. He lifts her chin with his fingers so she is forced to look up at him as he sings “‘cause it’s always the same”. Still holding her chin, he looks out to the audience when he sings “I came for the pleasure but I stayed,” and it is Emilia who sings the echo “Yes, I stayed,” not at first looking at the audience but directly up to where his hand is now retracting from where he moved her to. She slowly turns her face towards the audience as they harmonise together for the final words: For the pain. On the final, low beats of the music Iago paces away and Emilia stumbles as she realises that he truly was the only thing holding her up. He exits stage right and Emilia sinks to her knees, watching him - a direct reflection of her watching Desdemona leave just three or four minutes ago on the other side.
Emilia Song 1: What Kind of Man
This will immediately follow on from the one above, thus beginning with Emilia knelt on the stage alone somewhere near centrestage right, looking out into the wings. She will sing the very opening lines exactly where she is, I envision only a very brief pause between these songs, and then slowly begin to stand and brush herself off so that she is ready to start walking towards centrestage by the time she is singing “I’d already had a sip, so I reasoned I was drunk enough to deal with it”. She sings alone at first; the stage is dark but for a spotlight on her, the orchestral accompaniment is relatively low to add emphasis to quite how complete her loneliness is in this moment - she is not safe, she does not know what to do, and the one person she can usually confide in and trust (Desdemona) is not only not here but also the very subject of the terrifying questions Emilia must now grapple with. On the higher background notes surrounding the line “and with one kiss” Emilia raises her hands and thrusts them towards her chest as though there is a blade between them, as though these hands belong to someone other than herself. She is both foreshadowing her own death with this movement, in the very pattern that her husband will commit it, and also presenting the image of her very first kiss with Iago being the thing that sealed her fate rather than anything within the content of the play: Emilia was doomed from the start, perhaps arguably doomed by the narrative, because her marriage is not one that she would have ever been able to survive. On that note I would really like to emphasise the youth of these characters so I would probably change “a fire of devotion that lasted 20 years” to “the fire of devotion that’s lasted all these years” so that we don’t get confused and tangled in the numbers of it. On this line (You inspired the fire of devotion/That’s lasted all these years) Emilia looks towards the wing where Iago exited with longing in her expression, but as she turns away her face hardens and her voice gains new vigour for the disgust and outrage with which she spits “What kind of man loves like this?”. And now we get the beat dropppppp. The music swells and gets louder; the lighting change is remarkable - lines spotlights running up and down stage, overlapping each other in places, and through them we can see the chorus moving into place. The slow, balletic movements of Emilia that have been the remnants of the control Iago instilled in her during Back In Town are abandoned completely in favour Contemporary as she paces backwards and the lights settle to illuminate the entire stage. The chorus are two lines of people all in black and Emilia, dressed in either red or grey I haven’t quite decided yet (maybe she is in grey and Bianca is in red??), is at the centre of the front line. The take up various positions with arms raised at strange angles and on the low notes of the background music turn their wrists until the beat hits - when they stamp their feet and snap their wrists into position. (Pls note I am not looking a score of anything I’m just listening to spotify so I might be badly screwing up musical terminology/details but I’m hoping you can gather which parts I mean) All participate in this until the lyrics begin. The “oohs” are sung by the chorus. When the lyrics begin Emilia steps forward to sing them, maintaining the same energy, and the chorus continue the same choreography until the repetition of “What kind of man” begins. As the repetition of these lines begins Emilia paces backwards and the two lines of chorus morph into a crowd that semi-circle close around her back. They grab Emilia on each beat, releasing her in between, and pull her in different directions as she sings (+the chorus are providing vocal accompaniment).At first it doesn’t particularly appear that she’s fighting them but as we exit the chorus to approach “You’re a holy fool all coloured blue” she does; she throws herself forwards on this line and the chorus are forced to relinquish her. She spreads her arms and the chorus are thrown backwards
Damn I just reached text block maximum whoops
The chorus are thrown backwards and spiral out to create a larger curve. Two chorus members take hold of Emilia’s arms to lift her and carry her a short distance upstage as she sings, raising and lowering her within the confines of the line “You do such damage how do you manage?” At the end of which Emilia is briefly lost in the crowd before she appears trying to force her way between two chorus members who are creating a wall in front of her, reaching out towards the audience as she sings “trynna crawl in back for more”. She gives in at the end of this line and sways sidewards as though fainting, caught by chorus members and lowered to her knees as she sings the repetition of the “and with one kiss” refrain. This time she remains on her knees for the first “What kind of man loves like this?” and then bound to her feet and continues to dance for the following. The chorus sing the following lines as Emilia dances I don’t have super specific moves in mind for this but continuing the same energy and the same style, I want everything about this to both vastly contrast and deeply reflect who she was in the previous song. Emilia begins to sing again for “But I can’t beat you/Cause I’m still with you” and the following verse, for which the chorus continue to provide vocal accompaniment. The chorus join her again when the What Kind Of Man chorus begins again. The dance and choreography continue in a similar fashion until the very last line; the chorus exit in a whirlwind and leave Emilia alone on stage as the music dies down to sing much quieter “What kind of man?” She has fallen still, her hands clutched closer to her stomach as though she is already holding the wound that will kill her
Ensemble song with Othello and other solos (maybe even to close act 1??): Howl
Starts with the stage empty except for Othello. The chorus slowly move in, all wearing flowy white costumes. The dance is one of slow, consistent movements during the intro music but on the accented notes they make sharper hand or leg motions before continues the same smooth line much slower as the music relaxes. Othello is mostly still during this but he does pace slowly into centre stage. Desdemona also slowly walks in during the intro, having returned to a long white dress instead of the pink or grey or something like that that she'll have been wearing in her previous scene. She moves very much like the chorus do, whilst Othello moves just as he usually does. Othello takes Desdemona's hands and pulls her in to dance with him as he sings the opening lines "If you could only see the beast you've made of me/I held it in but now it seems you've set it running free". It is very much that Othello is controlling the dance and Desdeoma is following him, an eerie parallel to Iago and Emilia during Back In Town. He spins her beneath his arm on the lines "Screaming in the dark/I howl when we're apart" and she leans back with her weight on one demi-pointe and in the arm he has around her, the othr leg extended. Othello sings "Drag my teeth across your chest to taste your beating heart" and leans into her, his other arm wrapping around her so the audience can barely see her. Desdemona drops into him and to her knees, now facing the audience kneeling directly in front of Othello, who takes tight hold of her shoulders and leans down towards her ear as he sings "my fingers claw your skin/try to tear my way in/you are the moon that breaks at night for which I have to howl". For most of this the chorus have been in pairs mimicking a similar dance to Othello and Desdemona, but now they have turned and are watching them, moving slowly closer. When Othello repeats the last two lines his voice is more desperate, clinging to Desdemona whilst she stares blankly out at the audience, barely seeming to notice his presence. On the rising repeat of "howl" the chorus closes in around them and pull the pair in opposite directions. Othello and the entire ensemble sing the word "howl" together. The following two lines are a repeat of this word, during which the dance becomes more rhythmic and Othello and Desdemona are moved to face each other on opposite sides of the stage. Though the chorus still appear to be attempting to separate them, they sing to each other across a gap that has formed down centrestage and are fighting to reach other. They exchange lines of the next verse as follows:
Desdemona: There's no holding back
Othello: I'm making to attack
Desdemona: My blood is singing with your voice
Othello: I want to pour it out
Desdemona: The Saints can't help me now, the ropes have been unbound
Othello: I hunt for you with bloodied feet across the hallowed ground
During this exchange they break free and meet in centre stage, taking up a dramatic dance that is mostly in hold. However, Desdemona pulls away from hold on her "The Saints can't help me now" line, and Othello draws her back in on his. Desdemona steps forwards, as though telling the audience, when she sings "like some child possessed, the beast howls in my veins". Othello grabs her by the shoulders and pulls her in, leaning over her almost as though he would go to kiss her neck as he sings "I want to find you, tear out all your tenderness". Desdemona throws herself free as both of them sing the repeated "howl" lines, joined again by the chorus, but this time Desdemona's voice can distinctly be heard differently from the rest because she is not singing from any kind of power or passion but from genuine terror. By the end of this chorus Othello and Desdemon are in an almost violent dance together, half in hold and half out, big sweeping arm movements and I'm imagining that Desdemona's skirt would unpin to fan out and show a gorgeous wide black or dark red skirt that would properly like swish around whilst they were dancing and stuff (does that make sense???). They continue to dance without singing whilst the chorus, who are back in their pairs and dancing faster, more intense dances than before but none quite to the extent of the main couple, sing "Be careful of the curse that falls on young lovers/Starts so soft and sweet and/turns them to hunters". I'm imagining that the chorus' skirts could also unpin in the same way so either Desdemona's would turn black and all of theirs would turn red or vice versa, but I want to kind of see some variety in the chorus outfits maybe (??) instead of them all being identical so I might have to put a bit of thought into that. Anyway the point is that after this line we get a big rhythmic chorus dancing moment and it looks super cool, they're singing the low "hunters" "howl into your heart" repetitions and moving their swishy skirts and dancing and then they part to show Othello and Desdemona again and Desdemona is now dressed in a super dramatic dress that is entirely the colour that was hidden inside her skirt and the skirt of this new dress is insane and Othello all but carries her to the front centre stage and he is all over her as he sings "the fabric of your flesh, pure as a wedding dress/Until I wrap myself inside your arms I cannot rest/The Saints can't help me now" and everything kinda continues in a similar style with some gorgeous choreography. I'm kind of imagining there being a table on stage by the end because I want Othello to lift Desdemona onto it and her to lay down on it, don't ask me how the table got there I don't know, but this happens with the massive dramatic flowing over the sides of the table and onto the ground whilst the chorus sings "A man who's pure of heart and says his prayers by night/May still become a wolf when the autumn moon is bright" and I'm picturing that they would sing these lines like they were a Church choir gathered around Othello and Desdemona, and they continue to sing the closing lines of the song as Desdemona stands up and Othello climbs onto to the table after her. He unpins the skirt and the fabric all falls away (removed from the stage by chorus members) like a waterfall so that he and Desdemona (who will be wearing trousers/leggings/a leoptard) beneath the skirt) can dance together on the table top whilst the chorus continue to sing, moving away from the choir-imagery and back to the earlier style. This continues right up until the very last line ("I hunt for you with bloodied feet across the hallowed ground") where Othello drops to his knees and clasps his arms around Desdemona's legs on the word "ground" and the curtain falls.
I am wondering if this would work for the act 1 closer????? But I'm not 100% sure where the interval would be
Emilia Song 2: Which Witch
If this isn't Emilia questioning herself for "betraying" Desdemona and whether or not she should give Iago the handkerchief then I don't know what is. I don't have loads to say about this one but the most potent lyrics for it in my opinion are these ones:
And it's my whole heart/deemed and delivered a crime/I'm on trial
Who's a heretic now/ am I making sense?
I'm miles away/He's on mind/I'm getting tired of crawling all the way
I'm not beaten by this yet/You can't tell me to regret/Been in the dark since the day we met/Fire help me to forget
And it's my whole heart/while tried and tested, it's mine
And it's my whole heart/burned but not buried this time
We'd have all of these lines (ie most of the song) whilst she's weighing up what she ought to do and she'd feeling really strong but then there's a small musical interlude where Iago comes on stage without her expecting him to, they speak briefly and she hands the handkerchief over; he walks away as she tries to ask him what he intends to do with it, chasing after him until he physically shoves her off and keeps walking. Emilia falls to the ground and as the music sweels again she sings the closing lines "Chained and shackles, oh/I'll unravel, oh/It's a pity, oh" [she gets to her feet] "Never to return/But I never learn/It's a pity, oh" and then repeats it with particular emphasis on the transition from "Never to return" to "Say I won't return". By the time she finishes the final rendition of "it's a pity, oh" the orchestra has almost completely died out and she wanders alone offstage humming the final few notes to herself
I could keep going...
Maybe I will at some point but I'm tired now
Dump of in class doodles 💪 some prompted by twt ‼️✨️
Oh hey look that’s me
IF YOU’D LIKE TO SEE ME BE STUPID MORE OFTEN
You should check my side blog @aemiliaromagna
I kind of abandoned this blog, I don’t know what to do with it, and I’m more active on there
Wet Beast Rotation
florence welch for gucci’s in bloom campaign, 2020
Till Lindemann - biographical questionnaire