#Oom Pah Pah

[bat-in-the-machine]

A Sneak Peek at the next Miraculous World Tour

Oom pah pah oom pah pah That's how it goes Oom pah pah oom pah pah Everyone knows They all suppose what They want to suppose When they hear oom pah pah Pretty Marrinetta Thought things were getting better When she came out to Gotham To boost her career Then her uncle's concert Was hijacked by a monster Who then forced everybody To live their worst fears Oom pah pah oom pah pah That's how it goes Oom pah pah oom pah pah Everyone knows Whether it's Riddler Or if it's Scarecrow She's sick of oom pah pah!

[term1nallyfey]

Oom-Pah-Pah, mein liebling 🇩🇪

[beardedmrbean]

[justsomeguycore]

i have mental disorders because i’m a theatre kid who is also too critical and self aware of how theatre kids look to truly be a theatre kid. i miss the days when i would have performed la vie boheme part A in a dennys and thought people liked that

[noneorother]

All the music you didn’t hear: The Good Omens soundtrack is lying to you. *Part 1*

The Bonkers Meta Series part 2: Electric Boogaloo.

I so rarely get a chance to misuse my experience in classical music, but here we are. When I realized on my most recent watch-through of the series that the David Arnold score was brilliant, but also really wonky in some parts and I couldn’t put my finger on why, @embracing-the-ineffable suggested I listen to the album soundtrack to compare.

And when I tell you what I found hidden in there, you’re going to need Eccles cakes...

1) The Song is the Clue

So right up top we have this banger. The 12th track on the album is the orchestral backdrop to the scene in the Job minisode where Aziraphale reveals Crowley’s crow/goats. The duration is 2:22 (the only track with multiples on the album), and if you look at the track by itself it doesn’t mean much. But the song just before it is actually from this fucking scene:

You know, the one where there’s a song that’s a clue to a mystery. Except Clue is capitalised, and Aziraphale pronounces it. I’ve seen guesses that this is a reference to the movie Clue, but I would put a lot of money on the fact that we are supposed to read the title of the song currently playing at that moment in the show *as a Clue*, which is super convenient, because the word Clue is capitalized in the track listing. 

Seems like the overlords of Good Omens have a message for us : The song is the Clue. It’s what God wants. Cool cool cool. WHAT SONG?

2) Symmetry in all things��

Before I straight up tell you, we have to go back and look at season 1.

Now I’m far from the first to notice tons of parallels between the story, details and even lines in both seasons. It got me thinking that maybe there are some fun synch-up parallels between the two season’s soundtracks, seeing as they are both 6 episodes long. Here’s the end of S1 and then S2

Oh that’s a bummer, I thought to myself. 

They don’t even add up to the same number, or playtime, and neither of them is exactly 60 tracks. But do you want to hear a secret? S2 is actually missing 3 tracks on the album. And because there are 2 discs in S2 (cute), the numbers of the tracks start over again from 1. Remember how much God likes sevens? Check out where all the weirdness is happening in disc 2 (I’ve added the missing track listings in red to add context):

After checking each track with the show and listening side by side (for reasons that will become clear in another post) I can definitively say that there is something *very weird* going on at the end of episode 4. 

First is track 7, Zombie dressing room, which seems to actually reach over two distinct scenes of the photo evidence in the dressing room and then Shax in hell even though it only has one title.

But *between* these two scenes we get an eerily silent wine date with Aziraphale & Crowley.

There’s really no music or even sound here besides the dialogue and room tone (until after the cheers), and it seems like a very intentionally silent version of a ritz date from season 1.

My best guess is that we are supposed to divide that track into two tracks of 7, before and after the date to get a second track 7. Or maybe the silent one is missing music? The third track number 7 is the weirdest one. It’s this scene here, when Nina parks her bike, and Aziraphale parks the car at the end of S2E4.

If you take a close listen to the music, it’s a jaunty little piece, with an oom-pah base in 3 ⁄ 4 time. The thing is, this music does not exist in any Good Omens album. Please feel free to correct me, but I’ve tried to find any part of any song that this could even be a reprise of, and I Shazammed it to be sure it wasn’t anything else. This song does not exist anywhere except in this scene. (It quickly morphs into a reprise of the original theme once Nina leaves Aziraphale). It’s an invisible song.

So we have 3 tracks at the end of S2E4: a long one, a silent one and an invisible one. Only one of which is numbered 7, but that all fit into that place in the track listing.

Which, when we add the two extras to the original total of fifty-nine we get... sixty-one! Hey wait a minute.

How are we going to get to 62?

3) The real missing track. 

So the real reason we had to go back to the S1 album was because it contains the missing track that God is talking about. Let’s compare the last tracks on each album.

I’ve highlighted the mismatch between the in-show music and the album in S2, which means I had to add A Nightingale Sang in Berkeley Square back into the S2 album because guess what, it’s not in the S2 album. Even though it plays in the show. 

You want to know how not in the album it is? Amazon had to track it in the show as a season 1 song. They had to give Tori Amos credit for her song on Good Omens in the X-ray bonus features because that’s how not in the album this song is.

So my fellow beings, if the song is the Clue, then It’s what God Wants.

And if God wants a happily ever after with Aziraphale and Crowley on their own side, then by Job, I think Neil is going to give it to her.

-----------

And there's more where that came from! Part 2 coming shortly.

[maxwell-grant]

I'm working on a big post breaking down my thoughts on episode 01 of The Penguin and I wanted to post this theme separately. There's only so many ways I can say the show is perfect and does perfect Penguin things but this theme merits it's own post, it is so good. I love how differently the show sounds compared to the movie, how that plays into the exact scene and moment where it stops being The Batman and becomes The Penguin. It follows similar ideas to past themes for Penguin in that sense of awkwardness and stress, these offbeat weird motifs stumbling over themselves, like the "lumbering oom-pah brass", as Daniel Schweiger described it, he had for TAS. The soundtrack for this episode in general sounds cartoonish and old-fashioned, that music sting that plays when Sofia Falcone indicates how she's onto Oz wouldn't be out of place in a silent film, and it's so perfect for Penguin. The whole song is really good but it's those first notes that bowled me over.

So perfect as a point of contrast with the way The Batman is scored, and specifically the theme that's associated with Batman himself. Batman's theme is that imposing, dramatic bell, those four notes that adapt and creep up and overtake their surroundings, the dark foreboding brass of it all. That's the motif that plays when Batman enters a room. For The Penguin? It's that DUUUUUUN-DUN!, it's the strings that play when he's either royally screwed or royally screwing someone, the pain and indignity that's either about to happen to him or he's about to inflict on someone else. Pure musical expression of "Aw fuck, not that guy right now / here comes the bastard".

It is simply sublime, that the first note of this Batman's theme tells you "oh shit, Batman's coming for you.", while the first note of this Penguin's theme, in turn, instantly tells you "Oh shit, sunavabitch did it AGAIN!".

[abijahfowler]

women. wo. wome. wo… wom… wo! wom-wooommEEENNNN

[bossymarmalade]

@spaceorphan18 tagged me to spell my journal name in song titles so here goes, the all-musicals version: B: Bring Him Home - Les Miserables O: Oom-Pah-Pah - Oliver! S: Santa Fe - Newsies S: Suddenly Seymour - Little Shop of Horrors Y: You Can't Stop the Beat - Hairspray M: Mr. Cellophane - Chicago A: All I Ask of You - Phantom of the Opera R: Rose Tint My World - Rocky Horror Picture Show M: Moses - Singin' in the Rain A: Adelaide's Lament - Guys and Dolls L: Louisiana Hayride - The Bandwagon A: Anatevka - Fiddler on the Roof D: Damned for All Time - Jesus Christ Superstar E: Edelweiss - The Sound of Music

tagging @snarkyblue and only @snarkyblue lol

[if-only-angels-could-prevail]

In starting production, the musical team was interested in keeping the sound of the original (but scored for a smaller orchestra) and, at the same time, in adding elements of traditional folk music. When I looked at the original, however, I was concerned because the orchestration was VERY 'meat and potatoes'... that is, very straightforward, almost nothing in the way of countermelodies or texture. Basically the original orchestration doubled the melody A LOT and left the rest of the orchestra to do "oom pah pah" accompaniment figures. It was a style that, with a million strings, would sound simple but very lush, but in our orchestra (of 7 strings on opening, cut down to a string quartet as the production went along) would not be very interesting AT ALL. So I asked (and received) permission to do whatever I wanted, so long as it still sounded like The Sound of Music to an audience member. I think the result was quite successful in that it's often very, very different from the original (LOTS of countermelodies, lots of moving horn lines, etc), yet not stylistically jarring in any way. And by using recorders, handbells, tuba, a zither and other folk instruments, I was able to capture the authentic Austrian folk music quality the director was after.

-Bruce Coughlin (orchestrator of the 1998 revival)

[greypetrel]

🍧 SHAVED ICE and 🎤 MICROPHONE for all of them/any you'd like (including Pavyn)? :3

Hello!! :D

LOL THE KARAOKE ONE, thank you x°°°D

Tis the prompt list!

🍧 SHAVED ICE - do they still have any objects from their childhood? what significance does it have to them? what would their reaction be if they lost it?

Alyra: She sold her mother's necklace at the first chance. If she wasn't interested in her, she doesn't see why she should be. She's gone, left her in a shitty clan, bye. She still has a friendship bracelet woven with spare strips of leather, sparkly rocks and shells in the braid. There were flowers once, but they're long wilted and fallen, it's very worn. Tamlen braided three for her, Merrill and himself.

Raina and Garrett: They found once in the attic Malcolm's disguise when he and Leandra ran away. He told them the story and told them to do what they wanted of it. Nobody really wanted the ugly uniform, but they split the rest. Bethany had the amulet, Carver the boots, Garrett took his staff after he died, and Raina the gloves.

Aisling: All she had was destroyed in the explosion. :"( It was an amulet Deshanna gave her when she arrived in the clan, a blue glass eye enchanted against evil spirits. She didn't find it anywhere when she woke up and was free to walk around, and she severely regret it.

Radha: A pair of golden earrings with amethists, that were her mother's bonding gift from her father. She wear them on special occasions. They're enchanted with a protective spell.

Pavyn: A leather bracelet, equally enchanted, with strands of embrium -preserved with magic- that was Deshanna's bonding gift to his father. A pinecone that Aisling gifted him at her first Arlathan, when he was awfully hangover.

🎤 MICROPHONE - are they good at singing? what is their go-to karaoke song?

Alyra: She's good, has a low voice but very pleasant. It would take some time to convince her to actually sing at a karaoke, but she'll always fall far drinking songs. Always. This one's a big favourite.

Raina: Awful singer. Tone deaf, can't hold a note. It won't stop her, she (unfortunately for everyone around her) loves singing, and would love karaoke. She'll go for '80s hits. Angel of the Morning is a big favourite. But also very unfortunately for everyone around her, another big fave would be Bohemian Rhapsody. And yes she'll sing every. Single. Part. Included all the Galileo Galileo Figaro. (but seriously, who sings Bohemian Rhapsody without doing ALL the voices?)

Garrett: He won't break eardrums like his sister, but he's not the best singer ever. Luckily enough, he won't jump at the occasion so eagerly. He's not tone deaf, but no trained singer either. He'd choose something fun, maybe that can be sung by everyone. Like you know what? The Phoney King of England.

Aisling: She's a good singer, can hold a note and is pretty tuned. Will get stuck with silly lyrics and humming them for the whole day. She'll go for either rock, Living on a Prayer would be a favourite (everyone knows it, everyone sings, it's satisfying) or go for Musicals. Another BIG TIME favourite would be Oom-Pah-Pah from Oliver. Sung from up the table, of course.

Radha: Has actually a nice voice, deep and charming, but won't get caught singing to save her life. She doesn't like being the centre of attention EVER, so karaoke night won't really be her jam. She's the one that films Pavyn and Aisling when they duet over Rasputin (they would). But if you get her enough to drink and she's in the mood...

Pavyn: Oh he has a good voice and the theatrics enough to LOVE a good karaoke evening. Dragging everyone with him as well, but he's the centre stage.The party don't start till he walks in, after all. Also this when he wants to be a little more serious. He knows the WHOLE choreography don't try him (or do.).

[strazcenter]

Tuba Day Salutes the Big Oom

It’s a sound that immediately brings to mind Oktoberfest, or at least Polka Night at the Elks’ Lodge. It’s two sounds, actually – one deep and low, the other notably higher. The latter tone is pah, the response to the former, which is oom. As each yang has its corresponding yen, every pah shares an unbreakable union with its oom. Oom is earthy, sturdy and skeptical, while pah is oom’s lighter,…

[entryn17]

I looked at ur site and just wanted to say I think it's really cool! The setting intrigued me the most but I really love your art and characters! Hamrawit and Lilium's designs are my favorite! I wanted to ask how you pronounce the names? I don't want to get any of them wrong :)

AWW THANK YOU!!! i'm really glad to hear!!! what a nice message to receive. as for the pronunciation of everyone's names..!

arevik paruni - ah-re-vick (re as in "red") pah-ru-nee

hamrawit taye - ham-ra-wit ta-yee

ipera aydin - ay-pea-ra ay-deen

lilian - lily-ann

lilium - lily-oom

[tootern2345]

I love how stuff escalates from 0-100 in this scene

From 1930’s Oom Pah Pah, an Aesop’s fable directed by John Foster & Harry Bailey for Van Beuren

[forlorn-crows]

Polarising I know, but what about twenties, it fucks so hard!

TWENTIES. FUCKS. HARD.

tobias recently said he wants to play it on tour, but that its a 'crowd heavy song' BITCH I WILL SING THE ENTIRE THING TRY ME.

the horns? that oom PAH rhythm? the DRUMSSSSSSS.

please. i need to see mountain smASHING them. hear the BEAUTY of that double kick drum pedal action.

also the fucking BASS LINE?? fucking SLAPS.

that fucking dog bark/ growl at the end of the chorus

LISTEN UP / YOU MOTHERFUCKERS . . . TELL THEM ALL THIS IS WAR / AND NOT FIGHTING A WAR IS FOR SUCKERS.

IM NUMBER ONE / YOURE NUMBER TWO / YOUVE GOT A LOT OF GODS WORK TO DO

the entire fucking sound behind the guitar solo

the 'EUGH' and 'aaaahhh' in that little bridge section and then it just SLAPS YOU IN THE FACE FOR THE END

this song makes me wanna run around my apartment like a little gremlin

[feleshero]

From what she could gather, Felicia Hardy was a known quantity in this universe. Judging by the grand reception she'd gotten when she tripped the light fantastique into this gala. Interesting, sure, but what her counterpart got up to in the confines of her own home dimension was her business.

This Spider was far more focused on a completely different person's business. And where better to snoop, pry, and nose around in business than away from the middle of a dance floor? Tucked onto a moonlit balcony overlooking a cityscape. Oom-pah-pah'ing her way through the oldest Waltz known to man: 'small' talk.

Would've been one of her smoothest jobs ever... if only the @overclocks in this universe was still, oh, I dunno... operating under the same bounds as the one from her own.

❝ What's it like having Iron Man as your personal body guard? Does he ever let you take the suit out for a spin, or is it sort of like a Megadeus and you have to use biometrics ? ❞

felicia is bothering your muse, you're welcome.