Assonance ga

Lamentations
 
Chapter Three – Hope in [the] mercies of the Name [ה', Hah’]  

“As the speaker is called גבר [GehBehR], a man (vss. [verses] 1, 27, 35, 39), this poem must be a personal lament, not a dirge by or for the city as in chs. [chapters] 1; 2; 4. The author seems to have the experiences of Jeremiah in mind (cf. [compare with] Jer. [Jeremiah] 38:6-13) and may in fact be playing the role of Jeremiah in the poem. The order of thought is affliction, resignation, repentance, and prayer.” (Meek, 1956, p. VI 23)  

-1. I am the brave [who] saw affliction [עני, `oNeeY] in [the] rod [בשבט, BeShayBehT] of His crossness [עברתו, `ehBRahThO].  

“This, and other passages in this poem, have been applied to Jesus Christ’s passion: but, in my opinion, without any foundation.” (Adam Clarke, 1831, p. IV 153)  
“The words ראה עני [Rah‘aH `ahNeeY], form a relative clause with the relative particle understood, as so often in poetry.” (Meek, 1956, p. VI 23)  

-2. I was driven, and walked [in] dark and not light.  

“Without any light [RSV – Revised Standard Version] is incorrect, since this would require a circumstantial clause, with the negative אין [‘aYN]; translate but not into light [KJV – King James Version], if it is taken as in the adverbial accusative.” (Meek, 1956, p. VI 23)  

-3. But [אך, ’ahKh] in me returns, reverses his hand all the day.  

“The Hebrew idiom ישב יהפך [YahShooB YahHahPhoKh], lit. [literally], ‘he returns, he turns,’ expresses repeated action and the imperfect of the two verbs is frequentative; hence, ‘he has repeatedly turned…” (Meek, 1956, p. VI 23)  

-4. Wastes [בלה, BeeLaH] my flesh and my skin,
breaks my bones.
-5. Built upon me and encompassed [ויקף, VahYahQahPh]
poison [ראש, Ro’Sh] and suffering [ותלאה, OoThLah’aH].  

“The words בנה עלי [BahNaH `ahLah-eeY] mean, lit., he hath builded against me…” (Meek, 1956, p. VI 23)  

-6. In dark places [במחשכים, BeMahHahShKeeYM] settled me
like those dead forever.  

“This verse is a direct quotation from Ps. [Psalm] 143:3, with the order of the first two words changed to fit the acrostic scheme.” (Meek, 1956, p. VI 23)  

-7. Hedged [גדר, GahDahR] on my account [בעדי, Bah`ahDeeY], and I cannot go out,
weighted my bronze.  

“The words הכביד נחשתי [HeeKhBeeYD NeHahShTheeY], lit., ‘he has made my bronze heavy,’ means fetters of bronze (cf. our ‘irons’), and are used elsewhere with this meaning always in the dual.” (Meek, 1956, p. VI 23)  

-8. Also, when [כי, KeeY] I shout and yell [ואשוע, Ve’ahShahVay`ah],
He shut up my prayer.  

“The RSV ignores גם [GahM], also, ‘moreover,’ at the beginning of the verse. The word כי [KeeY], though, is better translated ‘whenever,’ since the verbs are in the frequentative imperfect. However שתם [SahThahM] is in the perfect; hence, ‘he has ignored’ in place of he shuts out.” (Meek, 1956, p. VI 23)  

-9. He hedged my ways in hewn stone [בגזית, BeGahZeeYTh],
my paths [נתיבתי, NeTheeYBoThah-eeY] made crooked [עוה, `eeVaH].  
-10. A bear ambushing He is to me,
a lion in concealments [במסתרים, BeMeeÇThahReeYM].
-11. My ways He detoured [סורר, ÇORayR],
and He shredded me [ויפשחני, VahYePhahShHayNeeY],
put me desolate [שמם, ShoMayM].
-12. He drew [דרך, DahRahKh] his bow,
and stationed me like a target [כמטרא, KahMahTahRah’] to an arrow.  
-13. He brought in[to] my kidneys sons of his quiver [אשפתו, ’ahShPahThO].  

“The arrows of his quiver: Lit., ‘the children of is quiver,’ the arrows being thought of as the offspring of the quiver – a figure that appears also in Horace (Odes 1. 22. 3).” [I don’t see it there] (Meek, 1956, p. VI 24)  

-14. I was laughingstock [שחק, SeHoQ] to all my people,
their song [נגינתם, NeGeeYNahThahM] all the day.  

“The burden of [sic] their songs is one word in the Hebrew; better, ‘their taunt-song’… so also in vs. 63 (cf. Jer. 20:7).” (Meek, 1956, p. VI 24)  

-15. Sated me [השביעני, HeeShBeeY`ahNeeY] in bitters,
irrigated me [הרוני, HeeRVahNeeY] [with] wormwood [לענה, Lah`ahNaH],
-16. and he crushed [וירגרס, VahYahRGeRayÇ] in gravel [בחצץ, BehHahTsahTs] my teeth,
trod me [הכפישני, HeeKhPeeYShahNeeY] in dust.  

“The word גרס [GahRahÇ] is found only here and in Ps, 119:20; its meaning is uncertain… (cf. Prov. [Proverbs] 20:17; Matt. [Mathew] 7:9)…” (Meek, 1956, p. VI 24)  

-17. And you spurned [ותזנח, VahTheeZNahH] from peace my soul;
I forgot [נשיתי, NahSheeYTheeY] goodness.  

“The word תזנח [TheeZNahH] can be taken as second masculine Qal¹ with oscillation from third to second person (see Exeg. [Exegesis] On Song of S. [Songs] 1:2, 4), as in vs. 23 (so the KJV [King James Version]) … The word נפשי [NahPhSheeY], lit., my soul, is simply a Hebrew idiom for the personal pronoun… used here and elsewhere for metrical reasons.” (Meek, 1956, pp. VI 24-25)  

-18. And I say,
“Lost [אבד, ’ahBahD] is my victory [נצחי, NeeTsHeeY] and ability from YHVH.”  
-19. Remember my affliction and my wandering [ומרודי, OoMeROoDeeY],
wormwood and poison.  

“The verb זכר [ZahKhoR] can be taken as imperative, remember, or better as the infinitive construct, ‘the thought of’…” (Meek, 1956, p. VI 25)  

-20. Remember [זכור, ZahKhOR],
remember [תזכור, TheeZKOR] and meditate [ותשיח (Kethîbh - "scripture"), VeThahSheeY-ahH] upon me, my soul.  

“The first verb has the emphatic infinitive absolute construction and its subject is נפשי [NahPhSheeY], my soul = ‘I’; hence, ‘I am thinking of it’…The reading of the Qerê [margin note], many MSS [manuscripts], Targ. [Targum, the ancient Hebrew and Aramaic commentary on the Hebrew Bible], Lucian, Symm. [Symmachus], and Vulg. [Vulgate – the authorized Latin translation of the Bible] (followed by RSV and KJV), תשוח [ThahShOo-ahH] (from שחח [ShahHahH], ‘to be bowed down’) is preferable to תשיח [ThahSheeY-ahH] (from שיח [SheeY-ahH], ‘to meditate’), which is the reading of the Kethîbh [the received text of the Hebrew Bible], LXX [the Septuagint; the ancient Greek translation of the Hebrew Bible], and O.L. [Old Latin].” (Meek, 1956, p. VI 25)  

-21. That I return unto my heart,
upon such [על כן, `ahL KayN] I am enabled:
-22. Mercies of YHVH,
for we did not cease [תמנו, ThahMNOo],
for did not fail [כלו, KhahLOo], his mercies,  

“The noun חסדי [HahÇDaY], an abstract plural, ‘mercy,’ or steadfast love, is in the casus pendens² , and כי [KeeY] introduces an object clause in apposition to זות [ZOTh], ‘this,’ of vs. 21. The verb תמנו [ThahMNOo] is an irregular form (cf. Num. [Numbers] 17:13 [Hebrews 17:28]; Jer. 44:18) for תמונו [ThahMOoNOo], ‘we cease,’ which makes no sense here…” (Meek, 1956, p. VI 25)  

-23. new [ones] to mornings;
multitudinous is your faithfulness.  

“In לבקרים [LahBQahReeYM], the ל is distributive, hence, every morning.” (Meek, 1956, p. VI 25)  

-24. “My portion is YHVH,”
said my soul,
“thereby [על כן, `ahL KayN] I am enabled to him.”  

“The words נפשי אמרה [‘ahMRaH NahPhSheeY], says my soul, with the verb in the perfect of instantaneous action, better, ‘I said’… make the line 2+2+3. In לו [LO] we have the ל of specification. The thought of this and the following verses is rather frequent in the psalms, but unusual in a lament.” (Meek, 1956, p. VI 25)  

-25. Good is YHVH to his hoper,
to a soul seekןמע him [תדרשנו, TheeDReShehNOo].  

“The verb קוה [QahVaH] here is ‘to wait eagerly,’ ‘to crave’ rather than simply ‘to wait.’ The Qerê reads the plural, ‘to those who crave for him,’ the Kethîbh, the singular, which agrees better with the context.” (Meek, 1956, p. VI 25)  

-26. Good and enabled and dumb
to [the] salvation of YHVH.  

“The words ויחיל ודומם [VeYahHeeYL VeDOMahM] must be emended because there is not root חיל [HeeYL], ‘to wait,’ and דומם [DOMahM], as a noun, is impossible after wāw [ו]. The simplest reading and the one best fitting the context is that of the LXX, ויחל ודמם, where the first wāw introduces a subject clause, יחל is the Piel perfect of יחל, ‘to wait,’ and ודמם, ‘and he is quiet,’ is a clause in the adverbial accusative of manner (also in vs. 28), best reproduced in English by an adverb, quietly.” (Meek, 1956, p. VI 26)  

-27. Good to a brave,
for he bore a yoke in his youths;  

“The meter is 2+3, not 3+2… For the thought cf. Heb. [Hebrew] 12:7-11.” (Meek, 1956, p. VI 26)  

-28. he sits alone [בדד, BahDahD] and is dumb,
for He laid [it] upon him.  

“Translate כי [KeeY] because or ‘since’… rather that when; it is better also to understand God as the subject of נטל [NahTahL] ‘he has laid,’ ‘loaded’, than to take it as indefinite (so RSV)… Vss. [Verses] 28-30, constituting the yôdh-strophe, may be taken as the continuation of vs. 27… or the verb may be taken as jussive (so KJV). Since the strophes in this chapter are not always separate units and the former interpretation fits the context better, it is to be preferred.” (Meek, 1956, p. VI 26)  

-29. He gives in dust his mouth;
maybe he has hope.  

“The first clause is without parallel in the O.T. [Old Testament, the Hebrew Bible], but it is a typically Oriental expression to express self-abasement.” (Meek, 1956, p. VI 26)  

-30. He gives to his striker a cheek,
he satiates [ישבע, YeeSBah`] in rebuke [בחרפה, BeHehRPaH].  

“Cf. Isa. [Isaiah] 50:6³ .” (Meek, 1956, p. VI 26)  

-31. For He will not abandon ever, my Lords.  

“The line may be scanned as 2+2, but it is probable that some word … was lost by haplography [the omission in writing or copying of one of two or more adjacent and similar letters, syllables, words, or lines] in the second stich (cf. Targ., which has ‘his servants’) either before or after אדוני ['ahDONah-eeY, “my Lords”]. (Meek, 1956, p. VI 26)  

-32. For if he aggrieves [הוגה, HOGaH]
and compassionates according to his great mercy.  

“The word כי [KeeY] can be interpreted as but after the preceding negative, or as ‘for’… or it can be taken with the following אם [‘eeM, “if”] as emphatic though.” (Meek, 1956, p. VI 26)  

-33. For he does not torment [ענה, `eeNaH] from his heart,
and aggrieve sons of man,  

“The verb ענה [`eeNaH] is in the perfect of experience, he does not …. afflict. Willingly… Lit., ‘from his heart.’ … The verb ויגה [VahYahGeH] may be the Piel [emphatic form] of יגה, contracted from ויגה [VahYahGeH], or it may be pointed as Hiphil [active] (cf. vs. 32).” (Meek, 1956, p. VI 26)  

-34. to crush [לדכא, LeDahKay’] under his feet all prisoners [of the] land,
-35. to turn away [להטות, LeHahTOoTh] from justice a brave against [the] face of Supreme [עליון `ehLYON],
-36. to pervert [לעות, Le`ahVayTh] a man in his contention;
my Lords does not see.  

“The syntax of vv [verses] 34-36 is difficult.” (Guinan, 1990, p. 561)  
“Some scholars follow the Targ. and interpret the last clause as a question, ‘Does the Lord not see?’ They maintain that approve is not a legitimate translation of ראה [Rah'aH], ‘to see,’ but this can perhaps be defended from the English ‘to countenance.’” (Meek, 1956, p. VI 27)  

-37. Who is this?
He says and it is.
My Lords does not command?
-38. From [the] mouth of Supreme does not go out the evils and the good?
-39. What complains [יתאונן, YeeTh’ONayN] ’ahDahM alive, a brave upon his sin?  
-40. Let us find our ways,
and let us search and turn again until YHVH?  

“Beginning with this verse and running to the end of vs. 47, the poet identifies himself with his people.” (Meek, 1956, p. VI 27)  

-41. We bear our hearts unto palms,
unto ’ayL [God] in skies.  

“The expression used here is found nowhere else in Hebrew, but manifestly means wholehearted prayer…” (Meek, 1956, p. VI 27)  

-42. We [נחנו, NahHNOo] did crime and we rebelled;
you did not forgive.  
-43. You covered [סכתה, ÇahKhoThah] in fury, and you pursued us,
you killed, you did not pity [תחמל, HahMahLThah];
-44. screened [סכותה, ÇahKhOThaH] in a cloud to you
from passing over prayer.  

“…לך [LahKh], thyself, with the ל of specification.” (Meek, 1956, p. VI 27)  

-45. Garbage [סחי, ÇeHeeY] and refuse [ומאוס, OoMah’OÇ] you place us within the peoples;
-46. open [פצו, PahTsOo] upon us their mouth all our enemies.  

“This verse is identical with 2:16a and is probably a direct quotation here. Six MSS and the Syriac place the פ [P] strophe (vss. 46-48) after the ע [`] strophe (vss. 49-51), thus putting the letters in their regular order.” (Meek, 1956, p. VI 28)  

-47. Fear and pit were to us,
the devastation [השאת, HahSay'Th] and the breaking.  

“Note the assonance in פחד ופחת [PahHahD VePahHahTh], panic and pitfall… appearing again in Jer. 48:43; Isa. 24:17. It is strange that the first two nouns have no article, while the last two have…” (Meek, 1956, p. VI 28)  

-48. Streams of [פלגי, PahLGaY] water descend [from] my eye,
upon breaking [of] Daughter [of] My People.  

“In this verse, belonging in thought to the following strophe, the poet returns to the lament which he interrupted in vs. 40. The second stich is a duplicate of one in 2:11, and the first is almost identical with one in 1:16.” (Meek, 1956, p. VI 28)  

-49. My eye flows [נגרה, NeeGRaH] and does not cease [תדמה, TheeDMeH],
from lack of the respites [הפגות, HahPhooGOTh].  

“The verb נגרה [NeeGRaH] must be in the perfect of certainty, ‘shall flow.’ The form [הפגות, HahPhooGOTh] an abstract plural, respite, is found only here (but cf. פוגת [PhOoGahTh], ‘respite,’ in 2:18)” (Meek, 1956, p. VI 28)  

-50. Until looked down [ישקיף, YahShQeeYPh] and saw, YHVH, from skies.
-51. My eye dealt severity [עוללה, `OLeLaH] to my soul,
from all [the] daughters [of] my city.  

“At the fate of is a paraphrase of מן [MeeN], because of.” (Meek, 1956, p. VI 28)  

-52. Hunting they hunted me like a bird, my enemies, freely [חנם, HeeNahM],
-53. imperiled [צמתו, TsahMThOo] in a hole my life,
and threw [וידו, VahYahDOo] rock in me.  

“The verb וידו [VahYahDOo], and cast, is the Piel of ידה [YahDaH, “to throw, cast”], contracted from ויידו [VaY-YahDOo] (cf. ויגה [VahYahGaH] in verse 33).” (Meek, 1956, p. VI 28)  

-54. They overlay [צפו, TsahPhOo] waters upon my head,
I said, “I am cut off [נגזרתי, NeeGZahRTheeY]!”
-55. I called your name, YHVH,
from a hole underneath [תחתיות, ThahHTheey-OTh].  

“From the depths of the pit: Lit., ‘from the pit of depth,’ the last word being an abstract plural.” (Meek, 1956, p. VI 28)  

-56. My voice you heard,
do not disappear [תעלם, Thah`LayM] your ear to my relief [לרוחתי, LeRahVHahTheeY], to my yell.  

“The verb עלם [`ahLahM], hide… is nowhere else used with אזן [‘oZeN] ear, or with the preposition ל [L], ‘to,’ but with מן [MeeN], ‘from.’ The word לרוחתי [LeRahVHahTheeY], ‘to my respite,’ makes no sense here…The last word, לשועתי [LeShahV`ahTheeY], to my supplication,’ may be a gloss on the preceding word, but it is more likely a variant reading, thus giving us a conflate text.” (Meek, 1956, p. VI 29)  

-57. You approached in day,
I will call you,
you said,
“Do not fear.”  

“The verb אקראך [‘eQRah‘ehKhah] is frequentative imperfect; translate accordingly, ‘whenever I called on thee.’”  

-58. You multiplied, my Lords, [the] contentions of my soul;
you redeemed [גאלת, Gah’ahLThah] my life.  

“… the plural ריבי נפשי [ReeYBaY NahPhSheeY], the causes of my soul, is most unusual…. If ריבי plural is original, it must be an abstract plural; or the word may be singular construct with the helping yôdh [י], which is found rather often in Hebrew poetry (see examples in 1:1; also עלי [`ahLaY] in 4:5)” (Meek, 1956, p. VI 29)  

-59. You saw, YHVH, my wrong [עותתי, `ahVahThahTheeY],
you judged my judgment,
-60. you saw all their vengeance,
all their thoughts to me.  
-61. You heard their reproach, YHVH,
all their thoughts upon me,
-62. lips of my usurpers [קמי, QahMah-eeY],
and their logic upon me all the day.
-63. Their sitting and their usurpation you observed [הביטה, HahBeeYTaH];
I am their song [מנגינתם, MahNGeeYNahThahM].
-64. Return to them recompense [גמול, GahMOoL], YHVH,
according to [the] doings [of] their hands.  

“The imperfects here and in vss. 65-66 are regularly taken as future, but it is assuredly better to take them as precative because lamentations regularly end in a prayer. Vs. 64 reads, lit., ‘Mayest thou bring retribution on them, O Yahweh, according to the work of their hands,’ which is almost identical with Ps. 28:4b.” (Meek, 1956, p. VI 29)  

-65. Give to them sorrow of [מגמת, MeGeeNahTh] heart,
your curse [תאלתך, Thah’ahLahThKhah] to them.  

“The compound מגנת-לב [MeGeeNahTh-LayB] is found only here, but its Arabic cognate suggests the meaning ‘derangement of mind.’” (Meek, 1956, p. VI 30)  

-66. Pursue in fury,
and destroy them [ותשמידם, VeThahShMeeYDahM] from under [the] skies of YHVH.  
Footnotes  
¹ Qal: In Hebrew grammar, the qal is the simple paradigm of the verb. The Classical Hebrew verb conjugates according to person and number in two finite tenses, the perfect and the imperfect. Both of these can then be modified by means of prefixes and suffixes to create other "actions" of the verb. This is not exactly parallel to any categories of grammatical voice or mood in the Indo-European languages, but can produce similar results. So the niphal is effectively a passive, the piel is an emphatic form and the hithpael has a middle or reflexive force. The qal is any form of the finite verb paradigm which is not so modified. Wikipedia  
² Casus pendens is “a noun or noun equivalent freed from the position it would occupy within a normal clause and placed at the head of the sentence. It does not really occupy the first position of the clause but is placed outside it (‘extra-position’) and reference to it is usually made by an anaphoric or resumptive pronoun. Its function is not to place the emphasis on the nominal part of the sentence now placed at the beginning but to mark off the topic to be considered. If we take I Kgs. [Kings] 12:17 as an example, a normal sentence would run: ‘Instead Rehoboam ruled of the Israelites who dwelt in the cities of Judah’; whereas, the construction with ‘casus pendens’ becomes ‘Instead (as for the) Israelites who lived in the cities of Judah (‘casus pendens’). Rehoboam ruled over them (resumptive pronoun)’. The Syntax of the Verb in Classical Hebrew Prose By Alviero Niccacci  
³ [footnote to 3:30] Isaiah 50:6
ו גֵּוִי נָתַתִּי לְמַכִּים, וּלְחָיַי לְמֹרְטִים; פָּנַי לֹא הִסְתַּרְתִּי, מִכְּלִמּוֹת וָרֹק.
6 I gave my back to the smiters, and my cheeks to them that plucked off the hair; I hid not my face from shame and spitting.
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Chapter Three – Hope in [the] mercies of the Name

“As the speaker is called גבר [GehBehR], a man (vss. [verses] 1, 27, 35, 39), this poem must be a personal lament, not a dirge by or for the city as in chs. [chapters] 1; 2; 4. The author seems to have the experiences of Jeremiah in mind (cf. [compare with] Jer. [Jeremiah] 38:6-13) and may in fact be playing the role of Jeremiah in the poem. The order of thought is affliction, resignation, repentance, and prayer.” (Meek, 1956, p. VI 23)  

-1. I am a brave who saw my affliction in [the] rod of His crossness [עברתו, `ehBRahThO].  

“This, and other passages in this poem, have been applied to Jesus Christ’s passion: but, in my opinion, without any foundation.” (Adam Clarke, 1831, p. IV 153)  
“The words ראה עני [Rah‘aH `ahNeeY], form a relative clause with the relative particle [“the”] understood, as so often in poetry.” (Meek, 1956, p. VI 23)  

-2. I was driven, and walked [in] dark and not light.

“Without any light [RSV – Revised Standard Version] is incorrect, since this would require a circumstantial clause, with the negative אין [‘aYN]; translate but not into light [KJV – King James Version], if it is taken as in the adverbial accusative.” (Meek, 1956, p. VI 23)  

-3. But [אך, ’ahKh] in me returns, reverses his hand all the day.  

“The Hebrew idiom ישב יהפך [YahShooB YahHahPhoKh], lit. [literally], ‘he returns, he turns,’ expresses repeated action and the imperfect of the two verbs is frequentative; hence, ‘he has repeatedly turned…” (Meek, 1956, p. VI)  

-4. Wastes [בלה, BeeLaH] my flesh and my skin,
breaks my bones.
-5. Built upon me and encompassed [ויקף, VahYahQahPh]
poison [ראש, Ro’Sh] and suffering [ותלאה, OoThLah’aH].  

“The words בנה עלי [BahNaH `ahLah-eeY] mean, lit., he hath builded against me…” (Meek, 1956, p. VI 23)  

-6. In dark places [במחשכים, BeMahHahShKeeYM] settled me
like those dead forever.  

“This verse is a direct quotation from Ps. [Psalm] 143:3, with the order of the first two words changed to fit the acrostic scheme.” (Meek, 1956, p. VI 23)  

-7. Hedged on my account, and I cannot get out,
weighted my bronze.  

“The words הכביד נחשתי [HeeKhBeeYD NeHahShTheeY], lit., ‘he has made my bronze heavy,’ means fetters of bronze (cf. our ‘irons’), and are used elsewhere with this meaning always in the dual.” (Meek, 1956, p. VI 23)  

-8. Also, when I shout and yell,
He shut up my prayer.  

“The RSV ignores גם [GahM], also, ‘moreover,’ at the beginning of the verse. The word כי [KeeY], though, is better translated ‘whenever,’ since the verbs are in the frequentative imperfect. However שתם [SahThahM] is in the perfect; hence, ‘he has ignored’ in place of he shuts out.” (Meek, 1956, p. VI 23)  

-9. He hedged my ways in hewn stone [בגזית, BeGahZeeYTh],
my paths made crooked [עוה, `eeVaH].  
-10. A bear in ambush He is to me,
a lion in concealment.
-11. My ways he detoured [סורר, ÇORayR],
and he shredded me [ויפשחני, VahYePhahShHayNeeY],
put me \desolate [שמם, ShoMayM].
-12. He drew [דרך, DahRahKh] his bow,
and stationed me like a target [כמטרא, KahMahTahRah’] to an arrow.  
-13. He brought in[to] my kidneys sons of his quiver.  

“The arrows of his quiver: Lit., ‘the children of is quiver,’ the arrows being thought of as the offspring of the quiver – a figure that appears also in Horace (Odes 1. 22. 3).” [I don’t see it there] (Meek, 1956, p. VI 24)  

-14. I was a laughingstock [שחק, SHoQ] to all my people,
their song [נגינתם, NeGeeYNahThahM] all the day.  

“The burden of their songs is one word in the Hebrew; better, ‘their taunt-song’… so also in vs. [verse] 63 (cf. Jer. 20:7).” (Meek, 1956, p. VI 24)  

-15. He sated me in bitters,
irrigated me [with] wormwood,  
-16. and he crushed in gravel [בחצץ, BehHahTsahTs] my teeth,
tread me in dust.  

“The word גרס [GahRahÇ] is found only here and in Ps. 119:20; its meaning is uncertain… (cf. Prov. [Proverbs] 20:17; Matt. [Mathew] 7:9)…” (Meek, 1956, p. VI 24)  

-17. And abandoned from peace my soul;
I forgot [נשיתי, NahSheeYTheeY] goodness.  

“The word תזנח [TheeZNahH] can be taken as second masculine Qal¹ with oscillation from third to second person (see Exeg. [Exegesis] On Song of S. [Songs] 1:2, 4), as in vs. 23 (so the KJV [King James Version]) … The word נפשי [NahPhSheeY], lit., my soul, is simply a Hebrew idiom for the personal pronoun… used here and elsewhere for metrical reasons.” (Meek, 1956, pp. VI 24-25)  

-18. And I say,
“Lost is my victory and ability from YHVH”  
-19. Remember my affliction and my wandering [ומרודי, OoMROoDeeY],
wormwood and poison.  

“The verb זכר [ZahKhoR] can be taken as imperative, remember, or better as the infinitive construct, ‘the thought of’…” (Meek, 1956, p. VI 25)  

-20. Remembrance remember,
and meditate upon me, my soul.  

“The first verb has the emphatic infinitive absolute construction and its subject is נפשי [NahPhSheeY], my soul = ‘I’; hence, ‘I am thinking of it’…The reading of the Qerê [margin note], many MSS [manuscripts], Targ. [Targum, the ancient Hebrew and Aramaic commentary on the Hebrew Bible], Lucian, Symm. [Symmachus], and Vulg. [Vulgate – the authorized Latin translation of the Bible] (followed by RSV and KJV), תשוח [ThahShOo-ahH] (from שחח [ShaHaH], ‘to be bowed down’) is preferable to תשיח [ThahSheeY-ahH] (from שיח [SheeY-ahH], ‘to meditate’), which is the reading of the Kethîbh [the received text of the Hebrew Bible], LXX [the Septuagint; the ancient Greek translation of the Hebrew Bible], and O.L. [Old Latin].” (Meek, 1956, p. VI 25)  

-21. This I return to my heart,
upon such [על כן, `ahL KayN] I am enabled:
-22. Mercies of YHVH,
for we did not cease,
for did not fail his mercies,  

“The noun חסדי [HahÇDaY], an abstract plural, ‘mercy,’ or steadfast love, is in the casus pendens² , and כי [KeeY] introduces an object clause in apposition to זות [ZOTh], ‘this,’ of vs. 21. The verb תמנו [ThahMNOo] is an irregular form (cf. Num. [Numbers] 17:13 [Hebrews 17:28]; Jer. 44:18) for תמונו [ThahMOoNOo], ‘we cease,’ which makes no sense here…” (Meek, 1956, p. VI 25)  

-23. new to mornings;
multitudinous is your faithfulness.  

“In לבקרים [LahBQahReeYM], the ל is distributive, hence, every morning.” (Meek, 1956, p. VI 25)  

-24. “My portion is YHVH,”
said my soul,
“thereby [על כן, `ahL KayN] I am enabled to him.”  

“The words נפשי אמרה [‘ahMRaH NahPhSheeY], says my soul, with the verb in the perfect of instantaneous action, better, ‘I said’… make the line 2+2+3. In לו [LO] we have the ל of specification. The thought of this and the following verses is rather frequent in the psalms, but unusual in a lament.” (Meek, 1956, p. VI 25)  

-25. Good is YHVH to his hoper,
to a soul seekןמע him [תדרשנו, TheeDReShehNOo].  

“The verb קוה [QaVaH] here is ‘to wait eagerly,’ ‘to crave’ rather than simply ‘to wait.’ The Qerê reads the plural, ‘to those who crave for him,’ the Kethîbh, the singular, which agrees better with the context.” (Meek, 1956, p. VI 25)  

-26. Good and enabled and dumb
to [the] salvation of YHVH.  

“The words ויחיל ודומם [VeYahHeeYL VeDOMahM] must be emended because there is not root חיל [HeeYL], ‘to wait,’ and דומם [DOMahM], as a noun, is impossible after wāw [ו]. The simplest reading and the one best fitting the context is that of the LXX, ויחל ודמם, where the first wāw introduces a subject clause, יחל is the Piel perfect of יחל, ‘to wait,’ and ודמם, ‘and he is quiet,’ is a clause in the adverbial accusative of manner (also in vs. 28), best reproduced in English by an adverb, quietly.” (Meek, 1956, p. VI 26)  

-27. Good to a brave,
for he bore a yoke in his youths;  

“The meter is 2+3, not 3+2… For the thought cf. Heb. [Hebrew] 12:7-11.” (Meek, 1956, p. VI 26)  

-28. he sits alone [בדד, BahDahD] and is dumb,
for He laid [it] upon him.  

“Translate כי [KeeY] because or ‘since’… rather that when; it is better also to understand God as the subject of נטל [NahTahL] ‘he has laid,’ ‘loaded’, than to take it as indefinite (so RSV)… Vss. 28-30, constituting the yôdh-strophe, may be taken as the continuation of vs. 27… or the verb may be taken as jussive (so KJV). Since the strophes in this chapter are not always separate units and the former interpretation fits the context better, it is to be preferred.” (Meek, 1956, p. VI 26)  

-29. He gives in dust his mouth;
maybe he has hope.  

“The first clause is without parallel in the O.T. [Old Testament, the Hebrew Bible], but it is a typically Oriental expression to express self-abasement.” (Meek, 1956, p. VI 26)  

-30. He gives to him who strikes a cheek,
he satiates in rebuke.  

“Cf. Isa. [Isaiah] 50:6³ .” (Meek, 1956, p. VI 26)  

-31. For He will not abandon ever, my Lords.  

“The line may be scanned as 2+2, but it is probable that some word … was lost by haplography in the second stich (cf. Targ. , which has ‘his servants’) either before or after אדוני [‘ahDONah-eeY, “my Lords”]. (Meek, 1956, p. VI 26)  

-32. For if he aggrieves [הוגה, HOGaH]
and compassionates according to his great mercy.  

“The word כי [KeeY] can be interpreted as but after the preceding negative, or as ‘for’… or it can be taken with the following אם [‘eeM, “if”] as emphatic though.” (Meek, 1956, p. VI 26)  

-33. For he does not torment [ענה, `eeNaH] from his heart,
and aggrieve sons of man,  

“The verb ענה [`ahNaH] is in the perfect of experience, he does not …. afflict. Willingly… Lit., ‘from his heart.’ … The verb ויגה [VahYahGeH] may be the Piel [emphatic form] of יגה, contracted from ויגה [VahYahGeH], or it may be pointed as Hiphil [active] (cf. vs. 32).” (Meek, 1956, p. VI 26)  

-34. to crush [לדכא, LeDahKay’] under his feet all prisoners [of the] land,
-35. to turn away [להטות, LeHahTOoTh] from justice a brave against [the] face of Supreme [עליון `ehLYON],
-36. to pervert [לעות, Le`ahVayTh] a man in his contention;
my Lords does not see.  

“The syntax of vv [verses] 34-36 is difficult.” (Guinan, 1990, p. 561)  
“Some scholars follow the Targ. and interpret the last clause as a question, ‘Does the Lord not see?’ They maintain that approve is not a legitimate translation of ראה [Rah‘aH], ‘to see,’ but this can perhaps be defended from the English ‘to countenance.’” (Meek, 1956, p. VI 27)  

-37. Who is this?
He speaks and it is.
My Lords does not command?
-38. From [the] mouth of Supreme does not go forth the evils and the good?
-39. What complains a man alive, a brave upon his sin?.  
-40. Let us find our ways
and let us search and turn again until YHVH  

“Beginning with this verse and running to the end of vs. 47, the poet identifies himself with his people.” (Meek, 1956, p. VI 27)  

-41. We bear our hearts unto palms,
unto ‘ayL [God] in skies.  

“The expression used here is found nowhere else in Hebrew, but manifestly means wholehearted prayer…” (Meek, 1956, p. VI 27)  

-42. We [נחנו, NahHNOo] did crime and rebelled;
you did not forgive.  
-43. You covered [סכתה, ÇahKhTha] in fury, and you pursued us,
you killed, you did not pity;
-44. screened [סכותה, ÇahKhOThaH] in a cloud to yourself
from passing prayer.  

“…לך [LahKh], thyself, with the ל of specification.” (Meek, 1956, p. VI 27)  

-45. Garbage [סחי, ÇeHeeY] and refuse [ומאוס, OoMah’OÇ] you place us within the peoples;
-46. open [פצו, PahTsOo] upon us their mouth all our enemies.  

“This verse is identical with 2:16a and is probably a direct quotation here. Six MSS and the Syriac place the פ [P] strophe (vss. 46-48) after the ע [`] strophe (vss. 49-51), thus putting the letters in their regular order.” (Meek, 1956, p. VI 28)  

-47. Fear and pit were to us,
the devastation [השאת, HahSay'Th] and the breaking.  

“Note the assonance in פחד ופחת [PahHahD VePahHahTh], panic and pitfall… appearing again in Jer. 48:43; Isa. 24:17. It is strange that the first two nouns have no article, while the last two have…” (Meek, 1956, p. VI 28)  

-48. Streams of [פלגי, PahLGaY] water descend [from] my eye,
upon breaking [of] Daughter [of] My People.  

“In this verse, belonging in thought to the following strophe, the poet returns to the lament which he interrupted in vs. 40. The second stich is a duplicate of one in 2:11, and the first is almost identical with one in 1:16.” (Meek, 1956, p. VI 28)  

-49. My eye flows and does not cease [תדמה, TheeDMeH],
from lack of the respites [הפגות, HahPhooGOTh].  

“The verb נגרה [NeeGRaH] must be in the perfect of certainty, ‘shall flow.’ The form [הפגות, HahPhooGOTh] an abstract plural, respite, is found only here (but cf. פוגת [PhOoGahTh], ‘respite,’ in 2:18)” (Meek, 1956, p. VI 28)  

-50. Until looked down [ישקיף, YahShQeeYPh] and saw, YHVH, from skies.
-51. My eye dealt severity [עוללה, `OLeLaH] to my soul,
from all [the] daughters [of] my city.  

“At the fate of is a paraphrase of מן [MeeN], because of.” (Meek, 1956, p. VI 28)  

-52. Hunting they hunted me like a bird, my enemies, without cause [חנם, HeeNahM],
-53. imperiled [צמתו, TsahMThOo] in a hole my life,
and threw rock in me.  

“The verb וידו [VahYahDOo], and cast, is the Piel of ידה [YahDaH, “to throw, cast”], contracted from ויידו [VaY-YahDOo] (cf. ויגה [VahYahGaH] in verse 33).” (Meek, 1956, p. VI 28)  

-54. They flowed [צפו, TsahPhOo] waters upon my head,
I said, “I am cut off [נגזרתי, NeeGZahRTheeY]!”  
-55. I called your name, YHVH,
from a hole underneath.  

“From the depths of the pit: Lit., ‘from the pit of depth,’ the last word being an abstract plural.” (Meek, 1956, p. VI 28)  

-56. My voice you heard,
do not conceal your ear to my relief, to my yell.  
“The verb עלם [`ahLahM], hide… is nowhere else used with אזן [‘oZeN] ear, or with the preposition ל [L], ‘to,’ but with מן [MeeN], ‘from.’ The word לרוחתי [LeRahVHahTheeY], ‘to my respite,’ makes no sense here…The last word, לשועתי [LeShahV`ahTheeY], to my supplication,’ may be a gloss on the preceding word, but it is more likely a variant reading, thus giving us a conflate text.” (Meek, 1956, p. VI 29)  
-57. You approached in day,
I will call you,
you said,
“Do not fear.”  

“The verb אקראך [‘eQRah‘ehKhah] is frequentative imperfect; translate accordingly, ‘whenever I called on thee.’”  

-58. You multiplied, my Lords, [the] contentions of my soul;
you redeemed [גאלת, Gah’ahLThah] my life.  

“… the plural ריבי נפשי [ReeYBaY NahPhSheeY], the causes of my soul, is most unusual…. If ריבי plural is original, it must be an abstract plural; or the word may be singular construct with the helping yôdh [י], which is found rather often in Hebrew poetry (see examples in 1:1; also עלי [`ahLaY] in 4:5)” (Meek, 1956, p. VI 29)  

-59. You saw, YHVH, my wrong [עותתי, `ahVahThahTheeY],
you judged my judgment,
-60. you saw all their vengeance,
all their thoughts to me.  
-61. You heard their reproach, YHVH,
all their thoughts upon me,
-62. lips of my usurpers,
and their logic upon me all the day.
-63. Their sitting and their usurpation you observed [הביטה, HahBeeYTaH];
I am their song [מנגינתם, MahNGeeYNahThaM].  
-64. Return to them recompense [גמול, GahMOoL], YHVH,
according to [the] doings [of] their hands.  

“The imperfects here and in vss. 65-66 are regularly taken as future, but it is assuredly better to take them as precative because lamentations regularly end in a prayer. Vs. 64 reads, lit., ‘Mayest thou bring retribution on them, O Yahweh, according to the work of their hands,’ which is almost identical with Ps. 28:4b.” (Meek, 1956, p. VI 29)  

-65. Give to them sorrow of heart,
your curse to them.  

“The compound מגנת-לב [MeGeeNahTh-LayB] is found only here, but its Arabic cognate suggests the meaning ‘derangement of mind.’” (Meek, 1956, p. VI 30)  

-66. Pursue in fury,
and destroy them [ותשמידם, VeThahShMeeYDahM] from under [the] skies of YHVH.  
Footnotes
¹ Qal: In Hebrew grammar, the qal is the simple paradigm of the verb. The Classical Hebrew verb conjugates according to person and number in two finite tenses, the perfect and the imperfect. Both of these can then be modified by means of prefixes and suffixes to create other "actions" of the verb. This is not exactly parallel to any categories of grammatical voice or mood in the Indo-European languages, but can produce similar results. So the niphal is effectively a passive, the piel is an emphatic form and the hithpael has a middle or reflexive force. The qal is any form of the finite verb paradigm which is not so modified. Wikipedia  
² Casus pendens is “a noun or noun equivalent freed from the position it would occupy within a normal clause and placed at the head of the sentence. It does not really occupy the first position of the clause but is placed outside it (‘extra-position’) and reference to it is usually made by an anaphoric or resumptive pronoun. Its function is not to place the emphasis on the nominal part of the sentence now placed at the beginning but to mark off the topic to be considered. If we take I Kgs. [Kings] 12:17 as an example, a normal sentence would run: ‘Instead Rehoboam ruled of the Israelites who dwelt in the cities of Judah’; whereas, the construction with ‘casus pendens’ becomes ‘Instead (as for the) Israelites who lived in the cities of Judah (‘casus pendens’). Rehoboam ruled over them (resumptive pronoun)’. The Syntax of the Verb in Classical Hebrew Prose By Alviero Niccacci  
³ [footnote to 3:30] Isaiah 50:6  
ו גֵּוִי נָתַתִּי לְמַכִּים, וּלְחָיַי לְמֹרְטִים; פָּנַי לֹא הִסְתַּרְתִּי, מִכְּלִמּוֹת וָרֹק.  
"I gave my back to the smiters, and my cheeks to them that plucked off the hair; I hid not my face from shame and spitting." http://www.mechon-mamre.org   An Amateur's Journey Through the Bible

Previous Supplementaries	Date
Aqours	1/4
A-RISE	1/7
Printemps	1/16
lily white	1/29

BiBi is a subunit of µ's consisting of Eli, Maki, and Nico. They bridge the gap between Printemps and lily white in terms of their musical focus due in large part to the diverse styles of their three members.
BiBi Intros

• Eli - primer.
• Maki - primer.
• Nico - primer.

While Printemps focuses primarily on one theme (happy and/or cute songs) and lily white thrives on variety, BiBi does a bit of both: they focus on three distinct areas that highlight the strengths of each member. There are a few common denominators (ex. extensive synth/drum machine use), but typically the slow and emotional songs tend to feature heavy doses of Eli, the upbeat and energetic pop songs revolve around Nico, and the pop songs with electronic, hip-hop, and K-pop influences are Maki's forte. BiBi's music is thus unique in its ability to convey personality - a crowd-pleasing trait for fan-driven franchises like Love Live.
Diamond Princess no Yuutsu
The first track of BiBi's debut single is reminiscent of A-RISE's modern pop stylings with its strong electronic influences, prominent basslines, and funky guitar.

• Diamond Princess no Yuutsu is a great example of BiBi's three-headed approach. The stretch from 0:30 to 0:40 pretty much summarizes what that entails: Eli's voice is the most gentle, Nico's the most boisterous, and Maki's the most theatrical.
• Each of those qualities allows the girls to make unique contributions to the song's identity. Eli at 1:14 - 1:17, for example, makes me think the Diamond Princess isn't just some kid, but someone experienced in the game of romance.
• If Eli's vocals represent the Diamond Princess' feelings of love, Maki's represent her passion. Her comparatively aggressive and smoky vocals at 0:22, 0:38, 1:31, and 1:41 sound steeped in romantic desire.
• Nico's vocals subvert the romantic theme a bit. She takes more of a straightforward (i.e., not coy) approach than Eli and Maki at 0:19, 1:27, and 2:26, which makes her come off as less seductive. Maybe she represents the Princess' innocent and playful side?

BiBi quickly established the bulk of their image with Diamond Princess no Yuutsu. Its alluring and contemporary sound makes it a song befitting of the cool attribute subunit.
Love Novels
Love Novels features core electronic elements as well, but it fits more distinctly in the genre of bubblegum pop. It employs a Printemps-esque bouncy bassline/chiptune combo that is simulatenously lighthearted and energetic.

• BiBi is pretty big on interjection-style background vocals - the whole chorus is filled with them, and they actually switch them up between the choruses (ex. first "onegai" is said by Nico, the last by Eli).
• Eli's voice is one of the most consistent in µ's, so it's surprising to hear how different she sounds in Love Novels compared to other songs. She sounds like her typical self in her first solo from 0:39 to 0:45 (which I love the cadence of by the way), very soft and pretty with bright vowels. From 1:43 to 1:49, however, she goes a little deeper than normal and significantly tones down her usual vibrato. She goes high again at 1:56 but uses a rougher voice than the ultra-clean soft vocals from her first solo. I don't think this is a bad thing by any means, I just find it interesting that you normally know exactly what to expect from her, but she goes all over the place in one song and one song only.
• Like Love Marginal, Love Novels is one of those songs that I evaluate in two separate forms: the group version and the Maki solo version. I like both renditions, but they're worthy of separate recognition in my eyes because Maki's power breathes a different kind of life into the song. Comparing Eli's solo at 0:39 to Maki's at 1:50 is like apples and oranges: it's clear that they both do a great job, but they also take vastly different approaches to the song. I recommend giving a listen to Maki's solo mix if you think the song could do with a little more bite.
• First singles are always the ones you look back at to see how much each girl has improved - Love Novels is that song for Nico. At the time, she was much less of a proven quantity than Eli or Maki, so she was only given simple phrases like 0:32, 0:45, and 1:36. If this song was made post-2011, I think Nico would have been given a much larger role since we now know how much this kind of songs suits her.

Love Novels is by far the most lighthearted and peppy of BiBi's many pop ventures. It is a nice addition to their repertoire, as its simplicity and cheerful tone make it an easy song to bob your head to.
Cutie Panther
Deep EDM serves as the backbone to the fast-paced fan favorite Cutie Panther. The pounding bass and repetitive synth accents build energy and anticipation like the techno/rave classics of the 90's and early 00's.

• Cutie Panther is one of many of BiBi's songs to utilize Eli's mastery of the soft and delicate (0:40 - 0:42), but it is one of the few to focus more on her sensual and mature side (0:45 - 0:48, 0:52, 1:41 - 1:52, 2:04, 3:18 - 3:23). The latter resonates even during her rapid fire rap-like section at 3:12. It's a huge yet underappreciated part of her identity, so I'm glad at least one BiBi song highlights it to this extent.
• Though she technically first arrived a few months earlier in Wonderful Rush, the true emergence of Nico the rapper came in Cutie Panther. Out of all the bars she's ever done, 0:48 - 0:52 are my favorite because they are lightning fast but still very bright and well enunciated.
• Following a bit in the footsteps of Diamond Princess, Cutie Panther really established Maki as the go-to for songs with, ahem, sexually-charged vocals. The way she breaks up notes like "sonna" at 0:27 and "nai" at 0:30 is used pretty commonly in Western music for the same effect. Same with the way she hangs on the "zettai" during her equivalent rap solo from 2:03 to 2:07.

Cutie Panther mixes the fast and energetic beats of Nico-centric songs with the soft and seductive vocals of Maki-centric songs, creating a hybrid archetype that has proven to be one of the most popular in all of Love Live. For that reason alone, it should be near the top of any new BiBi listener's priority list; listen to how hype the live crowd gets when they bust it out.
Natsu, Owaranai De.
BiBi's first foray into the softer side of pop music is a rare example of R&B in Love Live. Like several other emotional LL songs (some of which will be mentioned later in this supplementary), the backing track is stripped down so as to emphasize the vocals for emotional impact; unlike those other songs, Natsu, Owaranai De. gets significant mileage out of things like vinyl scratches/rewinds and drum machine hip-hop beats.

• Even though Maki is the group's powerhouse, it's nice to hear her in a super mellowed-out role from time to time. Her voice is good in slow sections like the intro, but her technicality is directly proportional to the intensity of the section she's singing; that intro is mundane compared to 1:47 - 1:50, where she implements her strong vibrato.
• The softness of this song really illustrates how Nico's voice is BiBi's sweetest by far. Maki and Eli could be just as delicate if they sang her 0:19 solo, but I doubt they'd be able to reproduce the same innocent and youthful sound that Nico does. 1:51 - 2:03 is even better; I really like her "shinji teta yo" because of how it flows and how calmly she sings open vowels like the "yo". Additionally, I can hardly believe it's actually Nico singing at 2:00 - 2:03 because of how much stronger her pitch control is during those few seconds compared to any of the previous 3 songs.
• Natsu, Owaranai De. might as well be renamed The Eli Show. I've already talked about her solo at 0:32 at length because it's enough by itself to illustrate my point, but it's also just the tip of the iceberg. 1:24 - 1:37, particularly notes like "sae" at 1:32, is better for showing off her control at ultra-soft registers. 2:39 - 3:16 is ridiculous and probably one of the franchise's top 3 solos if not its single greatest. Two separate low/high sweeps on "yashashii" at 2:46 punctuated by a straight-shot "kioku ni" at 2:48. A beautifully powerful and climactic yet perfectly clear and vibrato'd "kawakanai hazu yo" at 2:56. Three different deliveries on similar notes (low/high on "dake" at 3:04, high/low on "iinoni" at 3:07, and high/higher "kimochi" at 3:12). And lastly, the best sweep/vibrato combo I've ever heard from the queen of vibrato herself with "hoshii" at 3:14. Eli made an undeniable statement with this solo - a statement that sounds like candy to my ears.

Despite featuring softer voices and instruments than each of the previous entries, Natsu Owaranai De. carries BiBi's signature style and swagger. This is a good starting point for those of you looking for a slow tune with a modern twist, and a great one for those of you looking for a 10/10 Eli performance.
Fuyu ga Kureta Yokan
And here's a good follow-up - Fuyu ga Kureta Yokan is more upbeat (but still slow) pop jam that is lighter on the R&B elements than Natsu, Owaranai De. and heavier on the electronic ones. The instrumentation, including the electronic bits, is generally distortion-free, creating a pleasantly clean and unfiltered sound.

• Remember how Maki turns up the technicality for dramatic vocals? 0:51 - 1:01 reminds me of that solo in Natsu, Owaranai De. because of how she pulls off a contrast between the powerful "yokatta" at 0:54 and the graceful "deru no" at 0:59. She adds other small, flavorful details to her notes throughout the song, like the vibrato on the "ku" at 2:27, the rolled r of the "gereba" at 2:31, and the falsetto on "sugu" at 2:54.
• Eli's genre expertise is immediately evident, as her voice is the dominant one during the intro harmonies. Her solos are also as solid as you'd expect, and she includes the same little details that Maki does in her solos (rolled r at 0:33, falsetto on "sugu" at 1:02). That's some pretty consistent sound direction.
• I like Nico's perky solo vocals at 2:44, but I like her droning background vocals at 4:32 even more. Eli and Maki's bright and layered lead vocals contrast with Nico's subdued and monotone delivery, and the combination of both styles represents two sides of the same emotion: the lovesickness that you can outwardly express and the lingering sadness that you keep inside.

If you wanted something lowkey but a little more poppy than Natsu, Owaranai De., Fuyu ga Kureta Yokan is just that. If you play on EN, you can just open up LLSIF until they decide to change the start screen.
Trouble Busters
Trouble Busters follows in the footsteps of Nico's solo singles, using catchy synth and deep, driving bass to highlight her bright and playful voice. This simple, unobtrusive backing track is paired with hype-man style background vocals, making for an energetic song without the need for brute forcing the pace.

• Eli and Maki play essential roles in providing hype and occasional solo vocals, but Trouble Busters is all about Nico from top to bottom. From an instrumental perspective, the synth riff is bubbly and highly infectious in typical Nico fashion. Lyrically, the song is pretty silly and includes phrases like "Nico Nico Smile" and everyone yelling "NICO!" in the background. The most noteworthy part, however, is at 2:35 when Nico gets the most unique center stage moment in Love Live! with her rap bridge. She incorporates some alliteration and assonance on top of solid flow and, most importantly, gets the people going. The sheer absurdity of this section (and Trouble Busters as a whole, really) caught me off guard at first, but it's definitely the song's greatest strength.

There is no song in the Love Live! discography quite like Trouble Busters. BiBi went all in with the unique vocals and rap sections, becoming one of the first LL songs written primarily for live viewing.
Silent Tonight
Silent Tonight is a unique case considering it is BiBi's only track that doesn't feature electronic influence. Instead, it borrows primarily from jazz music, making for a clean and relaxed sound that distinguishes it from other emotional BiBi songs.

• Silent Tonight reminds me of the best parts of Aishiteru Banzai! and Futari Happiness. The swingy, piano-driven sound is definitely BiBi's most gentle and elegant, and it makes me wish BiBi had a few more songs in this style. Each girl's voice meshes with the piano in different yet compelling ways: take the outro from 4:40 onwards, for example. No other BiBi song has a harmony that sounds quite like it, yet it is one of the most beautiful they've ever done.
• Maki's upper range is pushed in this song and her performance is up and down (but still overall positive) as a result. Compare her intro solo to 3:48 - 3:59; the latter is still high pitched but a little more forceful and thus more situated in Maki's comfort zone. Both sections are pretty technical though - her "kara" at 0:29 is an example of her clear and accurate vibrato which sometimes get hidden in the songs that aren't slowed down to this extent. 3:23 - 3:29 has a couple additional examples of that same idea.
• Part of reason Eli is so good at slow songs like Silent Tonight is how strong and precise she can be even when singing softly. In sections like 0:51 - 1:01, she maintains complete pitch control using her soft voice, whereas most other girls are most accurate when going all out. 3:35 - 3:47 and 4:05 - 4:13 are the same way: accurate, powerful, and nicely accented with vibrato.
• When you strip away all of the bubbliness and energy, Nico's voice takes on a mostly warm tone. To me it actually sounds strikingly similar to Nozomi's at times, namely "kara" at 0:48 and "dakishimete agetai to" at 2:29. It's a side of Nico we don't get to see often, which is unfortunate because I dig her style in songs like this and Natsu, Owaranai De.

Despite being a group that typically thrives on modern style and musical flair, BiBi proves the timelessness of a bare, all-natural sound with Silent Tonight. The lack of stress and tension in their music and vocals makes for an experience that is calming and relaxing but also strongly emotional.
Saitei de Saikou no Paradiso
Lantis tends to get creative when it comes to special releases, and Saitei de Saikou no Paradiso is no exception. Like the other pre-release movie singles (MUSEUM de Dou Shitai? and Otohime Haato de Rabu Kyuuden), it features smart direction and a distinct sound that you won't find on any other LL track.

• I have to retract the statement I made in lily white's supplementary where I declared Otohime Haato de Rabu Kyuuden the undisputed best backing track in Love Live! - Saitei's is 1b. Its intro is incredibly intense, grabs your attention instantly, and does a great job setting the stage for BiBi's in-your-face style and vocals. The first verse is pretty fresh too, but the second verse takes it to another level through sheer spontaneity: it starts out extra slow post-chorus at 1:53, amps up the theatrics with the organ trill at 2:03, and brings us back to familiar territory while changing up the pre-chorus formula with the swingy uptempo beat change at 2:09. And while all these things are great, my absolute favorite part of the composition is in the vocals. At 3:27, they go high on the "ni" and higher on the "su" even though they drop low on the latter syllable in the first two choruses. I guess it doesn't sound like much, but I think it's a beautiful and dramatic little detail that adds pizzazz to the conclusion of the song (along with another neat drum fill at 3:35).
• This song features some real good ranges for all three girls. Eli gets to work the middle and upper ends of the spectrum, showing off some mezzo (0:35 - 0:41 + bonus exhale at 0:42, 0:51 - 0:57), soprano (3:11 - 3:14), and the area between (2:08 - 2:23). These solos are all expressive and littered with dynamics, and their overall tone fits Eli's style to a T. It's fascinating to see how a singer as talented as Eli has still noticeably improved technically and stylistically over the years.
• Nico's sections do a good job honing the natural warmth and brightness in her relaxed voice. It's particularly audible in her extended vowels in sections like 0:58 - 1:06 and 2:00 - 2:07, but it's also present when she gets a bit more aggressive from 3:18 - 3:23.
• I really like a number of Maki's sections in this song, including 1:07 - 1:13 and 1:53 - 2:01, but I LOVE her in this chorus. I've said a number of times that I think she is best in the mid-high range with strong and dramatic instrumentation to maximize the natural intensity of her voice. Saitei's chorus is exactly that, and the result is fantastic - her "bouken wa kiken na ruuru de fui no fantasy" at 1:29 and "hohoemi de zankoku ni subete dakishimete" at 2:39 are perfection. Like I said in her primer, Maki being on her game makes for incredible moments, and this song is a testament to that.

Saitei de Saikou no Paradiso succeeds because it is a refreshing change of pace that doesn't neglect the musical elements or personality traits that define BiBi as a subunit. It's what BiBi is all about: moments of intensity and hype punctuated at times by playfulness and at other times by drama and passion. This song is quickly rising up my list of favorites.
Sakkaku CROSSROADS
Sakkaku CROSSROADS represents an evolution in the BiBi emotional sound, taking influence from jazz, disco, and Latin in addition to the standard contemporary pop. Although Eli is usually the center on slower tracks like this one, Maki's assumption of the role further illustrates how BiBi has changed and improved over the years. (Side note: fun fact, each of the subunits wore the cover outfits from their first singles for their last ones as well.)

• The song feels like a crossover between two other subunit songs, MUSEUM de Dou Shitai? and Omoide Ijou ni Naritakute, with funky muted guitar like the former and castanets like the latter.
• Slow numbers like Sakkaku CROSSROADS provide the best musical contrast for Maki's power and vibrato. The song sets her up for a number of spotlight moments, such as her "sakkaku shiteta" at 0:12 and her solo at 3:46. Both times the accompaniment is toned down so as to focus all attention on Maki's voice, and she comes through beautifully with satisfying power and elegant vibrato. Power has always been her trump card, but sections like 1:06 (which also features unexpectedly gorgeous tandem background vocals from Eli and Nico) show that she now has the ability to nail soft solos equally well.
• Nico is most consistent in soft registers and this song, like Silent Tonight, has plenty of them. 0:34 - 0:48 features some pretty good soft notes with "dato" and "yo ne". 2:14 - 2:29 is more dynamic with strong "yo"s at 2:16 and 2:20. 3:32 - 3:38 doesn't even sound like Nico at times like the "hanasu no wa". These sections work because Nico does not overextend her range in any of them, allowing her to avoid the pitch control problems she had trouble with in the early years.
• To the surprise of no one, Eli is in her element throughout the entire song. The cream of the crop are the "watashi ni wa" and "katta yo" in her 0:50 - 1:04 solo and the "wakatte yo" in her 3:38 - 3:45 solo. These parts (especially the latter) stand out as dead accurate even though the rest of the song sounds plenty crisp as it is.

I'm conflicted when it comes to Sakkaku CROSSROADS. On one hand, I appreciate how it adds diversity to BiBi's repertoire; on the other, I like the identity BiBi established for themselves by sticking to their formula. What I do know is that it is smooth, stylish, and a nice gift for fans who want a taste of the old school.
PSYCHIC FIRE
Whereas Sakkaku CROSSROADS is an exploration of new musical territory, PSYCHIC FIRE is a refinement of an already-proven formula. It takes the prominent features of Nico singles (catchiness, high energy, and a steady bass-driven beat), amplifies them, and adds new twists like dubstep and EXPLOOOOSIONS to create an exciting musical experience.

• The background vocals of this song were written with complete self-awareness. Maki's "imi wakannai", Eli's "harasho", the group's "Nico"/"Maki"/"Elichika" and "hoo-ah hoo-ah" during the chorus: these are just a few examples of the many bits of fanservice BiBi threw in there to get crowds excited to sing along during a live show. We've seen other songs like Love Novels do something similar, but none of them are as densely-packed and exciting as PSYCHIC FIRE. BiBi really knows their audience, and it shows in their songwriting.
• Speaking of background vocals, 0:30 and 1:33 are great. Even though the first halves are hard to hear over the bass in both cases ("koko wa doko"/"maboroshi kai" respectively), the higher pitched second halves layer nicely underneath the deeper and more emphatic lead vocals during those sections.
• Eli's performance is quality as usual, but the real beauty of it is how she refrains from using the absolute upper part of her range. 0:41 - 0:52 is probably the section that best illustrates my point: in other songs, Eli tends to go super high at the ends of note progressions to squeeze every little bit of emotional impact out of them that she can. She goes high here too, but she reins it in a bit at the "yoru" at 0:44 and "illusion" at 0:51, building tension for the chorus without overwhelming an already powerful and saturated beat.
• Maki's high notes are vital to this song's identity, adding some necessary attitude and punch to contrast with the lighter vocals of the other two girls. Her "koko wa doko? doko dakke?" at 0:29, for example, reflects faint desperation which I don't think I'd get from that section if it were sung by Eli or Nico. Similarly, I can't imagine either of those two being a stronger fit than Maki for the dubstep section from 1:22 to 1:33 due to the sharper tone of her voice. All of Maki's solo sections represent a marked improvement over her early performances; she is stronger technically across the board, and she has embraced her nasally upper range to make it work for her instead of against her.
• What differentiates Nico's performance in PSYCHIC FIRE from the other singles she has centered is the fact that she let loose vocally on this one. We already knew she could drive energetic songs through chants and raps, but until now she's never really done it with her singing. 1:45 - 1:56 is a section that requires a good amount of power - early Nico's vocals tended to falter and become inaccurate at this level. Current Nico handles it smoothly without shying away from the standard set by Eli's mirror section from 0:41 to 0:52. Additionally, her "Roma Romanesque de ne" reminds me a bit of the chorus of Mahoutsukai Hajimemashita! because of how she gets after the high notes. I think she does a much better job here reaching for the top of her range, staying in control of her voice, and smoothing out pitch progressions.
• Can you even imagine how loud the crowd will get after the explosion at 3:43? If any of you are attending the final live, I imagine you're in for a treat.

I haven't given my highest praise to many of Love Live's energetic dance tracks because I feel many of them use that energy to mask deficiencies in execution. PSYCHIC FIRE is an exception - the composition, the lyrics, and the vocals are all great, and no one of them overpowers the others (which is surprising given how impactful each of them are). Color me impressed; BiBi's last single is one that stands among the best not just in its own genre, but across all of Love Live.
And that's BiBi in a nutshell - shoutouts to cishets and all the commenters that have been promoting discussion in so many of these threads (Rhalia, Mariblankspace, Marsuello, the list goes on)! With this, I am now officially out of Love Live-related material for the time being, but I am always open to doing something new. If you liked this series and want to hear more of my opinions on things, feel free to leave a comment or send me a PM with what you want to see. Thanks for reading!

Previous Supplementaries	Date
Aqours	1/4
A-RISE	1/7
Printemps	1/16
lily white	1/29

BiBi is a subunit of µ's consisting of Eli, Maki, and Nico. They bridge the gap between Printemps and lily white in terms of their musical focus due in large part to the diverse styles of their three members.
BiBi Intros

• Eli - primer.
• Maki - primer.
• Nico - primer.

While Printemps focuses primarily on one theme (happy and/or cute songs) and lily white thrives on variety, BiBi does a bit of both: they focus on three distinct areas that highlight the strengths of each member. There are a few common denominators (ex. extensive synth/drum machine use), but typically the slow and emotional songs tend to feature heavy doses of Eli, the upbeat and energetic pop songs revolve around Nico, and the pop songs with electronic, hip-hop, and K-pop influences are Maki's forte. BiBi's music is thus unique in its ability to convey personality - a crowd-pleasing trait for fan-driven franchises like Love Live.
Diamond Princess no Yuutsu
The first track of BiBi's debut single is reminiscent of A-RISE's modern pop stylings with its strong electronic influences, prominent basslines, and funky guitar.

• Diamond Princess no Yuutsu is a great example of BiBi's three-headed approach. The stretch from 0:30 to 0:40 pretty much summarizes what that entails: Eli's voice is the most gentle, Nico's the most boisterous, and Maki's the most theatrical.
• Each of those qualities allows the girls to make unique contributions to the song's identity. Eli at 1:14 - 1:17, for example, makes me think the Diamond Princess isn't just some kid, but someone experienced in the game of romance.
• If Eli's vocals represent the Diamond Princess' feelings of love, Maki's represent her passion. Her comparatively aggressive and smoky vocals at 0:22, 0:38, 1:31, and 1:41 sound steeped in romantic desire.
• Nico's vocals subvert the romantic theme a bit. She takes more of a straightforward (i.e., not coy) approach than Eli and Maki at 0:19, 1:27, and 2:26, which makes her come off as less seductive. Maybe she represents the Princess' innocent and playful side?

BiBi quickly established the bulk of their image with Diamond Princess no Yuutsu. Its alluring and contemporary sound makes it a song befitting of the cool attribute subunit.
Love Novels
Love Novels features core electronic elements as well, but it fits more distinctly in the genre of bubblegum pop. It employs a Printemps-esque bouncy bassline/chiptune combo that is simulatenously lighthearted and energetic.

• BiBi is pretty big on interjection-style background vocals - the whole chorus is filled with them, and they actually switch them up between the choruses (ex. first "onegai" is said by Nico, the last by Eli).
• Eli's voice is one of the most consistent in µ's, so it's surprising to hear how different she sounds in Love Novels compared to other songs. She sounds like her typical self in her first solo from 0:39 to 0:45 (which I love the cadence of by the way), very soft and pretty with bright vowels. From 1:43 to 1:49, however, she goes a little deeper than normal and significantly tones down her usual vibrato. She goes high again at 1:56 but uses a rougher voice than the ultra-clean soft vocals from her first solo. I don't think this is a bad thing by any means, I just find it interesting that you normally know exactly what to expect from her, but she goes all over the place in one song and one song only.
• Like Love Marginal, Love Novels is one of those songs that I evaluate in two separate forms: the group version and the Maki solo version. I like both renditions, but they're worthy of separate recognition in my eyes because Maki's power breathes a different kind of life into the song. Comparing Eli's solo at 0:39 to Maki's at 1:50 is like apples and oranges: it's clear that they both do a great job, but they also take vastly different approaches to the song. I recommend giving a listen to Maki's solo mix if you think the song could do with a little more bite.
• First singles are always the ones you look back at to see how much each girl has improved - Love Novels is that song for Nico. At the time, she was much less of a proven quantity than Eli or Maki, so she was only given simple phrases like 0:32, 0:45, and 1:36. If this song was made post-2011, I think Nico would have been given a much larger role since we now know how much this kind of songs suits her.

Love Novels is by far the most lighthearted and peppy of BiBi's many pop ventures. It is a nice addition to their repertoire, as its simplicity and cheerful tone make it an easy song to bob your head to.
Cutie Panther
Deep EDM serves as the backbone to the fast-paced fan favorite Cutie Panther. The pounding bass and repetitive synth accents build energy and anticipation like the techno/rave classics of the 90's and early 00's.

• Cutie Panther is one of many of BiBi's songs to utilize Eli's mastery of the soft and delicate (0:40 - 0:42), but it is one of the few to focus more on her sensual and mature side (0:45 - 0:48, 0:52, 1:41 - 1:52, 2:04, 3:18 - 3:23). The latter resonates even during her rapid fire rap-like section at 3:12. It's a huge yet underappreciated part of her identity, so I'm glad at least one BiBi song highlights it to this extent.
• Though she technically first arrived a few months earlier in Wonderful Rush, the true emergence of Nico the rapper came in Cutie Panther. Out of all the bars she's ever done, 0:48 - 0:52 are my favorite because they are lightning fast but still very bright and well enunciated.
• Following a bit in the footsteps of Diamond Princess, Cutie Panther really established Maki as the go-to for songs with, ahem, sexually-charged vocals. The way she breaks up notes like "sonna" at 0:27 and "nai" at 0:30 is used pretty commonly in Western music for the same effect. Same with the way she hangs on the "zettai" during her equivalent rap solo from 2:03 to 2:07.

Cutie Panther mixes the fast and energetic beats of Nico-centric songs with the soft and seductive vocals of Maki-centric songs, creating a hybrid archetype that has proven to be one of the most popular in all of Love Live. For that reason alone, it should be near the top of any new BiBi listener's priority list; listen to how hype the live crowd gets when they bust it out.
Natsu, Owaranai De.
BiBi's first foray into the softer side of pop music is a rare example of R&B in Love Live. Like several other emotional LL songs (some of which will be mentioned later in this supplementary), the backing track is stripped down so as to emphasize the vocals for emotional impact; unlike those other songs, Natsu, Owaranai De. gets significant mileage out of things like vinyl scratches/rewinds and drum machine hip-hop beats.

• Even though Maki is the group's powerhouse, it's nice to hear her in a super mellowed-out role from time to time. Her voice is good in slow sections like the intro, but her technicality is directly proportional to the intensity of the section she's singing; that intro is mundane compared to 1:47 - 1:50, where she implements her strong vibrato.
• The softness of this song really illustrates how Nico's voice is BiBi's sweetest by far. Maki and Eli could be just as delicate if they sang her 0:19 solo, but I doubt they'd be able to reproduce the same innocent and youthful sound that Nico does. 1:51 - 2:03 is even better; I really like her "shinji teta yo" because of how it flows and how calmly she sings open vowels like the "yo". Additionally, I can hardly believe it's actually Nico singing at 2:00 - 2:03 because of how much stronger her pitch control is during those few seconds compared to any of the previous 3 songs.
• Natsu, Owaranai De. might as well be renamed The Eli Show. I've already talked about her solo at 0:32 at length because it's enough by itself to illustrate my point, but it's also just the tip of the iceberg. 1:24 - 1:37, particularly notes like "sae" at 1:32, is better for showing off her control at ultra-soft registers. 2:39 - 3:16 is ridiculous and probably one of the franchise's top 3 solos if not its single greatest. Two separate low/high sweeps on "yashashii" at 2:46 punctuated by a straight-shot "kioku ni" at 2:48. A beautifully powerful and climactic yet perfectly clear and vibrato'd "kawakanai hazu yo" at 2:56. Three different deliveries on similar notes (low/high on "dake" at 3:04, high/low on "iinoni" at 3:07, and high/higher "kimochi" at 3:12). And lastly, the best sweep/vibrato combo I've ever heard from the queen of vibrato herself with "hoshii" at 3:14. Eli made an undeniable statement with this solo - a statement that sounds like candy to my ears.

Despite featuring softer voices and instruments than each of the previous entries, Natsu Owaranai De. carries BiBi's signature style and swagger. This is a good starting point for those of you looking for a slow tune with a modern twist, and a great one for those of you looking for a 10/10 Eli performance.
Fuyu ga Kureta Yokan
And here's a good follow-up - Fuyu ga Kureta Yokan is more upbeat (but still slow) pop jam that is lighter on the R&B elements than Natsu, Owaranai De. and heavier on the electronic ones. The instrumentation, including the electronic bits, is generally distortion-free, creating a pleasantly clean and unfiltered sound.

• Remember how Maki turns up the technicality for dramatic vocals? 0:51 - 1:01 reminds me of that solo in Natsu, Owaranai De. because of how she pulls off a contrast between the powerful "yokatta" at 0:54 and the graceful "deru no" at 0:59. She adds other small, flavorful details to her notes throughout the song, like the vibrato on the "ku" at 2:27, the rolled r of the "gereba" at 2:31, and the falsetto on "sugu" at 2:54.
• Eli's genre expertise is immediately evident, as her voice is the dominant one during the intro harmonies. Her solos are also as solid as you'd expect, and she includes the same little details that Maki does in her solos (rolled r at 0:33, falsetto on "sugu" at 1:02). That's some pretty consistent sound direction.
• I like Nico's perky solo vocals at 2:44, but I like her droning background vocals at 4:32 even more. Eli and Maki's bright and layered lead vocals contrast with Nico's subdued and monotone delivery, and the combination of both styles represents two sides of the same emotion: the lovesickness that you can outwardly express and the lingering sadness that you keep inside.

If you wanted something lowkey but a little more poppy than Natsu, Owaranai De., Fuyu ga Kureta Yokan is just that. If you play on EN, you can just open up LLSIF until they decide to change the start screen.
Trouble Busters
Trouble Busters follows in the footsteps of Nico's solo singles, using catchy synth and deep, driving bass to highlight her bright and playful voice. This simple, unobtrusive backing track is paired with hype-man style background vocals, making for an energetic song without the need for brute forcing the pace.

• Eli and Maki play essential roles in providing hype and occasional solo vocals, but Trouble Busters is all about Nico from top to bottom. From an instrumental perspective, the synth riff is bubbly and highly infectious in typical Nico fashion. Lyrically, the song is pretty silly and includes phrases like "Nico Nico Smile" and everyone yelling "NICO!" in the background. The most noteworthy part, however, is at 2:35 when Nico gets the most unique center stage moment in Love Live! with her rap bridge. She incorporates some alliteration and assonance on top of solid flow and, most importantly, gets the people going. The sheer absurdity of this section (and Trouble Busters as a whole, really) caught me off guard at first, but it's definitely the song's greatest strength.

There is no song in the Love Live! discography quite like Trouble Busters. BiBi went all in with the unique vocals and rap sections, becoming one of the first LL songs written primarily for live viewing.
Silent Tonight
Silent Tonight is a unique case considering it is BiBi's only track that doesn't feature electronic influence. Instead, it borrows primarily from jazz music, making for a clean and relaxed sound that distinguishes it from other emotional BiBi songs.

• Silent Tonight reminds me of the best parts of Aishiteru Banzai! and Futari Happiness. The swingy, piano-driven sound is definitely BiBi's most gentle and elegant, and it makes me wish BiBi had a few more songs in this style. Each girl's voice meshes with the piano in different yet compelling ways: take the outro from 4:40 onwards, for example. No other BiBi song has a harmony that sounds quite like it, yet it is one of the most beautiful they've ever done.
• Maki's upper range is pushed in this song and her performance is up and down (but still overall positive) as a result. Compare her intro solo to 3:48 - 3:59; the latter is still high pitched but a little more forceful and thus more situated in Maki's comfort zone. Both sections are pretty technical though - her "kara" at 0:29 is an example of her clear and accurate vibrato which sometimes get hidden in the songs that aren't slowed down to this extent. 3:23 - 3:29 has a couple additional examples of that same idea.
• Part of reason Eli is so good at slow songs like Silent Tonight is how strong and precise she can be even when singing softly. In sections like 0:51 - 1:01, she maintains complete pitch control using her soft voice, whereas most other girls are most accurate when going all out. 3:35 - 3:47 and 4:05 - 4:13 are the same way: accurate, powerful, and nicely accented with vibrato.
• When you strip away all of the bubbliness and energy, Nico's voice takes on a mostly warm tone. To me it actually sounds strikingly similar to Nozomi's at times, namely "kara" at 0:48 and "dakishimete agetai to" at 2:29. It's a side of Nico we don't get to see often, which is unfortunate because I dig her style in songs like this and Natsu, Owaranai De.

Despite being a group that typically thrives on modern style and musical flair, BiBi proves the timelessness of a bare, all-natural sound with Silent Tonight. The lack of stress and tension in their music and vocals makes for an experience that is calming and relaxing but also strongly emotional.
Saitei de Saikou no Paradiso
Lantis tends to get creative when it comes to special releases, and Saitei de Saikou no Paradiso is no exception. Like the other pre-release movie singles (MUSEUM de Dou Shitai? and Otohime Haato de Rabu Kyuuden), it features smart direction and a distinct sound that you won't find on any other LL track.

• I have to retract the statement I made in lily white's supplementary where I declared Otohime Haato de Rabu Kyuuden the undisputed best backing track in Love Live! - Saitei's is 1b. Its intro is incredibly intense, grabs your attention instantly, and does a great job setting the stage for BiBi's in-your-face style and vocals. The first verse is pretty fresh too, but the second verse takes it to another level through sheer spontaneity: it starts out extra slow post-chorus at 1:53, amps up the theatrics with the organ trill at 2:03, and brings us back to familiar territory while changing up the pre-chorus formula with the swingy uptempo beat change at 2:09. And while all these things are great, my absolute favorite part of the composition is in the vocals. At 3:27, they go high on the "ni" and higher on the "su" even though they drop low on the latter syllable in the first two choruses. I guess it doesn't sound like much, but I think it's a beautiful and dramatic little detail that adds pizzazz to the conclusion of the song (along with another neat drum fill at 3:35).
• This song features some real good ranges for all three girls. Eli gets to work the middle and upper ends of the spectrum, showing off some mezzo (0:35 - 0:41 + bonus exhale at 0:42, 0:51 - 0:57), soprano (3:11 - 3:14), and the area between (2:08 - 2:23). These solos are all expressive and littered with dynamics, and their overall tone fits Eli's style to a T. It's fascinating to see how a singer as talented as Eli has still noticeably improved technically and stylistically over the years.
• Nico's sections do a good job honing the natural warmth and brightness in her relaxed voice. It's particularly audible in her extended vowels in sections like 0:58 - 1:06 and 2:00 - 2:07, but it's also present when she gets a bit more aggressive from 3:18 - 3:23.
• I really like a number of Maki's sections in this song, including 1:07 - 1:13 and 1:53 - 2:01, but I LOVE her in this chorus. I've said a number of times that I think she is best in the mid-high range with strong and dramatic instrumentation to maximize the natural intensity of her voice. Saitei's chorus is exactly that, and the result is fantastic - her "bouken wa kiken na ruuru de fui no fantasy" at 1:29 and "hohoemi de zankoku ni subete dakishimete" at 2:39 are perfection. Like I said in her primer, Maki being on her game makes for incredible moments, and this song is a testament to that.

Saitei de Saikou no Paradiso succeeds because it is a refreshing change of pace that doesn't neglect the musical elements or personality traits that define BiBi as a subunit. It's what BiBi is all about: moments of intensity and hype punctuated at times by playfulness and at other times by drama and passion. This song is quickly rising up my list of favorites.
Sakkaku CROSSROADS
Sakkaku CROSSROADS represents an evolution in the BiBi emotional sound, taking influence from jazz, disco, and Latin in addition to the standard contemporary pop. Although Eli is usually the center on slower tracks like this one, Maki's assumption of the role further illustrates how BiBi has changed and improved over the years. (Side note: fun fact, each of the subunits wore the cover outfits from their first singles for their last ones as well.)

• The song feels like a crossover between two other subunit songs, MUSEUM de Dou Shitai? and Omoide Ijou ni Naritakute, with funky muted guitar like the former and castanets like the latter.
• Slow numbers like Sakkaku CROSSROADS provide the best musical contrast for Maki's power and vibrato. The song sets her up for a number of spotlight moments, such as her "sakkaku shiteta" at 0:12 and her solo at 3:46. Both times the accompaniment is toned down so as to focus all attention on Maki's voice, and she comes through beautifully with satisfying power and elegant vibrato. Power has always been her trump card, but sections like 1:06 (which also features unexpectedly gorgeous tandem background vocals from Eli and Nico) show that she now has the ability to nail soft solos equally well.
• Nico is most consistent in soft registers and this song, like Silent Tonight, has plenty of them. 0:34 - 0:48 features some pretty good soft notes with "dato" and "yo ne". 2:14 - 2:29 is more dynamic with strong "yo"s at 2:16 and 2:20. 3:32 - 3:38 doesn't even sound like Nico at times like the "hanasu no wa". These sections work because Nico does not overextend her range in any of them, allowing her to avoid the pitch control problems she had trouble with in the early years.
• To the surprise of no one, Eli is in her element throughout the entire song. The cream of the crop are the "watashi ni wa" and "katta yo" in her 0:50 - 1:04 solo and the "wakatte yo" in her 3:38 - 3:45 solo. These parts (especially the latter) stand out as dead accurate even though the rest of the song sounds plenty crisp as it is.

I'm conflicted when it comes to Sakkaku CROSSROADS. On one hand, I appreciate how it adds diversity to BiBi's repertoire; on the other, I like the identity BiBi established for themselves by sticking to their formula. What I do know is that it is smooth, stylish, and a nice gift for fans who want a taste of the old school.
PSYCHIC FIRE
Whereas Sakkaku CROSSROADS is an exploration of new musical territory, PSYCHIC FIRE is a refinement of an already-proven formula. It takes the prominent features of Nico singles (catchiness, high energy, and a steady bass-driven beat), amplifies them, and adds new twists like dubstep and EXPLOOOOSIONS to create an exciting musical experience.

• The background vocals of this song were written with complete self-awareness. Maki's "imi wakannai", Eli's "harasho", the group's "Nico"/"Maki"/"Elichika" and "hoo-ah hoo-ah" during the chorus: these are just a few examples of the many bits of fanservice BiBi threw in there to get crowds excited to sing along during a live show. We've seen other songs like Love Novels do something similar, but none of them are as densely-packed and exciting as PSYCHIC FIRE. BiBi really knows their audience, and it shows in their songwriting.
• Speaking of background vocals, 0:30 and 1:33 are great. Even though the first halves are hard to hear over the bass in both cases ("koko wa doko"/"maboroshi kai" respectively), the higher pitched second halves layer nicely underneath the deeper and more emphatic lead vocals during those sections.
• Eli's performance is quality as usual, but the real beauty of it is how she refrains from using the absolute upper part of her range. 0:41 - 0:52 is probably the section that best illustrates my point: in other songs, Eli tends to go super high at the ends of note progressions to squeeze every little bit of emotional impact out of them that she can. She goes high here too, but she reins it in a bit at the "yoru" at 0:44 and "illusion" at 0:51, building tension for the chorus without overwhelming an already powerful and saturated beat.
• Maki's high notes are vital to this song's identity, adding some necessary attitude and punch to contrast with the lighter vocals of the other two girls. Her "koko wa doko? doko dakke?" at 0:29, for example, reflects faint desperation which I don't think I'd get from that section if it were sung by Eli or Nico. Similarly, I can't imagine either of those two being a stronger fit than Maki for the dubstep section from 1:22 to 1:33 due to the sharper tone of her voice. All of Maki's solo sections represent a marked improvement over her early performances; she is stronger technically across the board, and she has embraced her nasally upper range to make it work for her instead of against her.
• What differentiates Nico's performance in PSYCHIC FIRE from the other singles she has centered is the fact that she let loose vocally on this one. We already knew she could drive energetic songs through chants and raps, but until now she's never really done it with her singing. 1:45 - 1:56 is a section that requires a good amount of power - early Nico's vocals tended to falter and become inaccurate at this level. Current Nico handles it smoothly without shying away from the standard set by Eli's mirror section from 0:41 to 0:52. Additionally, her "Roma Romanesque de ne" reminds me a bit of the chorus of Mahoutsukai Hajimemashita! because of how she gets after the high notes. I think she does a much better job here reaching for the top of her range, staying in control of her voice, and smoothing out pitch progressions.
• Can you even imagine how loud the crowd will get after the explosion at 3:43? If any of you are attending the final live, I imagine you're in for a treat.

I haven't given my highest praise to many of Love Live's energetic dance tracks because I feel many of them use that energy to mask deficiencies in execution. PSYCHIC FIRE is an exception - the composition, the lyrics, and the vocals are all great, and no one of them overpowers the others (which is surprising given how impactful each of them are). Color me impressed; BiBi's last single is one that stands among the best not just in its own genre, but across all of Love Live.
And that's BiBi in a nutshell - shoutouts to cishets and all the commenters that have been promoting discussion in so many of these threads (Rhalia, Mariblankspace, Marsuello, the list goes on)! With this, I am now officially out of Love Live-related material for the time being, but I am always open to doing something new. If you liked this series and want to hear more of my opinions on things, feel free to leave a comment or send me a PM with what you want to see. Thanks for reading!