#artist: reeve carney

[yelhsaqi]

WAIIITT FOR MEEE

IM COMIN

[scribbleevee]

i love drawing cheek kisses i think they’re so sweet

[dellowdraws]

do you think they cut each other's bangs?

[cursed-iris]

"and crashing and pounding, his rivers surround him and drown out the sound of the song he once heard: laaa la la la la la laaaa..."

happy trails to my favorite orpheus ever, reeve carney!! the fact that i never got to see him live is a tragedy. no one will ever do it like him. you do not understand how sad i am that the last original broadway cast member is leaving, and his portrayal of orpheus is so fundamental to the character. i'm officially in mourning.

fly high, king ✊🏽😔 (he's not dead, just leaving)

[noalikestodraw]

In honor of Reeve Carney’s last performance in hadestown I made a thingy!!

Inspired mostly by the time I was watching when the chips are down and realized “oh my god, he’s been sitting there writing the entire time!!!” Which I thought was really cool (and also I was shocked that I’d seen that scene like 100 times by that point and never noticed). All of which to say I’m so impressed by the sweetness and intelligence that he brought to the role, and it’s been an honor to watch him for the last couple of years :)

[yesimaware]

Love me Chase me -

[bellafemme]

Artists who blatantly copy Lana Del Rey with no originality.

1 - Remy Bond.

Remy blatantly copying Lizzy Grant.

Remy coping Lana in concert too.

Lanaboards destroyed her in their thread.

2 -Saint Avangeline.

Some songs she's done covering Lana: Every Man Gets His Wish, Brooklyn Baby, Young and Beautiful, High By The Beach and Shades of Cool. She's done her own "original" songs but they also sound like Lana. Songs like Lilith is a complete copy of Lana's song Ultraviolence. Her album Gardener of Eden sounds like anything from Ultraviolence or Honeymoon. Saint Evangeline nowadays is doing heavy metal music. She's erased anything Lana related off her Instagram and Youtube playlists, but some of her Lana covers have remained on Youtube.

Places like Reddit have brought up Saint Evangeline's blatantly coping Lana. They brought it up Twice.

3 - Nessa Barrett

American Jesus. Heartbreak in the Hamptons. God's Favorite.

Lana brought her up on stage once, angering Lana's fanbase. At least Lana is aware of her. So did Reddit. Twice.

4 - Ocean Leclaire.

This artist has morphed into Lana over time. She started as a folky Florence Welch but now is doing more 'Lana' in sound and look. An obvious Lana fan too.

Notable Mentions:

Camilla Cabello.

An entire monolugue music video in the style of Lana Del Rey. When Lana saw the video her reaction was "what the hell."

Taylor Swift.

Taylor not only copied the monologue style like Lana, but she hired Lana's ex-boyfriend Reeve Carney to play her boyfriend.

Holly Macve.

Lana is actually a fan of Holly's. Lana and Holly sang together for Holly's song Suburban House. Holly is not a exact copy and paste of Lana Del Rey as the other girlies I mentioned, but she's obviously inspired by Lana.

Ethel Cain.

All you need to do is listen to Crush or American Teenager to hear Lana Del Rey's influence. The music videos were shot in a 90's amateurish way like Lana use to create her videos. The tone of the songs and imagery is reminiscent to Born To Die and Ultraviolence.

Fans were able to connect the dots and see that Ethel was greatly inspired by Lana. The press caught on too. Ethel didn't like that and began to edit her Wikipedia page as 'papermassacred' by removing any mention of Lana Del Rey in her Wikipedia page. Ethel went even further saying this about Lana during an interview:

Lana fans were pissed off when Ethel said this and I'm sure it got to Lana too. It's rumored that Lana wrote a diss track called 'All About Ethel' that hasn't been released yet.

Billie Eilish

Billie is only mentioned here for her immense admiration, influence and respect for Lana Del Rey. She is inspired by Lana but she is her own person. She's not putting bows in her hair, wearing a bouffant, dressing like Lana or directly copying Lana's songs or music videos. Lana invited Billie to her Coachella stage to sing Ocean Eyes and Video Games.

[finleyforevermore]

EPIC: The Musical Dream Cast

Drew Sarich as Odysseus

Art by @gigizetz!

Matthew Patrick Quinn, Paul Jordan Jansen, Norm Lewis, or Josh Groban as Zeus

Art by @bambiilooza!

Ato Blankson-Wood or Omar Baroud as Eurylochus

Art by @anniflamma!

J. Antonio Rodriguez as Polites

Art by @platzart_ on Instagram!

Donna Vivino or Talia Suskauer as Athena

Art by @/bambiilooza!

Kristin Stokes as Aeolus

Art by @/gigizetz!

Adam Lambert, Dave Malloy, or Heath Saunders as Poseidon

Art by @/bambiilooza!

Jeanna de Waal as Circe

Art by @/gigizetz!

Mason Alexander Park, Matt Rogers, Levi Kreis, or Zach Reino as Hermes

Art by @/gigizetz!

Olga Merediz as Anticlea

Art by @mircsy!

Damon Daunno, Reeve Carney, Fra Fee, or Dónal Finn as Tiresias

Art by @ximenanatzel on YouTube!

Krystal Joy Brown as Penelope

Art by @/gigizetz!

Eva Noblezada as Scylla

Art by @artist-hermes!

Colin LeMoine as Telemachus

Art by @/gigizetz!

Jordan Fisher, Okieriete Onaodowan, or Leslie Odom Jr. as Antinous

Art by @duvetbox!

Nabiyah Be as Calypso

Art by @/gigizetz!

Chibueze Ihouma or Mike Faist as Apollo

Art by @/bambiilooza!

Paul Pinto as Hephaestus

Art by @Tamattuta on YouTube!

Jai'Len Josey as Aphrodite

Art by @/gigizetz!

Nicholas Christopher as Ares

Art by @saiiibaki!

Emmy Raver-Lampman, Allie Daniel, or Solea Pfeiffer as Hera

Art by @/gigizetz!

THEATRE CREDITS:

Drew Sarich - Quasimodo in Der Glöckner von Notre Dame, Jesus in Jesus Christ Superstar, Judas in Jesus Christ Superstar, The Emcee in Cabaret, Javert in Les Miserables

Josh Groban - Pierre in Natasha, Pierre and The Great Comet of 1812

Matthew Patrick Quinn - Hades in Hadestown

Norm Lewis - Erik in The Phantom of The Opera

Paul Jordan Jansen - Sweeney Todd in Sweeney Todd: The Demon Barber of Fleet Street

Ato Blankson-Wood - Cliff in Cabaret at the Kit Kat Club

Omar Baroud - Cliff in Cabaret at the Kit Kat Club

J. Antonio Rodriguez - Orpheus in Hadestown

Donna Vivino - Elphaba in Wicked

Talia Suskauer - Elphaba in Wicked

Kristin Stokes - Annabeth Chase in The Lightning Thief: The Percy Jackson Musical

Heath Saunders - Ensemble/Understudy in Great Comet, Ensemble/Understudy in Company

Adam Lambert - The Emcee in Cabaret at the Kit Kat Club

Dave Malloy - Pierre in Natasha, Pierre and The Great Comet of 1812

Jeanna de Waal - Princess Diana in Diana: The Musical, Mrs. Lovett in Sweeney Todd: The Demon Barber of Fleet Street, Glinda in Wicked

Mason Alexander Park - The Emcee in Cabaret at the Kit kat Club

Matt Rogers - Off Book: The Improvised Musical Podcast

Levi Kreis - Hermes in Hadestown

Zach Reino - Off Book: The Improvised Musical Podcast, Dropout's Welcome to Mountport, Play It By Ear

Olga Merediz - Abuela Claudia in In The Heights

Damon Daunno - Orpheus in Hadestown

Reeve Carney - Orpheus in Hadestown

Fra Fee - The Emcee in Cabaret at the Kit Kat Club, Mole in The Wind in the Willows

Dónal Finn - Orpheus in Hadestown

Krystal Joy Brown - Eliza Schuyler in Hamilton

Eva Noblezada - Eurydice in Hadestown

Colin LeMoine - Orpheus in Hadestown, Fiyero in Wicked

Jordan Fisher - Orpheus in Hadestown, Anthony in Sweeney Todd: The Demon Barber of Fleet Street, Evan in Dear Evan Hansen, John Laurens/Phillip Hamilton in Hamilton

Okieriete Onaodowan - Pierre in Natasha, Pierre and The Great Comet of 1812, Hercules Mulligan/James Madison in Hamilton

Leslie Odom Jr. - Aaron Burr in Hamilton

Nabiyah Be - Eurydice in Hadestown

Chibueze Ihouma - Orpheus in Hadestown

Mike Faist - Riff in West Side Story, White Rabbit/Alfred Hallam/March Hare in Alice By Heart, Morris Delancey in Newsies

Paul Pinto - Balaga in Great Comet

Jai'len Josey - Pearl in The SpongeBob Musical

Nicholas Christopher - Sweeney Todd in Sweeney Todd: The Demon Barber of Fleet Street, Aaron Burr in Hamilton

Emmy Raver-Lampman - Elphaba in Wicked, Angelica in Hamilton

Allie Daniel - Fate/Hermes understudy in Hadestown

Solea Pfeiffer - Eurydice in Hadestown, Eliza in Hamilton

[foxes-that-run]

Kiss me, Harry!

1D STAR GETS TATTOO OF NELSON’S SHIP VICTORY

Daily Mirror 20 Dec 2012 BY TOM BRYANT

HARRY Styles looks shipshape with his new tattoo of HMS Victory... to the delight of his US pop star girlfriend.

Taylor Swift, 23, watched admiringly as the One Direction star, 18, had the inking of Lord Nelson’s battleship done.

The smitten starlet may have even said something similar to naval legend Nelson’s famous last words “Kiss me, Hardy”.

Witnesses at the Shamrock Tattoo Shop in Los Angeles said Harry spent four hours under the needle before Taylor arrived.

A source said: “Taylor spent one hour in the parlour with Harry while he was getting a new piece from his favourite artist.

“They left together and were happy to speak to a few dozen fans who had waited to meet them.”

Reeve Carney, Taylor’s co-star in the clip for her new song I Knew You Were Trouble, has a similar tatt which may have inspired Harry.

He now has a range of body art including two birds on his chest and Hebrew words on his arms.

He and Taylor have been inseparable since they were seen holding hands in New York City two weeks ago. It seems to be plain sailing...

[lovesongbracket]

Reminder: Vote based on the song, not the artist or specific recording! The tracks referenced are the original artist, aside from a few rare cases where a cover is the most widely known.

Lyrics, videos, info, and notable covers under the cut. (Spotify playlist available in pinned post)

All I've Ever Known

Written By: Anaïs Mitchell

Artist: Eva Noblezada & Reeve Carney for Hadestown (OBC)

Released: 2019

After truly seeing Orpheus' hope and optimism in “Livin' It Up On Top,” Eurydice has completely fallen in love with Orpheus. She is shedding her habit of constant independence and trying to start to trust, but her cynicism leads her to be wary and frightened. She expresses to Orpheus that she has only ever held her own, but she is ready to not feel lonely. Orpheus addresses his inherent connection with Eurydice. Much of what Orpheus says to Eurydice in this song is used again in “Epic III,” when Orpheus sings of Hades love for Persephone; this draws a parallel between the two pairs.

[EURYDICE] I was alone so long I didn't even know that I was lonely Out in the cold so long I didn’t even know that I was cold Turned my collar to the wind This is how it's always been All I've ever known is how to hold my own All I’ve ever known is how to hold my own But now I wanna hold you, too You take me in your arms And suddenly there's sunlight all around me Everything bright and warm And shining like it never did before And for a moment I forget Just how dark and cold it gets All I've ever known is how to hold my own All I've ever known is how to hold my own But now I wanna hold you Now I wanna hold you, hold you close I don't wanna ever have to let you go Now I wanna hold you, hold you tight I don't wanna go back to the lonely life [ORPHEUS] I don't know how or why Or who am I that I should get to hold you But when I saw you all alone against the sky It's like I’d known you all along I knew you before we met And I don’t even know you yet All I know is you're someone I have always known [ORPHEUS and EURYDICE] All I know is you’re someone I have always known And I don't even know you Now I wanna hold you, hold you close I don't wanna ever have to let you go [EURYDICE] Suddenly the sunlight Bright and warm [ORPHEUS] Suddenly I'm holding the world in my arms [EURYDICE] Say that you’ll hold me forever Say that the wind won't change on us Say that we'll stay with each other And it will always be like this [ORPHEUS] I'm gonna hold you forever The wind will never change on us Long as we stay with each other [ORPHEUS and EURYDICE] Then it will always be like this

Run Away With Me

Written By: Noonie Bao, Oscar Holter, Carly Rae Jepsen, Robin Fredriksson, Shellback & Mattias Larsson

Artist: Carly Rae Jepsen

Released: 2015

On “Run Away with Me”, lyrics of restlessness and covert passion are delivered over high-paced retro-inspired synths, a pulsing bass, and crashing drums that drive the track. The song establishes CRJ as an artist who has grown past the the bubblegum nature of her breakthrough album Kiss. However, the pop catchiness of Carly Rae’s work is still present on E•MO•TION. According to Jepsen, the song is about the “magic” of long-distance lovers being together, even if only briefly: “The song’s about being away from someone for so long and having to make this one weekend together count. It’s totally romantic and not very real-life, but there’s something kind of magical in that.” The music video dropped the same day the song did.

[Verse 1] You're stuck in my head, stuck on my heart Stuck in my body, body I wanna go, get outta here I'm sick of the party, party I'd run away I'd run away with you, ooh-ooh-ooh This is the part you gotta say All that you're feeling, feeling Packing a bag, leaving tonight While everyone's sleeping, sleeping Let's run away I'll run away with you, ooh-ooh-ooh [Pre-Chorus] 'Cause you make me feel like I could be driving you all night And I'll find your lips in the streetlights I wanna be there with you, ooh-ooh-ooh [Chorus] Baby, take me to the feeling I'll be your sinner in secret When the lights go out Run away with me, run away with me Baby, every single minute I'll be your hero and win it When the lights go out Run away with me, run away with me [Verse ] Up in the clouds, high as a kite Over the city, city We never sleep, we never try When you are with me, with me I wanna stay Oh, I wanna stay here with you, ooh-ooh-ooh [Pre-Chorus] 'Cause you make me feel like I could be driving you all night (Night) And I'll find your lips in the streetlights I wanna be there with you, ooh-ooh-ooh [Chorus] Oh, baby, take me to the feeling I'll be your sinner in secret When the lights go out Run away with me, run away with me Oh, baby (Oh), every single minute (Ah-ah-ah) I'll be your hero and win it When the lights go out Run away with me, run away with me [Bridge] Hold on to me, I never wanna let you go (Run away with me, run away with me) Oh-oh-oh Over the weekend, we could turn the world to gold (Run away with me, run away with me) Oh-oh-oh (We could turn the world to gold) (Oh-oh, oh-oh) Over the weekend, we could turn the world to gold Oh-oh-oh (Oh-oh-oh) [Chorus] Oh, my baby Take me to the feeling (Take me to, take me to it, yeah) I'll be your sinner, in secret (Oh, when the lights go) When the lights go out Run away with me, run away with me (Just run away with me) Baby (Yeah, yeah) Every single minute (Yeah, yeah) I'll be your hero and win it When the lights go out Run away with me, run away with me [Outro] (Oh, oh-oh-oh, oh-oh-oh, oh-oh-oh) Run away with me, run away with me (Oh, oh-oh-oh, oh-oh-oh, oh-oh-oh) Run away with me, run away with me

[cyarskaren52]

https://web.archive.org/web/20200127175703/https://www.nytimes.com/2020/01/26/arts/music/grammy-winners.html

2020 Grammy Winners: The Complete List

https://web.archive.org/web/20200127172755im_/https://static01.nyt.com/images/2020/01/26/arts/26grammys-winners-billie/merlin_167891961_805fe086-4b08-486d-9d8e-20c0069f55bf-superJumbo.jpg?quality=90&auto=webp

Compiled by Lauren Messman

Published Jan. 26, 2020Updated Jan. 27, 2020, 10:28 a.m. ET

The 62nd annual Grammy Awards were on Sunday. Here are highlights from the show:

Billie Eilish won five awards, including record, album and song of the year, capping a night that also saw multiple wins for Lizzo and Lil Nas X.

Our critics and writers weigh in on the best and worst moments.

Lizzo and host Alicia Keys kicked off the show by addressing the death of the basketball star Kobe Bryant.

The ousted Grammys chief Deborah Dugan is at war with the Recording Academy. In a speech, Keys seemed to reference the turmoil.

Check out the red carpet looks.

See the complete list of winners below:

Record of the Year

“Bad Guy,” Billie Eilish

Album of the Year

“When We All Fall Asleep, Where Do We Go?,” Billie Eilish

Song of the Year

“Bad Guy,” Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)

Best New Artist

Billie Eilish

Best Pop Solo Performance

“Truth Hurts,” Lizzo

Best Pop Duo/Group Performance

“Old Town Road,” Lil Nas X featuring Billy Ray Cyrus

Best Pop Vocal Album

“When We All Fall Asleep, Where Do We Go?,” Billie Eilish

Best Rock Performance

“This Land,” Gary Clark Jr.

Best Rock Song

“This Land,” Gary Clark Jr., songwriter (Gary Clark Jr.)

Best Rock Album

“Social Cues,” Cage the Elephant

Best Alternative Music Album

“Father of the Bride,” Vampire Weekend

Best Metal Performance

“7empest,” Tool

Best R&B Performance

“Come Home,” Anderson .Paak featuring André 3000

Best R&B Song

“Say So,” PJ Morton, songwriter (PJ Morton featuring JoJo)

Best Urban Contemporary Album

“Cuz I Love You (Deluxe),” Lizzo

Best R&B Album

“Ventura,” Anderson .Paak

Best Traditional R&B Performance

“Jerome,” Lizzo

Best Rap Performance

“Racks in the Middle,” Nipsey Hussle featuring Roddy Ricch and Hit-Boy

Best Rap Song

“A Lot,” Jermaine Cole, Dacoury Natche, 21 Savage and Anthony White, songwriters (21 Savage featuring J. Cole)

Best Rap Album

“Igor,” Tyler, the Creator

Best Rap/Sung Performance

“Higher,” DJ Khaled featuring Nipsey Hussle and John Legend

Best Country Solo Performance

“Ride Me Back Home,” Willie Nelson

Best Country Album

“While I’m Livin’,” Tanya Tucker

Best Jazz Instrumental Album

“Finding Gabriel,” Brad Mehldau

Best Latin Pop Album

“#Eldisco,” Alejandro Sanz

Best Latin Rock, Urban or Alternative Album

“El Mal Querer,” Rosalía

Best Americana Album

“Oklahoma,” Keb’ Mo’

Best Song Written for Visual Media

“I’ll Never Love Again (Film Version),” Natalie Hemby, Lady Gaga, Hillary Lindsey and Aaron Raitiere, songwriters (Lady Gaga and Bradley Cooper)

Producer of the Year, Non-Classical

Finneas

Best Music Video

“Old Town Road (Official Movie),” Calmatic, video director; Candice Dragonas, Melissa Larsen and Saul Levitz, video producers (Lil Nas X and Billy Ray Cyrus)

Best Comedy Album

“Sticks & Stones,” Dave Chappelle

Best Musical Theater Album

“Hadestown,” Reeve Carney, André De Shields, Amber Gray, Eva Noblezada and Patrick Page, principal soloists; Mara Isaacs, David Lai, Anaïs Mitchell and Todd Sickafoose, producers (Anaïs Mitchell, composer and lyricist) (Original Broadway Cast)

Best Instrumental Composition

“Star Wars: Galaxy’s Edge Symphonic Suite,” John Williams, composer (John Williams)

Best Arrangement, Instrumental or A Cappella

“Moon River,” Jacob Collier, arranger (Jacob Collier)

Best Arrangement, Instruments and Vocals“All Night Long,” Jacob Collier, arranger (Jacob Collier featuring Jules Buckley, Take 6 and Metropole Orkest)

A Grammys Red Carpet Fantasia

We went to the Grammys red carpet in Los Angeles.

Best Recording Package

Chris Cornell, Barry Ament, Jeff Ament and Joe Spix, art directors (Chris Cornell)

Best Boxed or Special Limited Edition Package

“Woodstock: Back to the Garden — The Definitive 50th Anniversary Archive,” Masaki Koike, art director (Various Artists)

Best Album Notes

“Stax ’68: A Memphis Story,” Steve Greenberg, album notes writer (Various Artists)

Best Historical Album

“Pete Seeger: The Smithsonian Folkways Collection,” Jeff Place and Robert Santelli, compilation producers; Pete Reiniger, mastering engineer (Pete Seeger)

Best Engineered Album, Non-Classical

“When We All Fall Asleep, Where Do We Go?,” Rob Kinelski and Finneas O’Connell, engineers; John Greenham, mastering engineer (Billie Eilish)

Best Remixed Recording

“I Rise (Tracy Young’s Pride Intro Radio Remix),” Tracy Young, remixer (Madonna)

Best Immersive Audio Album

“Lux,” Morten Lindberg, immersive audio engineer; Morten Lindberg, immersive audio mastering engineer; Morten Lindberg, immersive audio producer (Anita Brevik, Trondheimsolistene and Nidarosdomens Jentekor)

Best Contemporary Instrumental Album

“Mettavolution,” Rodrigo y Gabriela

Best Gospel Performance/Song

“Love Theory,” Kirk Franklin, songwriter (Kirk Franklin)

Best Contemporary Christian Music Performance/Song

“God Only Knows,” Josh Kerr, Jordan Reynolds, Joel Smallbone, Luke Smallbone and Tedd Tjornhom, songwriters (For King & Country and Dolly Parton)

Best Gospel Album

“Long Live Love,” Kirk Franklin

Best Contemporary Christian Music Album

“Burn the Ships,” For King & Country

Best Roots Gospel Album

“Testimony,” Gloria Gaynor

Best World Music Album

“Celia,” Angelique Kidjo

Best Compilation Soundtrack for Visual Media

“A Star Is Born,” Lady Gaga and Bradley Cooper

Best Score Soundtrack for Visual Media

“Chernobyl,” Hildur Guonadottir, composer

Best New Age Album

“Wings,” Peter Kater

Best American Roots Performance

“Saint Honesty,” Sara Bareilles

Best American Roots Song

“Call My Name,” Sarah Jarosz, Aoife O’Donovan and Sara Watkins, songwriters (I’m With Her)

Best Bluegrass Album

“Tall Fiddler,” Michael Cleveland

Best Traditional Blues Album

“Tall, Dark & Handsome,” Delbert McClinton and Self-Made Men + Dana

Best Contemporary Blues Album

“This Land,” Gary Clark Jr.

Best Folk Album

“Patty Griffin,” Patty Griffin

Best Children’s Album

“Ageless Songs for the Child Archetype,” Jon Samson

Best Spoken Word Album (Includes Poetry, Audio Books and Storytelling)

“Becoming,” Michelle Obama

Best Regional Mexican Music Album (Including Tejano)

“De Ayer Para Siempre,” Mariachi Los Camperos

Best Tropical Latin Album

“Opus,” Marc Anthony

“A Journey Through Cuban Music,” Aymée Nuviola

Best Regional Roots Music Album

“Good Time,” Ranky Tanky

Best Music Film

“Homecoming,” Beyoncé Knowles-Carter and Ed Burke, video directors; Steve Pamon and Erinn Williams, video producers (Beyoncé)

Best Country Duo/Group Performance

“Speechless,” Dan + Shay

Best Country Song

“Bring My Flowers Now,” Brandi Carlile, Phil Hanseroth, Tim Hanseroth and Tanya Tucker, songwriters (Tanya Tucker)

Best Traditional Pop Vocal Album

“Look Now,” Elvis Costello and the Imposters

Best Engineered Album, Classical

“Riley: Sun Rings,” Leslie Ann Jones, engineer; John Kilgore, Judith Sherman and David Harrington, engineers/mixers; Robert C. Ludwig, mastering engineer (Kronos Quartet)

Producer of the Year, Classical

Blanton Alspaugh

Best Orchestral Performance

“Norman: Sustain,” Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Best Opera Recording

“Picker: Fantastic Mr. Fox,” Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River and Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus)

Best Choral Performance

“Duruflé: Complete Choral Works,” Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir)

Best Chamber Music/Small Ensemble Performance

“Shaw: Orange,” Attacca Quartet

Best Classical Instrumental Solo

“Marsalis: Violin Concerto; Fiddle Dance Suite,” Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra)

Best Classical Solo Vocal Album

“Songplay,” Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter and Craig Terry, accompanists (Steve Barnett and Lautaro Greco)

Best Classical Compendium

“The Poetry of Places,” Nadia Shpachenko; Marina A. Ledin and Victor Ledin, producers

Best Contemporary Classical Composition

“Higdon: Harp Concerto,” Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare and the Rochester Philharmonic Orchestra)

Best Dance Recording

“Got to Keep On,” The Chemical Brothers, producers; Steve Dub Jones and Tom Rowlands, mixers (The Chemical Brothers)

Best Dance/Electronic Album

“No Geography,” The Chemical Brothers

Best Reggae Album

“Rapture,” Koffee

Best Improvised Jazz Solo

“Sozinho,” Randy Brecker, soloist

Best Jazz Vocal Album

“12 Little Spells,” Esperanza Spalding

Best Large Jazz Ensemble Album

“The Omni-American Book Club,” Brian Lynch Big Band

Best Latin Jazz Album

“Antidote,” Chick Corea and the Spanish Heart Band

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Sent from my iPhone

[l-boomburg]

BIIIIIGGGG lore dump

Just wanna flex, so here's a bunch of random things about my Degrees of Seperation, or as I call them, social jumps.

Disclaimer: these "jumps" can be anything ranging from a conversation/ acknowledgement to an actual friendship.

I'm two social jumps away from Acappella Group Pentatonix, Twitch Streamer Tubbo, Rapper Dan Bull, Broadway actor Reeve Carney, actor Gaten Matarazzo, and Mariah freaking Carey.

And one jump away from the playwright Don Zolidis, Twitch Streamer Eret, and CG5. Also from numerous tumblr artists and TCFSV author Bonesandthebees but that isn't very impressive.

Now that I think about it, I'm two to three jumps away from like... every modern MCYT. That's freaking cool.

[00towns]

2022: Selected Media in Review

Hadestown 

I caught Hadestown on Broadway in early November on last minute tickets purchased with my coworker for nosebleed seats. We had just finished our last day at a three-day museums conference and were desperately looking for something to fill our last evening that didn’t require massive amounts of critical thought or force us to talk to each other. Sitting on a stone bench in Central Park, we scrolled through a litany of day-of tickets and debated The Book of Mormon, Kinky Boots, and Six before settling on a 7PM showing of Hadestown. 

Despite actively trying otherwise, I don’t have a wide repertoire of musical theater knowledge, so when I picked up the playbill and began scanning the names the only one that rang a bell was Eva Noblezada, whose Yellow Rose (2019) I had caught at a film festival a few years ago. My coworker, already a fan of the musical, explained the premise to me. It was a retelling of Orpheus and Eurydice, set in an ambiguously post-industrial Western backdrop with appearances from Hermes, Persephone, the Muses, and Hades – think Makoto Shinkai’s ‘two kids against the world’ motif with a familiar cast of Olympians. She noted in particular Eva as Eurydice’s country, folksy sound contrasting and complementing the high-pitched musical motif of Reeve Carney’s Orpheus. While both roles were played by understudies in the show that we watched (as well as the roles of Hades and Hermes), I particularly loved the sense of intimacy cultivated between Eurydice and Orpheus. The other standout element of Hadestown to me was the lighting design, which at one point swings huge industrial lanterns out into the audience on thick metal cables, creating an almost beating-heart effect through the circular stage design. Entirely unexpected and haunting, I left the show with a newfound appreciation for steampunk, folk, and mythologies that beg the audience to remember a time before we knew all the endings. 

(Virginia and DC friends, Hadestown is playing next year at The National in June.) 

2. Chen – 사라지고 있어 Last Scene - The 3rd Mini Album

In lieu of a Baekhyun solo album this year, I’m deferring to my thi– 

I’m kidding, of course. 

In a listening party video during promotions for this album, Chen reflected on the song Photograph and its high notes, something fans have come to expect from Chen because of his position within EXO. Notably, those notes are missing from this album with the exception of this song, and Chen seems keen to address this head-on. I don’t want to mince his words and I don’t speak Korean, so I’ve included his words (edited for light ribbing from his members and in translation) below: 

“I’ve been debating a lot. I can sing high notes, but then I sang high notes a lot in EXO’s albums too. [...] So I debated a lot, even when I released my first solo album, I sang too high … I became like a singer who sings high [notes]. Although that’s what I’m good at, I wanted to do it for a longer time. I’m getting older anyway, and I want this to be my strength for 10 to 20 years in the future. So I wanted to show it gradually over time.” 

I’m unsure if Chen is discussing his physical ability to sing high notes, which can be strenuous for a vocalist and may deteriorate their ability to sing over time, or on his longevity as an artist who is able to continue surprising his listener by doing something interesting or unexpected, with hitting high notes serving as the locus of his concern. I think there’s an ambiguity in the way that he talks about time that makes room for us to see Chen more deeply as an artist who has never been understood as anything but extremely talented. I’ll be the first to admit that I know very little about vocal technique, although it’s definitely not a stretch to say that there are many, many ways to be a talented singer not defined purely by range. Rather than split hairs about Chen’s vocal ability, I instead found his thoughts on exemplifying his talent as a singer to be a wonderful reflection on patience. To me, it seems like Last Scene has addressed the question of his ‘best’ by a purposeful omission, saying that his best is always moveable, always relative, always being negotiated. How might I learn from this ethos of continually finding new ways to be good to myself, to be a good-myself, to show my best sides both privately and publicly? 

<사라지고 있어 Last Scene> is Chen’s third mini album and his first release since returning from his military service. You can listen to the titular song, Last Scene, here, and the entire album here.

3. After Yang (dir. Kogonada) 

I found After Yang to be a quiet yet powerful piece of diaspora film that filled out the maximalism of Everything Everywhere All At Once. I loved the quiet domesticity of the film; at times, the futuristic setting was entirely alien, and at others I saw a vivisection of myself, my family, and my most intimate thoughts laid out on the screen. Of course, domestic life is also a major theme in the huge, extravagant, multiversal project of EEAAO, but the tenuously moving plot of After Yang situated the most wrenching, heartrending evocations in heartbeats of silence, hung as string lights over vignettes of quiet kitchen scenes, peaceful garden memories, and thick dark pigtails. The gentle attention that After Yang begs of its audience was almost refreshing, and reminds me that the most moving parts of my experience as a diasporic subject have been when nothing much happens at all. 

4. Jenny Nicholson – The Church Play Cinematic Universe 

This one is for me. 

Jenny Nicholson occupies the special place in my conscious that doesn’t really mind what it is obsessed with. The Church Play Cinematic Universe is loosely a video essay on a set of yearly Christmas plays put on by a megachurch in Canada that riff off widely known movie references to tell and retell the story of the crucifixion of Jesus Christ. More specifically, it’s a eighty-minute video of Jenny Nicholson scathingly unpacking the annual Christian-ification of beloved media franchises. Personal favorites include ‘The Lion King of Judah’ and ‘The Princess Bride of Christ’. 

Recently, a close friend’s father told us that in his 50s, he believes that the only media that truly sticks with you throughout your life is the things that you consume in your teens. I reference this now in a twofold sense: I can only seem to bring myself to this type of meaningless yet critical thought in reference to cultural locuses that have reached a critical mass of age and nostalgia, particularly if I haven’t experienced them myself (see also in this category: Eddy Burback’s ‘I ate at every Rainforest Cafe in the Country’, Defunctland’s 'Disney Channel’s Theme: A History Mystery’). The other sense is that the passion that video essayists have for inane topics tugs at my gut in a way that I can only understand through the way I feel when a random YouTube video I was fixated on in my teens lights all my cells on fire when it pops up. I would like in some sense to be incensed by anything as much as I was watching greedily everything that I could get my hands on, determined to brute-force my way into becoming a whole person through the Internet, no matter if that person (and their relationship to the Internet) came out like a grow-a-sea-creature capsule that got stuck in the plastic. Having now escaped my pill-shaped prison, I know those most intent obsessions were not a purely individual complex, but nothing elicits quite the same response. I appreciate Jenny Nicholson and her commitment to pedantry for reminding me that in those days and today, I am never alone online. 

To illustrate the ridiculousness of my point, I’ve attached a few links to videos that I would make video essays on if I was a content creator. 

BTS’s Blood Sweat and Tears ‘Ask In A Box’ (I have most of this video committed to memory)

ASMRrequest’s Departure Ep 2: Frontiers 

The Real Bros of Simi Valley: Season 1, episode 1

Thank you, 2022, for a bizarre list of things that have stuck with me into the new year. Onto the next!

[filamentlights]

*old timey exaggerated transatlantic accent*: LADIES AND GENTS ITS A NECK AND NECK RACE TO SEE THE TRUE RESULT OF WHETHER WE THINK ANAKIN SKYWALKER HAS TO CAPACITY TO INTERNALIZE MESSAGES CONVEYED THROUGH ARTISTIC MEDIUMS AND INTROSPECT ON HIS OWN LIVED EXPERIENCES

Personally theres an image in my mind with such clarity and composition of Anakin jumping onstage to brawl Reeve Carney in Doubt Comes In but that’s just my opinion.

Crack fix it(?) AU where Palpatine bought the wrong tickets and instead of some random vaguely ominous opera, he instead mistakenly takes Anakin to space Broadway to watch Hadestown…

[echochamber]

“And Eurydice was a young girl

But she’d seen how the world was

When she fell

She fell in spite of herself

In love

With Orpheus”

[I.D.: A set of two images of Orpheus and Eurydice from the Broadway musical Hadestown. Orpheus is a white man in his 30s with short straight dark hair. Eurydice is an Asian woman in her 20s with gold medium skin and black hair. They sit on the floor, closely facing each other, Eurydice's hand almost touches Orpheus' face gently. Her other hand covers his. They look directly at each other, the background behind them is dark, except for several web-like strings going out of them and some smoke coming out of the opposite side. End I.D.]

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[pettycoated-swashbuckler]

"Hadestown Mucha-inspired poster" by Carmon on INPRNT