Free Download 2012 Hindi Movie Songs
Latrisha Adan
I was going through a major review of spending and savings this week, just sitting in the living room on my laptop, with the dog snoozing on his bed because it's been much too cold to go outside. It was too quiet in the house for a tedious bout of record-keeping. I'd recently resolved an issue with my satellite radio subscription, so it was at the top of my mind, and I went to look at stations. I've learned from riding a Peloton bike that sometimes I will thrive in '80s-based music environments (I was born in 1970), so I went in that direction. One channel was called 80s Chillpill.
It didn't really matter whether I liked "Can't Fight This Feeling" or not; I listened to it over and over and over, much as people do now with their very favorite songs. Top 40 was relentless (and, you'll notice, rather white), so if that was the direction you went, as it was for me, you heard what you heard and you didn't customize the experience. And, for the record, radio was more genuinely local; this was before the entire structure changed in the 1990s.
I wonder sometimes what the current version of this kind of nostalgia is. Obviously, people who are now the age that I was then will have these pangs about something, but it can be hard to know what. It's not as if it's always Top 40 songs for me. The other week, I was singing to myself a jingle from the Van Scoy jewelry stores. It dates back to at least the early '80s, and it starts, "I'm a lucky girl, hooray, oh boy!" Because, of course, she has a diamond from Van Scoy. I always found this music extremely annoying, but now, if you sing it, I will fully belt along. (And I am not alone. I had no idea, but this delighted me.)
It's the same thing with the music from Action News in Philadelphia. "Move closer to your world, my friend! Take a little bit of tiiiiiime!" Back then, was this music important to me? Of course not; it was the theme song to the news. But now, it seems that it's one of the most beloved bits of cultural currency from people who grew up around Philly at the time.
Perhaps that's the appeal of 80s Chillpill. Perhaps because I was rarely hearing these songs by choice, they are stapled indifferently to the widest variety of memories: being sad, happy, bored, frantic, lonely, with friends, in the car, in my room, studying, reading, hanging out. Doing things that were meaningless, but doing them in good company.
The two lovers are in harmony, each desiring the other and rejoicing in sexual intimacy. Modern scholarship tends to hold that the lovers in the Song are unmarried,[3][4] which accords with its near ancient Near East context.[5] The women of Jerusalem form a chorus to the lovers, functioning as an audience whose participation in the lovers' erotic encounters facilitates the participation of the reader.[6]
Marvin H. Pope, in his highly regarded commentary, argues that the Song would have been ritually performed as part of ancient fertility cults and that it is "suggestive of orgiastic revelry".[7] Though scholars have differed in assessing when it was written, with estimates ranging from the 10th to 2nd century BCE, linguistic analysis suggest an origin in the 3rd century.
In modern Judaism, the Song is read on the Sabbath during the Passover, which marks the beginning of the grain-harvest as well as commemorating the Exodus from Biblical Egypt.[8] Jewish tradition reads it as an allegory of the relationship between God and Israel. In Christianity, it is read as an allegory of Christ and his bride, the Church.[8][9]
There is widespread consensus that, although the book has no plot, it does have what can be called a framework, as indicated by the links between its beginning and end.[10] Beyond this, however, there appears to be little agreement: attempts to find a chiastic structure have not found acceptance, and analyses dividing the book into units have employed various methods, yielding diverse conclusions.[11]
The introduction calls the poem "the song of songs",[13] a phrase that follows an idiomatic construction commonly found in Scriptural Hebrew to indicate the object's status as the greatest and most beautiful of its class (as in Holy of Holies).[14] The work is also referred to as the "Song of Solomon", meaning the song 'of', 'by', 'for', or '[dedicated] to' Solomon.[15]
The poem proper begins with the woman's expression of desire for her lover and her self-description to the "daughters of Jerusalem": she insists on her sun-born blackness, likening it to the "tents of Kedar" (nomads) and the "curtains of Solomon". A dialogue between the lovers follows: the woman asks the man to meet; he replies with a lightly teasing tone. The two compete in offering flattering compliments ("my beloved is to me as a cluster of henna blossoms in the vineyards of En Gedi", "an apple tree among the trees of the wood", "a lily among brambles", while the bed they share is like a forest canopy). The section closes with the woman telling the daughters of Jerusalem not to stir up love such as hers until it is ready.[16]
The woman again addresses the daughters of Jerusalem, describing her fervent and ultimately successful search for her lover through the night-time streets of the city. When she finds him she takes him almost by force into the chamber in which she was conceived.[a] She reveals that this is a dream, seen on her "bed at night", and ends by again warning the daughters of Jerusalem "not to stir up love until it is ready".[16]
The man describes his beloved: Her eyes are like doves, her hair is like a flock of goats, her teeth like shorn ewes, and so on from face to breasts. Place-names feature heavily: her neck is like the Tower of David, her smell like the scent of Lebanon. He hastens to summon his beloved, saying that he is ravished by even a single glance. The section becomes a "garden poem", in which he describes her as a "locked garden" (usually taken to mean that she is chaste). The woman invites the man to enter the garden and taste the fruits. The man accepts the invitation, and a third party tells them to eat, drink, "and be drunk with love".[16]
The woman tells the daughters of Jerusalem of another dream. She was in her chamber when her lover knocked. She was slow to open, and when she did, he was gone. She searched through the streets again, but this time she failed to find him and the watchmen, who had helped her before, now beat her. She asks the daughters of Jerusalem to help her find him, and describes his physical good looks. Eventually, she admits her lover is in his garden, safe from harm, and committed to her as she is to him.[16]
The people praise the beauty of the woman. The images are the same as those used elsewhere in the poem, but with an unusually dense use of place-names, e.g., pools of Hebron, gate of Bath-rabbim, tower of Damascus, etc. The man states his intention to enjoy the fruits of the woman's garden. The woman invites him to a tryst in the fields. She once more warns the daughters of Jerusalem against waking love until it is ready.
The woman compares love to death and Sheol: love is as relentless and jealous as these two, and cannot be quenched by any force. She summons her lover, using the language used before: he should come "like a gazelle or a young stag upon the mountain of spices".[16]
The poem seems to be rooted in festive performance, and connections have been proposed with the "sacred marriage" of Ishtar and Tammuz.[17] It offers no clue to its author or to the date, place, or circumstances of its composition.[18] The superscription states that it is "Solomon's", but even if this is meant to identify the author, it cannot be read as strictly as a similar modern statement.[19] The most reliable evidence for its date is its language: Aramaic gradually replaced Hebrew after the end of the Babylonian exile in the late 6th century BCE, and the evidence of vocabulary, morphology, idiom and syntax clearly point to a late date, centuries after King Solomon to whom it is traditionally attributed.[20] It has parallels with Mesopotamian and Egyptian love poetry from the first half of the 1st millennium, and with the pastoral idylls of Theocritus, a Greek poet who wrote in the first half of the 3rd century BCE;[21][6][22] as a result of these conflicting signs, speculation ranges from the 10th to the 2nd centuries BCE,[18] with the language supporting a date around the 3rd century.[23] Other scholars are more skeptical about the idea that the language demands a post-exilic date.[24]
Debate continues on the unity or disunity of the book. Those who see it as an anthology or collection point to the abrupt shifts of scene, speaker, subject matter and mood, and the lack of obvious structure or narrative. Those who hold it to be a single poem point out that it has no internal signs of composite origins, and view the repetitions and similarities among its parts as evidence of unity. Some claim to find a conscious artistic design underlying it, but there is no agreement among them on what this might be. The question, therefore, remains unresolved.[25]
In his commentary for the Anchor Bible Series, Marvin H. Pope argued that the Song described a fertility cult liturgy, rooted in the fertility cults of the ancient Near Eastern cultures of Mesopotamia and Canaan, as well as their sacred marriage rites and funeral feasts.[7]
J. Cheryl Exum wrote: "The erotic desire of its protagonists, everywhere evident in the Song, leads me, in conclusion, to the Song's unique contribution to the conceptualization of love in the Bible: its romantic vision of love".[30]
Several scholars have also argued that, alongside its condition as love poetry, the Song of Songs also shares a number of features with Wisdom literature.[32] For instance, Jennifer L. Andruska argues that the Song employs a number of literary conventions typical of this didactic literature and that it combines features of both ancient Near Eastern love song and wisdom genres to produce a wisdom literature about romantic love, instructing readers to pursue what she describes as a particular type of 'wise love' relationship, modelled by the lovers of the poem.[33][34] Likewise, Katharine J. Dell notes a number of Wisdom motifs in the Song such as parallels between the lovers and the advices and conduct of Woman Wisdom and the Loose Woman of Proverbs, among others.[35]
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