Text / Logo

Add in the words Question Everything above his head make his voice Shakespearan British and his says at the end be kind, virtuous, fair —

Add in the words Question Everything above his head make his voice Shakespearan British and he says at the end YOU ARE the UNIVERSE

Add in the words Question Everything above her head make her voice Shakespearan British and she says We are One

Create a 25.00-second recursive typography film titled "FEAR ITSELF." Franklin D. Roosevelt names fear as the thing that traps you: self-referential, nameless, paralyzing, a retreat that feeds itself. Visualize this literally with an infinite recursive composition (the Droste effect). - For most of the film the camera falls endlessly inward through a typographic Art Deco frame that contains itself. - On "convert retreat into advance," the direction of infinity reverses. The fall inward becomes a climb outward, and the camera breaks out of the recursion into open space for the first time. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 1. DELIVERABLE ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ One complete, self-contained HTML file. 1920 × 1080. Exactly 25.00 seconds. Deterministic at 60fps: 1500 export frames. Rendering: Canvas 2D, or WebGL2 if needed for the Droste pass. Use vector type from embedded glyph outlines so every recursion level stays crisp. Embed all fonts and dependencies. Make no network requests. Silent autoplay preview, play/pause, and a scrubber, all outside the captured frame. Return a working implementation. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 2. LOCKED TEXT ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ Use exactly these words, in this order: "So, first of all, let me assert my firm belief that the only thing we have to fear is fear itself—nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance." Capitalization may change. No added words. Final attribution (not spoken): FRANKLIN D. ROOSEVELT FIRST INAUGURAL ADDRESS · WASHINGTON · 4 MARCH 1933 The timing is authored. Do not claim synchronization with the 1933 recording. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 3. THE CORE TECHNIQUE: EXPLICIT RECURSION, NOT FEEDBACK ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ Define one "panel": an Art Deco composition with an inner window. The inner window holds an exact copy of the panel scaled by k = 0.28, positioned at an authored anchor that is not the panel's center, so the zoom path spirals. Every frame, draw the panel recursively at depth levels 0 to 7, from the deepest level outward, using the composite transform T^n. The infinite zoom: - Camera zoom z(t) = k^(−φ(t)), with the fractional part of φ cycling. - Because the image at level n+1 equals the image at level n scaled by k, the loop is seamless. - The camera transform's fixed point is the recursion's fixed point. Compute it analytically from the anchor and k. Panel content changes over time. Each recursion level shows the panel's content at a time offset of n × Δ (Δ = 0.35 s). The deeper layers are therefore earlier in the sentence, and words visibly "fall away" into the past as the camera passes through them. Do not use any frame-feedback buffer. The recursion is redrawn from vector data every frame, so seeking is exact. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 4. VISUAL IDENTITY: 1933 ART DECO, RADIO AGE ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ Palette: - Gunmetal # 14171A - Nickel # BFC3C2 - Brass # B48A4A - Cream # EFE7D3 - One accent: signal red # B3352A, used only for FEAR and TERROR The panel frame is a stepped Art Deco proscenium of nested chevrons and sunburst rays, drawn as thin double rules in brass and nickel. It looks machined and metallic, using linear gradients. Typography (embed OFL faces): - Poiret One (thin geometric deco) for connective words - a high-contrast Didone (Bodoni Moda Black) for the stress words - a monoline geometric sans (Josefin Sans Bold, wide tracking) for labels inside the frame Texture: subtle stationary brushed-metal noise attached to panel coordinates, so it scales with each recursion level. Never apply screen-space grain. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 5. STORYBOARD ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 0.00–0.40 Black. 0.40–3.40 "So, first of all, let me assert my firm belief" A single panel faces the viewer, stable, with no zoom yet. It is the calm before the fall. - The words appear in the panel's upper band in Poiret One. - ASSERT and FIRM BELIEF are set in Bodoni, centered and upright. - A brass sunburst behind them gently turns, 4° total. 3.40–6.20 "that the only thing we have to fear" The zoom begins: slowly at first, then steadily. The camera falls toward the inner window. "the only thing we have to" occupies the frame's lintel. FEAR (in red) sits inside the inner window, so the camera is falling toward fear. 6.20–8.60 "is fear itself—" THE RECURSION REVEALS ITSELF. - Inside the window, the panel repeats with FEAR inside it, again and again. - At "itself," the camera's fall reaches cruising speed: one full recursion level every 0.9 s. - Every level's FEAR is the same word, receding: fear made of fear. - The em dash is drawn as a long brass rule that the camera passes through. 8.60–12.40 "nameless, unreasoning, unjustified" Three typographic decays, one per word, applied to the text inside the current outermost level: - NAMELESS: the letters of every visible word lose their identity. Their glyph outlines morph (by interpolating points along normalized contours) into blank Deco nameplates: empty rounded rectangles of the same width. - UNREASONING: the panel's ruled structure bends. Straight rules warp along a smooth sine displacement, and the chevrons lose their symmetry. - UNJUSTIFIED (the typographic pun): the word appears inside a fully justified four-line text block made of the sentence so far. On landing, the block literally un-justifies: the word spacing collapses, the right edge goes ragged, and the lines fall out of alignment. The block must visibly start justified. 12.40–15.60 "terror which paralyzes" TERROR (in red) fills the inner window at the next level. On PARALYZES, the zoom stops dead within 3 frames: the infinite fall freezes. Everything locks: - the sunburst rays stop - the deeper levels stop Hold 30 frames of absolute stillness, the paralysis. Only the word PARALYZES is visible as new, with a hairline brass frame snapping around it. 15.60–18.60 "needed efforts to convert" Effort: the panel's chevron frame acts as gears. The stepped Deco borders rotate in opposing directions, in small detented ticks of 6° each, held for 4 frames, like a mechanism being cranked. - NEEDED EFFORTS sits on the lintel. - CONVERT is set as a word that rotates 180° about its horizontal axis on landing. Draw the flip as a real foreshortening of the outline (scaleY through zero) with a nickel-to-brass shading change at the back face. 18.60–21.80 "retreat into advance." THE REVERSAL. - RETREAT appears inside the window. The camera's zoom direction reverses: φ(t) decreases, so the camera rises outward through the levels, and the deeper copies now rush toward the viewer. - As the camera exits level 0, the outermost panel frame opens: its two halves part like elevator doors, the first time any panel has been incomplete. - The camera emerges into open space for the first time in the film. There is a wide horizon of fine brass sunburst rays. - ADVANCE stands alone in Bodoni Black, cream, full width. 21.80–23.80 Final composition Hold on ADVANCE. The recursion is visible behind it as a small, receding framed object, now finite and behind us. The attribution appears at the lower edge. 23.80–25.00 Closure The sunburst rays retract to the vanishing point in sequence. Black by 24.90. Frame 25.00 must equal frame 0.00. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 6. MOTION RULES ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ The zoom rate φ'(t) is authored as a smooth curve: ramp in, cruise, a hard stop at PARALYZES, crank, reverse, release. - Text inside a level is readable while that level occupies 60–100% of the frame. - Each active word reaches readability at a level-scale between 0.7 and 1.0. - Recursion depth culling: skip levels smaller than 2 px, and skip levels larger than 8× the frame. - One principal action at a time. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 7. ENG

Create a premium 15-second motion-design advertisement for **MemeReply**, a web app that turns X (Twitter) posts into funny, customized memes. **Visual style:** High-end software product launch commercial. Inspired by Linear, Raycast, and polished Apple-style UI animations.

I want to make a character introduction PV. [Purpose] 1. Promotional video for the trial version of "Sugoroku Drifter" 2. Planning to make at least 3 types; this is the first one 3. Character introduction PV for "Great Universe Integration Will Senior" 4. Want to make it in size/duration suitable for general short videos [How to Show the Character] - Display the character large - Use the 4-frame animation assets used in the game [Abilities to Introduce] Great Universe Integration Will Senior has the following features: - Has a "2D6" piece from the start - Dice increases by 1 when ultimate move is activated So I want to introduce this clearly. [Video Flow] Don't go into ability explanation right after the video starts; begin with gameplay footage like a game PV. First scene: A "Big Cow" piece moving across the board. No need to show the entire movement of one turn from the beginning; start from the middle depending on duration. Rather, create the highlight starting backwards from "the moment one turn ends, stops, and goes Pirolin!" At that timing: - Great Universe Integration Will Senior slides up from the bottom of the screen - Display character name - Display character intro-style subtitles - Display used pieces largely in the center - Add outlines and glow to pieces to make them look slightly flashy - Explain that they "have a 2D6 piece from the start" Next, With the explanation "Further +1 dice with Ultimate!", show the actual moment the dice increase. After that, return to gameplay footage again, show the Big Cow moving while having used its ultimate. Near the end, display one haiku, and conclude with "Stylish Infinite Loop! Sugoroku Drifter" "Trial Version Now Available" such announcements. This is just my image, so please adjust the composition as necessary to improve tempo and appearance for a short video.

Create an illustrative security workflow video with the following scenes: i. map: Show the repo, dependencies, access rules, and logs being built into a map before following the attack. ii. trace: Follow user input into raw SQL, highlighting where untrusted data reaches the query. iii. hold: Fuzzing hits orders.py, an exploit is flagged, and the workflow puts the merge on HOLD. iv. patch: Apply the fix and check whether the original exploit still works. v. attack again: A red-team subagent goes after the patched code. Display the instruction on screen: “fix it · then try to break it again.” The agent’s own work becomes the next target. vi. hand it over: Open the PR, keep the security advisory private, and wait for human approval. Highlight that the interesting part happens after the patch: another attempt to break it. Final line on screen: “opus never merges alone” Theme: Attack your own fix. Earn the human’s yes.

Create a 30-second explainer video from the attached hrv_recovery_log.csv file. Visual style: White background, very little text. Rules: 1. Calculate every number from the CSV. 2. Show relationships without claiming causation. Key insights to display: > SLEEP - "a positive impact on recovery" > ALCOHOL - hurt recovery "by quite a bit" > LATE MEALS - 70.2 ms without, 58.1 with, -12.1 ms > WORKOUTS - "some impact on recovery, but not a ton" Takeaway message: "get plenty of sleep and don't drink too much."

The green eye closes, and the entire world reverts to wireframes, like unrendered 3D software. The letters sneakily run around while its eyes are closed. When the eye opens, the screen renders frame by frame; the letters seen by the eye freeze immediately. The eyeball rotates, specifically staring at the letter that moved secretly. Finally, the eye stops, and all letters return to their original positions. This eye is also what NVIDIA does every day: watching every frame on your screen for you.

The IKEA logo lies flat, looking like an unassembled table. The table stands up upside down from the box, mimicking how we assemble it by attaching legs first. The extra cam lock (®) rolls away; the table gets up to chase it. After failing to catch it, the table slaps back into the box, returning to being the logo. Everyone who has assembled IKEA furniture knows this feeling: you finish reading the manual, the table is built, but there's still one part left in your hand. This film is dedicated to that moment. Unofficial creative exercise; logo and trademarks belong to Inter IKEA Systems, no affiliation with the brand. Created by lemo-wake using Claude Opus 5.5.

Challenge: Use lemo-wake to create motion effects for corporate logos, making simple logos tell stories. Today's challenge is LEGO. Design Inspiration: Deconstruct the LEGO square logo into 6 pieces of 2x4 bricks, presented in an instruction manual layout with step numbers increasing. LEGO started in Denmark in 1932 making wooden toys; a pull-along wooden duck was an early signature product, so the first assembly is a duck. Why 6 blocks? Official LEGO math shows 6 same-colored 2x4 bricks have 915,103,765 combinations. The name LEGO comes from Danish 'leg godt' meaning 'play well'. 6 blocks having over 900 million ways is the most direct proof of 'play well'. Motion Design: The square logo deconstructs into 6 red 2x4 bricks. The bricks sequentially assemble into a duck, tower, stairs, and bridge, each interlocking via studs just like childhood LEGO play. Step numbers in the corner jump up continuously, finally stopping at 915,103,765. All bricks return to position, reassembling into the square logo with 'LEGO' pressed onto the studs. The final square logo isn't the end point, but just one of 900+ million possibilities. In the next second, it can be taken apart and rebuilt anytime. Unofficial creative exercise. Logos and trademarks belong to the LEGO Group. No affiliation with the brand. lemo-wake created using Claude Opus 5.5.

Create a dynamic 20-second commercial in motion graphics that conveys the charm of Takuma Fukuda's YouTube channel at EXTAGE Inc. (https://t.co/JkBvRrREDZ). Research the channel and company, using only official facts and materials. Do your best to make it look like work from a top-tier production company.

Produce an 82-second tech news video covering four topics. 1. Script: Rewrite briefing into colloquial narration, sentence by sentence. Visuals only show facts present in the briefing. 2. Voiceover: Synthesize Chinese male voice locally using VoxCPM2, verify with Whisper transcription. 3. Music: Generate pure music locally using YuE2 (jazz-hop style), auto-ducking for voice. 4. Visuals: Render HTML + GSAP animations into video using HyperFrames. Swiss-style typography, whitespace for screenshots. 5. Alignment: Measure actual duration of each voiceover line; sync camera, subtitles, and numbers to audio.

Three main threads, watch the frontier tech update in 76 seconds. October 11th "Daily Frontier Tech Update", 76 seconds covering three things: Decision models form their own layer: Microsoft Decision-1 and Cloudflare Clef-omni do not generate text, only giving calibrated probabilities for fixed options. VISTA: Kaiming He's team externalizes visual memory outside the model, achieving full marks on ARC-AGI-3. InnovationEval: Agents autonomously inventing algorithms is still far from ready, human review is still needed. One sentence: What diverges these two days is system structure, not parameter count. The entire film was completed locally on a Mac by Opus 5.5 without opening editing software: Script: Rewrite the briefing into colloquial narration, split sentence by sentence, visuals only show facts already in the briefing. Voiceover: Locally synthesize Chinese male voice sentence by sentence using VoxCPM2, check with Whisper transcription, re-record if misread. Music: Generate a pure instrumental track locally using YuE2 (via Lux In Music), trim to duration, automatically avoid vocals. Visuals: HyperFrames renders HTML + GSAP animations into video, Swiss style layout, original screenshots placed in whitespace areas. Alignment: First measure the actual duration of each voiceover line, camera, subtitles, and numbers follow the audio. Voiceover, music, and rendering all run locally, no paid interfaces called.

Generate a 15-second brand promotional animation: Theme "Anthropic", with automatic storyboarding, motion effects, and transitions. You can find your own assets; showcase your capability limits as much as possible. I want an advertising promo film with sufficient artistic sense and premium feel.

Make a 20-second 16:9 motion graphics video that tells a little story with sound. For the first 12 seconds there is no sound at all: on a warm paper background, the words "make it catchy." type themselves out, then the letters fall apart and build a colorful music machine piece by piece: ramps, spinning gears, a row of blocks like piano keys and a big drum. It ends with a ball waiting at the top. At 12 seconds the ball drops and the machine comes alive. Every block it hits plays a note, the drum kicks, the gears tick in rhythm, and it all becomes a catchy 4-second beat. Then everything snaps into the words "ONE PROMPT" on a final hit, followed by silence. Use bold geometric shapes in ink black, cobalt blue and sunflower yellow, and make every sound match a movement you can see. Go all out and render the final MP4.

<direction> Build a 30-second looping motion design showreel that introduces CLAUDE, a motion designer. Concept, in one line: one pencil line gets promoted three times (graphite on paper, wire on a blueprint, light on black) and never leaves the screen. Every shot is made out of the previous one: shapes, type and colour transform into the next scene. No cuts, no fades. Typeface: Geist only. Weight 900 for big words, 600 to 800 for small labels (24 to 28 px, tracked 0.14 to 0.3 em). Palette: paper cream #EDE6D5, blueprint blue #1B3ED2, hologram cyan #45F0DD, plus black #07080A, graphite #16161A and white. Each stage's accent is the next stage's colour: blue pencil on paper, cyan on the blueprint, white on the hologram. Camera: locked and front-on for the whole film, like a drafting table. Objects turn; the camera never moves. Empty border: nothing at rest within 150 px of the sides or 90 px of the top and bottom. Things travelling through may cross it. Three inks. The same geometry is drawn in whichever ink is on screen: - PAPER: a cream paper background (use my paper image if I give one, otherwise flat cream with fine drawn grain) with a 60 px blue grid at about 13% and every fifth line at 26%. Lines are pencil: resampled and pushed off true by slow sine waves whose phase changes 8 times a second, stroked twice (full width at 90%, half width at 40% with more wobble), with paper tooth knocked out of the strokes, then multiplied onto the paper. Fills are diagonal hatching drawn on one line at a time. Big type is hatching cut to the letter shapes, with a doubled outline. - BLUEPRINT: flat blue with the same grid in white. Clean white lines 3 to 4 px, hidden edges dashed and thinner, fills are fine clean hatching. - HOLOGRAM: black with the same grid in cyan. Cyan lines with a white core 30% of the line width. Fills are horizontal scan lines on an 8 px pitch whose thickness follows how lit the surface is. No blur halo anywhere: it reads as light through line density only. Banned: particle bursts, glows, lens flares, camera shake, RGB split, crossfades, generic gradients, bouncy easing, holds longer than half a second, anything that looks like a template. </direction> <structure> 120 BPM, 60 beats, 15 bars of 2 seconds. Something happens on every beat. Moves start 0.05 s before their beat so they land on it. Easing: a critically damped spring, 1 - (1 + w t) e^(-w t) with w between 12 and 40, so nothing ever passes its target; exponential ease-in and ease-out for wipes, presses and exits. Scene changes: paper to blueprint by a shape that floods the frame with a hard edge; blueprint to hologram and hologram to paper by one horizontal scan line. The last frame is the first frame, so it loops. Two corner labels stay on all film: top left "FIG. 07 — GEAR" (bar number and name), bottom right "BEAT 27 / 60". Bar names: DRAFT, TYPE, CURVE, MORPH, TILE, SOLID, GEAR, PANEL, DATA, LIGHT, WAVE, GLOBE, DRUM, FORM, END. </structure> <mascot> The creative director: a small box character. Body 76 x 54 units with rounded corners, two short arm stubs (24 x 16) at mid height, four straight legs (11 x 33), two tall rounded-rectangle eyes (8 x 14). Draw it about 250 px wide. Its right arm is raised 58 degrees holding a pencil. On paper: graphite outline with sparse blue hatching and graphite eyes. In the hologram: cyan outline with scan-line fill and white eyes. It is never a fourth colour. It runs with alternate leg pairs lifting, six steps a second, leaning 7 degrees into the run. </mascot> <storyboard> Bar 1, HOOK, 0-2 s, paper. Frame 0: CLAUDE in Geist 900, fitted to 1500 px wide, centred, pencil-hatched. INTRODUCING small above it, A MOTION DESIGNER small below. A pencil rail 1620 px wide sits 96 px above the letters. The mascot stands on the rail at x = 1560 with CREATIVE DIRECTOR lettered to its left. 0.0: the small lines un-type; the mascot runs off the right edge, accelerating. 0.36 to 0.5: the rail drops, accelerating, to 26 px below the baseline and presses the letters flat into itself. 1.0: the line rises to the middle, shortens to 1320 px and splits into two rails 140 px apart; 41 blue ruler ticks sweep along the top rail. 1.5: the rails open to 300 px; a blue height dimension draws at the right with a live number. Bar 2, KINETIC TYPE, 2-4 s, paper. Words sit between the rails and are clipped to that slot; the rails move to fit each word. 2.0: INTRODUCING rises through the baseline letter by letter, then lifts out through the top. 2.5: A MOTION whips in from the left (1400 px in 0.2 s). 3.0: the rails clap shut on it and reopen, stretching DESIGNER out of the line; its letters then fly out sideways. 3.5: CLAUDE in blue pencil, letters dropping from above one every 0.05 s. At 4.0 the rails close and crush it into one line 1476 px long. Bar 3, CURVES, 4-6 s, paper. 4.1: the line gets pen-tool handles (430 px long at 58 degrees, small squares at the ends, circles on the handle tips, the label EASE) and bends into an S. 4.5: the handles swing to the mirror angle; eight blue copies fan out 34 px apart, joined at both ends like a leaf. 5.0: handles retract; the ribbon becomes travelling sine waves (amplitude 92 px, 2.75 cycles, each line a little out of phase). 5.5: it gathers back into one flat line. Bar 4, SHAPE MORPH, 6-8 s, paper. 6.1: the line curls into a circle of radius 235 (curvature grows, length stays). 6.5: triangle, turning 120 degrees as it changes. 7.0: square. 7.5: hexagon, point up, radius 270. Blue hatching builds inside, then cross-hatching. Bar 5, TILING, 8-10 s, paper. 8.0: the hexagon shrinks to radius 96 and six more slide out around it. 8.5: twelve more, a honeycomb of 19. 9.0: dense hatching sweeps across until every cell is solid blue. 9.6 to 10.0: the centre cell's shape grows past the frame with a hard edge; inside it is the blueprint, with the honeycomb in white line. Bar 6, 2D TO 3D, 10-12 s, blueprint. 10.0: three lines draw inside every hexagon, plus three dashed hidden ones: each is a cube seen corner-on. 10.5: the eighteen outer cubes slide into the centre one, which grows to radius 270. 11.0: it turns a quarter and perspective switches on. 11.5: it faces front. Bar 7, MECHANISM, 12-14 s, blueprint. 12.0: the cube flattens and its front square grows teeth: a 16-tooth gear, pitch radius 208. From 12.25 the train steps 45 degrees on every eighth note. 12.5: a 10-tooth gear grows out to the upper right, meshing. 13.0: a 12-tooth gear to the upper left. Each has a dashed pitch circle, a hub and a label (16T, 10T, 12T). 13.5: the small gears retract; the gear becomes a square again and the cube gets its depth back. Bar 8, UNFOLD, 14-16 s, blueprint. 14.0: the cube unfolds on its hinges into a cross of six squares. 14.5: the squares slide and stretch into six panels: a header strip, a tall sidebar, a wide chart, two tiles, a timeline strip. 15.0: they fill in. Header: "CLAUDE — MOTION REEL", a BARS / RING switch, a LIGHT toggle. Chart: 30 bars, one per second of this film, heights 42 30 36 44 50 46 52 62 50 56 62 72 60 66 58 76 56 62 68 74 70 78 86 94 100 93 97 90 80 50. Timeline: the 15 bar names, a keyframe diamond on each. 15.5: counters roll up: 120 BPM, 60 BEATS, 1800 FRAMES, 0 CUTS. Bar 9, DATA, 16-18 s, blueprint. 16.0: a graph line draws across the bar tops; a cyan playhead lands on the timeline at the real time. The current second's bar is solid cyan, earlier ones hatched, later ones outlined. A cursor arrives. 16.5: it clicks RING: the chart's baseline bends round into a circle of radius 110 with the ba

Make a fully interactive music video for this song as a single HTML file, at the level of a motion designer, sound engineer and creative director's showreel. The first frame has to stop the scroll and hook the viewer. Go all out. Lyrics are below. Sync them word by word to the actual vocal. Separate the stems first, then time every word from the vocal track rather than estimating. Detect tempo, beats, kicks and snares, and drive the visuals from them. Rules: - One visual and type system across every section. Quiet sections should feel like the same video with the energy held back, not a different style. - Every word must be crisp and readable over the effects. Glow and trails go behind the type, never through it. - Give each lyric its own visual idea where it fits. No section should be filler. - Don't add any audio to the song unless I ask. - Interactions: hold to muffle the band, tap for a spark quantized to the beat, scroll for gain, stem mute buttons, a scrubbable timeline. - Include an "Export 1080p video" button that renders every frame on a fixed clock and saves a 1920x1080 16:9 MP4 (H.264 + AAC) with the audio muxed in. - Make the HTML file run on its own by double-clicking it in Chrome, with the audio built in. [LYRICS WITH SECTION TAGS]