The PHAAANTOM OOOOOOF THE OOOOOOOOOOOOPERAAAAAAAAAA!
So I recently went to New York with a group from school, and we did a hell of a lot of things there, but one of the most exciting things was we saw a couple Broadway plays.
On the last night we saw Wicked (.... you know, how the Wicked Witch of the West was actually pretty okay, originally starring Idina Menzel and Kristin Chenoweth, who are pretty much Broadway legends). The version we saw didn't have Idina or Kristin, as they're now on to other things, but it did star Robin DeJesus - who, by the way, played Sonny in the original Broadway run of In the Heights. I have an autograph and a selfie with him, which pretty much made my whole life.
Anyway, I'd seen Wicked before, and it's very good. Like it's really really good and I always enjoy it. And you gotta respect how game-changing it is for musical theatre as a genre. But for me, it just did not hold a candle to Phantom of the Opera.
For those who don't know what Phantom of the Opera is, it's a musical based on a novel from about late 1800s I think, and it follows the story of an opera house which is haunted by a mysterious ghost, or "phantom". This "phantom" seems to be almost omnipresent, and nearly always a threatening presence to boot - a powerful ghost indeed, who demands a salary from the owners of the theatre every week and also demands that Box 5 be left perpetually reserved, presumably so that he can take it. He's also most likely the culprit of a lot of poltergeist-y things that happen around the opera - things that happen quite a lot, judging from Carlotta's prima donna fit about it. In her prima donna fit, she refuses to sing for the show, and a chorus girl by name of Christine steps up out of nowhere and blows them all away with a soprano voice that could match Carlotta - who knew? Well, the thing is, she's been having lessons from someone...someone she can't even name, except to call him the "angel of music".
And yeah, that all goes over really well.
So this was the first time I'd seen Phantom of the Opera, that week on Broadway. It was the first time, and the seats we had were very close to the stage, so it's possible that that played a role in why I loved it so much.
But there's more to it than that. There's a lot to Phantom that really came together for me. I love the story for one thing. Now, I read (what I'm pretty sure was a summarized, simplified, made-for-children version of) the book years and years ago, and I remember really enjoying it at the time. So the story's just always been something that's intrigued me. It just kind of revels in this sort of classical, yet Gothic thing, this in-between steampunk thing going on, and I love it. I mean, the title song is a good definition of steampunk on its own, I think - there's a lot of classical playing and singing going on, but at the same time, it was definitely not written in the Victorian era. The constant beat that keeps it going is such a modern tack, but it's so effective.
Like I'm in love with how Gothic it is.
But the music is also beautiful. I mean, even when it's dissonant and harsh, it's like that so carefully, and honestly, I've been listening to this soundtrack non-stop for the past few days (it's good homework music, go figure) and it's just, entirely, gorgeous.
If I have one complaint about the music, it's that they reprise a lot. Like, all the time - Angel of Music comes back like six times. Again, I do feel like it's sort of carefully done - they use the tune of Notes as the theatre owner's theme, and I do feel like they're using the music as its own language to convey things without having to listen to the lyrics they're actually singing (although it undoubtedly helps). So I do see what they're trying to accomplish, and they change it enough or put it in a different enough context so that it doesn't get annoying, it's just if you listen to the soundtrack over and over for three days straight. Like I have been.
I actually legitimately enjoy every character. Like, even Raoul, who exists almost entirely as a love interest for Christine. I actually cared about him. That almost never happens, and I think it's because he was actually genuinely supportive and comforting to Christine and not just "Hey you're pretty, why do you talk so much, the Phantom doesn't exist??????" And I liked Christine, I totally understood what she was about.
And of course, I adore the character of the Phantom.
I was having a discussion with my friend about the character of the Phantom, and I was talking about how he was indisputably my favourite character, which probably had quite a bit to do with the fact that villains are always way more interesting than the protagonists, and she responded with, "Well, I don't really consider him a villain."
And I sort of get that, but at the same time, let's not get carried away. The Phantom is a villain. I mean, he kills people. Multiple people. Like, with complete intention. He is a villain, but that doesn't make him one-sided by definition. He's totally a sympathetic villain by the end of it, and that's what makes him so interesting. I mean, he's not a good guy, but he is also a genius. He created this whole labyrinth under the opera house, and writes operas in his spare time and invents things. He's very passionate about music, and I think that's indicative of, y'know, a soul. And of course, he's been tormented his entire life - the mask is hiding a monstrous face which he was born with, and because of this (it was mentioned in the musical I think, but it was definitely in the book I read) he was treated as a freak for his whole life. Like, he was a circus attraction, and as such, he was abused. It's weird because I spend so much time reveling in how creepy and twisted the Phantom is, and yet when this exchange happens:
Raoul: Show some compassion!
Phantom: The world showed no compassion to me!
or when he gets his own little reprise of Masquerade:
Phantom: Masquerade... Paper faces on parade... masquerade... hide your face so the world will never find you...
Or, here's the one that really gets me, his brief reprise of Music of the Night the second time he abducts Christine before the grand finale:
Phantom: This face which earned a mother's fear and loathing/A mask, my first unfeeling scrap of clothing/ Pity comes too late! Turn around and face your fate!
I get a surprising amount of feelings.
My current favourite song from the show is Music of the Night, A.K.A the I-just-abducted-Christine-and-now-I'm-trying-to-get-her-to-embrace-my-darkness song. I mean, it's the creepiest thing ever, but musically, it's absolutely gorgeous. (Also in the original soundtrack, which starred Michael Crawford as the Phantom... Michael Crawford just has an extremely unique and wonderful voice, and it really makes it).
And that's kinda what I love about the show. It's so creepy and Gothic, but undeniably.... beautiful. I mean mostly the music, naturally, because it truly is, but I mean, the Phantom's resolution is beautiful as well, not to mention the elaborate-ass set that they have to pull off when they perform it - trapdoors and tilting bridges and crashing chandeliers and, like, beams of flame. It's incredible to see live, and none of it misses a beat.
I'm also really in love with the title song because of the suspense in the music. I don't wanna get too technical here, (but I kinda do because I'm an analytical bastard with a particular passion for music) but at the beginning of the fourth verse the suspense really gets going, and it's because the violins pick up and start this really cool pattern of ongoing eighth notes, and it doesn't stop, and it goes on incessantly without rest, and it becomes... this ticking clock in the background, but so much prettier. And it sounds repetitive, but it changes just enough to keep you off-balance. Gives me chills. And it's because of this one pattern in the music (although the rest of the song is just as fascinating, and Christine's super-human soprano powers at the end are worth listening to) that suddenly gives the suspense some renewed vigor, because suddenly you have this ticking clock, and you know one of them is running out of time, but you just don't know who.
Too long, didn't read: it's really beautiful, well-written music, and you should listen to the title song (preferably with Michael Crawford and Sarah Brightman, because their voices are unique and wonderful) if only to listen to how all the parts fit together to create this marvelous suspenseful whole.
Let the dream begin, let your darker side give in, to the power of the music that I write...
Yeah, I've had Music of the Night stuck in my head for a solid week, but it's just so pretty.
So yeah, if you ever have the chance to see this live, do it. Do not even hesitate. It is such a beautiful show, and it is such a spectacle to watch sometimes, and I mean, even when you can't make out the words they're saying (operatic pieces are like that sometimes) you're so wrapped up in the music you don't even care and the Phantom is just such a fascinating character and I just really adore this show a lot and I think everyone should experience it.
Off now to watch the movie and read the original novel as soon as humanly possible.
10/10, would watch infinitely.
Sunday, March 29, 2015
Monday, December 29, 2014
So How Was Your Christmas?
Because mine was pretty good, which you should be able to judge by the fact that I'm typing this post on my BRAND NEW LAPTOP!!!
(My parents paid for most of it and yet I'm still broke from it thanks a lot technology).
I'm mostly planning to use it for writing and video editing, because those are things where its important that I have space to do it on my own. Doesn't mean I'm not going to be enjoying its handy "Internet" feature, but what I mean is that I am going to be working on this/using it a lot and that's a good thing.
Yep. How are your holidays going?
(My parents paid for most of it and yet I'm still broke from it thanks a lot technology).
I'm mostly planning to use it for writing and video editing, because those are things where its important that I have space to do it on my own. Doesn't mean I'm not going to be enjoying its handy "Internet" feature, but what I mean is that I am going to be working on this/using it a lot and that's a good thing.
Yep. How are your holidays going?
Monday, December 22, 2014
Boredom Part 2
THE EXTENT OF MY BOREDOM KNOWS NO BOUNDSSSSSSSSS
Remember, in Boredom part 1, how I'd been off school for half a day? And had already gotten so bored that I recorded every part of 96 000 (from In the Heights) just because I had nothing better to do?
Do you remember how in that post I had a brief rant about how Blackout was my newest favourite from In the Heights because it had so many overlapping parts and cool harmonies and everything?
I did the same thing. Only with Blackout.
It is two minutes shorter. And took me two hours longer.
Who needs productivity anyway?
And this was just me doing this in spite of the fact that I couldn't find the backing track for it so there's no background music (which makes some of it sound a little odd). But it doesn't even matter because, if I do say so myself, the harmonies are so much more solid in this experiment of mine than in 96 000.
Here you are.
In some places volume is still a bit of an issue because, like I said before, Garageband isn't perfect.
But this was a lot more challenging than 96 000. And, ironically, I think it came out better. I mean, considering there's no backing track.
I don't even know why I do this.
Saturday, December 20, 2014
Bastille is a Thing and IT MADE MY WHOLE LIFE
[I wrote this like weeks ago - closer to when it actually happened - but could only finish it now for reasons, so yeah]
LITERALLY
I COULD DIE RIGHT NOW
AND BE PERFECTLY HAPPY
PROBABLY BE SINGING ONE OF THEIR SONGS AS IT HAPPENS:
"I'll come baaaaaaaaaack to haunt you.... memorieeeeeees will tauuuuunt you..."
"I don't want to rest in peace/I'd rather be the ghost that annoys you.... It's Day of the Dead, I'm Indiana Jones here/These coins sit upon our eyes/Pool our funds, we'll pay the boat together..."
For those who have no idea what the friggity is going on right now, me and my friend Anna saw Bastille LIVE IN CONCERT
AND THEY ARE LITERALLY PERFECT
JUST
EVERYTHING
I DIED
AND I ALSO CRIED
AND HUGGED ANNA A LOT
IT WAS A ROLLERCOASTER Y'ALL
They opened with Things We Lost in the Fire and just, if you can imagine like a dark stage and then Dan Smith's angelic voice just breaking the anticipating silence and everything was totally wonderful in that moment.
And just - the bass pulsing in the seats we had and Dan Smith grooving out as he sings and hopping around, like first of all, wow, that's some good endurance to be singing and doing that at the same time, and everyone in the band was just so passionate and it was amazing.
Then they played The Weight of Living Pt. 2 (they never played Pt. 1 which makes me sad but it was still INCREDIBLE) and the light show was amazing and everything was amazing. Just everything. And they even tagged Pt. 2 with the beginning of Pt. 1 and I was like "YASSSSSSS"
And then Laughter Lines.
I don't remember the order after that. But it was amazing.
And they even played a few songs that I hadn't heard before (the funny thing is that all the ones I hadn't heard Anna had so between us we're basically an encyclopedia of Bastille) like The Driver, and something that comes out on their next album which, as Dan put it (in his beautiful voice that makes me glow), "will come out hopefully at some point in the future." And also their cover of No Scrubs with like mixed in sound bites from Alfred Hitchcock's Psycho and, surprise surprise, it's much darker and god I love dark god I love Bastille they're LITERALLY PERFECT.
Sidebar: I really love Bastille's covers. Not necessarily because they're, like, perfect covers of the songs, but because they make the songs really fascinating. They have a gift for completely turning the original intention of a song on its head. My current favourite is their cover of No Scrubs, which is called No Angels because it's mixed in with Angels. What I love about it is that - the song is about class, right? The verses are all talking about "Ugh, look at that deadbeat who lives with his mother and doesn't own his own car," calling these guys "scrubs", and then the chorus is all "I don't want no scrubs, a scrub is a guy that can't get no love from me...." etcetera. And in the original song, these lyrics were completely sincere. But in Bastille's version, while keeping the lyrics completely identical, they've mixed it in with clips of Norman Bates talking about living in traps and tagged it with "Being as in love with you as I am," and suddenly the lyrics are entirely ironic. It's like, they're pointing out how flawed that way of thinking is - to immediately assume that someone who lacks money or opportunity is a bad person because of it - by subscribing to it. I believe my english teacher would call that verbal irony. And I think it's so cool that they found a way to reverse the intention so completely without even changing the words.
They did a similar thing when they covered Miley Cyrus's We Can't Stop. That was my favourite thing for a while, because at first it seems like, oh yeah, this is Bastille's cover of a party song, and then in the middle of it they throw in some Billy Ray: "Don't break his heart, his achy breaky heart, I just don't think you understand....." and suddenly it's about how out of control Miley is and how disappointed her father must be. Once again, unexpectedly flipping the intention of the song, and it's amazing.
But anyways, wow, that was a rant. But I do find it very fascinating. What can I say? Bastille's songs make me want to think about things.
But back to the concert.
It was fabulous. They are amazing live. And Dan's like jumping up and down as he sings and getting so into it. Even when they played Overjoyed (with super cool percussion!), while he was playing the piano, he was like bopping up and down and it was my favourite thing ever.
And at one point he played Oblivion and he was like, "If you've ever listened to, like, two songs on any of our albums, you've probably noticed that we have a few depressing ones. This is one of them. But it'll be better if you all do that cliche thing where you bring out your torches or phones - did anyone actually bring a torch?" (He calls 'em torches 'cause he's British, God they slay me. They slay me like Buffy slayed Sunday. I'm dead.) And anyway we all brought out our phones and waved 'em back and forth for Oblivion and I almost cried. But not yet.
No, the moment I cried was when they played The Silence. And I'm not kidding. I actually cried.
What you have to understand is that The Silence is an important song to me. Even before I'd fully figured out exactly what the words were saying, it had always reminded me of an old teacher of mine, M. Larrivee (qu'il repose en paix). I don't want to get all cheesy here, but let's leave it at the fact that Larrivee was an extremely influential man who made me reconsider the definition of intelligence and of storytelling, both of which are important to me, and I like to think of the song celebrating him, even if that wasn't the original intention.
And then, when I listened to the actual words, I realized that it was, in fact, about writer's block. That it practically pleads me to break through writer's block. So, guess which song I turn on when I'm feeling lost and uninspired about some of my stuff? Guess whose voice urges me to continue and not let the blank page consume me? You guessed it.
What I'm saying is that the song is extremely meaningful to me on multiple levels, and that when the vocals started ringing through that PNE Forum it was a little overwhelming. But, like, in a good way. Sort of in a "I can't believe this is really happening," way. And I got a little emotional. But it was amazing.
Also they played The Draw. I mention it because it's another song that's really meaningful to me (I associate it with depression and things of that nature, and I think it helps me understand a little bit those of my friends that suffer from things like that - they've described similar things to me). And also because, according to Dan, they "tried to be grunge for four days. We failed. But this is what came out of it."
Thank you, Bastille, for failing at grunge. Thank you so. Freaking. Much.
Then, for the end of their first set, they played Flaws, and Dan just goes, "Let's see how far I can get!" And he jumps down from the stage and starts wading through the crowd. This was about the time that me and Anna both simultaneously went "HOLYSHITHOLYSHITHOLYSHITHOLYSHIT", practically stampeded the people in our way and ran down to the floor in front of the stage. We didn't even get close to him, BUT, it got us out of our seats and on the floor, leaving us free to dance like crazy people during the encore.
And what an encore.
They came out, started with Get Home, which me and Anna passionately waved our hands back and forth to. Then, before beginning the next song, Dan goes, "As you may have noticed, I'm not that great a dancer. But for this next song - I know audience participating is lame, but like, if you all want to dance with me and make me feel better. I'll just say, 'Get down!' and you can all get down with me, if you want." Pauses, thinks about it for a moment. "But not, like, in a sexy way."
DAN SMITH YOU PERFECT CREATURE
So then they played Of the Night, and he yelled "Get down!" during the pre-chorus, but instead of dancing, everyone in the crowd just knelt down, because we're building up to the suspense here, and then they hit the chorus and the lights are flashing and everyone's jumping and dancing and it was amazing.
And then, finally, Pompeii. (I totally called it, I totally knew that they'd play Pompeii for their last one!) And it was amazingly fun and everyone was dancing and singing along and it was a freaking blast. The whole night was perfect.
Also, it was Anna's first concert. And, as far as first concerts go, it was pretty freaking incredible.
Bastille are literally perfection personified.
And so, yeah. That was more or less the rhythm of that night.
Sorry for the pun, I just needed a way to fill the silence.
I know, there's another one. It just makes me overjoyed when you listen to my words.
Okay, that's enough, I know. I hope you'll not not show your face here anymore.
I know, they're getting increasingly more desperate. But it almost feels like nothing changed at all.
Okay, I'm done now. Promise.
(When Dan Smith freestyles on the notes and just ohmygodmyovariesexplodedheisaperfectcreatureiwanteighthundredofhim)
Also I got a shirt.
I needed a shirt because we waited in line in the pouring rain and I did not have a rain jacket and so when we got inside I had to strip off my jacket because water was leaking through but when I looked I realized that the water had only leaked into certain parts of my shirt, and basically my shirt was like "LOOK! BOOBS!"
But I was also going to get a shirt regardless. I just, you know. Funny stories.
Bastille is awesome and it was an amazing night, that's basically what I'm getting at here.
LITERALLY
I COULD DIE RIGHT NOW
AND BE PERFECTLY HAPPY
PROBABLY BE SINGING ONE OF THEIR SONGS AS IT HAPPENS:
"I'll come baaaaaaaaaack to haunt you.... memorieeeeeees will tauuuuunt you..."
"I don't want to rest in peace/I'd rather be the ghost that annoys you.... It's Day of the Dead, I'm Indiana Jones here/These coins sit upon our eyes/Pool our funds, we'll pay the boat together..."
For those who have no idea what the friggity is going on right now, me and my friend Anna saw Bastille LIVE IN CONCERT
AND THEY ARE LITERALLY PERFECT
JUST
EVERYTHING
I DIED
AND I ALSO CRIED
AND HUGGED ANNA A LOT
IT WAS A ROLLERCOASTER Y'ALL
They opened with Things We Lost in the Fire and just, if you can imagine like a dark stage and then Dan Smith's angelic voice just breaking the anticipating silence and everything was totally wonderful in that moment.
And just - the bass pulsing in the seats we had and Dan Smith grooving out as he sings and hopping around, like first of all, wow, that's some good endurance to be singing and doing that at the same time, and everyone in the band was just so passionate and it was amazing.
Then they played The Weight of Living Pt. 2 (they never played Pt. 1 which makes me sad but it was still INCREDIBLE) and the light show was amazing and everything was amazing. Just everything. And they even tagged Pt. 2 with the beginning of Pt. 1 and I was like "YASSSSSSS"
And then Laughter Lines.
I don't remember the order after that. But it was amazing.
And they even played a few songs that I hadn't heard before (the funny thing is that all the ones I hadn't heard Anna had so between us we're basically an encyclopedia of Bastille) like The Driver, and something that comes out on their next album which, as Dan put it (in his beautiful voice that makes me glow), "will come out hopefully at some point in the future." And also their cover of No Scrubs with like mixed in sound bites from Alfred Hitchcock's Psycho and, surprise surprise, it's much darker and god I love dark god I love Bastille they're LITERALLY PERFECT.
Sidebar: I really love Bastille's covers. Not necessarily because they're, like, perfect covers of the songs, but because they make the songs really fascinating. They have a gift for completely turning the original intention of a song on its head. My current favourite is their cover of No Scrubs, which is called No Angels because it's mixed in with Angels. What I love about it is that - the song is about class, right? The verses are all talking about "Ugh, look at that deadbeat who lives with his mother and doesn't own his own car," calling these guys "scrubs", and then the chorus is all "I don't want no scrubs, a scrub is a guy that can't get no love from me...." etcetera. And in the original song, these lyrics were completely sincere. But in Bastille's version, while keeping the lyrics completely identical, they've mixed it in with clips of Norman Bates talking about living in traps and tagged it with "Being as in love with you as I am," and suddenly the lyrics are entirely ironic. It's like, they're pointing out how flawed that way of thinking is - to immediately assume that someone who lacks money or opportunity is a bad person because of it - by subscribing to it. I believe my english teacher would call that verbal irony. And I think it's so cool that they found a way to reverse the intention so completely without even changing the words.
They did a similar thing when they covered Miley Cyrus's We Can't Stop. That was my favourite thing for a while, because at first it seems like, oh yeah, this is Bastille's cover of a party song, and then in the middle of it they throw in some Billy Ray: "Don't break his heart, his achy breaky heart, I just don't think you understand....." and suddenly it's about how out of control Miley is and how disappointed her father must be. Once again, unexpectedly flipping the intention of the song, and it's amazing.
But anyways, wow, that was a rant. But I do find it very fascinating. What can I say? Bastille's songs make me want to think about things.
But back to the concert.
It was fabulous. They are amazing live. And Dan's like jumping up and down as he sings and getting so into it. Even when they played Overjoyed (with super cool percussion!), while he was playing the piano, he was like bopping up and down and it was my favourite thing ever.
And at one point he played Oblivion and he was like, "If you've ever listened to, like, two songs on any of our albums, you've probably noticed that we have a few depressing ones. This is one of them. But it'll be better if you all do that cliche thing where you bring out your torches or phones - did anyone actually bring a torch?" (He calls 'em torches 'cause he's British, God they slay me. They slay me like Buffy slayed Sunday. I'm dead.) And anyway we all brought out our phones and waved 'em back and forth for Oblivion and I almost cried. But not yet.
No, the moment I cried was when they played The Silence. And I'm not kidding. I actually cried.
What you have to understand is that The Silence is an important song to me. Even before I'd fully figured out exactly what the words were saying, it had always reminded me of an old teacher of mine, M. Larrivee (qu'il repose en paix). I don't want to get all cheesy here, but let's leave it at the fact that Larrivee was an extremely influential man who made me reconsider the definition of intelligence and of storytelling, both of which are important to me, and I like to think of the song celebrating him, even if that wasn't the original intention.
And then, when I listened to the actual words, I realized that it was, in fact, about writer's block. That it practically pleads me to break through writer's block. So, guess which song I turn on when I'm feeling lost and uninspired about some of my stuff? Guess whose voice urges me to continue and not let the blank page consume me? You guessed it.
What I'm saying is that the song is extremely meaningful to me on multiple levels, and that when the vocals started ringing through that PNE Forum it was a little overwhelming. But, like, in a good way. Sort of in a "I can't believe this is really happening," way. And I got a little emotional. But it was amazing.
Also they played The Draw. I mention it because it's another song that's really meaningful to me (I associate it with depression and things of that nature, and I think it helps me understand a little bit those of my friends that suffer from things like that - they've described similar things to me). And also because, according to Dan, they "tried to be grunge for four days. We failed. But this is what came out of it."
Thank you, Bastille, for failing at grunge. Thank you so. Freaking. Much.
Then, for the end of their first set, they played Flaws, and Dan just goes, "Let's see how far I can get!" And he jumps down from the stage and starts wading through the crowd. This was about the time that me and Anna both simultaneously went "HOLYSHITHOLYSHITHOLYSHITHOLYSHIT", practically stampeded the people in our way and ran down to the floor in front of the stage. We didn't even get close to him, BUT, it got us out of our seats and on the floor, leaving us free to dance like crazy people during the encore.
And what an encore.
They came out, started with Get Home, which me and Anna passionately waved our hands back and forth to. Then, before beginning the next song, Dan goes, "As you may have noticed, I'm not that great a dancer. But for this next song - I know audience participating is lame, but like, if you all want to dance with me and make me feel better. I'll just say, 'Get down!' and you can all get down with me, if you want." Pauses, thinks about it for a moment. "But not, like, in a sexy way."
DAN SMITH YOU PERFECT CREATURE
So then they played Of the Night, and he yelled "Get down!" during the pre-chorus, but instead of dancing, everyone in the crowd just knelt down, because we're building up to the suspense here, and then they hit the chorus and the lights are flashing and everyone's jumping and dancing and it was amazing.
And then, finally, Pompeii. (I totally called it, I totally knew that they'd play Pompeii for their last one!) And it was amazingly fun and everyone was dancing and singing along and it was a freaking blast. The whole night was perfect.
Also, it was Anna's first concert. And, as far as first concerts go, it was pretty freaking incredible.
Bastille are literally perfection personified.
And so, yeah. That was more or less the rhythm of that night.
Sorry for the pun, I just needed a way to fill the silence.
I know, there's another one. It just makes me overjoyed when you listen to my words.
Okay, that's enough, I know. I hope you'll not not show your face here anymore.
I know, they're getting increasingly more desperate. But it almost feels like nothing changed at all.
Okay, I'm done now. Promise.
(When Dan Smith freestyles on the notes and just ohmygodmyovariesexplodedheisaperfectcreatureiwanteighthundredofhim)
Also I got a shirt.
 |
| *awkwardly tries to take a picture of the back of the shirt* Basically what's important is that it's a real concert shirt with all the tour dates and ish on the back. |
But I was also going to get a shirt regardless. I just, you know. Funny stories.
Bastille is awesome and it was an amazing night, that's basically what I'm getting at here.
Friday, December 19, 2014
Boredom
I have been on winter break for precisely half a day, and I've already gotten bored enough that I created this thing from one of our songs in In the Heights.
Do y'all remember 96 000, from my In the Heights post earlier on? It's always been one of my favourites in the thing (although, now that I've looked into it more, Blackout is thrillingly chaotic, with a lot of really cool harmonies and multiple storylines coming to a head and overlapping lines and ugh I have a real weakness for overlapping lines they just sound so cool. For real, check out Blackout. It is the coolest piece of music to ever be in a musical).
But anyways, I'd gotten bored - I practised all my harmonies and my choreography for the musical and didn't have much else to do, and I was there wishing I could be a cool character like Benny or Usnavi or Sonny because I would totally rock it, even though they're all guys but they are, like, the Holy Trinity of In the Heights for me (even though Sonny barely even really matters, but I love him to death). And then I was like, Well, why the hell not? You be them. All of them. All at once.
And I did.
This is 96 000.... with me as everyone.
I am a goddamned chameleon.
But seriously though.
My Benny was less than on point - I blame my sore throat - and a couple times when I was one of the girls I went a bit sharp because it's in this awkward range for my voice, but I think I should get some props for this. I did this in three hours. And taught myself all the parts. Including soprano, alto, tenor and bass harmonies for the ensemble. Not to mention Benny goes a lot crazier with his singing than I thought he did during the bit where everything's overlapping - I looked in the sheet music and I was like "Excuse me?" and then I listened to 96 000 while paying special attention to Benny and yep, there he goes, doing nothing like I thought he did, but he's basically free-styling it. So I free-styled it. It's not entirely successful, but nor is it ear-bleedingly awful.
Also volume is a bit of an issue. Just, in general. Garageband isn't perfect.
Also, I think I should be applauded for my rapping because damn look at me go.
For those who have no idea how this song goes, the first three minutes or so are fairly straight forward, but it starts getting real interesting after that. That's where the fun stuff happened. Again, I don't think it was a failure either. I think this is a solid B.
So.
Yup. This is what I do when I'm bored.
Happy winter break y'all.
Do y'all remember 96 000, from my In the Heights post earlier on? It's always been one of my favourites in the thing (although, now that I've looked into it more, Blackout is thrillingly chaotic, with a lot of really cool harmonies and multiple storylines coming to a head and overlapping lines and ugh I have a real weakness for overlapping lines they just sound so cool. For real, check out Blackout. It is the coolest piece of music to ever be in a musical).
But anyways, I'd gotten bored - I practised all my harmonies and my choreography for the musical and didn't have much else to do, and I was there wishing I could be a cool character like Benny or Usnavi or Sonny because I would totally rock it, even though they're all guys but they are, like, the Holy Trinity of In the Heights for me (even though Sonny barely even really matters, but I love him to death). And then I was like, Well, why the hell not? You be them. All of them. All at once.
And I did.
This is 96 000.... with me as everyone.
I am a goddamned chameleon.
But seriously though.
My Benny was less than on point - I blame my sore throat - and a couple times when I was one of the girls I went a bit sharp because it's in this awkward range for my voice, but I think I should get some props for this. I did this in three hours. And taught myself all the parts. Including soprano, alto, tenor and bass harmonies for the ensemble. Not to mention Benny goes a lot crazier with his singing than I thought he did during the bit where everything's overlapping - I looked in the sheet music and I was like "Excuse me?" and then I listened to 96 000 while paying special attention to Benny and yep, there he goes, doing nothing like I thought he did, but he's basically free-styling it. So I free-styled it. It's not entirely successful, but nor is it ear-bleedingly awful.
Also volume is a bit of an issue. Just, in general. Garageband isn't perfect.
Also, I think I should be applauded for my rapping because damn look at me go.
For those who have no idea how this song goes, the first three minutes or so are fairly straight forward, but it starts getting real interesting after that. That's where the fun stuff happened. Again, I don't think it was a failure either. I think this is a solid B.
So.
Yup. This is what I do when I'm bored.
Happy winter break y'all.
Sunday, November 16, 2014
I Discovered Another Show, And This is the Obligatory Post
Misfits.
I tried it out because a couple of my friends recommended it once or twice, and I was finally like, "Eh, I've got nothing better to do." So I watched an episode.
I didn't fall in love immediately. It's not like that. It's not one of those things. It just... it was a well-written pilot, but it was really unexpectedly, um, crude (there's really no denying it, though it mostly only goes back to a single character - thing is, that single character is always talking) and it threw me off-balance, so I had to watch another episode to see whether I, you know, appreciated the fact that it threw me off-balance or not. And it turns out I did appreciate it because I've watched the entire first season in like three days.
Basically, the idea is that there are a few young offenders who were sentenced to community service. Then, on the first day of doing that, they get caught up in this freak storm, and in the lightning strike, they all get powers... powers. But the interesting thing is that the powers aren't all random and super-hero. They're more like... they have more to do with the characters themselves. The characters are basically given the powers that turn their greatest weaknesses and insecurities into strengths. So, the girl who's always self-conscious and worrying what people think about her gets the power to hear people's thoughts. The boy who was bullied and rejected his whole life gets the power of invisibility. The guy who lives in regrets and guilt has the power to turn back time and fix his mistakes. Things like that.
So guess what, guys? It's character driven! Guess what? I have a real weakness for character driven things! Literally every major obsession I've ever had was because of characters, and the relationships between the characters, and them being flawed but understandable and that's basically the driving force of this show.
And there's also action. And suspense. And laughs. And so much sex. Like, a lot of sex. And references to sex. And sex jokes. Because it's British TV, and apparently in Britain you can literally show anything you want on TV. Thanks, Britain!
What I'm really enjoying about this show is that I haven't yet decided whether or not I like these characters yet. I know that sounds lame and contradictory, but I'm loving it. It makes them so much more human. One of the main characters, Nathan, is the comic relief character, right? He makes me laugh all the time and I love him for that. But he's also such an asshole. Such a freaking jerk. Because he's always taking jokes too far. All the time. And he makes me mad. But I love the fact that he has such an obvious flaw, you get me? And so then, when he's vulnerable, I just..... complex characters make me melt inside.
Also he has the cutest face in the history of television and an Irish accent and he's such a freaking goof and god he's such a crude jerk I'm concerned with how attached I am to him.
But just:
Don't even try to tell me that isn't a cute face you and I both know the truth.
I just love how wonderfully flawed all the characters are. I'm in love with how it's written. But I mean, you sort of get the feeling that, even though they can be not-so-nice to each other at times (I'm looking at you, Nathan, you don't need to bully Simon all the freaking time he's clearly insecure you asshole) you do sort of get the feeling that, you know, they mean well.
That's pretty much my main weakness. Y'know, flawed characters trying to be good people. I actually wrote a post on it that I haven't posted yet because writer's block is brutal, yo.
But that's the main thing. The characters are just so beautifully, fantastically...... imperfect. And I find myself craving watching them. Because I just, it's so nice to see characters who are realistically selfish, and realistically insecure, but they're trying and it's just good stuff.
Also it's pretty much hilarious. Like, there was this one scene where they needed to distract their probation worker so she wouldn't see something, and they don't even have time to come up with a plan, so Nathan just like jumps out from behind a bush and nails her windshield with a brick while she's standing right there.
Sally: What the hell are you doing?!
Nathan: It's just... pure, mindless vandalism!
Sally: What is the matter with you? Are you mentally deficient!?
Nathan: If I was mentally deficient, I'd have missed. Check that out. Bull's eye.
And it's basically the funniest thing ever.
But there are also serious moments, like I pretty much almost cried during that first Simon-centric episode, and that was, what, five episodes in? Maybe four? You get into it pretty quickly. And they've all got, like, their own very distinct personalities and it's just really good and well-written. So much so that I have resigned myself to the incessant sex jokes in order to allow myself to enjoy it, and believe me, sex jokes are not my favourite.
Like, I'm not going to deny that the show can be crude and vulgar.... extremely so. But what I like about it is that it's not, like, for shock value. It's not just like "Look how edgy we are, we've talked about masturbation and used the F word 37 times!" It's not like it's delighting in its vulgarity. It seems sort of more genuine. Like, it's just how these people talk, because of the people they associate with and the backgrounds they come from, and I don't know, it just seems justified when it comes from a place that's real. It's about characterization, and staying true to the characters, I suppose, and while incessant sex jokes are not something I tend to respect, staying true to characters despite possible offense taken and flaws and unlikability and things like that........ it's honest story-telling, and that's something I do respect. You see what I'm saying?
It's all about story-telling. That's the point I've managed to dance around for a good six paragraphs. It's good story-telling. And I will always like something that shows good story-telling. I like learning from them.
Anyways. Misfits. Worth watching, man, if you can get past the vulgarity. Really good show. I'm really enjoying it. (Probably not for much longer because the seasons are like eight episodes long and there are only four of them. Curse you, Britain, and your notorious British brevity!)
Yep. So that's a thing. Can't think of a good way to end this post. Just.... thanks for reading, I suppose. Uh. See ya. (It's past my bedtime, okay?)
I tried it out because a couple of my friends recommended it once or twice, and I was finally like, "Eh, I've got nothing better to do." So I watched an episode.
I didn't fall in love immediately. It's not like that. It's not one of those things. It just... it was a well-written pilot, but it was really unexpectedly, um, crude (there's really no denying it, though it mostly only goes back to a single character - thing is, that single character is always talking) and it threw me off-balance, so I had to watch another episode to see whether I, you know, appreciated the fact that it threw me off-balance or not. And it turns out I did appreciate it because I've watched the entire first season in like three days.
Basically, the idea is that there are a few young offenders who were sentenced to community service. Then, on the first day of doing that, they get caught up in this freak storm, and in the lightning strike, they all get powers... powers. But the interesting thing is that the powers aren't all random and super-hero. They're more like... they have more to do with the characters themselves. The characters are basically given the powers that turn their greatest weaknesses and insecurities into strengths. So, the girl who's always self-conscious and worrying what people think about her gets the power to hear people's thoughts. The boy who was bullied and rejected his whole life gets the power of invisibility. The guy who lives in regrets and guilt has the power to turn back time and fix his mistakes. Things like that.
So guess what, guys? It's character driven! Guess what? I have a real weakness for character driven things! Literally every major obsession I've ever had was because of characters, and the relationships between the characters, and them being flawed but understandable and that's basically the driving force of this show.
And there's also action. And suspense. And laughs. And so much sex. Like, a lot of sex. And references to sex. And sex jokes. Because it's British TV, and apparently in Britain you can literally show anything you want on TV. Thanks, Britain!
What I'm really enjoying about this show is that I haven't yet decided whether or not I like these characters yet. I know that sounds lame and contradictory, but I'm loving it. It makes them so much more human. One of the main characters, Nathan, is the comic relief character, right? He makes me laugh all the time and I love him for that. But he's also such an asshole. Such a freaking jerk. Because he's always taking jokes too far. All the time. And he makes me mad. But I love the fact that he has such an obvious flaw, you get me? And so then, when he's vulnerable, I just..... complex characters make me melt inside.
Also he has the cutest face in the history of television and an Irish accent and he's such a freaking goof and god he's such a crude jerk I'm concerned with how attached I am to him.
But just:
 |
| Ruth: Grow up. Nathan: |
 |
| Nathan: I'm so pleased to be here. I was such a loser. All the drugs, the sex, *fake laughs*, all that fast food. I was so miserable. Kurtis: I hear you. You were such an annoying idiot. Nathan: |
I just love how wonderfully flawed all the characters are. I'm in love with how it's written. But I mean, you sort of get the feeling that, even though they can be not-so-nice to each other at times (I'm looking at you, Nathan, you don't need to bully Simon all the freaking time he's clearly insecure you asshole) you do sort of get the feeling that, you know, they mean well.
That's pretty much my main weakness. Y'know, flawed characters trying to be good people. I actually wrote a post on it that I haven't posted yet because writer's block is brutal, yo.
But that's the main thing. The characters are just so beautifully, fantastically...... imperfect. And I find myself craving watching them. Because I just, it's so nice to see characters who are realistically selfish, and realistically insecure, but they're trying and it's just good stuff.
Also it's pretty much hilarious. Like, there was this one scene where they needed to distract their probation worker so she wouldn't see something, and they don't even have time to come up with a plan, so Nathan just like jumps out from behind a bush and nails her windshield with a brick while she's standing right there.
Sally: What the hell are you doing?!
Nathan: It's just... pure, mindless vandalism!
Sally: What is the matter with you? Are you mentally deficient!?
Nathan: If I was mentally deficient, I'd have missed. Check that out. Bull's eye.
And it's basically the funniest thing ever.
But there are also serious moments, like I pretty much almost cried during that first Simon-centric episode, and that was, what, five episodes in? Maybe four? You get into it pretty quickly. And they've all got, like, their own very distinct personalities and it's just really good and well-written. So much so that I have resigned myself to the incessant sex jokes in order to allow myself to enjoy it, and believe me, sex jokes are not my favourite.
Like, I'm not going to deny that the show can be crude and vulgar.... extremely so. But what I like about it is that it's not, like, for shock value. It's not just like "Look how edgy we are, we've talked about masturbation and used the F word 37 times!" It's not like it's delighting in its vulgarity. It seems sort of more genuine. Like, it's just how these people talk, because of the people they associate with and the backgrounds they come from, and I don't know, it just seems justified when it comes from a place that's real. It's about characterization, and staying true to the characters, I suppose, and while incessant sex jokes are not something I tend to respect, staying true to characters despite possible offense taken and flaws and unlikability and things like that........ it's honest story-telling, and that's something I do respect. You see what I'm saying?
It's all about story-telling. That's the point I've managed to dance around for a good six paragraphs. It's good story-telling. And I will always like something that shows good story-telling. I like learning from them.
Anyways. Misfits. Worth watching, man, if you can get past the vulgarity. Really good show. I'm really enjoying it. (Probably not for much longer because the seasons are like eight episodes long and there are only four of them. Curse you, Britain, and your notorious British brevity!)
Yep. So that's a thing. Can't think of a good way to end this post. Just.... thanks for reading, I suppose. Uh. See ya. (It's past my bedtime, okay?)
Saturday, November 15, 2014
WORDS WORDS WORDS CONFLICTING EMOTIONS AGH
You see I just finished the book I've been writing since grade seven.
*applause cue, please and thank you*
And I'm sad. But also happy. And proud. But also anxious. And a little lost, because like, this has been my primary project for four years and what on earth am I going to do during science class now?
Do you even understand the rollercoaster of emotional turmoil there is involved in writing the words "The End"? I can't even explain. There's just no metaphor that makes sense.
And every time I tell someone this accomplishment I get the question, "So what happens now? When you gonna publish it?" Etcetera, etcetera.
And the short answer is, not for a while, since the first half is crap, and the even shorter answer is WHO CARES? I just finished writing my second book in my whole life. Allow me to revel in the glory of it for a bit before I get back to work.
And believe me, the next part is the hard part. Ugh.
DON'T CARE. NOT THINKING ABOUT IT. I AM REVELLING. I AM REVELLING SO HARD RIGHT NOW. JUST LOOK AT ALL THIS FABULOUS REVELRY.
For those who really want to know something about the story, I'll drop a title okay that's it, stop begging me already geez you're coming off as needy.
It's called The Blessing of Aphrodite (as of, like, yesterday. It was called something else for the longest time but I like this title a hundred times better. Funny how things just come to you sometimes).
AND IT'S DONE
REVELLING
*applause cue, please and thank you*
And I'm sad. But also happy. And proud. But also anxious. And a little lost, because like, this has been my primary project for four years and what on earth am I going to do during science class now?
Do you even understand the rollercoaster of emotional turmoil there is involved in writing the words "The End"? I can't even explain. There's just no metaphor that makes sense.
And every time I tell someone this accomplishment I get the question, "So what happens now? When you gonna publish it?" Etcetera, etcetera.
And the short answer is, not for a while, since the first half is crap, and the even shorter answer is WHO CARES? I just finished writing my second book in my whole life. Allow me to revel in the glory of it for a bit before I get back to work.
And believe me, the next part is the hard part. Ugh.
DON'T CARE. NOT THINKING ABOUT IT. I AM REVELLING. I AM REVELLING SO HARD RIGHT NOW. JUST LOOK AT ALL THIS FABULOUS REVELRY.
For those who really want to know something about the story, I'll drop a title okay that's it, stop begging me already geez you're coming off as needy.
It's called The Blessing of Aphrodite (as of, like, yesterday. It was called something else for the longest time but I like this title a hundred times better. Funny how things just come to you sometimes).
AND IT'S DONE
REVELLING
Subscribe to:
Posts (Atom)