#and he plays the CELLO??? and WRITES HIS OWN ORIGINAL MUSIC???

[sagegreenfrogs]

Realistic Corvus X Female reader

he leaves you for a man (soren)

the end

corvus my beautiful glorious king, i would say your my man, but i think he WANTS a man 😭🙏

[literaryvein-reblogs]

Writing Notes: The Baroque Period

The Baroque Period of music - occurred from roughly 1600 to 1750.

It was preceded by the Renaissance era and followed by the Classical era.

The Baroque period was a revolutionary time in music history that saw a full embrace of polyphony, ornamentation, and harmonic sophistication.

The style spread throughout Europe over the course of the 17th century, with notable Baroque composers emerging in Germany, Italy, France, and England.

The era was not limited to music. Baroque painting (by masters like Caravaggio and Peter Paul Rubens), Baroque sculpture (led by Gian Lorenzo Bernini), and Baroque architecture (particularly in the Catholic church) were other celebrated forms of Baroque art in the 17th and 18th centuries.

The term Baroque can refer to all of these art forms in addition to music.

Characteristics of Baroque Music

Baroque music made notable advances from the Renaissance period, many of which are still employed by contemporary musicians and composers. Baroque music often has the following characteristics:

Emphasis on dynamics: During the Baroque era, the pianoforte (an early version of the piano) replaced the harpsichord as the primary keyboard instrument. The pianoforte (called a klavier in German) struck strings with felted hammers, whereas the harpsichord plucked the strings. This meant the pianoforte could play both soft and loud, opening new dynamic possibilities. Other new Baroque instruments, like the valve trumpet and the violin, also had immense dynamic potential. Renaissance instruments like the lute were still played, but they were eclipsed in popularity by newer, more dynamic options.

Embrace of instrumental music: Prior to the Baroque era, a great amount of music was vocal music used in liturgical settings. While Baroque composers still embraced singing in the form of chorales, cantatas, and opera, instrumental music became increasingly popular. Some of the most renowned pieces of Baroque music, such as Vivaldi's Four Seasons or Bach's Brandenburg Concerto, are instrumental pieces.

Ornamentation: Much like Baroque architecture and sculpture, Baroque music embraces flair. Even the simplest melodies were often embellished with ornamentations like trills, acciaccaturas, appoggiaturas, mordents, and turns.

Basso continuo: Basso continuo notation became popular during the Baroque era. This form of music notation includes a complete bass line, which is usually played by a cello in a Baroque ensemble. A player of a keyboard instrument like a harpsichord or piano then improvises chords using figured bass notation. Solo organ players often play basso continuo notation entirely on their own.

A Brief History of Baroque Music

After its inception in Italy, Baroque music expanded throughout Europe thanks to composers like Johann Sebastian Bach and George Frideric Handel.

Origin in Italy: The early Baroque era of music centered in Italy. Italian composers based in Rome and its surroundings composed music that drew on the traditions of the Renaissance era but also expanded its harmonic and ornamental boundaries. Notable Italian Baroque composers include Alessandro Scarlatti (and his son Domenico Scarlatti), Antonio Corelli, and Claudio Monteverdi. Antonio Vivaldi was the last major Italian Baroque composer. He worked in the later Baroque era, overlapping with George Frideric Handel and Johann Sebastian Bach.

German influence: As musicians traveled throughout Europe, the Baroque style caught on, and new composers added new elements. The English composer Henry Purcell and French composers like Jean-Baptiste Lully and Jean-Phillippe Rameau made marks, but it was the German school of Baroque music that was most influential. Georg Philipp Telemann, Michael Praetorius, Johann Pachelbel, and most of all Johann Sebastian Bach helped define the high Baroque period. Another prominent German was George Frideric Handel, although he spent nearly his entire career in England.

End of an era: The Baroque period's end is tied to the death of Bach in 1750. The second half of the eighteenth century and early nineteenth century marked the Classical period, where composers like Wolfgang Amadeus Mozart and Franz Joseph Haydn built on the foundation laid by Baroque composers.

Baroque Period Musical Forms

Popular Baroque musical forms include the prelude and fugue, the cantata, the concerto, the oratorio, the sonata, and even opera.

Like prior Renaissance compositions, many Baroque pieces have religious themes.

Baroque composers were aligned with both the Catholic church and, following the 16th century Protestant Reformation, other denominations like Lutheranism.

Notable Baroque Composers

The Baroque era gave rise to many composers whose works are still regularly played. Three particularly notable composers of the Baroque period are:

Johann Sebastian Bach: No composer better defines the High Baroque era than J.S. Bach. Based largely in Leipzig, Germany, Bach was a master organ player (among many other instrumental talents) and a composer who created both liturgical and secular music. Bach's brilliance lay in his mastery of counterpoint and harmonic transformation. Works like The Well-Tempered Klavier, The Art of the Fugue, and the Brandenburg Concertos remain essential parts of the classical music repertoire.

George Frideric Handel: Born in Germany but notably a Londoner, Handel composed Baroque landmarks like Water Music and the opera Rodrigo. Yet he is most remembered for Messiah, an English-language oratorio composed in 1742. His Music for the Royal Fireworks was commissioned by King George II and firmly established his place in British music history.

Antonio Vivaldi: A Venetian composer, Vivaldi was famed for his mastery of the violin. His musical compositions reflect his instrumental virtuosity. The most famous of these is Four Seasons, a series of violin concertos that is widely performed by today's classical musicians. During his lifetime, Vivaldi made most of his income as an opera composer, where he pushed thematic boundaries in works like 1716's Arsilda, regina di Ponto.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[nearstoybox]

Posting random DN headcanons because I have nothing better to do. Wammy's House edition cause most of my faves are associated with/part of it.

VERY LONG POST AHEAD:

L:

- Trans man (he/him), started taking T only a few years before his appearance in the main plot.

- He has stubble. I know it makes zero sense but idc (I can't picture him shaving, I have no clue why).

- He has a billion different hobbies that he's done over the years, from playing violin and acoustic guitar to collecting stamps to painting. He's done it all, probably. He's even done a few sports other than tennis.

- He wears glasses sometimes, and is very picky when it comes to the ones he wears.

- He's also picky when it comes to the cases he solves. The more interesting they are to him personally, the more he's likely to take them on.

Beyond Birthday:

- Androgyne (any pronouns)

- Huge fan of ghost stories and superstitions, maybe even folklore and mythology too. He's probably scared some of the kids at Wammy's by telling them a scary story (and then got told that he was giving them nightmares).

- He's also very fond of anything creepy.

- He has an insanely low pain tolerance, which freaks people out. He may or may not enjoy using it to his advantage. There's also the fact that he's completely capable of moving his body in odd ways.

- While he's read and watched a few other magical girl animanga, Akazukin Chacha will always be his #1, no doubt about it.

(Bonus hc: his birthday is the 31st of January. So happy birthday, BB!)

Watari:

- Trans woman (she/her)

- She has albinism, and her eyes especially are sensitive to most sources of light. It's why she keeps her eyes closed almost all the time and wears glasses.

- She has a pet bloodhound named Annette, nicknamed Annie for short. Following her death, it's Roger who takes care of Annie in her place.

- She has a bit of a sweet tooth, though not on the same level as the one L has (for example). She prefers ice cream over pastries. Earl grey tea is the only kind of tea she can stand without feeling like she'll get sick of it, she enjoys coffee way more.

- She can play the cello. She originally learned how to when she was still a child, which led to her playing it more when trying to calm herself down from emotional outbursts (or literally just her own anger) ever since her teenage years.

Near:

- Trans man (he/they/it), has zero plans of taking HRT, nor does he think about getting any sort of surgery.

- His favorite holiday is Halloween, but does go all out for most holidays in general.

- He'd definitely love tokusatsu, based on how he has Ultraman figures in the anime/manga. There's no way he wouldn't love Gundam, too.

- He organizes his toys based on what kind of toys they are (so action figures, dolls, robots, etc etc.), and has specific shelves for each. He had to expand the storage space for his robots in particular, but thinks he can "never have too many of them".

- He adores cats.

Mello:

- Genderqueer (he/it)

- 99% of his music taste is rock music.

- Ever since the explosion, he always had his hair styled on one half of his head, due to the scar tissue covering most of his body being unable to grow any sort of hair. He owns a few wigs to use if he ever shaves his head entirely. (I'm aware he has a full head of hair even with his scar canonically but shhh)

- He dabbles in writing from time to time, and keeps a journal. Inspiration tends to hit him pretty easily, unlike the rest of us. At least, it used to.

- He has a pet dobermann named Florian (named after the Saint of the same name), who he got during his early years in the Mafia.

Matt:

- Bigender (she/he)

- She has two prosthetic limbs - her right arm (due to injury) and her left leg (due to not being born with it). She's been modifying both of them for years, doing so every couple months.

- She has a hobby of just tinkering with random junk lying around, for fun. She tends to make all sorts of things, with some being more dangerous than others.

- She LOVES horror movies (and most forms of horror media, like games and novels). Her favorite movie and movie trilogy has got to be Re-Animator.

- When not wearing her goggles, she prefers to wear glasses. She'd rather die than wear contact lenses.

I might make more posts like these, but I'm not sure yet. Maybe I could make one with the Kiras, or other characters I have headcanons for.

[oneofthosebells]

Sunday Snippet

From the next chapter of Incognito Mode, which I'd hoped to get out today but it still needs some editing and my brain's hit a wall - might be up tomorrow, brain fog co-operating!

“Nice,” is Wille’s only comment as they stand in the living room together, but it doesn’t sound sarcastic.  He’s looking round with interest, his eyes lighting on Simon’s keyboard and a pile of papers next to it, then flitting over the posters on the walls.  Simon is suddenly glad that he’d taken the time to redecorate and scrub any trace of Marcus from the flat.  Well, the crockery in the cupboard is all his, and he’d bought the TV originally too, but Wille doesn’t need to know any of that.  Everything else is all Simon though, and there’s a nervousness flitting at the pit of his stomach about letting Wille see it.

“Cosy, anyway,” says Simon with his own touch of sarcasm after the silence has lingered a little too long.  But Wille shakes his head.

“I love it.”  He turns back to Simon, smiling softly; and there’s that warm glow in Simon’s chest again.  “I can picture you here.”

He wanders over to the keyboard, Simon trailing behind, and runs his fingers over it before picking out a simple melody.

“You play?” Simon asks with surprise, wondering why he doesn’t know this.

“Yeah.  I had piano and cello lessons for years before they finally let me give it up,” he says casually, as though this is a completely normal statement.  Simon, who’d scrimped and saved from summer jobs for years to afford private tuition so he could reach the standard he’d needed to get into his preferred music degree, doesn’t say anything.  He’s not sure if he wants to smack Wille around the head for his obliviousness or hug him tight and never let go as though that could make up for any of the things he’s heard today.

He settles for moving closer, his shoulder pressed against Wille’s as he tries – and fails – to copy the same brief melody Wille had played.  Wille laughs before taking Simon’s hand in his own to move it to the right starting note.  They play the tune again together, Simon very conscious of the goosebumps on the back of his arms, then Simon takes over with both hands, modulating the chord before transitioning to one of his own pieces, playing just a few bars.

“I don’t know that one.  Did you write it?”

“Mm-hmm.”

“It’s lovely.  Would you play one of your songs for me?” Wille asks lightly, hooking his chin over Simon’s shoulder.

“Hmm.  Maybe.”  He turns his head so that he’s looking in Wille’s eyes, noses almost touching, and murmurs, “Later.”

“Later?”

“Later."

[fearlessechoes]

Here’s something I’ve been translating on and off for the past week or so! I was looking at old German youth magazines in order to find interesting articles about classic rock bands (specifically Pink Floyd) and came across this in the 01/1978 issue of BRAVO magazine (One of the most famous teen/young adult magazines in Germany that’s been there since 1958 and is still going strong today!) A lot of youth magazines back in the day had articles and posters about rock bands because, well, that’s the people who were celebrities at that time! This page includes both short descriptions of the band members and a short history of the band up until that point when the issue came out! Enjoy ;)

Here’s the original picture

And here is the translation! (Italized text are context comments added by me to add to the understanding of this text!)

Warning: Some of the information here is obviously incorrect!

Pink Floyd: Their profiles

Nick Mason:

Born on the 27th of January 1945 in London, plays drums, has black hair, brown eyes, is 1,72 m tall (for non metric peeps it’s approximately 5 foot 8), is married to Lindy, has two daughters, owns a vineyard and collects old cars (old timers in German means old/vintage cars)

Rick Wright:

Born on the 28th of July 1945 in London, plays the organ/keyboard, piano, cello, and Moog-synthesizer; has blonde hair, blue eyes, is 1, 74 m tall (approximately 5 foot 9), is married to Juliette, has a son named Jamie, and a daughter named Gaia, loves football (or soccer for American peeps)

Roger Waters:

Born on the 6th of September 1944 in Great Bookham near Cambridge, plays bass, Moog-synthesizer, and sings as well; has blonde hair, grey eyes, is 1,83 m tall (approximately 6 feet), is married to Caroline, and has a 15 month old son named Harry.

David Gilmour:

Born on the 6th of March 1946 in Cambridge, plays lead guitar and sings; has brown hair, blue eyes, is 1,78 m tall (approximately 5 foot 10), is married to Ginger, and has a 2 year old daughter named Alice.

The diary/summary of their career; All their albums

1965

The three architecture students Roger Waters, Rick Wright, and Nick Mason meet and get to know each other, establishing the band Sigma 6.

1966

February: Sigma 6 gets their first fee for a performance in the London Marquee Club and mostly cover popular rock and blues songs. During this time they meet art student Syd Barrett. He writes songs and joins the band as a guitarist and singer. Under his influence Sigma 6 evolve into their own music style: The group does electronic experiments and uses spotlights, reversal film, and recorded footage as part of their stage shows. Thus psychedelic music is born. Syd Barrett is as well (psychedelic), who now comes up with new names for the band almost every month — they call themselves “T-Set,“ “Abdabs” — and in this group a girl sings as well from time to time: Juliette Gale. She later marries keyboardist Rick Wright.

June: The group could pay for a band bus for approximately 200 Mark (the German currency at the time of this article), but decide to separate for the time instead. No one is interested in performing, since the boys want to enjoy the semester holidays as well as after them improve and work harder on their studies; music is fun but a real job is more important. Syd Barrett then has a new idea for a band name: The Pink Floyd Sound. He comes up with his idea through combining the names of two American blues singers: Pink Anderson and Floyd Council. The owner of an artist agency, Peter Jenner, sees a performance from The Pink Floyd Sound in the Marquee, and then from there on decides to manage the band, not knowing the band wanted to break up.

July: Peter Jenner gets the band gigs, and thus Pink Floyd stays together.

October: Pink Floyd are now the stars of the London Underground. They perform in the Roundhouse to 2000 fans, with even Paul McCartney being there to see them.

December: On the 23rd of December the UFO club opens, with Pink Floyd performing there daily henceforth.

1967

January: The English music magazine “Melody Maker” write an article about Pink Floyd, which makes record companies curious about the band. The band accepts the best offer, and as they sign the record label contract, they cash in an advance payment of 40 000 Mark.

February: The first single “Arnold Layne” gets recorded.

March: Arnold Layne goes to the English hit charts.

April: The single is on number 20 in the charts and then falls off. But this beginning success gives them the push they needed to record their first album “The Pipers at the Gates of Dawn.“ Norman “Hurricane” Smith serves as producer for this album, and began his career as a recording engineer for the Beatles. While Pink Floyd work on their album in studio 3 of Abbey Road studios, the Beatles work on their album “Sgt. Pepper’s Lonely Hearts Club Band” at the same time in studio 2; two decade defining groups working next door.

June: Pink Floyd join as a supporting act along with Jimi Hendrix and the Move (runner up band to Electric Light Orchestra) for an England tour, but only get to play 17 minutes.

July: The second single “See Emily Play,“ becomes part of the English hit charts, coming in at number 6, and the first album “The Pipers at the Gates of Dawn” releases.

September: See Emily Play also goes into the German hit charts and reaches number 28. Syd Barrett at this time also creates a speaker system which is still useful today, where the speaker boxes are placed all around the room.

1968

At this time, it is practically impossible for Pink Floyd to continue performing with Syd Barrett. He is more and more off in his own world and mind, often not knowing where he is. Out of necessity, the band thus searches for a second guitarist who could join the band.

February: David Gilmour joins Pink Floyd. Syd is still part of the band, but during concerts his amps are often not even turned on, so that the audience doesn’t know any better about his mistakes.

April: On the 6th of April Syd definitively leaves the band, with manager Peter Jenner going with him. Pink Floyd begin working on their second album “A Saucerful of Secrets.“

June: At a free open air concert on the 29th in the London Hyde Park the band officially announces and debuts David Gilmour as their new lead (and only) guitarist. On the same day the new album releases as well.

1969

July: The soundtrack album Pink Floyd worked on for the film “More,” releases.

October: Pink Floyd have their first concert in Germany on the 11th of October at the Pop and Blues Festival in the Essen Grugahalle venue. On this day, Deep Purple celebrate their first concert in Germany as well.

November: The double album “Ummagumma” releases and makes the group successful worldwide for the first time.

1970

March: The soundtrack album Pink Floyd worked on for the film “Zabriskie Point” releases.

June: Pink Floyd perform the title track of their upcoming new album “Atom Heart Mother” worldwide at open air festivals with recorded footage, dry ice fog, and light bombs as part of their special effects on stage.

October: The album “Atom Heart Mother” releases and leads the album charts in England and America.

1971

The album “Meddle” comes out. This year Pink Floyd is particularly busy; they go from one concert to the next and have multiple tours worldwide.

1972

The soundtrack album Pink Floyd worked on for the film “La Vallée” releases under the title “Obscured by Clouds” as their new album. The rest of the year the band spends inside the studio.

1973

March: The album “Dark Side of the Moon” releases and is on the English and American album charts for over two years, and also goes gold in Germany. It is to this day the band’s most sold album.

October: Pink Floyd perform their last German concert for a long time on the 12th of October at the Olympiahalle in Munich, and it becomes the sensation of the year. Pink Floyd also make their way into the English and German single charts again with the single “Money.”

1974

Pink Floyd are tired of success and go back to their private family lives, with rumors appearing that the group will break up. In autumn, the double album “A nice pair” comes out, which is a rerelease of their first two albums.

1975

September: The album “Wish You Were Here” releases.

1976

This year, Pink Floyd doesn’t appear publicly that much as well, except for some performances at festivals.

1977

January: In Dortmund Pink Floyd start their first German tour since 3 years ago on the 23rd. They have 2 concerts each for Dortmund, Frankfurt, and Berlin, with Munich having 3. All concerts were sold out 2 months before the tour started. Simultaneously the 11th album of the band, “Animals” releases. Even before the album released, “Animals” goes gold, with 250 000 records being preordered. This German tour is also the starting point of a months long worldwide tour — the most comprehensive one that Pink Floyd have undertaken yet.

Written originally by: K. E. Siegfried

Translated from German to English by: me! (Vik)

(Btw my source to where I found this is the Internet archive, love that place!)

also here are some pictures that were included in the magazine of the band!

[ocean-sands]

Fictober 2024 - Day 9

Prompt number: 9 - Don't listen to me. Listen to them. Original fiction: Cello Rating: PG Warnings: n/a

“Brave of you to think you could tell me how to run my band.” Brooks said, before taking another puff. “You’re not the bandleader, I am. You’re not the songwriter, I am. So don’t tell me how to write my own music.”

Marleah clenched her fists and turned to face him. “I know you don��t respect me…”

“What are you talking about?” Brooks sat up straight and sounded like he was serious. “Of course I like you.” He really did sound sincere, but Brooks was a sweet talker, and he wasn’t going to manipulate Marleah.

“I said you don’t respect me. Not that you didn’t like me. And, no, you don’t like me, you like the idea of me. I’m the missing link to this band, but let’s be honest, I’m only temporary.”

“You’ve already played three gigs with us. You can’t just quit.”

“Why? Because the almighty Brooks said so? Will that upset the band’s leader?” She responded. “You only care about yourself, Brooks.”

Brooks laid back down, smoking his weed again. “I don’t have to listen to this.”

“Then don’t. Don’t listen to me. Listen to them, your real bandmates. Your so-called friends. I saw you shoot down Jax’s melody suggestions three times yesterday. You didn’t even listen to them. And Moose tells me you don’t even consider his songwriting. I’ve read his lyrics, they are amazing. But you wouldn’t know any of that because you don’t care”

“I don’t need to be scolded,’ said Brooks. “You’re not the band’s mom.” 

Marleah walked over to him and grabbed the joint from his hand. “You need me more than I’d ever need you.” She threw the joint into a cup of water on the nightstand. “I’ll continue being the band’s mom as long as you continue being a child.”

[knockyasocksoff2022]

J-Pop Idol Au:

When two rival companies PM entertainment and ADA entertainment are forced to merge can the leads to the two star groups get along?

MEET THE CHARACTERS: 

Mischievous leader with a depressing past Dazai Osamu of The Detectives (Vocals and Visual #1)

Edogawa Ranpo - Rapper, vocals, visual #2

Mayazawa Kenji - Vocals

Nakajima Atsushi - Vocals 

Yosano Akio - Rapper and Vocals (Visual #3)

And their strict but loyal (and very tired) manager Kunikida Doppo

Company President: Fukazawa Yukichi

----------

Strong willed leader with true passion for music Nakahara Chuya of The Mafia (Vocals and Visuals)

Akutagawa Ryunosuke - Vocals

Akutagawa Gin - Rapper

And their slightly obsessed and majorly over stressed manager Higuchi Ichiyō

Company President: Mori Ogai

----------

Quiet, brooding, and devilishly handsome Fyodor Dostoevsky, leader of Angelic Decay (Vocals) Known for his vampiric aesthetic and warm voice. Has a blood red coloured Cello that he plays.

Nikolai Gogol the zany lead dancer (visual and second vocals) The clown of the group. Also the main rapper. Known for his unique sounding voice.

Sigma the quiet and shy second dancer (also visual and third vocalist) Known for his extremely wide voice range.

Ochi known by his stage name of Kamui

----------

The Mafia

A four member group whose songs are a combination of rock and pop. Their fans are called Mafiosas, Mafiosos, or Mafiosis depending on the gender.

NAKAHARA CHUYA - Leader, Vocals

Started out by secretly singing along with the girls only choir in his hometown. When he was old enough to join he dressed up as a girl to join. He would rather die than admit that.

Was scouted and started as a trainee later than most idols and feels the need to prove himself despite being as good as any other idol.

Was originally part of a band called The Sheep but they kicked him out because they were jealous of him stealing their spotlight without even trying.

Friends with an independent artist who goes by the stage name Golden Demon, he sees her as an older sister figure. She taught him how to do makeup.

Has never told anybody but can play viola.

Akutagawa Ryunosuke - Vocals

Was convinced to audition by his sister Gin. He promised to watch out for her so he followed her in her idol carrere thinking he’d flunk out of training in a month or two.

He wanted to leave but a certain silver-haired boy convinced him to stay, he never learnt his name or even saw him again but now he feels he owes him.

Had severe asthma as a child that almost kept him from being able to join the company but his incredible vocals made him impossible to reject.

Has training in street and hip hop dancing.

Akutagawa Gin - Rapper

Has loved music all her life and discovered Rap when she was seven.

She immediately started learning her favourite songs and eventually started writing her own (yes she and Ryu were THE ANGRY ANGSTY TEENS)

Her mother was mad at Ryu and Gin for being rebellious but she decided to send them to the city in hopes that they would either flunk out because it was too hard or see how hard it was to really be an idol and come running home.

But Gin was determined and it started out as a way to spite her mum but she started to really love it.

Ryu saw how happy Gin was and finally gave in to her pleas for him to join her.

Both siblings agree that the company is better than home.

Izumi Kyouka, Vocals, Rap

Has had an angelic voice from a young age.

When her parents died she was sent into foster care.

Her new parents forced her to become an idol so they could make money.

At first all she could think of was escaping but everytime she tried to fail out Mori himself made sure she stayed on.

At first she hated him for it but then she met Kouyou who convinced her to make this her own thing instead of her parents' thing.

With new confidence Kyouka progressed quickly, she discovered Rap and fell in love with it because of its rebellious nature and ability to convey positive messages.

She loves surprising people by breaking into rap because she looks so sweet and innocent.

She has a crush on the youngest member of The Detectives

The Detectives

A seven member group who focus on making songs that are a mix of orchestral and electronic-dance-music. The’re fans are called Ability Users after their concept of Abilities from their very first album.

(In this story the Tanizaki’s share a last name but aren’t related to each other.)

DAZAI OSAMU - Leader, Vocals, Dancer

Grew up in inner city Tokyo.

He ran away from home at age nine (9) and was then scouted by Mori.

Scouted earlier than most idols. Has been singing since he was very young.

His vocal and dance trainer Oda Sakunosuke was killed saving his children after their home caught fire. 

Dazai fell into depression after that and threw himself into work because music and dance were the only way he could express himself.

He trained with Chuuya but was ready to debut earlier than Chuuya was so he was given over to ADA entertainment to lead a group that Fukuzawa was putting together.

Dances as a hobby, he can pick up choreography quite easily

Beloved by fans for his quirky personality but it hides a past blacked by his depression

Plays Electric Violin and Piano so strings are incorporated into almost all of The Detectives Songs.

Totally ships the Tanizaki's and teases them about it on and off camera.

Constantly annoying/embarrassing Junichirou who is oblivious to the fans knowledge of their relationship.

Edogawa Ranpo - Rapper, occasional vocals, visual #3

Grew up in the Tokyo suburbs.

Auditioned because he was bored.

Was going to quit because he gets bored quickly 

but he was in competition with his American pen-pal (who’s in an angsty indie band called Nevermore) and figured becoming an idol would be something he could hold over the other boy’s head. 

Not to mention maybe one day having his face on a brand of sweets would be cool.

He promised one day he’d write a song for his pen-pal.

Can sing and has a surprisingly deep voice but he prefers the rhythm and fast pace of rap.

The group was founded around him but he didn’t want to be leader because of all the responsibilities so Fukuzawa found Dazai.

Didn't even need his brain to figure out Tanizaki's deal.

He mostly ignores it.

Upset that it's such an open secret because he can't use it to blackmail Junichirou into buying him snacks.

Yosano Akio - Rapper and Vocals (Visual #3)

Grew up in Tokyo.

Started her training with PM entertainment but left after one of the dance instructors abused her.

Mori understood and let her go, but asked her if she would still pursue a career in music.

She refused to give up her dream and auditioned for ADA entertainment. 

Fukuzawa was happy to take her on.

She usually does Rap but some songs have her vocals.  

Likes to use big props in Music Videos (big hammers, hatchets, swords, scythes)

Thinks Junichirou is so stupid and that he should just some out and tell everyone because the fans already know.

Naomi Tanizaki - Vocals and Dancer

Grew up in downtown Tokyo.

Has wanted to be an idol all her life so she started doing dance lessons and participating in her school’s chorus ever since she was old enough.

She also started taking vocal lessons outside of school.

At age 10 she auditioned for ADA Entertainment using her ballet training and showcasing her synchronicity with the other girls as well as soft vocals, and skill on the flute.

She got picked to be a trainee.

She was originally going to be part of a girl group but she refused to leave Junichirou, and Fukuzawa is a softie, so she got to be part of The Detectives.

She is known for her extremely affectionate relationship with Junichirou, most fans ship them, despite Junichirou claiming that they aren’t in any sort of a relationship.

Junichirou Tanizaki - Vocals and Dancer (Visual #1)

Also grew up in downtown Tokyo and went to the same school as Naomi.

Is childhood friends with Naomi, even though he’s two years older.

He used to think of her as a younger sister.

Naomi has liked him since they met and he slowly began to fall for her as well.

Recognises that her attachment is unhealthy but can’t bring himself to say anything because he knows he feels an attachment as well. 

Because of this, and his desire to protect her from any and all actual, and potential dangers he followed her to the ADA.

He was originally just going to watch her audition and make sure nothing sketchy was going on and then she suggested that he audition too.

He said no

But she begged and he couldn't say no to her so he auditioned.

He has been singing in the school chorus since he was very young and can play piano so he got accepted.

He played football which also requires fitness and cooperation so he picked up dancing in formations easily. 

He only agreed to an off camera relationship with Naomi because he doesn’t necessarily like the idea of having their relationship broadcast to the public.

He thinks he’s hiding it, He isn’t. At least not very well.

He can’t help but be affectionate with Naomi and she never reminds him that they're supposed to be a secret.

He always blushed like an idiot whenever anyone brings up their relationship.

He’s a good liar but it’s just so obvious that it doesn't really help.

It’s hardly ever mentioned but he actually has perfect pitch, just like Dazai.

Miyazawa Kenji - Vocals

The flower maknae.

When he first came to the city he got lost and was found by Ranpo, Yosano and Atsushi, they adopted him into their friend group.

He was very curious about Dazai and eager to be friends with him. He looks up to him even though he, like everyone else, doesn't know much about him.

Was second last to join the group, and the one who pushed for Atsushi to be included.

Sends money back to his village and to charities

Had just discovered what a Canadian Tuxedo (denim shirt and denim jeans) was and wanted to wear one for their debut music video but Kunidia thankfully stopped him.

Thought the Tanizaki's relationship was an open thing and still doesn't get that it isn't so he just treats them like a couple even on camera. 

It doesn't matter because no one thinks that they aren't anyway.

Nakajima Atsushi - Vocals 

A white tiger hybrid with a similar story to Kyouka.

His parents died shortly after he was born and he was put into an orphanage, where he was abused and treated as a freak for his hybrid traits.

After he escaped the orphanage he realised he had no money and nowhere to go, he was debating whether or not to drown himself in the river when Dazai found him. 

He tried to rob Dazai but the older boy kicked his ass (read tail). But then Dazai helped him up and treated him to some (30) bowls of Chazuke.

Dazai convinced him to come to the city with him and let him stay in the ADA dorms.

Kunikda found out and imposed the condition that he could stay there on the company's dime if he agreed to audition and begin training.

He, of course, agreed.

Dazai became something of a mentor to him.

He didn’t believe he was good enough but that only motivated him to work harder.

He was the last to join The Detectives. 

He still had training to finish so even after the group was announced he wasn’t revealed until their first MV.

Has lots of Simps because he’s basically a cat boy.

He’s questioning whether or not he only likes girls or if he likes boys as well.

Was the last to know about the Tanizaki’s relationship, he legitimately believed that they were just really close friends.

[dustedmagazine]

The Hemphill Stringtet — Plays the Music of Julius Hemphill (Out of Your Head)

Photo by Robert Sumberg-O'Haire

When Julius Hemphill died in 1995, he seemed like an overlooked figure in jazz. His own records were few and far between and often issued on small European labels like Black Saint. If you knew his name at all, it was probably because of his long-running association with the World Saxophone Quartet, a group he wrote for and played in until the late 1980s.

But in the 30 years since he passed a more complete picture has emerged. His two classic 1970s records Dogon A.D. and Coon Bid’ness have been returned to circulation and 2021’s massive The Boyé Multi-National Crusade for Harmony box set showed him working in various groups: solo, duos, even with a string quartet in the form of a suite commissioned by the Kronos Quartet.

That last setting is the focus on The Hemphill Stringtet’s Plays the Music of Julius Hemphill. The Hemphill Stringtet are four musicians in an almost classical string quartet format: Curtis Stewart and Sam Bardfeld on violin, Stephanie Griffin on viola, and Tomeka Reid on cello. They feature on a curious disc that shows Hemphill’s strengths as a writer and arranger, while also moving the conversation away from Hemphill the musician to Hemphill the composer.

Key to this record is the three-piece “Mingus Gold” suite, the one he wrote for the Kronos Quartet but never lived to see performed on stage. It’s a thread of three Charles Mingus themes: “Nostalgia in Times Square,” “Alice in Wonderland,” and “Better Git Hit in Your Soul.” The Stringtet plays these pieces slowly, giving them an almost stately air, but occasionally open up into a flurry of sound that was inspired by Mingus’s solos but written by Hemphill (you can hear the same ideas on the Boyé box set played a little bit faster). There are moments of improvisation by Reid, like what the liner notes call an “ad libbed cadenza” in the middle of “Alice in Wonderland,” where her plucked cello takes the spotlight. She wisely plays with restraint, letting little pauses accentuate her lines.

The album’s other three pieces are ones that were originally written for a saxophone quartet, not a string group. But they’ve been re-orchestrated here by Marty Ehrlich and he didn’t really take any wild chances with the scores. “Revue” opens with long notes from the group but soon opens up into overlapping lines where Reid’s plucked cello alternates with bowed notes from the violins. It retains some of the original piece's energy but doesn’t swing: it feels like it’s been dressed up in a suit and tie.

Meanwhile “My First Winter / Touchic” is a two-song suite that shows two sides of Hemphill’s writing. The first half is a slow, moody piece where the lead voice has a bluesy, almost moaning quality. But about halfway through there’s a change and the music gets a little abstract: high squeaking notes, little darting passages, and pizzicato playing. Then it moves into “Touchic” and it’s more jaunty, lively lines.

When compared to the originally released versions you can immediately hear the difference between how they were conceived there and played here. With the saxophone group, and in front of an audience, pieces like “My First Winter” make sense in the greater scene of free jazz: the blasts, the shrill notes, and the slow passages all come from the tradition and are complemented by the other horns. But here, with written scores and inside a recording studio, they feel a little tamer and more restrained: the energy isn’t the same and it feels like the music’s been put under a glass case. Which isn’t to say the music is bad, because often it’s engaging and fun. But it doesn’t feel so much like jazz as it does something you’d hear in a more refined setting.

Which is maybe how Hemphill wanted to be thought of. A few years after his passing, Tzadik released One Atmosphere, an album of his classical-ish music. But that one, by sticking with the woodwinds he primarily wrote for and by mixing in touches of percussion, gave his music a sense of spontaneity that’s lacking here. 

Despite its flaws, Plays the Music of Julius Hemphill still has a lot going for it, particularly the “Mingus Gold” suite that is finally available without investing in seven-plus hours of music. That alone might be worth the price of admission for those with an interest in either composer but be warned it does flag a bit in the back half.

Roz Milner

[theloniousbach]

LIVESTREAM: FRIENDS OF MUSIC, Eliot Unitarian Chapel, 9 FEBRUARY 2025

I wimped out and took advantage of this particularly interesting concert of unusually voiced chamber music befitting this plucky and adventurous series. A two cello string quartet, okay?!? But, euphonium too, really?

ED JACOBS with Bob Chamberlin took a series of works, largely for other instruments as the euphonium itself emerged only in the 19th Century as a baritone voiced smaller tuba. The Vivaldi was for cello; the Frinzi for clarinet; the Brahms for bass voice; Bob’s own piece was originally for a college classmate who played tuba; and the Clarke was for a very flashy cornet just transposed down an octave. Jacobs can handle the flash, though it was on this one that he paused a time or two to give Bob to add piano embellishments. Otherwise, my friend was a supportive accompanist as the works were not strictly chamber music in the sense of small ensembles with interweaving parts and shifting focus. But the music was no less rewarding for hearing the larger horn move quite nimbly around the repertoire. Brahms wrote admirably for horn and one can picture the euphonium playing such music. Bob recalled overcoming oompah stereotypes when writing for his tuba playing friends and his work too was a nifty exploration of what low brass can do. I am curious about these kinds of sonorities, so I wish I’d been in the room and been able to talk to the performers.

Anton Arensky’s Cello Quartet in A Minor was the second part of the program. Replacing the second violin with a second cello is an interesting, but not often repeated experiment. Certainly the center of gravity shifts. It seemed that often as not it was the viola or even a cello that led the themes and not the sole violin. The work had elements of Orthodox sacred music and Russian folk song, but at its center are the variations on a theme of Tchaikovsky. For me that was a bit too much. I had plenty to think about the voicings and keeping track of the four lines but I would want to see what another composer would do with such an ensemble. In retrospect it was this music, not the euphonium, that was ponderous though not necessarily for the second cello.

[celtic-cd-releases]

https://patsyreid.bandcamp.com/album/strathspey-queens-ii

[fugengulsen]

In 1979, Frank Zappa took a shine to an Eastern Indian rock/jazz violinist, L. Shankar. So much so that he produced an album with him, "Touch Me There." Not only does Frank produce, but he also co-writes half of the album and performs on one cut, "Dead Girls of London." So, not surprisingly, this disc sounds like much of the material Zappa was releasing around that time, even though it is technically a "Shankar" album. After obtaining a Bachelor's degree in Physics in India, Shankar moved to America in 1969 and earned a doctorate in ethnomusicology at Wesleyan University. Here he met jazz musicians Ornette Coleman, Jimmy Garrison, and John McLaughlin while working as a teaching assistant and concert master of the University Chamber Orchestra. In 1975 Shankar and McLaughlin founded Shakti, a pioneering, groundbreaking and highly influential east-meets-west collaboration, with a fluid sound that managed to successfully combine seemingly incompatible traditions. His first solo album, Touch Me There, was produced by Frank Zappa in 1979.[3] Shankar founded his own band - The Epidemics, in 1982, with the composer Caroline. He released three albums with the band. During the 1980s, Shankar recorded periodically as a leader, doing both jazz-based material and Indian classical music. His 1980 release of the album Who's To Know on ECM introduced the unique sound of his own invention, the ten-string, stereophonic double violin. This instrument, designed by Shankar and built by noted guitar maker Ken Parker, covers the entire orchestral range, including double bass, cello, viola and violin. He has recently developed a newer version of his instrument which is much lighter than the original.[3] 1990 saw Shankar co-producing a one hour film directed by H. O. Nazareth, which went on to be nominated for Best Documentary film at the Cannes film festival. Shankar worked on the score of the film The Last Temptation of Christ (1988),composed by Peter Gabriel, with his music ending up on both albums of the score - Passion: Music for The Last Temptation of Christ and Passion - Sources. He won a Grammy for his work on the latter in 1994. 1996 saw a Grammy nomination for the album Raga Aberi.[1] Shankar has performed on several of Peter Gabriel's records such as So and Us. Since 1996, Shankar has toured internationally with fellow-violinist (and his niece) Gingger as "Shankar & Gingger", garnering critical acclaim and popularity.[4] The two performed at events including the Concert for Global Harmony and Nelson Mandela's 80th birthday celebrations. Shankar & Gingger released their first DVD One in a Million in 2001. After a critically successful tour of North America, the DVD went to number 1 on the Neilsen Soundscan DVD charts and stayed there for four weeks.[3] In 2004, Shankar composed additional music with Gingger Shankar for John Debney and performed on the score for the film The Passion of the Christ (2004). Shankar has played with some of the greatest musical contemporaries of his time, including Lou Reed, Echo & the Bunnymen, Talking Heads, Frank Zappa, Peter Gabriel, Elton John, Eric Clapton, Phil Collins, Charly García, Jonathan Davis, Bruce Springsteen, Van Morrison, Stewart Copeland, Yoko Ono, A. R. Rahman, John Waite, Steve Vai, Ginger Baker, Toto, Nils Lofgren, Mark O'Connor, and Sting.[3] Shankar has been praised for his ability to mix Eastern and Western influences, assimilating Carnatic music with pop, rock, jazz and contemporary world music.[5] He admits "Ultimately, I would like to bring the East and West together. That, I think, is my role," he says. More recently, Shankar has used a new stage name, Shenkar, and has created recordings under this name. In 2006  2007, Shenkar provided the vocals for the opening credit music and other themes for all episodes of the hit TV series Heroes. He has been lately working in Jonathan Davis', Stephen Day and Ana Maria Lombo's next records.

[abookishdreamer]

Character Intro: Orpheus (Kingdom of Ichor)

Age- 21

Location- Delphi, Olympius

Personality- Orpheus is a musical prodigy- a virtuoso! He's a perfectionist when it comes to his music, wanting every note to be in sync with the other. He's a bit introverted and closed off, but he's known to be way more open around people he's comfortable with & is an eternal dreamer. He's currently single.

He was born & grew up in the state of Thrace to a single father named Oeagrus (who worked in an insurance company). His mother abandoned them before Orpheus' first birthday.

As a young boy, he had a natural ear for music. Orpheus would listen with his father to his classical records on his antique record player & would watch vintage black & white operatic films on TV (under the security of a warm thick blanket) while sharing a bowl of chocolate fudge brownie ice cream.

Orpheus noticed the musical cadence of everyday sounds- the steady rhythmic tick of a clock, the mechanical groan of a garbage truck, the light melodic sounds of birds chirping, or the gentle patter of raindrops against a window.

At the tender age of 5, he managed to find a single photo of his mother, buried deep in one of his father's drawers. Orpheus thought that she was the most beautiful thing he ever saw. She was holding a small baby (presumably him) in the photo. She had shoulder length copper colored coils, wide set golden brown eyes, & seemingly flawless dark ochre skin. He would later put the photo in his book bag when he started going to school. He felt as though she was always with him.

As a birthday gift when he turned 6, Oeagrus treated his son to a weekend trip to New Olympus (that he'd been saving up for!) Orpheus loved every minute of it. They stayed at the Grand Eaglepoint Hotel, they took pictures of the golden statue of the King at the Lightning Harbor, they went to the Lyreland amusement park, & Orpheus got to experience his first opera up close when he and his dad went to see a show of La Traviata. At the end of their trip, his dad gave him a "bonus" gift- a lyre.

Aside from music being his absolute passion, he also loved learning to cook from his dad. Some of his favorite meals growing up were chicken-fried steak & gravy with biscuits, barbecued baked beans with chili, brisket sandwiches, and garides saganaki.

As Orpheus grew older, he was often praised for his ability to hear a piece of music and then being able to play it back almost perfectly. One who took notice was the other positive male role model in his life- his grade school music teacher, a centaur named Mr. Katrakis. Orpheus was an average academic student at best, but he was Mr. Katrakis' golden pupil.

He made the transition from exclusively playing the lyre to playing the violin. He also learned how to play the viola, cello, double bass, mandolin, harp, & piano.

Orpheus recieved a lot of internet attention when a video of him performing a viola solo at his fifth grade recital made its way on PanopTube. Mr. Katrakis even suggested to Oeagrus that his son should be in a performing arts school when he starts high school.

When Orpheus was fourteen, he & his father moved to a small house in the Hearthwood neighborhood of New Olympus when he was accepted and enrolled into the New Olympus School of Performing Arts.

He blossomed during his time in high school- musically, creatively, & personally. Orpheus felt the most at peace at school, surrounded by equally talented & creative kids. He started writing his own original music and made a great group of friends- a guy (and aspiring screenwriter) named Elia, a non binary "actor of the people'' named Cyn, a fashion diva extraordinaire named Victoria, & a singer in the making named Olga. Orpheus got bit by the theater bug and loved hanging out backstage during drama club. He and Cyn would smoke a bit of pot & mess around with the stage make-up. Orpheus even wrote original music for their school's "remix" of the opera, Madame Butterfly.

His friends also helped him out with setting up his PanopTube channel. Orpheus would post videos of him performing some of his original music, but it was mostly videos of skits involving him & his friends.

Orpheus met his first girlfriend Evi (a harpy) at school, who was an aspiring painter. It was her bright neon pink hair & wide smile that first caught his attention. Their first kiss happened in their school's kiln room after they playfully got into a paint fight. They first had sex in the back of her car. They tried spending time whenever they could- when afterschool, homework, first-time jobs, or practices didn't factor in.

The school's summer showcase was around the corner where scouts from the most prestigious conservatories would be in attendance. Orpheus planned for his performance- him leading the school's orchestra through a new piece he'd written to be more grand in scale. More theatrical, more memorable. He'd practice literally every day (including weekends) well into the night. Orpheus & Evi saw less and less of each other. Her texts and phone calls often went unanswered. On the evening of the showcase, just a few minutes before Orpheus was set to go on, Evi approached him backstage. She broke up with him saying, "I can't compete with your other girlfriend- music. I'm sure the two of you will be happy together." Though blindsided & hurt, the show went on and Orpheus' performance received a standing ovation. Through the sea of people in the auditorium, Orpheus felt like he was performing for one person- his mother. Afterwards, he was approached by Euterpe (muse of music & lyric poetry), who came to him with an opportunity of a lifetime.

Now, Orpheus is a student at the Phoebus School of Music in Delphi. He's staying on campus in his own dorm room.

He still keeps in touch with his father, who moved back to Thrace. Even if they don't see each other, Orpheus will try to text or call him.

His favorite dessert is a tiramisu.

He's been introduced to cabernet sauvignon, which he now loves. He still won't pass up a chocolate chunk milkshake.

Orpheus has dedicated most of his time to music. Romance, love, & dating aren't priorities right now. He eventually does want to get married someday.

One of his greatest dreams is to be a part of the New Olympus Philharmonic & perform at The Parthenon.

He's an indie artist. He still uploads videos here and there on PanopTube and he has released three albums on his own. Though he's been approached several times by Apollo (god of the sun, music, poetry, healing, medicine, archery, plague, light, & knowledge) to sign on to his record label, Orpheus politely declines.

His latest independent release Immortalis Amor: Cello Concerto received glowing reviews by Mnemosyne (Titaness of memory & language) and Momus (god of mockery, satire, & ridicule) in The Oracle. Orpheus has even been approached to tag along with Jason & The Argonauts for their latest adventure!

When Orpheus manages to spare some free time, he enjoys bike riding, working out, going for long walks, and reading & writing poetry. His singing voice is quite good as well, when he & a few of his schoolmates went to a karaoke bar one night.

"When words and all forms of expression fail, music speaks."

[xo-cuteplosion-xo]

How about a musician reader x character fic? Maybe a singer who performs in a cafe, or a classical musician who plays in an orchestra, or who plays in a rock band? I dunno I have a lot of ideas in my mind but I'm just too lazy to write them :D What do you think?

So here's the baseline you gave me - a musician reader fic x character. Here's what I decided to fill in for this lovely fic- a fluffy bsd collage Au where the reader is majoring in music and has the side job of a stage performer. Then, because they would match well, so I decided to go with a Fyodor x reader. Hope this is alright!

Words- 1728 ~

Hearts Composition | fyodor x musician reader | (collage Au)

Music thudded against the walls, muffled only by the thick layers that hid backstage from the audience. The aroma of heavily worn perfume surrounded people in pleasant bliss. Waitresses and waiters swayed with heavy plates rested along arms and in hands. Carrying much-wanted foods and booze to awaiting customers. The collection of accents muted under the heavy beats of taps and clicks from the metal of the dancer's shoes. Picking up a smaller wooden, finely carved, and rather expensive model of a violin, stood yourself. With a smile, your hands trailed the curves and strings of the delicate instrument. With all the work you had to do for university you had truly didn’t have time to be doing some minimum wage job. Though you didn’t care much, if you could play something, it would be fine. You performed here every once in a blue moon. You weren't one of the performers, but they would grace you with the intermission on busy nights. Much like these nights, when the crowd was full and the people rowdy and in need of constant entertainment. You could soothe those shouts and demands of perverted drunk men; Soothe the cries of broken women and rich spoiled children.

Stepping onto the wooden stage as the lights dim, allowing you the bare minimum of the peeping moonlight to find the microphone located at the center. Inhaling as your anxiety turned into bliss, you waited. As the colored light flew on, you rested your chin on the soft velvet. Holding up the bow, you set it to the strings. With a final inhale, your eyes fluttered shut as you played a classical piece; one constructed for an upcoming project that was due for your music composition class. You had nearly all the string instruments you could play finished; all but the cello. With every strum of your instrument, the crowd fell silent, enjoying the break from all the heavy excitement. Even the children's chatter soothed down, so your instrument could echo off the thin walls of the pub.

Sipping nothing but a cup of tea with a small side of biscuits, a male leaned in his seat. Sitting with a pristine, perfect posture, he listened to the soft sound. The way his violet eyes slowly lidded, and his hair fell back against his face, lit his features in a urethral, almost divine light. His mind working to recognize the piece. As an up-and-coming musician, he had several classics memorized. He could join in by ear, or even write out the full pieces without needing to see the original sheet music. This piece wasn’t something he recognized, could it be an original piece?

If you were to open your eyes as you neared the end of the first piece, you would notice his gaze rested on you. Eyes open halfway with hidden interest, and yet, the stare was attractive. The blank look that hid everything beneath a mask laid strewn across his features. As you finished and stood up, surrounded by applause, he watched your every stride. It was funny, he thought he could almost recognize you.

~

With shaking hands, your fingers typed within a group chat of other college students you had met and become close to. “I’m so nervous. I have to hand in that piece today. I pulled an all-nighter trying to decide on the cello part, but nothing sounded right, so now I might not get a full mark.” You could hear the whine through the text. When replies of good luck came to you, except for two replies, you chuckled. One read “could always just die before handing it in.” Another wrote, “I've got the wine ready.” laughing to yourself as you walked into the classroom and set down the folder in the bin. Glancing through the room, you took a seat with your head down. It was unusual for you to arrive early to class, but your anxiety with this project was slowly picking at you to just get there and hand it in. With twenty minutes till class started, you decided to pull out your laptop and listen to the recording from last week.

Taking out your notebook, you started jotting notes about small things to improve, and things you hated about your performances. You didn’t notice somebody else enter the classroom rather early. Carrying his bag, he set it down at one of the desks before the sound of a violin entered his ears. Sitting down he listened to the melody you had played several nights before. As the piece finished, his eyes traveled to the bin. Now understanding where you had gotten the piece from, he sighed. “You’re not half bad, you played a little flat, but it sounds okay. Becoming a flustered disaster, you froze glancing over to him. This wasn’t the first time you had noticed him in class, he was hard to miss. His completely perfect grades, perfect posture, and looks made him stand out. Not only that, but he had strong ideals and his debate skills could sway anybody. Though, you knew it wasn’t really skill, more manipulation. To add to everything his Russian accent stuck out with every word he spoke. “Could you play that again?” hesitating at first you restarted the piece.

He took out a blank piece of sheet music and started scribbling down notes. As if memorizing the piece, he tapped his fingers before bringing his thumb to his mouth and chewing on it. Tapping his foot as the piece came to an end, he glanced at the time before walking over to one of the room's cellos. His face resembled discontent as he looked at it. Looking to where he sat, you realized he didn’t have his with him. You presumed it had to do with the instrument being heavy and somewhat large. Though for somebody of his height, it may not be that big of a deal. Perhaps he didn’t want to lug it around with him, considering he had all of those other books for classes. “So uh, why did you want to hear it again?” you mumbled, rubbing the back of your neck as you watched him strum a few strings. He was checking the accuracy and pitch of the notes. With a contempt sigh, he shrugged.

“Your writing is considerably well done. I wished to try something that is all.” He did not shed a glance as he sat down and ran the bow across the strings. The sound was heaven within your ears, but to him, it was nothing but ordinary. The sound of a well-made expensive Russian model, the model he owned, was much better than this school-provided variant. As the melody played, you recognized it as your piece. Smiling slightly as your eyes sparkled. You bolted from your seat to grab your folder; the music that was due in 10 minutes.

Looking over the cello part you had constructed, you changed the key signature to hold a few new sharps and took away some of the flats. Boldly, you handed the male the sheet music and pointed as if asking "Is this the piece you were playing?" Setting the cello aside, he ran a finger over the bars with a nod. “So that’s what I was missing! You're a god at memorizing and creating. Now I'm excited to see what you concocted for the presentation.” You smiled lightly before placing the folder in the bin. “Oh, I never got your name. I’m-” he cut you off before you could formally introduce yourself.

“You’re y/n. I do pay attention to people who aren't a complete waste of time.” The layers of his ego began to shine through his solid expression. The way you'd called him god just then, was another layer added to the ever-growing ego this man had. He thought he was above everybody else; he indeed was. In every way possible, he was above the normal human. With an exceptionally sharp mind, emotionless facade, and a spin of extraordinary talents, he was a god among men. “I’m taken aback, you don’t know me.” frowning you sat back at your desk. Leaning your head against the palm of your hand with a frown, you clicked your tongue.

Coming up with a sharp reply, you rolled your eyes. “Please, who doesn't know the great Dostoevsky. You’re only at the top of our class. Correcting myself before you can, the top in everything.” He snickered his brows raising in interest. His lips curled into a smirk moments before breaking to speak to you again.

“Consider your words before speaking. That wasn’t exactly the best wording to say "I'm better than everybody at everything.” It took you several seconds to realize what had gone through his head. Of course, he understood what you were saying, but he also managed to nitpick everything.

Blushing you placed your hands in front of your face. “I didn't think about it because that’s not what I was saying!” he snickered again. Listening to him stand you peeked from your hands to watch him set away the cello and bow.

“How often do you perform at that pub?” He switched the discussion relatively quickly. But with the sudden pause of your reaction and the setting away of the instrument, it flowed nicely with the conversation.

“Once or twice a month?” You answer honestly. A bit upset by the lack of real performances you had.

“Next time, I'll reserve something, and we’ll set something up. I want to see if you can play something… difficult.” It wasn't much of a question, more a demand. Nodding you wrote down your number, sliding it to the student with a smile as the bell rang.

For the next week, the two of you met in the unused rooms Fyodor managed to snag for practicing. He often shook his head at your way of playing. He did compliment the several different instruments you would take with you. From the cello to the violin, there wasn’t much you couldn’t play. Each was expertly designed and crafted to fit your arm length and height. Custom made and shipped from all over the world. Eventually, it became a routine, going to his concerts as he attended yours. While you praised how good he was, he would find the smallest mistakes to condemn you about.

[cianishere]

why richard robbins is a king among men, or an analysis of the maurice (1987) soundtrack

hello, i am gay, a former band kid, and a slut for classical music analysis…… so i’ve been wanting to do an in-depth analysis of Richard Robbins’ absolutely breathtaking soundtrack for Maurice (1987) for some time. it’s an incredibly emotionally moving work of art, but i also feel like there’s so much care and thought and soul put into the pieces of the soundtrack, and Robbins absolutely deserves all the credit in the world for writing the perfect accompaniment to the film. the songs have lives of their own, outside of the film, but they also breathe a certain life into the scenes when paired with the performances of the actors and the cinematography and camera work. the soundtrack means so much to me, so i wanted to take a moment (or a few thousand words or so) to expand on all of its intricacies. i’m not a professional musician or a music student, i’ve j been playing woodwinds for over a decade and can find my way around a guitar and piano, so these are my thoughts and interpretations as a musician. feel free to share yours! this was a bit of an undertaking, so i recommend reading while listening, and i hope u enjoy!

(the pieces are listed in order of their appearance in the film, not the album)

PROLOGUE - THE LESSON

The opening piece is a very traditional overture, setting the mood for the film and foreshadowing the (musical) events to come. It begins with a mysterious, almost eerie sound with pizzicato in the low strings and high woodwind and harp lines before opening into the dominating melody in the high strings. Though the melody is grand and moving, it also has an air of hesitancy, almost melancholy, and in this moment, we’re introduced to Maurice’s musical signature, the clarinet (specifically, the low clarinet line). The low clarinet triplets and the sets of five recurring notes in the low flute and violin create a sense of impatience and forward motion, as we can sense young Maurice’s uncertainty in his conversation with his headmaster. This section transitions into a solo in the English horn, which Robbins uses to represent the idyllic, pastoral English countryside. Here, it seems to signal both the natural surroundings that the scene takes place in, as well as the pastoral beauty of childlike innocence. This solo honestly gets me EVERY TIME, it’s so gorgeous and the gradual layering of other instruments underneath is mesmerizing. The piece ends with shrieking upward woodwind scales, capturing the sense of impending fear that we can sense in young Maurice.

AT THE PIANOLA

This piece is a bit strange to listen to outside of the film, as it plays in the scene as Clive and Maurice play Featherstonehaugh’s pianola in his Cambridge dorm room. The piece captures Clive and Maurice’s pianola playing, which echoes the thematic melody introduced in the opening composition, but the single piano line is quickly swept away by a traditional string orchestra before moving into a call-and-response between the high strings and high woodwinds. I always thought this piece was so beautiful in its development, growing from a simple piano melody into a fully orchestrated concerto. The melody, particularly in its piano form, always struck me as very French, reminiscent of the French Romantic pianists with some impressionist elements as well. The transition from piano melody into the full orchestra is welcome, but overwhelming—it evokes the excitement and intensity of falling in love, as the film reaches the precipice of Clive’s confession. The instrumentation is also fascinating here: as I mentioned previously, Maurice is musically represented by the clarinet and/or woodwind melodies, but Clive usually comes through as high strings. This piece is pushed forward by the strings, as the violin and viola take on the melody under the piano and are followed by the woodwinds. The woodwinds follow the strings in a call-and-response pattern, musically establishing Clive’s lead in their romance, with Maurice following along with his advances, especially at first.

MISERERE (GREGORIO ALLEGRI)

UGH I have so much to say about this piece. I want to start with its origins, which is a setting of Psalm 51 to music, at first for the exclusive use in the Sistine Chapel during Holy Week (a nod to this scene taking place in the spring, around Easter). We all know this piece and the scene it accompanies, as those shots of Cambridge (and that wicker chair) are forever immortalized in my heart (<333) The lyrics are incredibly significant, as Psalm 51 is a confession of sin by David—specifically, of his feelings of lust for Bathsheba.

Have mercy upon me, O God: after Thy great goodness. According to the multitude of Thy mercies, do away mine offences. Wash me thoroughly from my wickedness: and cleanse me from my sin. For I acknowledge my faults: and my sin is ever before me. Against Thee only have I sinned, and done this evil in thy sight: that Thou mightest be justified in Thy saying, and clear when Thou art judged.

David is asking for mercy for his act of sin, and to be “cleansed” from his lustful act by God.

Make me a clean heart, O God: and renew a right spirit within me. Cast me not away from Thy presence: and take not Thy Holy Spirit from me. O give me the comfort of Thy help again: and stablish me with Thy free Spirit.

He prays for God to return to his life, and to give him salvation again.

I think this choice of psalm is SO fascinating, as it can take on two meanings. On one hand, it represents the feelings of guilt that both Maurice and Clive feel for their attraction to each other, knowing that their feelings are considered to be sinful in their (and the societal) understanding of Christianity. In a way, this piece can signify both Clive and Maurice asking for that salvation and asking to be saved from their desire. On the other hand, however, I think the choice to overlay this particular piece with Maurice and Clive’s first moment of physical intimacy is critical in interpreting its meaning. Rather than asking for salvation from God, the psalm’s lyrics could also represent Maurice and Clive asking for salvation from each other through their desire. There are a few points in the psalm that could be read in a rather different light in this context, particularly “Thou shalt open my lips, O Lord: and my mouth shall shew [show] Thy praise.” The “high spirit” that they are searching for, in this case, is not the forgiveness of sin by God, but rather the intimacy and physical affection of a lover. (As Forster points out in a later section of the book, one’s God and one’s lover can be equal “incentives to virtue.”) I feel like this psalm is being used in both ways: as a reminder of the internal and external pressure that Maurice and Clive face, but also to musically express the reciprocal desire they are seeking from each other as they begin to explore the physical side of their relationship. This piece is also just so damn beautiful, the high C just gets me every fucking time. The specific vocal arrangement—and the excerpt of that arrangement—that Robbins decided to use highlights a solo female soprano, sounding almost like a Greek siren. As her voice emerges from the varying vocal textures, there is a sense of seductiveness, but there is also a loneliness there, as she stands alone among the choir. The choice to center the soloist was a beautiful way to show the loneliness that Maurice and Clive feel as they both continue to hold that fear and hesitancy about their feelings and desire.

THE CAFE ROYAL

This piece plays during the infamous “to the ladies!” scene, during which the Halls and the Durhams are dining together, and Clive announces his decision to become a barrister and enter politics. This piece begins as a classic, grandiose waltz, representing the glamor and high society lifestyle that the two wealthy families live within. At the beginning especially, it seems almost overstated, hinting at the façade of British upper-class life that Maurice desperately despises. As the piece continues, a duet of low clarinet and oboe emerge with a woeful melody that is built upon on its repetition by a dark solo cello line. (I don’t play double reeds or cello but they’re two of my favorites, and all I can say is that Richard Robbins knew how to pick instruments that fuck, plain and simple.) The contrast in mood created between this grand waltz sound and the individual instruments emphasizes the trapped, isolated feeling that both Maurice and Clive feel as upper-class British men, expected to have careers, marry, and build families. Stuck in the middle of their constructed lives, Maurice and Clive are represented by the duet and solo lines, standing out among society and desperate for an escape.

IN GREECE / THE WEDDING

This piece opens with a haunting melody that sounds almost like a chorus—I’m still not entirely sure what the instrumentation of this section is, but it sounds like high woodwinds and strings layered together and/or an echoey, chime-like percussion instrument. The lone melodic line overlaid with harp runs (again, Robbins said I will exclusively highlight instruments that fuck hard, and ignore everything else) in the beginning brings the same sort of haunting loneliness as in “Miserere,” evoking the duality of the Greek siren as well as the hymnal church choir. Gradually, the piece builds into a waltz through the development of a pizzicato bass line as well as running woodwind and string harmonic lines. I think the use of a waltz in this section of the piece is a symbol of the bitter end of Maurice and Clive’s relationship, as the minor key and legato melody in the high woodwinds gives the waltz a mournful quality.

The opening section of the piece is quickly interrupted by the abrupt and angry sound of an organ. Rather than romantic, this interlude is loud and overwhelming, representing Clive’s overzealous transition into heterosexual marriage and family life. The interlude then transitions into a beautiful but incredibly sad melody, reminiscent of the music that might accompany a funeral service. This short but emotive section is probably one of my favorites in the entire soundtrack—as it plays, we can see Maurice exiting the wedding chapel after Clive and Anne, and that hidden pain and fear and loneliness is brought to life by this melody.

PENDERSLEIGH IN GLOOM

Simultaneously romantic and melancholy, this short piano interlude demonstrates the inspiration that Robbins took from classical French pianists. This composition reminds me of a transition section within a Debussy piece as the uneven tempo and dynamics exude emotion, conflict, and hesitation. In this moment in the narrative, between Clive’s marriage and Maurice’s meeting of Alec, Maurice is in a state of contemplation and uncertainty, and Robbins has reflected that perfectly.

MISS EDNA MAY’S SURPRISE / THE TRAIN

Though this piece is definitely not the most sonically appealing, I think it is the most texturally interesting on the soundtrack. The piano melody in “Miss Edna Mae’s Surprise” begins as a playful, jaunty, idyllic piece, but quickly builds drama and transitions into the surreal and eerie. The melody wavers between fun and nightmarish, never fully settling into one, but establishing tension through the contrast between the two. As the piece builds layers of woodwinds and strings, it continues this contrast between the expected, playful melody and something more sinister before suddenly merging into a screeching, forceful ending with high woodwinds and piano. Similar to “The Café Royal,” this piece represents the internal conflict that Maurice faces and his fear of settling down into the heterosexual family structure. While there is a sense of joy and happiness on the surface level, as Maurice acts the part to uphold societal norms, internally he is incredibly afraid of being trapped in a cycle of marriage and family that would be unfulfilling and dishonest to his selfhood.

The next section of this piece, “The Train,” is one of the most creative compositions I’ve heard in a long time, and I was honestly blown away when I listened to it closely (and LOUDLY). Rather than using train sound effects, Robbins uses the sounds of the orchestra to emulate the different sounds one might hear on a steam engine train. The rhythmic beat of the railway tracks underneath the train car are created by repetitive staccato notes in the strings and percussion. The airy, legato sound of the steam engine is actually created by single reed woodwind instruments played in a particular way. The woodwind players are blowing air into their instruments with a very loose embouchure, which is the muscle tension created by the lips around the mouthpiece that forces the wooden reed to vibrate and create sound. By loosening their embouchure, the players are blowing air into their instruments without the reed vibrating, resulting in a sound resembling air or stream escaping from engine pipes (can u tell im a clarinet player :-)). The melody of this piece emerges in the high woodwinds, including upper clarinets, flutes, and oboe. The melody line is eerie and tense, much like the mood of the train scene in the film, and the blended lines are erratic and dissonant. They seem to echo and fade in strange ways, mimicking the sound of an approaching or departing train whistle. Robbins is able to capture the sounds of a steam engine locomotive while also establishing the tension and conflict in Maurice’s character in this scene. As a woodwind player, I am in complete awe at Robbins’ creativity in building this composition, and I honestly think his ability to layer these sounds to create such a complex, textured sonic landscape is nothing short of genius.

THE MOONLIT NIGHT (a tiny bit nsfw, feel free to skip!)

Maurice’s nightmare of the “sinking ship” of heterosexuality is brought to life through an eerie, isolated English horn solo over tense string chords, eventually transitioning into a low clarinet melody, Maurice’s musical signature. Slowly, as Maurice’s nightmare fades away and he wakes up from his sleep, the low clarinet melody diminishes and is overtaken by low, warm chords in the lower woodwinds (bass clarinet, my beloved <3). These low sounds are interrupted by hesitant but curious flute runs, through which Robbins introduces Alec’s musical manifestation. The flute sounds grow faster in tempo and more intense in sound as Alec watches Maurice from outside his room but reduce to a single line of low strings, woodwinds, and percussion as he climbs through Maurice’s window. This ominous and minimal sound is gradually layered with sudden high strings, led by Maurice’s low clarinet, before fading away into near silence until the first touch suddenly takes the piece into swift motion. It develops into a beautiful and intricate waltz as Maurice and Alec embrace, representing their intimacy through the style of a partnered ballroom dance. The melody of the waltz, layered over staccato strings, is an ascending, fluttering scale that begins in the clarinet before finishing in the flute. Robbins’ choice to compose the melody as a shared scale between Maurice and Alec’s respective instrumental representation is a perfect way to express their first night together, and the airy, light, understated flute is a brilliant way to embody the spirit of Alec’s character. In the final section of the piece, as the melody grows irregular and begins to fade away, the ascending lines and rhythmic pizzicato strings begin to mirror the gasping breaths and soft moans of intimacy, constructing a gorgeously imaginative musical landscape for this critical scene.

ALEC’S FAREWELL

This short but expressive piece captures Maurice’s transition from dejected acceptance of Alec’s departure to a tentative hope as he realizes that Alec has missed his boat to Buenos Aires. Plucked bass and a fragmentary string melody overlay a tense, oscillating clarinet line, representing Maurice’s internal anticipation as he anxiously fidgets in the taxi ride back to Pendersleigh. At this point, Maurice does not have confirmation that Alec has purposefully missed his boat to reunite with him, but the suspense created by Robbins’ minimalistic composition leaves room for such a possibility, without completely revealing its certainty.

THE BOATHOUSE

This piece begins as Maurice makes his way towards the boathouse on the evening of Alec’s expected departure. He has just spoken to Clive, confessing his love for Alec, and now hopes to be reunited with his lover in the boathouse, the safe haven that Alec had promised Maurice after their first night together. Continuing where “Alec’s Farewell” left off with an oscillating clarinet line and minimal strings, the piece quickly erupts into motion as a solo clarinet begins a low triplet melody, accompanied by strings and a solo oboe harmony (the clarinet line is fucking FIRE and I would pay so much goddamn money for the sheet music). The clarinet solo moves swiftly, desperately, shifting between major and minor keys to represent Maurice’s restless search for Alec. As he enters the boathouse, the clarinet ascends a scale before lingering on a high A, as if he is calling for Alec. When the call is not answered, the clarinet line repeats, bringing Maurice’s anticipation to its height until he opens a second door and finds Alec resting within the room behind it. As the two meet and share a moment of reconciliation (“So, you got the wire, then?”), a lingering bass note (another one of Alec’s musical representations) swells into serene, legato woodwind chords that echo until their final kiss, and Alec’s “Now we shan’t ever be parted, and that’s finished.”

While listening to this song more closely, I was completely struck by its similarities to Leonard Bernstein’s “Somewhere” from the 1957 musical West Side Story. The final chords in “The Boathouse” are strikingly similar to the final high woodwind chords echoed by a low bass line in “Somewhere.” Bernstein also highlights clarinets throughout the musical, particularly to emphasize the vocals of the protagonist, Tony, while using flutes to underscore the voice of María, Tony’s love interest. Aside from the musical similarities, I think the thematic parallels between the story of Tony and María are worth mentioning as a source of musical inspiration for Robbins. A retelling of Romeo and Juliet set in 1950s New York, Bernstein’s West Side Story is a classic tragedy of an unconventional relationship that is unaccepted by society. Although not sharing in its tragic ending, Maurice definitely builds on the cultural trope of two star-crossed lovers desperate for an escape from a prejudiced society. Bernstein himself was gay, although he spent much of his career closeted, and West Side Story (particularly “Somewhere,” but also “One Hand, One Heart,” “Tonight,” and “Finale”) became emblematic of the struggles that gay couples face, especially with the popularity of musical theatre among American gay men. The lyrics (copied below, but I highly recommend finding the 1957 ballet version or the 1961 film version!) represent Maurice and Alec’s story beautifully, and the fact that Robbins was inspired by this piece of media that holds so much significance for queer people when composing the soundtrack for Maurice makes my gay little heart grow three sizes <3

There's a place for us, Somewhere a place for us. Peace and quiet and open air Wait for us, somewhere.

There's a time for us, Some day a time for us, Time together with time spare, Time to learn, time to care. Some day, Somewhere, We'll find a new way of living, We'll find a way of forgiving. Somewhere, Somewhere . . . There's a place for us, A time and place for us. Hold my hand and we're halfway there. Hold my hand and I'll take you there Somehow, Some day, Somewhere!

CLIVE AND ANNE

For Clive’s final scene, Robbins returns to piano and string instrumentation in the melody, representing a return to the traditional life that Clive now finds himself living with Anne. This variation on Clive’s signature melody, however, is significantly slowed down, almost to the tempo of a funeral march or dirge. As he shuts each of the windows, eventually stopping for a brief moment to reminisce on his time with Maurice, the melody grows increasingly loud and desperate as the high woodwinds are layered in. The sudden and dramatic development of this piece sound like a futile cry out for help, as Clive remains trapped in a prison of his own creation. The composition ends without a concluding chord, tense and unresolved. It’s fascinating to me that we can hear Robbins’ simultaneous resentment and pity for Clive—though the piece is deeply sorrowful, Robbins does not leave Clive with a satisfying ending, choosing to keep him suspended in the societal purgatory that he chose for himself. 

END TITLES

Are you crying yet? No? I don’t believe you. Robbins establishes the ending to the story by building the piece off of a gentle, pastoral variation of Maurice’s low clarinet melody. The legato chords and balance of high and low instrumentation recall Robbins’ musical sampling of “Somewhere” before the melody shifts into a call-and-answer duet between the clarinet (alongside an oboe) and flute. Much like the clarinet and flute duet in “The Moonlit Night,” the two lines blend together—but in this final composition, Robbins has written the two parts as complementary, yet distinctly different, rather than imitations of one another or two segments of a single line. The melody becomes a conversation between two harmonizing entities who are sharing in the creation of something wholly new. The duet tapers off into an English horn solo over a harp line, bringing back the idyllic English countryside that we first saw young Maurice exploring in “Prologue – The Lesson.” In this final piece, Robbins adds on to this solo with the clarinet and flute before the melody spreads throughout the full orchestra and builds to a grandiose and rousing finale. I think the English horn solo is the part that breaks me every time because of its introduction in the very beginning of the story— through this understated melody, Robbins is assuring us that Maurice did stay true to himself, and he did find his happiness, though it may not be what Ducie or anyone else wanted for him. Maurice and Alec in the clarinet and flute, alongside the English horn, managed to find harmony in each other and peace in a life built on a love they shared, and nothing more.

[crazedtmnt]

CrazedTMNT OCs (Part 2)

It’s time for everyone’s favorite violent teddy bear to have his girl introduced.

Raph’s Girl:

Name: Margot Wright

Age, when first met: 15

Birthday: March 9th, 1988

Height: 5′0″-5′1″

Sexuality: Heterosexual

Ethnicity/Nationality: Mexican-American

Personality: Calm, collected, and does everything confidently despite not knowing what the hell she’s doing half the time. A real motivator. Radiates big sister energy even though she’s the youngest of the girls and turtles. Fiercely independent, but suffers from loneliness deep down. Disconnected from her own emotions, yet hyperaware of everyone else’s. In love with everything music; formed her own band at a young age where she writes and plays her own music. A fierce protector and loyal friend -- if you get past her walls, she’s got your back.

Bio:

Margot was born in New York City to Daniel and Esther Wright. She was raised an only child, brought up to love all the music her parents listened to and played, as her father owned a recording studio and her mother was a musician. Her parents worked hard to give her privileges they lacked growing up, from ballet to piano lessons, but dedicated too much time simply giving her things as opposed to spending time with her. As a result, Margot grew up independent, but starved for attention. At age eleven, she decided to form her own band to gather musicians like herself.

Four years later, while her band has only barely scratched the surface of notoriety, they are starting to make headway. The new guitarist, Karyn, while shy and inexperienced, has an appreciation for music and a distinct lack of pretension. However, she brings with her a whole new set of problems, like four mutant turtles and a supernatural world Margot’s never seen. They may have saved her life, but with the way the red brute makes her feel, she’s in more danger than ever.

Relationships:

Raph - Margot hadn’t even met Raph face-to-face before he took an interest in her. The turtles would sometimes sneak into the theater while her band was practicing to listen and Raph, in particular, loved their music. Once they had met, he started making a point to show up and rate her performance afterwards. He wouldn’t admit it, but her music helped him calm down and genuinely brought a smile to his face. Margot, in turn, loved testing out new tunes to get his feedback. Raph tries to tease Margot and she takes it all in stride, fighting back with gusto. The two are often found lovingly insulting each other. Margot’s calm demeanor helps with Raph’s temper and Raph helps Margot express her emotions. They balance each other well.

Leo - Margot may be Raph’s girl, but she’s actually very close with Leo. Of the whole crew, the two are the only ones trying to lead who are actually levelheaded and logic-driven. They regularly have meetings together, asking, “What reckless thing have you had to deal with this week?” However, while Leo avoids emotion, Margot is very aware of others’ emotions. She tries to to be the one to voice others’ feelings logically when Leo is missing them. As such, she’s a better mediator for Raph and Leo fights than Karyn.

Donnie - Donnie and Margot get along fine, but don’t interact very much. They’re both part of team “We Don’t Cause Endless Drama.” If there are gonna be two people in the background, rolling their eyes about how crazy everyone is, it’s gonna be these two. Donnie mostly keeps to himself when drama goes down, while Margot intervenes (hence why she’s closer to Leo). Both are total savages and enjoy snarking about the others on occasion.

Mikey - Precious baby boy, must protect: Margot’s thought process with Mikey. He may be technically older than her, but that doesn’t stop her from seeing him as a little brother. Next to Raph, Mikey is the most hooked on Margot’s music and often asks her to play for him. She doesn’t have as much patience for his shenanigans as Karyn (and quickly learns he is NOT as innocent as he first appears to be), but she still often gets pulled into his next great idea.

Splinter - Margot appreciates Splinter for one big reason: he’s attentive. Despite being disconnected from her emotions, Splinter can just sense when Margot is struggling or holding back pain. He doesn’t need to say much; he just lets her talk to him about whatever. For as long as she needs. He might comment on what she’s doing recently or something she’s said, just to show that he’s paying attention, which means the world to Margot. Splinter loves the fact that Margot helps Raph with his temper.

Trivia:

She goes by “Meg” with most everyone. The only ones allowed to call her Margot are her parents, Karyn, Peter (bandmember/childhood friend), and later Raph.

Her father’s name was originally “Diego Rodriguez.” He changed it legally to Daniel Wright before Margot was born, so Wright is her legal last name.

It’s tradition in her family for the women to not cut their hair. She only keeps her bangs trimmed.

The color of her bangs changes often, usually after she trims them. She’s begun to favor the color red.

In the TMNT 2003 series, she would appear after S1 E15, but not meet the turtles face-to-face until after S2 E11.

She knows aikido and Splinter trains her to fight with a tessen.

She started ballet when she was four and still practices today.

She can play six instruments fluently: piano, violin, viola, cello, bass guitar, and guitar.

She mainly plays either bass guitar or piano in her band.

Her band’s current name is “Under Threat.” She’s changed it seven times since its creation.

Her friend Peter’s parents own a small, indie theater which the band practices and preforms in.

She writes many types of music, but she favors punk rock, indie rock, and Tejano.

The scar on her left cheek is from a snapped violin string.

She reads a lot of mystery novels and is a particular fan of Agatha Christie.

She loves street hotdogs. Good thing she’s in New York.