Skip to main content

Listen to Medieval Covers of “Creep,” “Pumped Up Kicks,” “Bad Romance” & More by Hildegard von Blingin’

All ye bully-rooks with your buskin boots 

Best ye go, best ye go

Outrun my bow

All ye bully-rooks with your buskin boots

Best ye go, best ye go, faster than mine arrow

If bardcore is a thing—and trust us, it is right now—Hildegard von Blingin’ is the brightest star in its firmament.

The unknown vocalist, pure of throat, pays heed to the fascinating 12th-century abbess and composer Saint Hildegard of Bingen by choice of pseudonym, while demonstrating a similar flair for poetic language.

Von Blingin’s nimble lyrical reworking of Foster the People’s 2010 monster hit, "Pumped Up Kicks," makes deft use of fellow bardcore practioner Cornelius Link’s copyright-free instrumental score and the closest medieval synonyms available.

For the record, Webster’s 1913 dictionary defines a "bully-rook" as a bully, but the term could also be used in a joshing, chops-busting sort of way, such as when The Merry Wives of Windsor’s innkeeper trots it out to greet lovable reprobate, Sir John Falstaff.

And as any fan of Game of Thrones or The Hunger Games can attest, an arrow can prove as lethal as a gun.

Songwriter Mark Foster told Billboard’s Xander Zellner last December that he had been thinking of retiring "Pumped Up Kicks," as listeners are now convinced it's a bouncy-sounding take on school shootings, rather than a more generalized attempt to get inside the head of a troubled—and fictional—youngster.

With school out of session since March, it's an excellent time for von Blingin’ to pick up the torch and bear this song back to the past.

Ditto the timing of von Blingin’s ode to Lady Gaga’s "Bad Romance":

I want thine ugly, I want thy disease

Take aught from thee shall I if it can be free

No Celtic harp, wooden recorders, or adjustment of possessive pronouns can disguise the jolt those opening lyrics assume in the middle of a global pandemic.

(St. Hildegard escaped the medieval period’s best known plague, the Black Death, by virtue of having been born some 250 years before it struck.)

Von Blingin’s latest release is an extremely faithful take on Radiohead’s "Creep", with just a few minor tweaks to pull it into medieval lyrical alignment:

Thou float’st like a feather

In a beautiful world

The comments section suggest that the peasants are eager to get in on the act.

Some are expressing their enthusiasm in approximate olde English...

Others question why smygel, eldrich, wyrden or wastrel were not pressed into service as replacements for creep and weirdo..

To borrow a phrase from one such jester, best get your requests in “before the tiktoks come for it.”

Listen to Hildegard Von Blingin’ on Sound Cloud and check out the bardcore sub-reddit for more examples of the form.

Related Content: 

Experience the Mystical Music of Hildegard Von Bingen: The First Known Composer in History (1098 – 1179)

Manuscript Reveals How Medieval Nun, Joan of Leeds, Faked Her Own Death to Escape the Convent

1200 Years of Women Composers: A Free 78-Hour Music Playlist That Takes You From Medieval Times to Now

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Help contain the plague spread with her series of free downloadable posters, encouraging citizens to wear masks in public settings. Follow her @AyunHalliday.

Listen to Medieval Covers of “Creep,” “Pumped Up Kicks,” “Bad Romance” & More by Hildegard von Blingin’ is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/3ftlsJ4
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their music wi

Moral Philosophy on TV? Pretty Much Pop #32 Judges The Good Place

http://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/partiallyexaminedlife/PMP_032_2-3-20.mp3 Mark Linsenmayer, Erica Spyres, and Brian Hirt discuss Michael Schur's NBC TV show . Is it good? (Yes, or we wouldn't be covering it?) Is it actually a sit-com? Does it effectively teach philosophy? What did having actual philosophers on the staff (after season one) contribute, and was that enough? We talk TV finales, the dramatic impact of the show's convoluted structure, the puzzle of heaven being death, and more. Here are a few articles to get you warmed up: "The Good Place’s Final Twist" by Karthryn VanArendonk "The Good Place Was a Metaphor All Along" by Sophie Gilbert "The Two Philosophers Who Cameoed in the Good Place Finale on What They Made of Its Ending" by Sam Adams "5 Moral Philosophy Concepts Featured on The Good Place" by Ellen Gutoskey If you like the show, you should also check out The Official Good Place Podca