adaptations
“The art of life lies in a constant readjustment to our surroundings.”
— Kakuzo Okakura
with our development of ana volkova’s bonus tracks, how “her” bonus track adaptations are fundamentally new songs inspired by the originals “she” loves, we wanted to do the same with songs from our own playlists, but with a twist.
the album title, “adaptations” embodies more than just a response to external challenges – it’s a reflection of the active, deliberate process of transformation and empowerment. for marginalized groups, “adapting” isn’t about simply surviving or making do with what’s handed to them. instead, it’s about reclaiming agency, asserting autonomy, and shaping their own destinies with resilience and purpose.
“adaptations” speaks to the idea of evolution, where communities not only adjust to changing circumstances but also actively shape their environments, re-imagine cultural legacies, and create systems that are just, sustainable, and grounded in their values. this title symbolizes a profound shift: these groups are not merely reacting but are deeply organizing, fostering solidarity, and cultivating long-lasting roots in the face of adversity.
their futures aren’t dictated by external forces but are instead self-determined, embedded in the principles of equity, sustainability, and cultural revival. the album, through this lens, becomes both a tribute to and a call for these transformations, celebrating how marginalized voices are laying the groundwork for future generations to thrive.
often misinterpreted as a song of alienation and self-loathing, creep resonates deeply with the lgbtqia+ community, where societal rejection and internalized shame have long been imposed. but within this cover, there’s an adaptation—not just in style, but in meaning. the song becomes a reclamation: of difference, of not fitting in, of queerness as power rather than defect. by adapting creep, this community refuses invisibility, instead embracing identity as beauty and strength. it’s a song that speaks to all who’ve felt like outcasts and turns the language of rejection into a quiet anthem of defiance.
[verse 1]
quand tu étais là,
je n’osais pas croiser ton regard
tu es comme un ange,
ta peau me fait pleurer quelque part
tu flottes comme une plume
dans un monde merveilleux
j’aimerais être spécial,
toi, tu es tellement précieux
[chorus]
mais je suis un monstre,
je suis un bizarre
qu’est-ce que je fous ici,
c’est trop bizarre?
je n’ai pas ma place ici,
c’est trop bizarre?
[verse 2]
je m’en fiche si ça fait mal,
je veux avoir le contrôle,
je veux un corps parfait,
je veux une âme sans égale.
je veux que tu remarques,
quand je ne suis pas là,
tu es tellement spécial,
j’aimerais l’être, moi aussi, voilà.
[chorus]
mais je suis un monstre,
je suis un étrange,
qu’est-ce que je fous ici,
je n’ai pas ma place, c’est étrange.
oh-oh, oh-oh
[bridge]
elle court vers la porte,
elle s’en va,
elle court,
court,
court,
court,
court !!!
[outro]
tout ce qui te rend heureux,
tout ce que tu veux,
tu es tellement spécial,
j’aimerais l’être, moi aussi, c’est vrai.
mais je suis un monstre,
je suis un étrange,
qu’est-ce que je fous ici,
je n’ai pas ma place, c’est étrange.
je n’ai pas ma place ici,
je n’ai pas ma place ici.
the haunting stillness of something in the way reflects the historical silencing and erasure of indigenous peoples—yet in this reinterpretation, that stillness becomes sacred, ancestral, and resilient. adaptation here is not assimilation, but resurgence. it mirrors indigenous communities who’ve maintained cultural knowledge, languages, and sacred traditions beneath the “surface” of mainstream culture. their presence isn’t passive—it’s enduring, rooted, and rising. this song embodies the quiet power of survival and the spiritual depth of indigenous resistance, and it calls listeners to hear what colonization tried to bury.
[verse]
ožáte kiŋ šíyutȟaŋpi él, wičháȟpi kiŋ čhél iyéya
na wakȟáŋȟeža kiŋ mákȟačheča, mitȟáwa kiŋ hečápi
na pȟežúta wašté čha waŋbláke, hél iyéya wačhíŋ
hoǧáŋ wašté šni yo, lečhála wakȟáŋni
[chorus]
šuŋgmánitu kiŋ heháŋ, mmm
šuŋgmánitu kiŋ heháŋ, yeah, mmm
šuŋgmánitu kiŋ heháŋ, mmm
šuŋgmánitu kiŋ heháŋ, yeah, mmm
šuŋgmánitu kiŋ heháŋ, mmm
šuŋgmánitu kiŋ heháŋ, yeah, mmm
[verse]
ožáte kiŋ šíyutȟaŋpi él, wičháȟpi kiŋ čhél iyéya
na wakȟáŋȟeža kiŋ mákȟačheča, mitȟáwa kiŋ hečápi
na pȟežúta wašté čha waŋbláke, hél iyéya wačhíŋ
hoǧáŋ wašté šni yo, lečhála wakȟáŋni
[chorus]
šuŋgmánitu kiŋ heháŋ, mmm
šuŋgmánitu kiŋ heháŋ, yeah, mmm
šuŋgmánitu kiŋ heháŋ, mmm
šuŋgmánitu kiŋ heháŋ, yeah, mmm
šuŋgmánitu kiŋ heháŋ, mmm
šuŋgmánitu kiŋ heháŋ, yeah, mmm
šuŋgmánitu kiŋ heháŋ, mmm
šuŋgmánitu kiŋ heháŋ, yeah, mmm
mad world captures the disorientation, loneliness, and surrealism of being displaced—a reality familiar to immigrants navigating unfamiliar landscapes and often hostile systems. in adapting this song, it becomes more than a reflection of alienation; it becomes a challenge to the systems that enforce borders—literal and metaphorical. immigrants have long adapted by building bridges between cultures, reshaping identities, and creating hybrid spaces that defy nationalist binaries. this track becomes a shared language for anyone who’s felt invisible, unmoored, or “different,” making it universal in its ache and its hope.
[verse 1]
a mi alrededor, los mismos rostros,
lugares tristes, pasos rotos.
van temprano a su carrera diaria,
sin un destino, sin esperanza.
y sus lágrimas llenan sus copas,
sin emociones, almas rotas.
escondo el rostro, ahogo mi pena,
sin un mañana, sin más promesas.
[chorus]
y me resulta algo gracioso,
pero a la vez, es doloroso.
los sueños donde estoy muriendo
son los mejores que recuerdo.
no sé decirlo, no sé explicarlo,
me cuesta mucho soportarlo.
la gente gira sin cesar,
es un mundo tan, tan
irreal,
irreal,
irreal,
irreal.
[verse 2]
niños sueñan con sentirse plenos,
feliz cumpleaños, feliz cumpleaños.
crecer sin miedo, como algo bueno,
sentarse y oír, sentarse y oír.
fui a la escuela, temblaba entero,
nadie me hablaba, nadie sincero.
“hola, maestro, ¿cuál es la lección?”
mira a través, sin dar atención.
[chorus]
me resulta algo gracioso,
pero también es doloroso.
los sueños donde voy a morir
son lo mejor que pude vivir.
no sé decirlo, me cuesta hablar,
no es tan fácil de soportar.
la gente gira sin dirección,
es un mundo tan, tan
cruel,
cruel,
cruel,
cruel.
[interlude]
[chorus]
me parece algo irónico,
y a la vez, melancólico.
los sueños donde he de morir
son lo mejor que pude vivir.
no sé decirlo, me cuesta hablar,
no es tan fácil de soportar.
la gente gira sin avanzar,
es un mundo tan, tan
cruel,
cruel,
mundo irreal,
cruel.
this song’s provocative question—“what if god was one of us?”—confronts the hypocrisy and prejudice often directed at religious minorities in a nation where dominant faiths hold disproportionate power. adapting this track is a spiritual reclamation, giving voice to communities whose faiths have been demonized, exoticized, or legislated against. the track speaks to the sacredness of every path and every person, no matter how unfamiliar to the mainstream. its relevance echoes across all groups forced to justify their humanity and beliefs in the face of systemic suspicion or disdain.
[verse 1]
en alāhā hawā leh shmā, manā hawā?
w’hawāyt qarā leh l-qdamoh?
en hawāyt qadmōhī b’kol shuwbḥeh?
manā hawāyt shā’el en hawāyt lakh shāltā ḥdā?
[pre-chorus]
ein, ein, alāhā rab
ein, ein, alāhā ṭāb
ein, ein, ein, ein, ein
[chorus]
manā en alāhā hawā khad minan?
pashqilāyā akh khad minan?
nukhrāyā b’markabtā?
d’mnasā l’baytēh?
[verse 2]
en alāhā hawā leh āpā, manā hawā dmōthā dīleh?
w’hawāyt ṣāb l’mekhzeh?
en mekhziyā m’sabbrā d’lā mehemnūt bā
b’millān kāmo shamayā w’yeshū w’qaddīshē – w’kol nebīyē?
[pre-chorus]
ein, ein, alāhā rab
ein, ein, alāhā ṭāb
ein, ein, ein, ein, ein
[chorus]
manā en alāhā hawā khad minan?
pashqilāyā akh khad minan?
nukhrāyā b’markabtā?
d’mnasā l’baytēh?
[bridge]
b’shīrā l’baytēh,
w’ḥzēt b-shamāyā wāḥdā
lā ḥad qārīn b-telephōnā
ēlā b-pāpa, mabe b-rūmā
[pre-chorus]
ein, ein, alāhā rab
ein, ein, alāhā ṭāb
ein, ein, ein, ein, ein
[chorus]
manā en alāhā hawā khad minan?
pashqilāyā akh khad minan?
nukhrāyā b’markabtā?
d’mnasā l’baytēh?
b’shīrā l’baytēh,
k’mā ḥajīrā qadīshā d-ḥarām
w’ḥzēt b-shamāyā wāḥdā
b’shīrā l’baytēh
[outro]
lā ḥad qārīn b-telephōnā
ēlā b-pāpa, mabe b-rūmā
originally a lament, mercy mercy me becomes an urgent hymn for frontline environmental justice communities—often bipoc, rural, or low-income—who face the brunt of ecological degradation. these communities adapt by organizing for clean air, water, and land—not as abstract ideals but as necessities for survival. this version of the song speaks from the ground up, echoing the cries of poisoned rivers and scorched earth, while also spotlighting the regenerative solutions emerging from those most impacted. the song connects all of us to the truth that environmental harm isn’t evenly distributed—and neither is resilience.
verse 1
woah-oh, oh, bàmmeel, bàmmeel maa
waaw, yooni nañu te du yooni
fii la ngir xel yi diis?
bëgg naa jàmm ak wàlluwaay ñu ngi soppé ci ndëgg
verse 2
(fa) woah-oh, bàmmeel, bàmmeel maa (ah, bàmmeel)
waaw, yooni nañu te du yooni (xam naa xel yi)
aji wóor ak ndox ngir njàmbaar ak bu rëy
tëdd yi ñu tollu ci xel yi (xam naa, xam naa, baax na)
verse 3
oh, oh, oh, bàmmeel, bàmmeel maa (aay, xam naa, bàmmeel)
waaw, yooni nañu te du yooni (xam naa, xam naa, xel yi)
bëggu yëngu ci kaw màngor, réew ba ca biy am
ay jëfandikoo yi, fukki mbir yi ñu ngi rëy ci kaw yoon
verse 4
oh, bàmmeel, bàmmeel maa (aay, xam naa, bàmmeel)
waaw, yooni nañu te du yooni
bëggul na aji wóor fi ngay jëfandikoo? (bëgg naa, xam naa, te yendoo)
na nga jàmm ci ndëgg ay wàllu aji wóor
outro
oooh, oooh, oh, no no, na na na na
ma loolu, na na na
ma, ma loolu, ma loolu
soppi!
fight the power remains a timeless declaration of resistance, especially for black, indigenous, and other communities of color who face intersecting oppressions. the adaptation of this track isn’t just a remix—it’s a reaffirmation that the fight continues, but it’s evolving. with each generation, the tools, language, and strategies of liberation sharpen. the song becomes a transhistorical link between past and present struggles, a soundtrack to movements that demand equity, representation, and justice. and in doing so, it speaks to any group standing up against systemic power, making solidarity its true chorus.
[verse 1]
2025 the number, another cruel summer (stand up)
sound of the fascist drummer
marchin’ in your town with a bible and a gavel
rippin’ up your rights while they televise the battle
listen if you hear me y’all, dark clouds fillin’
billionaires write laws while they kill free willin’
project 2025, that’s the name of the plan
wanna purge the deep state, take power from the land
ban abortion, silence speech, fill the courts with the zealots
take the schools, erase the books, feed the kids their pellets
christian nationalism pushin’ out the facts
they want us scared, uninformed, and beaten till we crack
gotta rise, gotta speak, gotta march in the street
‘cause our freedom of choice is now freedom to bleed
ain’t no neutrality when justice is denied
we fight the power or we let the dream die
[chorus]
(let me hear you say)
fight the power! (don’t stay quiet—)
fight the power! (you gotta riot—)
fight the power! (let your voice rise—)
fight the power! (no compromise!)
fight the power! (freedom ain’t free—)
fight the power! (not just for me—)
fight the power! (it’s for the people, all!)
we’ve got to fight the powers that be (fight!!!)
[verse 2]
thomas jefferson wouldn’t be on board whttps://youtu.be/4FLl_8VEz-4ith this
the founders warned of tyrants, yet here they sit
elvis, john wayne? still symbols of the lie
whitewashed heroes while the rest of us die
most of my legends were never on stamps
they were in jail, in chains, or under lamps
harriet, malcolm, sylvia, stone
gave their lives so we could own our own
but now the rich run the court, sell fake salvation
while democracy dies in litigation
no more roe, no more pride
no more dream, just genocide
if you silent now, then you side with them
time to flood the streets and burn the hymns
from the border to the burbs, we scream and cry:
power to the people—do or die!!!
[chorus]
(let me hear you say)
fight the power! (don’t stay quiet—)
fight the power! (you gotta riot—)
fight the power! (let your voice rise—)
fight the power! (no compromise!)
fight the power! (freedom ain’t free—)
fight the power! (not just for me—)
fight the power! (it’s for the people, all!)
we’ve got to fight the powers that be (fight!!!)
[verse 3]
trump was a hero to some, but he—
trump was a hero to few—
trump is hero at all, and he never meant shit to me
straight-up fascist, plain as day, built on white supremacy
project 2025’s the play, to end democracy
motherfuck heritage and musk’s sick fantasy
’cause i’m woke and aware, i resist, i prepare,
most of my heroes got raided or locked up somewhere
check the past, see the pattern repeat—
jim crow in a suit, boots back on our necks in the street
“freedom” now a codeword for the billionaire elite
banning books, busting unions, and killing the heat
desantis dreams of gilead, watts wants the handmaid’s tale
if i ain’t yellin’ now, i’m complicit in their sale
so let’s get this uprising started right
right now, unite, ignite
what we got to say?
power to the people—fight back every day
make ‘em all see,
in order to fight the powers that be
[chorus]
(let me hear you say)
fight the power! (don’t stay quiet—)
fight the power! (you gotta riot—)
fight the power! (let your voice rise—)
fight the power! (no compromise!)
fight the power! (freedom ain’t free—)
fight the power! (not just for me—)
fight the power! (it’s for the people, all!)
we’ve got to fight the powers that be (fight!!!)
[bridge]
what we got to say? (yeah)
defy the system (y-y-yeah)
what we got to say? (yeah)
love conquers all (come on)
replace the system (no delay)
with equality for all (every day)
[chorus]
(let me hear you say)
fight the power! (don’t stay quiet—)
fight the power! (you gotta riot—)
fight the power! (let your voice rise—)
fight the power! (no compromise!)
fight the power! (freedom ain’t free—)
fight the power! (not just for me—)
fight the power! (it’s for the people, all!)
we’ve got to fight the powers that be (fight!!!)
tori amos’ haunting ballad becomes a testimony for women whose voices have been suppressed—whether by patriarchal systems, abortion bans, or cultural taboos. in this adaptation, silence transforms into speech, vulnerability into protest. the track resonates with all those fighting for bodily autonomy and self-definition. it asks: what happens when the silenced speak? the song’s power lies in its intimacy, its truth-telling, and its slow-burning defiance—qualities shared across movements that seek to reclaim agency over the most fundamental aspects of identity and life.
[chorus]
何年も沈黙していた
でも今はもう聞こえてる？
私の声が、私の心が
何年も沈黙していた
[verse 1]
私の中の声が言うの
「これがあなたの人生、彼に渡さないで」
私は目をそらして微笑むだけ
ただの女の子でいたいと思ったの
でもあなたは私を触れて、私を壊した
でもまだ私はここにいる、黙って見つめていた
[chorus]
何年も沈黙していた
でも今はもう聞こえてる？
私の声が、私の心が
何年も沈黙していた
[verse 2]
あなたのために小さくなっていた
愛されるために、折れていた
でも私の中の炎は消えていなかった
私の身体も、心も、すべて
もう誰にも奪わせない
[chorus]
何年も沈黙していた
でも今はもう叫んでる
これが私、これが私の声
何年も沈黙していた
[bridge]
机の下に隠れてた
大きな世界に怯えて
でも今は言える
私も、生きていていいのだと
[chorus]
何年も沈黙していた
でも今はもう聞こえてる？
私の声が、私の心が
何年も沈黙していた
[chorus]
何年も沈黙していた
でも今はもう聞こえてる？
私の声が、私の心が
何年も沈黙していた
[chorus]
何年も沈黙していた
でも今はもう聞こえてる？
私の声が、私の心が
何年も沈黙していた
[chorus]
何年も沈黙していた
でも今はもう聞こえてる？
私の声が、私の心が
何年も沈黙していた
[outro]
静かだった、でも終わりにする
私の名前を、私の歌を
響かせるの
もう、黙らない
often tokenized or expected to “overcome” their disabilities for inspiration, disabled people are reclaiming strength on their own terms. stronger in this context doesn’t celebrate resilience as individual grit alone, but as collective survival in an ableist world. the adaptation of this pop anthem becomes an assertion of worth without conditions. it’s a celebration of adaptive technologies, mutual aid, crip culture, and the rejection of a medicalized gaze. this version of stronger sings not only for the disabled, but for all who’ve had to redefine strength through community and care.
[verse 1]
أنتَ تعرف أن السرير يبدو أكثر دفئًا
عندما أنام هنا وحدي (أنام هنا وحدي)
أنتَ تعرف أنني أحلم بالألوان
وأفعل ما أريد (أفعل ما أريد)
[pre-chorus]
تظن أنك انتصرت عليّ
وتظن أن ضحكتك الأخيرة كانت لي
أراهن أنك تعتقد أن كل شيء جميل قد انتهى
تظن أنك تركتني محطمًا
وتظن أنني سأعود إليك راكضًا
حبيبي، أنت لا تعرفني، لأنك مخطئ تمامًا
[chorus]
ما لا يقتلك يجعلك أقوى
قِف أكثر شموخًا
هذا لا يعني أنني وحيد عندما أكون بمفردي
ما لا يقتلك يصنع منكَ مُقاتلًا
وخطواتك تصبح أخف
هذا لا يعني أنني انتهيت لأنك رحلت
ما لا يقتلك يجعلك أقوى، أقوى
أنا، ونفسي، وأنا فقط
ما لا يقتلك يجعلك أقوى
قِف أكثر شموخًا
هذا لا يعني أنني وحيد عندما أكون بمفردي
[verse 2]
سمعتَ أنني بدأت من جديد مع شخصٍ آخر
قالوا لك إنني تجاوزتك ومضيتُ قدمًا
[pre-chorus]
لم تتوقع أنني سأعود
سأعود وأنا أقاتل بكل قوة
حاولت أن تحطمني، لكن كما ترى…
[chorus]
ما لا يقتلك يجعلك أقوى
قِف أكثر شموخًا
هذا لا يعني أنني وحيد عندما أكون بمفردي
ما لا يقتلك يصنع منكَ مُقاتلًا
وخطواتك تصبح أخف
هذا لا يعني أنني انتهيت لأنك رحلت
ما لا يقتلك يجعلك أقوى، أقوى
أنا، ونفسي، وأنا فقط
ما لا يقتلك يجعلك أقوى
قِف أكثر شموخًا
هذا لا يعني أنني وحيد عندما أكون بمفردي
[bridge]
بفضلك، بدأتُ شيئًا جديدًا
بفضلك، لم أعد مكسور القلب
بفضلك، بدأتُ أخيرًا أفكر في نفسي
أنتَ تعلم، في النهاية، كان يوم رحيلك هو بداية حياتي
في النهاية
[chorus]
ما لا يقتلك يجعلك أقوى
قِف أكثر شموخًا
هذا لا يعني أنني وحيد عندما أكون بمفردي
ما لا يقتلك يصنع منك مُقاتلًا
وخطواتك تصبح أخف
هذا لا يعني أنني انتهيت لأنك رحلت
ما لا يقتلك يجعلك أقوى، أقوى
أنا، ونفسي، وأنا فقط
ما لا يقتلك يجعلك أقوى
قِف أكثر شموخًا
هذا لا يعني أنني وحيد عندما أكون بمفردي
ما لا يقتلك يجعلك أقوى، أقوى
أنا، ونفسي، وأنا فقط
ما لا يقتلك يجعلك أقوى
قِف أكثر شموخًا
هذا لا يعني أنني وحيد عندما أكون بمفردي
عندما أكون بمفردي
a biting critique of class stratification, lennon’s song resonates anew in the era of gig economies, union busting, and corporate greed. for workers reclaiming dignity and demanding fair wages, the adaptation of working class hero becomes a quiet anthem for rebellion and self-worth. it’s a song that calls out the manipulation and exploitation ingrained in modern labor systems while insisting on the humanity of every worker. its message cuts across identities and speaks to anyone struggling under systems designed to dehumanize and divide.
[verse 1]
cho luath ’s a thèid do bhreith, bheir iad ort faireachdainn beag,
le bhith a’ toirt dhut gun ùine, an àite a h-uile càil.
gus am bi am pian cho mòr, nach eil thu a’ faireachdainn dad idir.
[chorus]
’s e gaisgeach na cloinne-obrach rudeigin ri bhith,
’s e gaisgeach na cloinne-obrach rudeigin ri bhith.
[verse 2]
bheir iad goirteachadh ort aig an taigh, is buillean san sgoil,
tha iad gad chur às ma tha thu glic, is gad nàrachadh ma’s gòrach thu.
gus am bi thu cho craicte ‘s nach urrainn dhut eadhon na riaghailtean aca leantainn.
[chorus]
’s e gaisgeach na cloinne-obrach rudeigin ri bhith,
’s e gaisgeach na cloinne-obrach rudeigin ri bhith.
[verse 3]
nuair a tha iad air do chràdh is do chuir fo eagal fad fichead bliadhna ’s barrachd,
an uairsin tha dùil aca gun tagh thu dreuchd,
ged nach urrainn dhut obrachadh ceart, cho làn eagal ’s a tha thu.
[chorus]
’s e gaisgeach na cloinne-obrach rudeigin ri bhith,
’s e gaisgeach na cloinne-obrach rudeigin ri bhith.
[verse 4]
cumaidh iad thu air do mhealladh le creideamh, gnè is tbh,
agus smaoinicheas tu gur e duine glic, saor, gun chlas a th’ annad,
ach ’s ann fhathast a tha thu nad fhèirich, cho fad ’s as urrainn dhomh fhaicinn.
[chorus]
’s e gaisgeach na cloinne-obrach rudeigin ri bhith,
’s e gaisgeach na cloinne-obrach rudeigin ri bhith.
[verse 5]
tha iad fhathast ag ràdh gu bheil àite aig a’ mhullach,
ach an toiseach feumaidh tu ionnsachadh mar a nì thu gàire fhad ’s a tha thu a’ marbhadh,
ma tha thu airson a bhith coltach ris na daoine air a’ chnoc.
[chorus]
’s e gaisgeach na cloinne-obrach rudeigin ri bhith,
’s e gaisgeach na cloinne-obrach rudeigin ri bhith.
[chorus]
’s e gaisgeach na cloinne-obrach rudeigin ri bhith,
’s e gaisgeach na cloinne-obrach rudeigin ri bhith.
[outro]
ma tha thu airson a bhith na ghaisgeach, dìreach lean mi,
ma tha thu airson a bhith na ghaisgeach, dìreach lean mi.
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