#it sounds like a 1950s musical movie but it actually happened

[mrjoeiconis-blog]

From the Archive: BE MORE CHILL TRACK BY TRACK May 16, 2018: Hey, hi, hello. My name is Joe Iconis. I’m a writer and performer and, most notably, the person to blame for the music and lyrics of Be More Chill. I wrote the show, a musical adaptation of Ned Vizzini’s novel, with Joe Tracz and it premiered in a production at Two River Theater in New Jersey in 2015. A cast album was made and was enjoyed by the amount of people you’d expect to enjoy a cast album of a musical that played for six weeks in New Jersey. Then suddenly and without warning, after two years of release, people, in particular young people, discovered the show and became obsessed. One hundred million streams of our cast album later, the show made its Off-Broadway debut in summer 2018 at the Pershing Square Signature Center on 42nd Street, before transferring to Broadway!

Before we launch into the madness of a track by track breakdown of the Be More Chill OCR, let’s talk about the Be More Chill score itself, shall we?

The first thing that excited me about adapting Ned Vizzini’s gorgeous book into a musical was the opportunity to write about the issues teenagers face through a sci-fi lens. I’ve written plenty of teens before. I love that they wear their emotions on their sleeve but don’t always have the vocabulary to properly articulate those emotions. But here was an opportunity to not only delve into the minds of young people, but to tap into some of my favorite genre influences: monster movies of the 1950’s, Sci-Fi/Horror flicks of the 70’s and 80’s, and Teen Comedies of the 80’s and 90’s. In short: John Hughes (Sixteen Candles, Ferris Bueller’s Day Off) meets John Carpenter (Halloween, The Thing.) 

Be More Chill is a classic musical comedy in disguise. It reeks of technology and is filthy with moderns sounds, problems, references, etc. But make no mistake about it: The show is as traditional as they come. Well, sort of.

The songs themselves are total showtunes; it’s the orchestrations that place us firmly in the genre world.

As I’d write the tunes on piano, I’d dream about what they’d sound like when given the full 80’s sci-fi treatment, and Charlie Rosen’s orchestrations satisfied my darkest, quirkiest musical fantasies. We worked closely on the specific sounds of this score. Our holy grail (especially when it came to underscore) was John Carpenter film scores. John Carpenter has directed countless horror classics, but he’s also famous for writing his own film scores. He was an electronic music pioneer and his work is immediately recognizable.

Other sonic influences included Oingo Boingo, Bernard Herrmann, Weezer, Tangerine Dream, The Offspring, and contemporary musicians with a retro flair like Sky Ferreira, Kavinsky, and Johnny Jewel.

“Jeremy’s Theme” Written at Joe’s 16th Street Apartment 2012/Two River Theater Library, during rehearsals 2015 I’ve always thought of this as the music that would accompany the production logos in a horror movie. The “American International Pictures presents… A Roger Corman picture…” cards. It immediately places the audience in an unsettled place. Something bad is going to happen and that bad thing is going to be otherworldly. 

We’re actually cramming a lot of information into 30 seconds. Up top you’re getting the beep-bop-boop of computer circuitry. It’s the technological equivalent of a scary thunder storm in a creature feature. Next, our first synth line arrives. Hello, synth. Nice to meet you. Won’t you please overstay your welcome for the next two and a half hours? I drove Charlie slightly crazy in regards to the specificity of keyboard sounds I was looking for as I desperately wanted to be faithful to the Carpenter/Alan Howarth collaborations that inspired much of the score. 

The track culminates with The Squip theme, played gloriously on Theremin by Danny Jonokuchi. The Theremin is a vintage electronic instrument played by the Thereminist moving his hands through the air to control pitch and volume. That instrument was used most often in 1950s sci-fi movies like The Day The Earth Stood Still, usually to accompany the visual of an alien presence. 

We’re one of the only musicals to ever use a Theremin in its orchestration. Be More Chill is a show about kids obsessed with all things outdated and unloved and the show itself is obsessed with all things outdated and unloved! How very! (Heathers reference.)

“More Than Survive” Written in Joe’s 16th Street Apartment, 2012 After our eerie mini-overture, the audience expects to be confronted by a demon or a triffid or worse. Instead, we jump cut to the shockingly mundane sight of an average high school kid staring at his computer in his undies. I’m proud that the first event in the musical is our leading man being caught with his pants down. It establishes Jeremy us a decidedly unheroic hero and also kick-starts a theme of pantlessness that continues throughout the entire show.

The “C-c-c-c’mon” motif was one I came up with early on in writing the song. I wanted a repeated phrase that expressed the frustration of wanting things to move at an accelerated speed, and one that could also sound like the chorus of a pop song. I love immediately subverting the expectation of what Jeremy’s waiting for to load—“Is it a major homework assignment? A college application?” Nope, it’s porn! That moment establishes the spirit of Be More Chill right off the bat. It also makes for awkward car rides when kids listen to the album in the car with their parents. Sorry, not sorry.

In the actual show there are even more mini-scenes between Jeremy and the people in his life. I wanted this whole opening to feel cinematic and sweeping and place Jeremy in the center of a world that is swirling around him. Kind of like the “Head Over Heels” sequence in Donnie Darko. 

The first person who connects with Jeremy enough to actually earn sung musical material is Michael. Michael brings his own music with him because he’s confident and, quite literally, marches to the beat of his own drummer.

Will Connolly’s voice just kills me on the album. He sounds like the love child of Michael Jackson and Billie Jo Armstrong. 

Notice the little synth line underneath the lockers scene with Chloe, Brooke, and Jenna. It’s a quote of “Rich Set a Fire.” The little synth line underneath the first part of Michael’s scene? “Michael in the Bathroom.” The guitar line in the second part? “The Pants Song.” That audience has subconsciously heard so many melodies from the show before the first number is even over! Underscore is sneaky.

It should be noted that “More Than Survive” was the first song I wrote for the show. After sending it to Joe Tracz, I sent it to Jennifer Ashley Tepper, who is now one of our producers of Be More ChillOff-Broadway. She wrote back:

“I tried to listen to the Be More Chill song, got 60 seconds in, and got furious at everyone for all of the noise/ questions/ distractions at work... so I'm gonna go download these on my phone and sit outside or hide in the bathroom to listen. BRB!!!”

Hiding in the bathroom. That’s so Be More Chill.

“I Love Play Rehearsal” Written in Joe’s 47th Street Apartment, 2013 After hearing so much about her in the opening, this is the first time we actually get to hear from Christine herself. Charlie and I wanted her song to sound different from the angular computerized vibe of the rest of the score. Enter recorders! 

Everyone associates recorders with elementary school music class and/or Renaissance fairs. That felt correct for Christine, who is warm, strange, confident, free-spirited, and literally dresses like an authentic Renaissance Princess at the Halloween Party in Act II! So much of Stephanie Hsu’s performance informed the song itself—she’s a brilliant actor and a soulful singer and it’s impossible to not conjure up images of her live performance when listening to her on the album.

The placement of this song moved around a whole bunch during our writing process and the eureka moment was realizing that the song’s not literally about play rehearsal. It’s a song about passion and freedom. It’s not the typical way to be introduced to a leading lady in a musical, which makes it perfect for Christine and for Be More Chill, in general. 

The original second song in the show was an internal duet for Jeremy and Christine called “Touching My Hand.” It was about Jeremy pining for Christine and Christine wondering if she should go on a date with Jake. There was some nice character material for Jeremy, but it gave us information we already knew and it made the show feel like some cute romantic comedy. It also felt antithetical to the character to have Christine’s first real song moment be about a guy. That’s not her and we needed to respect that.

Note that the original full title of this song was “Why I Love Play Rehearsal By Christine Canigula,” which is very fussy and precious and I loved it but it’s too cumbersome and I knew that someone would inevitably make me change it so I just did it myself. (RIP Fussy, Too-Long Title That Joe Loved.)

“The Squip Song” Written at Joe’s 16th Street Apartment, 2012 It begins as a retro-sounding “cool kid in a ’90s movie” rock song (with some Oingo Boingo horns added in for good measure) and then turns full blown sci-fi/horror fantasia. And it all goes down in a bathroom. There are a lot of bathrooms in this musical. 

This song is the first time we hear the “It’s From Japan…” refrain, which repeats ten million times over the course of the show. Gerard Canonico is a powerhouse of the highest order and he turned this song from a serviceable musicalized scene into a show stopper. The optional octave up jump on the second “It’s From Japan” is all Canonico’s doing. We had to add the big ending (including a toilet flush on the final button) just because it was so clear people wanted to clap after Gerard finished doing his thing.

Props to Josh Plotner on the vocoder, yet another retro instrument that’s rarely used in theater orchestration. It’s what makes the weird digitized voice sound. People usually think that it’s a mic effect but it’s all done live! Old school, baby.

For those who care: Gerard’s pronunciation of the word “correctly” is a nod to The Shining’s scary bathroom encounter between Jack Torrence and Delbert Grady.

“Two-Player Game” Written at Joe’s 47th Street Apartment, 2013/Rewritten during rehearsals at Ripley Grier Studios, 2015 I enjoy writing songs where characters have to work through some major personal issue while doing an unrelated task. (Ahem, “The Answer.” Ahem, “Ammonia.”)

Here, the boys talk about self-worth and the desire to be somebody else while playing a video game. Of course, the video game is actually telegraphing the journey they are about to go on but to Michael and Jeremy it’s just another nothing-special hang sesh. When I wrote that little 8-Bit “Apocalypse of the Damned” theme that threads through the song, I was inspired by being a kid and plunking out the melodies to grandiose John Williams orchestral scores on my Casio.

The original version of this song was titled “Level Up” and it did a lot of what “Two-Player Game” does, just not as well. It also sounded exactly like a particular song by The Clash and once I realized how similar the two songs were, “Level Up”s days were numbered.

It should be noted that I am the world’s biggest stickler when it comes to rhyme. I’m super old-school in that I believe things either rhyme or they don’t; none of that “half rhyme” garbage. I think rhyme makes theatre songs easier to understand and actually heightens the dramatic intention of the lyric. Disgustingly, “Two-Player Game” contains an accidental fake rhyme. By the time I realized, it was too late to change the rhyme. Every time I hear it, I cringe, and you can pay me a million dollars but I won’t tell you what it is. 

“The Squip Enters” The grand entrance of our antagonist: The Squip. It was important to our radiantly talented director Stephen Brackett that The Squip’s entrance feel larger than life. His staging of the moment was dazzling, and I needed to write a cue that rose to that occasion. The Squip enters to music that is tastelessly huge, appropriately so. 

It should be noted that I wrote The Squip with Eric William Morris in mind and I’m so glad his iconic performance of the role is preserved forever and ever on the album.

“Be More Chill – Part 1” Written in Joe’s 47th Street Apartment, 2013  I had a lot of trouble figuring out the musical style of The Squip. First I went down a computer-y road, but that felt too in line with the sound of the rest of the show. Then I tried a sort of 1950’s Dick Dale Surf Rock take. (Mike Rosengarten’s nasty, relentless guitar line is a remnant of that version of the song.) 

Eventually, I settled into what currently exists. There’s a timeless cool, laid-back quality to The Squip’s music. It’s approachable and sexy but never too scary or affronting. This is seduction music. The moments where the vocoder is adding the spooky digitized element the melody line (“don’t freak out and don’t resist…”) is where The Squip’s true colors are peeking through the façade just a little bit. By the time we get to “The Play” he’s given up on trying to seduce and is just trying to conquer, so his music sounds different.

The whole “Be More Chill” section is really just a classic “make-over montage” sequence (it’s even set at The Mall!) so I took some musical inspiration from make-over and training sequences as well. Think Karate Kid, Dirty Dancing, The Breakfast Club.

A lot of people are bothered by the harshness of the “everything about you makes me want to die” line. To me, that’s the whole point of the show. The tone may be comedic, but the characters in Be More Chill are actual teenagers struggling with actual problems. I don’t think being depressed or suicidal is a laughing matter, but I do think sometimes people feel like there is a voice inside their head telling them to hurt themselves. It would be insulting and untruthful to pretend that a kid like Jeremy wasn’t struggling with these thoughts. 

The humor, the fantasy, and the harsh reality co-exist in every moment of the show. And, in my experience, in every moment in life. It’s about learning how to deal with it and knowing which of the many voices in your head you’re supposed to listen to. But we’re not at that particular song yet.

“Do You Wanna Ride?” Written in [memory temporarily scrambled] I have no memory of writing this mini-song, it just happened. It didn’t exist and then it did. Look, I made a spicy song about stopping for frozen yogurt where there never was a spicy song about stopping for frozen yogurt. 

Lauren Marcus’s interpretation is a gift from the theatre gods and is a testimony to her brilliance as an actor, singer, comedian and all-around magic person. The yodel, the riff at the end, all Marcus. She’s the Goldie Hawn of musical theater. 

“Be More Chill – Part 2” When I stumbled upon the idea of the “Everything about you is going to be wonderful” section, that’s when the song really clicked for me. After being berated for all the things he isn’t, Jeremy finally gets teased with the promise of unadulterated love and adoration. It’s the false promise of spam emails about penis enlargement pills or the aspirational Instagram accounts of the Kardashians. The idea of: “If you just do This, everything will be Perfect.” The musical equivalent of “Make America Great Again.” Cheerful, optimistic, secretly sinister. The writing and performance make me think that it’s a theme song for an awful 1980s sitcom that never existed in the first place. “Everybody Loves Squips!” maybe.

Props to Dan McMillan for aggressively hitting that gong at the end for a big finish. 

“More Than Survive” (Reprise) Restart! The show essentially begins again and we fast forward through another day at school, this time with notes and instructions from Mr. Super Quantum Unit Intel Processor himself.

The chorus goes into a reggae feel for a few measures at one point. The idea there is that sometimes things are the same but feel a little different and you can’t quite put your finger on why. The familiar feels unsettling. Reggae is a style of music associated with Michael, so I like thinking that maybe Jeremy has Michael on his mind in that one instant before Squip wipes the slate clean.

“A Guy That I’d Kinda Be Into” Written in Ripley-Grier Studios 2015, during rehearsal This was the last song I wrote for the show. I wrote it very quickly on a rehearsal break after not being able to nail this moment for years. I love that Christine gets this unexpected jangly little rock song as her second big number. 

Have you ever noticed how the female lead in musicals is often saddled with the most drag-ass songs? Part of my mission in musical theater is to never subject my female lead to an unmotivated obligatory ballad. 

It should be noted that Christine ends both this tune and “I Love Play Rehearsal” with an unexpected non-rhyme. Christine is a character who subverts our expectations of her at every turn. Gosh, I like her. 

“The Squip Lurks”  I’m eternally grateful we got to include this taste of underscore on the album. I’ve heard rumors that this plays in theme parks during the Halloween season. That’s the highest honor I could ever receive. 

The track name is a reference to “The Shape Lurks” cue from the Halloween soundtrack. And, yes, “Jeremy’s Theme” is also a nod to “Laurie’s Theme.” 

“Upgrade”  Written at a Two River Theater writing retreat, 2014 // Re-written at Ripley Grier Studios 2015, during rehearsal

The line “this is my favorite place behind the school” is one of Joe Tracz’s great creations, delivered incomparably by Ms. Marcus. I don’t know why I find it so funny but I laugh every time I hear it. I think it reveals so much about Brooke.

The notes of “Upgrade-upgrade-upgrade” in the first part of the song are the same notes as the pattern that begins “More Than Survive.” They are just a little scrambled up. The melody of “I already know what it’s like to be the loser” is the “Apocalypse of the Damned” theme song melody.

This song is notable as the first time the character of Jake sings in the show. Poor Jakey D. This is the only musical in history where the classically good-looking Prince Charming-type gets the least amount to sing. I still like the guy, though. It’s another testament to the brilliant Joe Tracz that a character like Jake, who could’ve been a one-dimensional asshole jock, is actually a kind, well-meaning popular kid. Dude can’t help that he’s pretty! Jake Boyd’s vocals are so sensitive and approachable and kind of remind me of Mr. Peanut Butter from Bojack Horseman.

The final chorus of the song is the same melody but we lose the swing and make it more of a driving rock. Damn. Things got not cute quick.

This song used to end with a long minor version of the “Na Na Na” theme from “More Than Survive.” It was very musically exciting and too long and did nothing to service the story and was cut.

“Halloween” Written at a Two River Theater writing retreat 2014 The Halloween Party is a mammoth sequence that begins Act II and I knew it needed its own theme song. I wanted to write a chorus that sounded like what it feels like to be shoved around in loud, hot, crowded room. The sort of song that would send anyone with social anxiety into a full-blown panic attack.

The Suburban Halloween Party is such a hallmark of the movies myself and my collaborators were inspired by and we endeavored to do those films justice and make the greatest Halloween party blowout sequence in musical theater history. Please note that when we wrote the show, there weren’t actually any other musicals with Halloween Party blowout sequences, so just by existing, we were automatically the greatest. Now we’ve got some competition. How fetch! (Mean Girlsreference.) 

There’s an element of group awareness in the “Halloween” lyric. “Cuz a Halloween party’s a rad excuse to put your body through mad abuse.” That’s because we’re experiencing the party through Jeremy. This is his first big social event and as much as he’s trying to be part of it, he’s still on the outside. He’s got a detachment that allows for a bit of perspective.

The dance break was arranged by Broadway legend Rob Berman! He based the melody line on a part of “Halloween” that was subsequently cut. It’s the “who’s got the peach Schnapps?!” section. I often add it back in when I perform the song in concert. 

Props to Amanda Ruzza’s propulsive bass line! Crank it up, crank it up!

“Do You Wanna Hang?” “Do You Wanna Ride?” strikes back! With new lyrics relating to Chloe’s Sexy Baby costume! Katie Carlson is yet another four-leaf clover in our incredible cast of musical theater misfits. Chloe is hilarious and monstrous without ever being a cartoon. She’s trying her best, just like everyone else, she just has… questionable taste. I’m so enamored with the way Katie does the final “Do you wanna stop?!” chorus. I think in that moment Chloe is trying so hard to be Britney Spears circa 1998. Which would almost work if she wasn’t literally dressed as an infant. There’s something charming and a little sad and completely hilarious about it to me. 

We never actually address the fact that Chloe is dressed as a baby (well, a “sexy baby”) in the lyric. In two million years all that will be left of this world will be a fat cockroach, a copy of the Be More ChillOCR, and a few confused aliens wondering what she means by “get inside my diaper, boy.”

“Michael in the Bathroom” Written at Joe’s 43rd Street Apartment, 2014 Many times as a kid and even more times as an adult, I’ve fled to the bathroom to escape a social situation. It feels like one of those no-big-deal things that everyone does and those are the exact sort of scenarios I’m drawn to when writing musical theater.

I’ve always been partial to the “Best Friend” characters. I want to know more about them and never understand why they exist only in the context of the lead character. In every show I’ve written I’ve imagined that when a secondary character leaves the stage, they’re walking into another show where they’re the lead. “Michael in the Bathroom” is the moment when the ultimate sidekick is allowed to take center stage and be the star of someone else’s show. I hope it makes the audience think about all the other secondary characters in the show like Chloe or Rich. They’ve probably all had their own “Michael in the Bathroom” moments over the course of the show, we just don’t get to see them. Oh how I long to write “Jenna in Her Bedroom.” Or “Brooke in the Alley Next to Pinkberry.” Maybe for the sequel.

George Salazar’s performance of the song is magic. It’s one of those miracle moments when a song and a performer connect in a specific way. The music and lyrics are a road map, but there are so many people who make the journey of a song like this happen. It all came together through a collaboration between myself and Ned’s characters and Joe’s book and Stephen’s direction and Nathan Dame’s musical direction and Bobby Tilley’s costumes and every other element that goes in to making any moment of theater. 

George is the first person to sing “Michael in the Bathroom” in the show itself, but while I was developing the score, the song was sung out of context by a few gents including Jason Tam, Seth Eliser, and Will Roland. They taught me much about the tune and I bow down to them.

I wrote the song in one sitting in 2014 and the content never changed, aside from the cutting of a short third verse right after the bridge. We cut it late in the rehearsal process in deference to the “too much of a good thing can be dangerous” rule of theater.

A few people have questioned my use of humor in songs that are otherwise quite serious. “Why do you have jokes in such a powerful song?” an uptight professor once asked. “Why is this hilarious showtune so stinking sad?” a late-nite comedian queried over drinks at McHale’s. The intersection of the comedy and the tragedy feels true to the human experience. The absurdity of having to work through things at the Worst Possible Moment is something I’ve experienced many times. Things are rarely all good or all bad but things are always messy. You find out you got into your dream school while you’re high at your racist grandfather’s funeral. You have to audition for a role on Stranger Things the same day that a mountain lion eats the family dog. (RIP Spot.) You have a panic attack while wearing a Halloween costume after fighting with your possessed best friend in the bathroom of High School Halloween Party. It’s all so forlorn and confusing and funny. To me at least. 

Charlie and I worked closely getting the arrangement just right. We wanted it to ebb and flow and sound like a pop song at first, never giving away that it will eventually turn into this tour-de-force musical theatre mad scene. I like when orchestration is at odds with the content of a song and doesn’t immediately announce what the song is about.

After going on this monumentally poignant journey, Michael undercuts it all with a spot of sarcasm, carrying on the great tradition of musical theatre characters who don’t really mean it when they say “I’m so glad I came.” (Follies reference.) The whole thing ends with the most sardonic cha-cha-cha ever to button a number.

“The Smartphone Hour (Rich Set A Fire)” Written at Ripley-Grier Studios, 2014 Jenna Rolan finally gets her moment of glory, unexpectedly, as the star of a seven-minute dance number. Katie Ladner’s turn as Jenna is so specific and inventive. She deflects the casual barbs thrown at her because she is not letting anyone ruin the time she gets to shine. 

I set out to write a song that dramatizes and activates the dangerous world that the Be More Chill characters exist in. We spend so much time with our kind, sensitive protagonists, it’s easy to forget the madness they are living in. It’s hard to be a teenager, especially today. It’s a menacing world where information travels at warp speed. As does gossip, rumors, insults, lies, etc. To me, “The Smartphone Hour” speaks to the ferociousness of modern teenagers and shines a light on the sort of environment that leads to bullying and depression and worse.

It’s also a splashy musical comedy dance number! I wanted it to feel overlong and unreasonably gargantuan. I thought for sure some smart theatre artist along the way would force me to cut this song. I decided I was going to fight for it. It may not cover a ton of story ground, but I felt that it was imperative to have the number in the show. It sets the audience up for the craziness that’s about to happen in Act II and lets us know that things have spun out of control—both in the story and in the show itself. I think subconsciously, the audience thinks: “A dance number about arson?! The rules of the show are changing! I hope nothing unexpected happens to the characters I love! They wouldn’t kill off Jeremy, would they? Well, if I’m watching a dance number about arson anything is possible! Oh no! #SaveJeremy!” 

Luckily, I never had to fight for the song. As soon as Chase Brock got his hands on it, he made it longer, in deference to the “too much of a good thing can be wonderful” rule of theater. Rob Berman’s arrangement of the dance break sounds like a sleepover from hell on crack and Charlie’s smartphone sounds bear more than a striking resemblance to the sort of sounds normally associated with the sinister Squip. Gossip is Evil, kids.

I really feel like we made the best Michael Bennett number Michael Bennett never choreographed. The final shouted: “End!” was all Chase’s idea and I love it so much. It’s a moment that lives in the real estate between musical theater Cheese Ball and rock’n’roll Middle Finger. A neighborhood I often hang my hat in.

The notes of the phone buttons that are heard after “he told me cuz he’s my best friend” are, once again, the same notes as the “More Than Survive” intro figure. Just reversed this time.

The title is an obvious reference to “The Telephone Hour” from Bye Bye Birdie. “Rich…” is by no means a parody of that song, but I think they are spiritual cousins. It’s another example of Be More Chill having a foot in the past and a foot in the future. 

“The Pitiful Children” Written at Joe’s 47th Street Apartment, 2013 / Joe’s 43rd Street Apartment, 2014–2015 / Ripley-Grier Studios and Two River Theater 2015, during rehearsals Oh, heavens, this song. The lyrics of this song changed a ton over the course of the rehearsal process and I never got it quite right. I love it on the album. It sounds like what would’ve happened if Marilyn Manson and Nine Inch Nails wrote Les Misérables. Alas, dramaturgically, I don’t think I did a great job of telling the story that Joe Tracz laid out. Don’t be surprised if this one gets fiddled with in anticipation of our forthcoming Be More Chill off-Broadway production.

The orchestration of this song is one of my favorites in the whole show. It pushes The Squip firmly into digitized-demon territory. He’s worrying less about seducing people in this number and he’s letting his true colors show. His true colors are cold, industrial, heavy, and militaristic. There’s no question that this Squip has his sights set on world domination.

I like using lyrics that work dramatically and stylistically. The Squip’s “beep-bop-boop” is literally him speaking in his native computerized tongue, but it also conjures up images of an old-fashioned crooner scatting. It’s connected to Jeremy’s “C-c-c-cmon” and the Ensemble’s “Hey hey hey” and all the rest of it.

“The Pants Song” Written at Joe’s Family’s house on Long Island, 2014 My experience writing this song is very much an example of the comic/tragic thing that I often love to write about. 

I had tried to write a song for Jeremy’s Dad for the longest time and could never crack it. Joe Tracz said to me: “I just wish Jeremy’s Dad could have a song about the lesson he learns. That if you love somebody, you put your pants on for them.” Essentially, I am an idea thief. I immediately knew that sentence was a song, I just didn’t know how to write it. We were doing a developmental reading of the show and I was feeling the pressure. There was a date I needed to have the song in by and I had nothing. The day before I needed to have the song, I decided that after rehearsal I was going to have a drink with my best friend Jason SweetTooth Williams and then go home and write the song. And then my Grandma died. After a long illness, my grandmother Flora (RIP Flora) left this damned earth at the Iconis home on Long Island. I needed and wanted to be with my family. After doing all the things that you do when a loved one dies, I went downstairs to my family’s basement at 2 AM and wrote “The Pants Song” in one shot. Sometimes you have to write a song about two guys in their underpants on the night your beloved grandma dies.

Paul Whitty starts in such a forlorn, hurt place at the top of this song. I bet the audience thinks this is going to be a perfect-time-for-a-cigarette-break “sad dad” number and then it turns into a total bop. Much like the “We love everything about you…” section of “Be More Chill,” this was another song that I wanted to feel like a rockin’ version of the theme song from a 1980’s sitcom. Only difference is, the mythical sitcom that “We love everything about you…” comes from is phony and corporate and the “Pants Song” show is heartfelt and cool, Must See TV material.

There used to be a song for Jeremy’s Dad earlier in the show called “The No Pants Song,” where he extolled the virtues of not getting dressed. It was a sad, lazy waltz. The whole thing was one-joke, but I did love the final stanza:

ALL THE EXERTION OF PUTTING ON, THEN TAKING OFF JUST TO PUT BACK ON SEEMS TERRIBLY UNNECCESSARY TO ME WOULDN’T YOU SAY? I’M FINE WITH A Y-FRONT COVERING MY FRONT EVERY DAY

It should be noted that many of my musicals feature moments of pantslessness for male characters. This feels fitting as I am often pantsless when I write said musicals. Write what you know, Joe. (ReWrite reference.)

This is the only song in Be More Chill that features a big, in-your-face key change. I’m normally very discreet about my key changes, but a tasteless shift up a step for two men dancing in their undies feels earned. 

The in-store music playing in the background of The Mall sequence is actually a Muzak version of “The Pants Song.” The moment I wrote the tune I knew it was destined to be the annoying music played on a loop in the atrium of a mall. The sort of irritating ear worm that slowly drives the employees of Payless and Sbarro’s mad.

“The Play” As a kid who spent hours listening to the big action-packed climaxes of the Sweeney Todd OCR, the Sunset Blvd. OCR, and the Carrie soundboard bootleg (thanks, 1996 Playbill Online message boards for making that one happen!), I’m so thrilled we got to include ours on the album. The underscore is straight-up cinematic, with all the themes of the past two hours crashing into each other like violent zombie bumper cars.

A few people have asked me if the cascading downward piano line in “The Play” is referencing “Suppertime” from Little Shop of Horrors. While the two riffs sound similar I was actually alluding to, you guessed it, John Carpenter film scores. The 5/4 time signature and downward modulation are dead giveaways. But I do agree that the line sounds not dissimilar to “Suppertime,” which is fine by me! Little Shop was my first musical and has clearly influenced me in countless ways as a writer, especially on Be More Chill. 

The “Michael makes an entrance” line came late in the game and is a testament to the “sometimes the best thing a writer can do is just musicalize the stage direction” rule of theater. 

One of my favorite bits of orchestral business is the twisted music box version of the “More Than Survive” chorus. Hella Danny Elfman. (Shout out to Rich’s Nightmare Before Christmas belt buckle! The 1990’s are alive and well and living inside my musical.)

The “Squip Death” section was hatched by Eric William Morris and myself in the basement dressing rooms of Two River Theater. It’s hard to make out, but as the Squip is destructing he’s speaking Japanese. The Japanese was translated by my bestie-since-fourth-grade Michael Ettannani. We’ve all got our Michaels.

“Voices In My Head” Written at a Two River Theater writing retreat, 2015

The point of Be More Chill is that we’re always going to have voices in our head, both good and bad, telling us what to do. The trick is to figure out which ones to listen to. The fear and doubt and anger and anxiety never really go away, but you can find a way to manage them. At one point in our process Joe Tracz articulated this by saying: “At the end of the show, there are still voices in his head, but the loudest one is Jeremy’s.” Yet again, I am a lowdown dirty idea thief. I stole Joe’s words and turned them into our finale.

Since the show begins and ends with ensemble numbers led by Jeremy, I thought this was a nice opportunity to chart our leading man’s growth. I wanted the vibe of the chorus to be different from “More Than Survive.” It’s more laidback, it’s more confident, it’s more playful. It’s more (ahem) chill. Even when the Ensemble kicks in with the “Na’s Na’s” from the beginning of the show, it’s less aggressive than it used to be. There’s harmony and everyone’s singing together instead of singing at each other.

It was important to all of the creators of the show that the triumph of our show not be that Jeremy gets with Christine. The personal triumph for him is that he’s able to deal with his “stuff” enough to have a normal-person conversation with her. I don’t know if Jeremy ends up with Christine after the events of Be More Chill. Maybe he does. Maybe he ends up with Michael. Maybe he ends up with no one. It really doesn’t matter. What matters is that he has figured out that his voice is one that is worthy of being listened to. And that allows him to get on with his life and move forward. All of the characters being together shouting “C’mon, let’s go!” is a triumph to me. They don’t know what’s next, but they’re going to go through it together. An army of Creeps, taking on the world hand in hand.

Robert Altman used to talk about how he never understood why movies ended with weddings. Why is the story over just because two people kiss? There are no real endings in life except, maybe, death. Musically, I didn’t want the show to end with a big held-out chord or with arms-around-each-other “it’s all gonna be alright!” sweetness. I wanted the very end to feel raucous and alive and like the music is tumbling toward something. Toward the future.

The joke of the ending is that even though the kids at Middleborough deactivated The Squip and prevented a total take-over, chances are good that all of the neighboring high schools have been completely taken over. No one is safe, all we can do is prepare ourselves as best we can. They may offer you fortune and fame. Love and money and instant acclaim. But whatever they offer you don’t feed the… Squips? Sorry, wrong show. Smiley face, lipstick, kitty paw.

[saltygilmores]

Thoughts While Watching Gilmore Girls-Season 2, Episode 12, Part 1 ("Richard In Stars Hollow")

You can read all of my previous commentary here. First 10 Minutes Summary : Emily needles Lorelai about her love life some more. A long comedic exchange occurs between Lorelai, Rory and Emily about the family burial plot. Emily and Richard discuss Richard's boring & repetitive retired life. Paris being Paris wants the staff of The Franklin to win a presitgious award given to school newspapers by any means necessary.

Richard is bored and realizes Emily actually had a pretty vibrant daily life while he used to be at work all day, and now with nothing to do he's getting in her hair and becoming a real pain in the ass M-A-N. Desperate to get him out of her hair, she ever so gently suggests he spend some time at the country club.

Wait wait wait. Stars Hollow video is really renting Grand Theft Auto? The violent-est video game to ever violent at that point? (all for the low price of 99 cents, Tuesdays and Thursdays only). Besides the graphic subject matter of the game, like cable TV and internet, I'm not entirely convinced that video games are even a concept in Stars Hollow. Go on, just ask someone on the streets of Stars Hollow if they know what a Playstation is. The citizens seem to be highly aware of modern music, but mainly watch TV shows and movies from the 1950's. I sound like an antrophologist observing some lost tribe that has no contact with the outside world.

You can easily read the titles on many of these movies. What are we renting today, guys? I hope you remembered to bring your Stars Hollow Video Membership Card (unlike Lorelai). This scene, man. Video stores! VHS! 99 cent rentals! Video store membership cards! Flip phones! Lorelai going outside because "the reception sucks in here". I'm positively dizzy. Just like the concession stand, the strip/mud wrestling club and the arcade (which are all places that are only seen once AFAIK) I am fairly certain this video store is never seen or mentioned again after this episode... So basically any kind of fun business that sets up in town is doomed to failure. Enjoy your diner and your movie theater that is actually just a projection screen inside a book store, citizens. In the United States, 1 in 5 small businesses fail in the first year.

Kirk Job: Dirty Movie Peddler. Rory: Hey Kirk, I saw a couple of little kids over there looking at this tape that was kind of mature. You might want to put that stuff on a higher shelf. There's a half naked lady on the cover.

(the movie was Showgirls, by the way). Meanwhile, Emily is desperate to get rid of Richard and punishes him in the most extreme way possible. She unloads him on Lorelai and sends him to Stars Hollow. That monster. Lorelai: OMG. The most horrible thing just happened. Headmaster Charleston's been kidnapped! Two guys broke into his house, stuffed him into a Hefty bag, used those twisty ties and carted him off! When I tell you this is the exact fate I've always envisioned for Taylor Doose on my gritty R-rated Gilmore Girls reboot titled The Hollow. No really, go back to some of my old reviews and I have said this. Usually the sack gets tossed off the Bridge into the lake, a worthy fate for Mr. Doose. Some fun things I observed in the Gilmore Kitchen:

Rory's coffee cup is a pig in a bowtie and boxer shorts. . A killer Crock Pot. (my sincerest apologies to Milo Ventimiglia for not saying "SLOW COOKER", he's going to pop out of the bushes somewhere and correct me). That lady that was on every greeting card in the 90's (I think her name was Maxine). And those Pop Tarts, oh those Pop Tarts. Did I research them? Yes I absolutely fucking did. Turns out they aren't actually from the Pop Tarts brand. Lorelai was buying a cheap imitation. They were called "Kool Stuf", a short lived knockoff from Nabisco that were sold from 1999-2001.

To be honest I'm not sure why Lorelai is having an aboslute freaking meltdown about spending one day alone with Richard, her own father. I think she thinks it's going to be more awkward than anything and they won't have enough to talk about.

Okay, I was right. But seriously, having to make conversation with her own father is the only time Lorelai ever shuts up and can't think of anything to say? Really?

I was observing how gleeful Richard looked while walking into the diner and figured it was one of those "rich people are entertained by the lower class and he's never been in a diner before" type deals, but he then mentions a diner he used to visit in college. So I think it's pretty wholesome and sweet that he looks so happy to visit a place simply because Lorelai likes it. I like Richard. (usually), although he's a total pill in this episode and his mansplaining kinda makes me want to stuff him in that sack with Taylor Doose.

Lorelai: I thought you might like to walk around town and see The Sights. Well, you already visited the diner, so that's one Sight. Seeing the rest of the town will kill all of about 10 minutes. Good plan, Lorelai.

I hope she never stops.

Okay but that's just my exact pitch for my gritty R-rated Giilmore Girls reboot titled The Hollow.

I am firmly convinced they do. Paris: The worst that could happen is that I spend some time in your town and enter a pie in your county fair. Oh yes, I'm sure Rory would just HATE it if Paris had to spend time in her town with her. Paris I'm sure you'd love to enter your pie in her county fair, wouldn't you. This episode has everything. Paris and Rory sexual tension, Jess and Paris meeting for the first of only two times, Richard getting pissed off at Dean later. Richard walks in to the inn while Lorelai is working. L: I thought you were touring the town. What are you doing here? R: I visited all the stores. The cat one, twice. Then I walked around and I was done. Told ya. L: Did you see the park? Or the giant slinky? R: Yes I saw the park and the giant slinky, and the 100 year old oak tree, and the giant life sized Yarn Person. Giant Slinky? Giant Yarn Person? Where's the town getting money for this stuff? Paris' first order of business should be to investigate Taylor Doose and whether he's stealing the money he's always raising for The Bridge (he is). I also don't remember any sort of real park being seen or mentioned before. Paris (after taking the bus home with Rory): I think I have rabies. Burn my clothes. Emily in another episode: Only drug dealers ride the bus.

City Boy frowns upon all this bus slander.

Wasn't there suddenly a bar in season 7 or was that just some fever dream? Season 7 in general is just a fever dream to me. Lorelai gets drunk and sings "I Will Always Love You" to Luke, right? How did THAT place ever get the proper permits and permission to exist from Taylor Doose? I know it's like 5 years away but, investigate that, Paris. We were robbed of so many things incuding a Jess + Paris friendship. Oh, the literary & other intellectual debates we could have enjoyed! (on the flip side, a Paris + Jess romantic relationship would be so disastrous. Luckily for them it would also only last like forty minutes before they tried to kill each other and end it). Anyway I like to imagine all angles of every nook & cranny of this show and I enjoy imagining that carnage.

Crystal clear Tomatos sign spotting. Paris ever so subtly proceeds to ask Luke if his diner sees a lot of truckers looking to pick up prostitutes.

"It's pretty common knowledge that diners are breeding grounds for prostitution and drug dealers." Like the drug dealing gigolo who lives above the diner? Speak of the devil.

*clutches this minute-long interaction tightly to my chest* I won't ever let go...

Well, it is where he likes to stuff girls in a closet.

Hair...that beautiful hair...

So brief. Sigh. Luke and Jess are the best. Back to the Inn where Richard continues to be a pain in the ass Man and meddle in Lorelai's work, telling her how to run her business and pushing Lorelai perilously close to sack-stuffing territory. And in other meddling news, Rory's little snitcheroo about inappopriate movies has backfired on her. Rory and Paris enter the video store to find it nearly empty, as all of the inappropriate movies have been moved behind the Rory Curtain.

In Rory's defense, she did specifically tell Kirk to put the videos "on a higher shelf" and she probably expected Kirk to take her literally like he does every single time in history except for now. But she still should have minded her bizzness. Taylor: All the movies that we (him and Kirk?) deem objectionable will be hidden behind this curtain safely hidden from the eyes of children. Why is Taylor involved in this too? He doesn't work there? Can we skip to the sack-stuffing now? This would all be funnier if this sort of "shield the children" censorship wasn't still happening over 20 years later. Paris realizes The Rory Curtain is a great scoop for the paper, asks Taylor "How long have you been working here?" Good question... Lorelai brings Richard home, minutes away from tossing him into oncoming traffic so Rory tries to give her mother some peace and quiet and offers Richard a tour of her room where we get acquainted with her book stash.

Dang, girl! I'm kind of speechless...

Richard, for as much of a Buttinsky as he has been so far in this episode, gives Lorelai extremely sensible, real-world advice that it would benefit Rory to consider another school besides Harvard. Every time Lorelai hears this perfectly reasonable advice from her parents she loses her mind. Harvard's acceptance rate in 2003 was 11.3%. Thanks again, Googs. Lorelai thinks she can wave her "But she wants to go to Harvard" wand around and that'll magically get her accepted with no backup school or plan in place. I'll save further discussion of "Lorelai jeopardizing Rory's future just to spite her parents" for another episode that's coming up somewhere over the horizon, and because it literally just happened in the previous episode (in that case their fucking house was on the line due to Lorelai's stubborness), god I'm fucking tired.

What is it Rory?! Is it Ed McMahon standing outside with a giant Publisher's Clearinghouse check?

Oh. it's just Butthead. Part 2 coming soon.

[bohemian-rhapsody-in-blue]

Bebop Crew July Challenge, Day 2: Summer Nights

Thanks to the @bebopcrew community for the prompt list! This one is, of course, inspired by the song “Summer Nights” from Grease. Takes place post-finale.

Summer lovin’, had me a blast…

Summer lovin’, happened so fast…

Faye swore she usually had more sophisticated tastes than the almost-a-century-old film about teenage greasers in the 1950s, peppily singing and dancing their way through high school friendships and romances. Grease, she admitted, was a bit of a guilty pleasure for her, and she knew she’d probably be subject to merciless teasing if any other members of the crew caught her watching it unironically. But she stood by her love of the movie, embarrassing as it may have been.

She knew, of course—she knew very well from experience—that the real world wasn’t like the one portrayed in Grease; it didn’t have musical numbers and dance-offs and perfect happy endings where people’s cars inexplicably took off flying into the sky. (Although she supposed maybe her Red Tail counted…) The real world was filled with hard times, bad luck, scammers and con artists you couldn’t trust. The real world, put simply, sucked. But sometimes it was nice to pretend.

And at the end of a long, crappy day like today—when her bounty heads had all gotten away, her horses had all lost, and to top it all off, there was nothing good to eat anywhere on the ship—it was nice to watch something calming, familiar, silly, that would let her relax and turn off her brain. Particularly when she was in the optimal viewing position: alone, curled up on her bed, with headphones connected to the TV and jammed firmly over her ears. It especially helped if she had a drink or two to go with it, too. (Because of course the ship had that.)

“Damn, Faye,” came a voice, “didn’t realize you were actually twelve years old.” Faye turned in surprise to see Spike standing in the doorway, a sideways grin on his face.

She was going to destroy these headphones.

“Oh, are you talking about this absolute cinematic masterpiece I’m watching?” she said lightly, taking off her headphones so they hung around her neck, but letting the movie continue to play in the background. She knew this whole song by heart anyway, not that she’d readily admit that to Spike. Now that her headphones were off, she could tell they didn’t block out noise very well—stupid cheap things—and the movie’s sounds were quite easily audible through their tinny speakers even when they were plugged in. The T-Birds and the Pink Ladies crooned faintly underneath her words. Tell me more, tell me more….

“This music is giving me diabetes just from listening to it,” Spike complained.

Faye grinned. “Your tastes just aren’t sophisticated enough to appreciate it.” She may have dreaded her crewmates’ teasing, but she could give as good as she got.

Spike made his way to Faye’s bed and leaned over her shoulder to look at the movie. A few minutes passed quietly this way, with Spike furrowing his brow, a vaguely confused expression on his face as he took in the action. Finally, he broke the silence. “There’s no way these actors are high schoolers,” he said, jabbing his finger at Rizzo on the screen. “I mean, how old’s that one? 30?”

“I notice you haven’t stopped watching.”

“I just wanna see how stupid it is,” Spike protested. But, just as Faye said, he didn’t stop watching. He kept looking over Faye’s shoulder, leaning against her bedpost in that casual way of his. He was mostly silent except for the occasional, “Who’s that?” and “What’s with that ridiculous getup?” and “Oh, god dammit, they’re singing again?”

Faye found it strange to watch her designated Movie For Bad Days with Spike in the room, judging it all. But she duly fended off his comments: “That’s Frenchy, she’s one of the Pink Ladies”; “You mean that beautiful getup, and it’s from like 120 years ago anyway”; “It’s a musical, Spike, not a snooze-ical. Now shut up, I wanna hear this.”

At one point, Spike pointed to Danny Zuko and asked, with a sly, joking smile, “You think I could pull off that look?”

“As if there was enough grease in the world to tame your hair like that.”

“Find me a pair of leather pants,” he said, “and I’ll get back to you.”

“The real question is, could you dance like that,” said Faye.

“Could I? Sure,” Spike answered. “Would I? With all those weird-ass pelvic thrusts? You couldn’t pay me.”

Faye smiled; she couldn’t help herself. “That’s kinda what you look like when you’re fighting.”

“Please.” Spike shook his head and turned away. “Zucchini or whatever his name is wishes he could do it like me.”

At another point, he blurted out incredulously, “You have this shit memorized?” and Faye realized she’d been unconsciously mouthing the lyrics to one of the songs, matching it word-for-word. She hadn’t even noticed she was doing it.

“You know the exact order of all those tracks on Jet’s favorite Charlie Parker album,” she rejoined.

“I’d better,” Spike grumbled, “after he’s subjected me to it all those times.” Then he looked at her, his brow furrowed again. “How many times have you watched this?”

“Maybe I’m just a genius,” she said, “with a photographic memory. And I can learn things by heart after only seeing them once.”

Spike snorted. “And that’s why you’re so great at blackjack.”

“Screw you, Spike,” she said, taking another swig of alcohol and turning her attention back to the screen.

A few minutes of silence passed before she spoke again.

“I watched this as a kid,” she said, her voice quieter as she reminisced. Out of the corner of her eye, she noticed Spike leaning in a tiny bit closer to listen. “My friends and I did a cheerleading routine to Greased Lightning one year, and we performed it at our school’s end-of-year exhibition.” Her face split into a surprisingly soft grin at the memory. “One of my friend’s moms showed us the actual movie, and after that we watched it so many times that we memorized all the songs, not just Greased Lightning, and we’d act them out when we were bored. God, we made up whole dance routines to them.” She gave a small laugh. “We must have looked so ridiculous. There weren’t enough of us for all the roles, so usually one of us was all of the T-Birds at once, and one of us was all the Pink Ladies. It’s one of the memories that came back.”

She wasn’t usually this unguarded, especially not when she talked about herself, and especially not when she recalled another snatch of memory about her past life. It usually just brought back what had been taken from her, what would never be again. It felt like physical pain, like jabbing at a bruise or a gunshot wound that hadn’t fully healed.

She wasn’t sure what had changed today. Maybe it was the alcohol. Or maybe it was as if the wound was finally starting to scar over. Her past memories no longer always came with the sharp pang of the reminder of what she didn’t have. Now, she could recall the happiness of back then, too, and just appreciate it for what it was.

Or maybe it was because she wasn’t entirely friendless anymore. Although she’d never consider doing a choreographed dance routine to Greased Lightning with the friends she had now. (Then again, it did make her laugh to imagine Spike forced into what he’d called “that ridiculous getup,” a deep scowl on his face as he halfheartedly performed the movements.)

What mattered was that her friends were there. In a way, they’d always been there, there on the Bebop—the place she’d flitted into and out of at will, the place she’d refused to ever truly consider a home, the only place left for her after every place she remembered from her childhood was destroyed. After spending so long on the ship with Spike and Jet and Ed and Ein—these people who didn’t abandon her, even if they left for a while—she was just beginning to appreciate that.

Spike appeared to consider her words for a while, looking surprisingly thoughtful, pensive. Faye wondered if he was imagining what she must have looked like as a kid, twirling and dancing around with her friends. She’d only been a year or two younger than when she’d recorded the VHS for her future self, after all.

Then, abruptly, his face snapped back into its usual cool, lazy expression. “So…you’re not a genius with a photographic memory.”

“Maybe I just had to watch it once back then to memorize it,” she said, her light tone returning as well. “And how do you know I’m not a genius? Sixty years is a long time to keep something in your head, you know.”

That was another sign she was recovering from having lost her memories and then gotten them back. She could joke about it. The wound didn’t feel too fresh, too raw. The realization made her heart feel light.

“Now shut up,” she said, a faint smile on her face. “I wanna watch.”

Spike rolled his eyes, but obligingly shut up. But he did elbow Faye, prompting her to scooch over, and then clambered onto her bed next to her, leaning over to see the screen without touching her. Faye didn’t kick him off.

And together—Spike with his knees drawn up to his chest, Faye mouthing and sometimes softly singing all the lyrics she could remember, both of them taking alternating swigs from the bottle between them—they watched.

Summer dreams ripped at the seams,

But oh, those summer nights….

[mackmp3]

13 Most Beautiful: Songs for Andy Warhol's Screen Tests - Dean and Britta 2010

One of my close friends and bandmates lent me her cd of this album (yes we swap cd, we are music nerds) and I was immediately entranced by it. It has the feel of the Velvet Underground in a way that seems to be equal parts homage and worship without being a direct carbon copy, in some parts sounding very 90s in a way I can;t quite put my finger on - it definitely does not sound like 2010 I'll tell you that.

Andy Warhol's Screen Tests were another one of his wacky little film ideas, which boiled down to 'put person in front of camera, push record on camera'. Pretty much everyone in the Factory, and most visitors, everyone from Edie Sedgwick through Mama Cass through Gerard Malanga through Bob Dylan through Salvador Dalí, was... subjected to one of these. All are shot in black and white, and they generally last for three minutes, though are played slowed down.

Dean and Britta were approached to make music accompanying 13 of the screen tests for a movie (which regrettably at time of writing I have not seen, will watch soon and update this when I have) and accompanying soundtrack. Each song is specific to a person, and the second disc (of the cd at least) is seven alternate versions/remixes, which I actually like better in some cases, although I did just read an article (from popmatters) saying that indeed some of the mixes, specifically Sonic Boom's, work better as standalone music that the versions that do go with the movie. They certainly do have a hypnotic quality to them. That there are 13 songs is significant - Warhol had two exhibitions called '13 Most Beautiful Men / Women'.

The songs are -

Silver Factory Theme (Billy Name)

I'll Keep It With Mine (Nico)

Not A Young Man Anymore (Lou Reed)

I Found It Not So (Mary Woronov)

It Don't Rain In Beverly Hills (Edie Sedgwick)

Incandescent Innocent (Freddy Herko)

International Velvet Redux (Susan Bottomley)

Teenage Lightning and Lonely Highways (Paul America)

Herringbone Tweed (Dennis Hopper)

Richard Rheem Theme (Richard Rheem)

Knives From Bavaria (Jane Holzer)

Eyes In My Smoke (Ingrid Superstar)

Ann Buchanan Theme (Ann Buchanan)

And you will not believe how much googling I just did to figure all that out.

Silver Factory of course refers to the period where the Factory was wallpapered in tinfoil. I'll Keep It With Mine is a non-album Dylan song covered by Nico. Not A Young Man Anymore is a Velvet Underground rare song convered so convincingly by Dean Wareham that I thought for a moment it *was* the VU on the recording - classic mid-sixties garage rock sound giving the indie treatment. It Don't Rain In Beverly Hills / no matter what they say / the pain never washes away is probably the most Edie Sedgwick song out there, beating even Patti Smith's Poppies, which was written for her. Teenage Lightning and Lonely Highways could fit nearly any teen road trip movie, and has definite fictional 1950s vibes, perfectly fitting a guy nicknamed Paul America. Knives From Bavaria is delightfully nonsensical and I have no idea what it has to do with Jane Holzer or her teeth brushing but it's a cool little song anyways.n

This album has a deep sense of sadness to it, despite the generally upbeat vibes. Maybe it's cause we know that so many of the superstars died young, or had a lot of bad stuff happen to them, struggled with addiction, or just that they are a footnote in history. Maybe it's because they stare at you, or avert their eyes, from the depths of time and the screen tests. Because, for a lot of us on here reading this, some of the people who this music was written for died before our parents were born. Some of the songs are genuinely tragic, and like the superstars themselves, the facade of glitter and beauty lies thin over emotion. The Factory and the people in it were some of the defining points of the sixties, and yet listening to this music, watching the screen tests, can at times fell like being let in on a secret about their lives.

I really love this album, and though I don't know it particularly well, it has a profound impact on me and I will be listening to some of the songs on this for a very long time.

[denimbex1986]

'In July, I had the opportunity to see the opening-day double-feature of “Barbie” and “Oppenheimer” with fellow staff-members of The Michigan Daily. It was a treat to spend time with other writers and see some stunning visuals on the big screen. Each film was a spectacle in its own right, in no small part thanks to the dedication of their respective directors, Greta Gerwig and Christopher Nolan...

After her previous directorial successes with “Lady Bird” and “Little Women,” Gerwig wanted to go big with her next film. Among her inspirations for “Barbie” were the larger-than-life sound-stage musicals that dominated the Academy Awards between the 1930s and 1950s. Gerwig describes an “authentic artificiality” of theatrical masterpieces such as “The Wizard of Oz,” “Singin’ in the Rain” and “The Red Shoes,” which she strove to capture with her $145 million production budget. The crew spared no expense, filling a London sound-stage with real dream houses, painted skies and a mini Corvette, all in various shades of pink.

Just as real is “Oppenheimer,” which tells the story of the creation of the first atomic bomb as part of the Manhattan Project. A trademark of Nolan’s film-making is capturing incredible visuals directly on film, often on the largest film format available. To follow up stunts like flipping a semi-truck in “The Dark Knight” or blowing up a real commercial airliner in “Tenet,” Nolan wanted to try his hand at filming, as faithfully as possible, a nuclear explosion. And he did, reportedly without computer generated imagery. A popular spoof edit of behind the scenes footage imagines a world where the production team actually detonated an atomic bomb, which (tellingly) doesn’t seem all that unbelievable.

Clearly, both of these movies take portraying their atmospheres seriously. Visually, this authenticity absolutely pays off. But after seeing each film, I was left grappling with what “authentic” really means, in terms of cost, benefit and practicality.

I planned to see “Oppenheimer” again in Nolan’s intended format, the enormous 70mm IMAX. Even larger and more immersive than standard “large format” IMAX screenings, this version of the film is only projected in 30 theaters worldwide. After shelling out for tickets to Celebration! Cinema in Grand Rapids, however, I grew conflicted. My partner shared a TikTok criticizing the film for its lack of representation of the people who were most impacted by its contents: Indigenous and Japanese communities.

Really, I only wanted to see the movie on that incredible screen because it was the real deal. Its exclusivity and limited-time offer were icing on the FOMO cake. Hearing the criticism, though, it just didn’t feel right to have an “authentic experience” at the expense of the devastating reality of people who lost their homes, families and lives due to the development and deployment of the bomb. Obviously, there are plenty more direct ways to support Indigenous communities than by refunding tickets or writing a column, but we should still be intentional about what we consume and how we do it.

Beyond movies, authentic experiences are a driving economic force. Authenticity is an ideal to strive for and a lifestyle to follow. People spend a lot of time, money and energy in pursuit of “real” experiences, whether they are carefully prepared recipes or visceral excursions abroad...

We can have incredible, inspiring and even life-changing authentic experiences, but our relationship with the ideal of authenticity is complicated. Just as the word “perfect” starts to lose its meaning applied to a vacation or a movie, the pursuit of “authenticity” is a losing battle of diminishing returns and prohibitive expense.

Nevertheless, we should keep trying to capture realness, whatever that happens to mean. I greatly look forward to the next works of art and generation of artists, perhaps inspired by “Barbie” and “Oppenheimer” (or a piece with a more modest budget) to express their unique identities authentically...'

[adultswim2021]

Moral Orel #28: “Orel's Movie Premiere” | July 2, 2007 - 12:15AM | S02E18

Orel has been working on his masterpiece: a stop-motion animation movie about his adventures. He’s invited all of Moralton’s respected adults to the premiere while he and several children are doing the voices on live microphones. Orel’s film doesn’t have synchronized sound and is being projected with an old school projector. This begs the question: what year does Moral Orel take place in? I’m not sure I’ve actually brought this point up before, but the technology in Moral Orel seems to roughly be mid-20th Century, think 1950s-1960s. For example: when people play music it’s always on a vinyl record or over the radio. I can’t even recall an instance of a VHS tape being on the show. I’m guessing this is meant to match the setting of Davey and Goliath, which (begins sweating) THIS SHOW IS 100% NOT A PARODY OF. Sometimes you hear an out-of-time Christian death metal song, and Stephanie, the sex shop owner, has a lot of Suicide-Girl-esque body mods that don’t exactly scream 1950s. My guess is that it’s set in the mid-60s until it’s inconvenient, or Moralton’s strict codes for living prevent technological advancements.

Anyway, the film roughly tells the events of The Lord's Greatest Gift, God's Chef, and Charity. These very important events in Orel’s life happen to be the first three episodes (in the intended viewing/production order). Orel innocently reveals a little too much about the personal lives of various adults sitting in attendance. In particular he bumps up against the psyche of Reverend Putty, who he describes as a great man who is so pious that he doesn’t need to have any girlfriends ever. Putty’s inability to get his dick wet has been a running gag in the show up until this point. He does get his bone on in the previous episode, which might undermine the joke here. It’s important to note that this episode was actually scheduled to air BEFORE that episode, but as far as I can tell the widely-accepted episode order for the series is production-order for season one and air-date order for season two. It makes enough sense.

I guess the more important thing to notice here is that Orel considers the events of the first episode (as well as the following ones) to be a significant moment of his life; perhaps it’s the moment he saw himself coming of age. These events will also weigh heavy for other citizens of Moralton in the coming season, and only then do people start to reckon with the various things they’ve been through as a town.

One memorable moment features Orel’s expressionistic portrayal of being spanked by his father, involving an actual human-sized belt wrapping around his clay maquette as if it were a giant snake. This causes Moralton’s doctor (I forget his name! SO SUE ME) to question if Clay is molesting his son. Clay is aghast and disgusted. It’s sort of a strange moment for me, it would seem gratuitous unless they were intending to center the series climax on this uncomfortable idea. But it seems like he’s not molesting him? Like, he shouldn’t be spanking Orel but it does seem like he’s punishing him in a socially acceptable way. I don’t know. I might be watching season three a little more closely now. I wonder if Dino originally wanted to go full-on Todd Solondz with season three?

At one point (midway through the second act of Orel’s film), Joe takes the microphones away from the other kids and mocks the film while everyone gets mad at him. He calls out the librarian for making eggs be illegal, and calls out Principal Fakey for having an affair with “the dumbest girl ever” (Nurse Bendy). This is ironic foreshadowing for season three. He also has a passing mention of not liking to think about the inevitability of death (who does?). This anxiety could also be related to the fact that his father is very elderly and close to dying himself. This is explored more in season three.

In addition to those bits of continuity, there’s a nod to casual viewers’ penchant for mixing up the name of our protagonist, Orel, when Doughy flubs a line by calling him “Moral”. Ironically this episode is currently incorrectly titled “Moral’s Movie Premeire” on Amazon’s digital service. They also list the episodes in strict production order, which fucks up a lot of continuity. Don’t watch it in amazon order, people. HBOMax seems like they have it all sorted out correctly, for what it’s worth.

This is a very funny episode, and it goes down easy. This MIGHT be the last episode of the show that does that. Get ready for “Nature’, everyone. 

[byneddiedingo]

Jason Franklin, Bette Henritze, and Julianne Moore in Far From Heaven (Todd Haynes, 2002) Cast: Julianne Moore, Dennis Quaid, Dennis Haysbert, Patricia Clarkson, James Rebhorn, Viola Davis, Celia Weston. Screenplay: Todd Haynes. Cinematography: Edward Lachman. Production design: Mark Friedberg. Music: Elmer Bernstein. Costume design: Sandy Powell. Homage never turns into parody in Todd Haynes's Far From Heaven, a film whose very title alludes to Douglas Sirk's great 1955 melodrama All That Heaven Allows. Haynes's film is set in 1957, only two years after Sirk's was released, but the sensibility that controls it is very much of an era almost half a century later. Haynes has the liberty to deal with matters that were taboo for American filmmakers in 1955, specifically miscegenation and homosexuality -- two words that now have an antique sound to them. But his film has the same resonance as Sirk's: Both expose the raw wounds inflicted on people by social conventions, by the desire to "fit in" with what a given community establishes as its values. We like to think of the 1950s as the nadir of American conformity, a society on the brink of having its repressive qualities exploded by the rebellious 1960s, but although Haynes's film is a "period piece," I think it also provokes us to evaluate what restricts us today. We can pat ourselves on the back that we -- or at least the liberal-minded people in the circles in which I travel -- no longer recoil in horror at an interracial couple or find ourselves shocked, shocked that there are people who love others of their own sex. But just as Cathy Whitaker (Julianne Moore) and her circle of friends retreat into an exclusive community, we too often find ourselves falling into a similar trap of smug self-righteousness that won't withstand the cold shock of reality -- like, for example, a presidency gone awry. Cathy's blithe intellectualized conviction that all people are created equal is tested when she crosses the invisible line between the races. Her frustration at not being able to have a friendship with a Black man -- i.e., someone other than the dull suburbanites that surround her -- is mirrored by her husband's inability to make his way out of the closet. But Cathy naively thinks that there's a "cure" for his problem, making it a lesser trial than her own, which she can blame on society. In the end, the beauty of Haynes's film is that he never yields to the temptation to impose a false liberation on his characters, an ending in which everyone lives happily ever after. Cathy sees Raymond (Dennis Haysbert) off at the station, knowing that she'll never visit him in Baltimore. Frank (Dennis Quaid) is holed up in a hotel room with his lover instead of his spacious suburban home, his family life and probably his job now at an end. They are real enough characters that we want to know what will happen to them, but we suspect that there are no stirring triumphs ahead, only a struggle to rebuild damaged lives. Haynes and his team of cinematographer Edward Lachman, production designer Mark Friedman, costumer Sandy Powell, and composer Elmer Bernstein have crafted a 1950s world that's familiar to us from countless movies, but because of the shrewdness of the screenplay, the depth of the characterization, and the brilliance of the performers the film succeeds in making it real. There are stereotypes in the film, like Celia Weston's malicious gossip, but they are balanced by roles that could have fallen too easily into stereotypes -- Patricia Clarkson's best friend, James Rebhorn's doctor, Viola Davis's maid -- yet manage to develop dimensions of actuality. Far From Heaven also does something that very few films inspired by older ones do: It illuminates its source, so that it's possible to watch All That Heaven Allows again with a new understanding of Sirk's achievement.

[saint-starflicker]

As noted in the comments, Dalton's actor does KNOW yk but that was on the pre-Musk bird app

Tom Schulman (screenplay writer) based a lot of it on his life, unfortunately I can't find the specific interview that I'm going by, and to my knowledge he didn't mention that dimension nor did Peter Weir (director) with whom they discussed significant changes—such as not having Mr. Keating die of cancer at the end of the movie, that sounded like it was an argument as much as it was a collaboration.

But at the same time, the main poet that the whole movie kept referring to was Walt Whitman...who the internet tells me snogged Oscar Wilde back in the 1882.

And a musical motif of the 1812 Overture by Tchaikovsky.

Sure, real life people can just so happen to like a famous 19th century poet or composer and that's not necessarily signaling that they like these gay artists because they're gay...but fictional characters are a narrative construction, and these decisions to reference these specific artists in this fictional world they're constructing is...a fine coincidence that it happened twice.

It could have been by accident because back in the 1980s or even the 1950s mainstream culture and education did take the artistic works of gay people and apply plenty of erasure. Schuman could have written it in, Weir could have conceptualized and shot a scene, and not known that aspect of who they were referencing.

But then if separation of an artistic work from the artist's personal life and the artist's intentions can operate against representation in that way, then why can't it also sometimes maybe operate in favor of—academic term incoming—queer readings?

The screenplay writer and director might not have intended it, but the movie by itself (that is, between the movie and us-the-audience, instead of between a creator and us-the-audience through a movie) bears an abundance of fruit.

All that said, I think discussion around it near the time of the movie's release was not as direct as compared with... a specific other Dark Academia intellectual property that emerged a few years later whose creator, for many other reasons, is too controversial to name.

But if I did name that other intellectual property's creator, it would demonstrate how even somebody that puts the gayness in there intentionally maybe should not say it out loud. Not because representation is bad nor because that would get a creator harassed by bigots or anything, but more that...this specific creator in my humble opinion kept on doing it wrong. And then kept finding more ways to continue doing that specific thing so very wrong, like, stop already Jo, stop it stop it he's already dead.

... It's from that moment in that fandom that I actually learned that sometimes it's good if some people that created a work that invites queer readings or intentionally/canonly has gay characters do not actually address it. By "some people" I meant that specific one. If it stays fanlore or interpretive and nothing more, that's fine. It's fine. This is fine. We'll be fine. It's fine.

I wonder if the people involved with dps, like the making of it, know that it's a media cesspool for homosexual children/young adults on the blogging website tumblr dot com

[mostly-mundane-atla]

I enjoy learning from your blog sm—ty for all you share. Especially since I’ve found there’s very few sources. Sry if you’ve talked about this before, but if you’re still open to answering questions I was wondering what the culture surrounding lgbt+ identities? You talked a bit about gender roles and co-husbands, but is homophobia still prevalent? (Would it be less so in-universe versus a modern au?) Also, if you’re willing to share any terminology (whether two-spirit is used?) used?

Alright, here's where things get a little tricky.

It's hard to really talk about queerness in other cultures because the idea that sexuality and attraction is an inherent part of your identity is not in any way universal. This is where you get a lot of people claiming certain historians and anthropologists are homophobic (and that's not to say some of them aren't but people tend to make really harsh assumptions without reading into what's actually being said) for saying that x or y doesn't mean this person was gay as we understand it. In a lot of cultures, the people you persue personal relationships with isn't a part of who you are, just something you do. So a man who prefered the companionship of other men, say in medieval England, would likely still marry a woman and have children to help him with work as he ages and take care of him when he's old. Does that mean he couldn't have a loving relationship with his wife, just because she wasn't a man and he wasn't attracted to her? No. Is it wrong if he wouldn't consider this not being himself, because he grew up in a world where attraction and sexuality is what you do rather than who you are? I can't really answer that.

And so you take this idea that romantic relationships are something you do rather than an ingrained part of your identity, and you add to that this concept practically unheard of nowadays that romance really isn't important. That doesn't mean that people never had romantic feelings or acted on them, just that this idea of courtly love, that being in love makes you a better person and thus is inherently righteous, was never a part of the culture. You got together with someone because you weren't related and they were someone you didn't mind surviving and having kids with, not strictly because you were in love with them. And then, unlike medieval England, sex was not something to be considered shameful or sinful, and definitely didn't have to be exclusive between spouses.

There was a bit off accidental accuracy in Kya saying that sort of thing isn't talked about in the comics. You wouldn't hear stories about a romantic love between two men or two women, but you also wouldn't really hear about romantic love between a woman and a man; not unless that was your parents' or grandparents' experience and they shared that with you. The important loves are considered to be between family members. You'll notice in Inuit stories a lot that if a girl is kidnapped and force into a marriage, it's her brother who rescues her, not her sweetheart.

I'm sure there would be some prejudiced people, because let's face it, you can't please them all. But I think the main reason you wouldn't see many gay couples as we understand them to be would have more to do with needing children without access to artificial insemination, as well as very different and comparatively irreverent attitudes toward sex and romance. (In fact, I'm reminded of a story this elder woman shared when my class went to learn a bit about Native cultures back in elementary school. She and her friend left their village and started living among white people. They were still learning English and these two white men, friends themselves, were friendly with them and helped them out, not just that first day, but over the course of, I wanna say some months? Anyway, one of them proposed to the lady telling us this story and the other to her friend. The men had fallen in love and already considered themselves in romantic relationships with these women. The women got a good laugh out of this because they hadn't realized that being so personal and familiar and generally happy to be around someone could be interpreted as romantic interest. Their response to these guys was basically "sure, why not" because romantic feelings or no, they genuinely enjoyed their company.)

If we wanna talk gender, the cultural understanding there is a little different there too. Sipiniq is Inuktittut for "baby that changed its sex at birth" which, as far as I understand, has been used for both intersex and trans people. I can't find anything on the way they specifically were seen by the community, let alone regional specifics but to speak on gender as a whole the cultures are interesting for a few reasons. Inupiat names and third person pronouns aren't gendered. You are named after a person to carry on their soul, and this person is not guaranteed to be your gender. So if you're afab, no one is calling you "she" as opposed to "he" because that's not how the language works and a few people might actually call you "grandpa" or "uncle" because that's who you were named after and that's whose soul is kept in your body. You might be seen as having the body of a man or woman, and the limitations that come with it, but that which makes you yourself is not a gendered thing. King Islanders even had a Messenger Feast tradition where women would dress as men and men would dress as women. They had masks for it and everything.

Queerness is such a nebulous thing and so often we approach it with such a limited understanding, insisting ours is the only right way to treat it. Sometimes the answer to "well were they gay/trans?" can only be "it's complicated" and we all have to be more okay with that. Not every culture has the same concept of or places the same importance on sexuality, romance, or gender.

[elusivewildflower]

Dance With Me | Officer K x Reader

Pairing: Officer K x Reader

Summary: One of your favorite songs comes on while you’re cooking dinner, you ask K to dance with you. 

Warnings: None, really. Just mostly cute fluff. Can be a bit sad when you think about the fact that K has never danced with anyone before.

Word Count: 872

A/N: This takes place in an apartment that reader and K share, but otherwise there are no mentions of when this scene takes place. I just wanted something cute to write about K. Reader and K have a pre-established relationship, which is why I’ve written him as comfortable with her as he was when he was with Joi in the movie. Thank you @ninjathrowingstork for being my beta! 

The soft sound of music, from way before your time, played throughout the apartment you shared with K. You were standing over the stove in your small kitchen, cooking dinner for the two of you, humming and swaying along to tunes that came from the 1950s, 60s, and 70s. It may be a bit strange to be listening to such old music, but there was just something about the songs that felt nostalgic to you. Perhaps it was the part of you that wished for simpler times. Whatever it was that always had you turning this playlist on while you were cooking, K didn’t seem to mind. Actually, he seemed to enjoy it just as much as you did. He stood at the entrance of the kitchen, shoulder pressed into the wall and arms crossed over his chest as he watched you. You stirred the noodles and synthetic proteins in the pot, setting down the spoon and turning to face K as you let the food cook. 

‘Can’t Help Falling in Love’ by Elvis Presley began playing in the background, one of the first slower and romantic songs to play this evening, and it brought a question to your mind. “Have you ever danced, K?” You asked curiously.

K blinked a few times, seemingly clearing his mind of whatever thoughts he was having while he watched you silently. He regarded you for a moment then shook his head. “I have memories, but they’re not real.” He admitted softly. 

That answer pulled on your heartstrings. You couldn’t imagine how it feels to have years worth of memories that simply weren’t real; to know that all of your fondest memories never actually happened. You smiled softly at him. “But, you do know how to dance?” 

He thought for a moment and then gave a nod, “Yeah.” 

You hummed softly in response, turning your attention back towards the noodles. “Good.” He raised a brow at your response, but said nothing. A few more minutes passed and dinner was ready. You were in the process of ladling the noodles and broth into bowls when one of your favorite songs came on, L-O-V-E by Nat King Cole. Letting out a gasp, you set the ladle back into the pot. “Oh, I love this song!” You exclaimed, moving to close the gap between you and K. Now standing in front of him, you gave him the best puppy eyes you could. “Would you please dance with me?” 

K smiled and nodded, offering you his hand. “Of course.” You beamed up at him, accepting his hand as he led you into the living room where there was space to move around. His free hand wrapped around your waist and pulled you in close, while your arm wrapped around his neck. Your hands were still clasped together as you began to dance along to the music, K’s eyes gazing into yours. As the two of you moved about the room, you thought of how grateful you were to have moments like these with him. There was once a time when K was afraid to touch you, always looking away when you caught his gaze. It took a while for him to become comfortable around you, and a lot of reassurance from you that you wanted him in your life. 

“What are you thinking about?” K questioned, noticing the thoughtful look upon your face as he raised your arm to twirl you. You couldn’t help but giggle as he brought you back to his chest quickly, still waiting for you to answer with a brow raised. 

You bit down on your bottom lip gently. “Just thinking about how much I love you,” you admitted, causing a warm smile to spread across K’s face. He raised your arm to twirl you again. However, instead of pulling you right back to his chest again, he released your hand and placed both of his on your back, leaning you backwards in a dip. K held you there for a moment, leaning down so his lips hovered above yours. 

“I love you too,” he confessed, capturing your lips in a passionate kiss. As the final chords of the song played, he lifted you back into an upright position, lips still attached to yours. When you finally drew away for air, he didn’t move far, his intense blue eyes locked with yours. You felt your heart swell in your chest.

“Not bad for your first time,” you teased, a grin lighting up your face. 

He hummed softly in response. “You’re my first in everything that matters, honey, and my last.” He whispered, pressing his lips to yours once again as ‘At Last’ by Etta James began playing through the speakers. K’s arms wrapped around your waist as yours linked around his neck, your bodies pressed together as the two of you gently sway to the new song. 

Dinner seemed to be long forgotten about, but neither of you cared. You were quite content to stay within his embrace for the rest of the night, and that’s exactly what you did. You lost count of how many songs you and K danced to, but you knew it was a night that neither of you would ever forget.

[zediina]

hi! sorry if this comes off as rude, but i’m learning german and was wondering if you have any german tv show/film recommendations? i’d really appreciate it if u do, thanks so much!

Hello!! Don't worry, this isn't rude at all :) I haven't seen many of these in a long time but here are a few I really enjoyed (I linked the trailers to the movies/the first seasons of the shows too):

MOVIES

Die Feuerzangenbowle (1944)

Yes, this movie is very old; it's black and white. But it's still shown on German tv and it's pretty funny. A famous writer goes undercover in a school, pretending to be a student since he never got the classic school experience (he was home-schooled). He and the other students play a bunch of pranks on the teachers, and other shenanigans happen.

Das Boot (1981)

This is a classic and was nominated for several academy awards, including best director and best cinematography. It takes place on a German submarine during ww2, so it's a war movie. Usually not my favorite genre but this one really kept me on the edge of my seat. There's also a series that came out recently, but I haven't seen that. I can't imagine that it's better than this though.

Good Bye Lenin! (2003)

Takes place shortly after the fall of the Berlin wall and tells the story of a young man from East Berlin. His mother just woke up from a coma, and the doctors say she shouldn't get any big surprises (like, you know, the of the fall Berlin wall) so he tries to fool his mom by pretending the GDR still exists; which is harder than it sounds. The premise sounds a bit ridiculous but it's a really great and funny movie.

Das fliegende Klassenzimmer (2003)

Based on a very popular children's book, this movie tells the story of a boy who's new in a boarding school. He and his new friends find the book for a musical and decide to practice and perform it. (There's a bunch of other stuff happening like a rivalry with another group of students. I haven't seen this movie in forever but it's good and the story is very well known).

Die Welle (2008)

This is based on a true story about a social experiment a history teacher did with his class; maybe you've heard of it before. They create a mock-nazi party to try and understand how they became so popular and how people could buy into their rhetoric. Things go sideways pretty quickly. A great movie and a reminder that none of us are immune to indoctrination and radicalization. There's a tv show with the same name, but I don't think they're connected.

Fack Ju Göthe (2013)

I feel like everyone in Germany has seen this comedy at this point. Objectively it isn't a very good one but I'm going to recommend it simply because every German person I know can quote at least one line from this movie. A criminal takes a job as a teacher for the owrst class in that school, because his accomplice buried the money they stole underneath the school and he needs to get to it. Let's just say his teaching methods are a bit... unconventional.

Labyrinth des Schweigens (2014)

Another movie based on a true story, and one of my favorites. This one really stuck with me. It's about a young state attorney in 1950's Germany, who starts interviewing holocaust victims and prosecuting nazi officers who served in Auschwitz. This movie really shows that many people in Germany would have preferred forgetting the holocaust ever happened and pretend everything is fine rather than confront it.

Tschick (2016)

We actually read the book to this in school. It's a bout two 14 year old boys who steal an old car and go on a road trip together, and all the crazy stuff they experience. To be honest I don't remember that much about it since it's been so long since I've seen it, but I do remember really liking it!

Kästner und der kleine Dienstag (2017)

Remember that really popular children's book I mentioned? Well, this movie is about the author of that book. He's one of the authors who stayed in Germany during the Nazi regime, even though his works were banned and burned. It's about his friendship with a young boy that inspired a character in another famous book of his.

Die unheimliche Leichtigkeit der Revolution (2021)

This movie is about the east german environmentalist movement that started the peaceful revolution, which lead to the fall of the Berlin wall. It's about a teenage girl whose younger brother died due to pollution, and the state is trying to cover it up. Also shows how the GDR was trying to suppress any criticism of the state. It's definitely not the best movie on this list, but I really enjoyed it.

TV SHOWS

Ku'Damm 56, Ku'Damm 59, and Ku'Damm 63

The three mini series tell the stories of three sisters, whose mother runs a dancing school on Kurfürstendamm in Berlin. They take place in 1956, 1959 and 1963 respectively. It touches on a lot of topics, including domestic abuse, antisemitism, homosexuality, rape and more. I particularly loved the first season, where the youngest daughter who doesn't really fit into her mother's plans discovers her love for rock n' roll dancing.

Charité

The Charité is a prestiguous university hospital in Berlin with a long history, which this series exlpores. Season 1 takes place in the 19th century, where Robert Koch is lookig for a cure to tuberculosis. Season 2 takes place in Nazi Germany and among other things talks about the euthanasia practices at the time. Season 3 takes place right when the wall is being built (which passed right by the hospital). The show includes charcters based on real people as well as fictional ones.

Deutschland 83, Deutschland 86, Deutschland 89

An East German soldier has to go and work undercover for the GDR in West Germany, at a time where cold war tensions run high. I never got around to watching the last two seasons, but I remeber that the first one was really good.

Club der roten Bänder

This is based on a true story, and there are other versions of this show for example in the US. It's about a bunch of kids with different conditions who become friends in a hospital; two of them have cancer and got their legs amputated, one has an issue with his heart, one crashed a motorcycle, the youngest is in a coma, the girl has an eating disorder. There are other characters who show up as well. The show can get pretty sad, but their friendship is really touching.

Türkisch für Anfänger

This show was wildly popular back when it came out in the early 2000s. A german woman marries a turqish man, and create a patchwork family with four kids; who are absolutely not excited about it. But they have to figure out how to live with each other.

Oof, this escalated a bit, but I didn't want to exclude anything :) I hope you find something you like on this list!

[cinemaocd]

my rankings:

#1) I'm just Ken: The performance is great, esp. for a non-singer like Gosling, but the real wonder is the dancing/choreo and camera work that recalls both Saving Private Ryan and An American in Paris. Also love that this is a musical speed run through the 80s with a great callout to Giorgio Morodor (after the sparkle break down) I love this movie so much, esp. how much it nerds out about film. Ryan Gosling has bewitched my entire family with his portrayal of Ken. He is indeed good at doing stuff.

#2) Chatanooga Choo Choo: Classic song of all time. I'd never heard of this film before this exercise. Dorothy Dandridge and the Nicholas Brothers are showstoppers, esp. after the fairly static filming in the first could of stanzas of the song. Interesting to note that one of the singers was knitting in the "rehearsal" part of the scene. This movie came out as America joined WWII. Many in Hollywood were already part of the war effort and knitting was all the rage, promoted as something to help the troops, save on cloth needed for the war etc.

#3-4) Barsaat Mein 1/2: I liked this even more on the second viewing. I need to seek out this film.

#5) Miss Celie's Blues (Sister): this time through I really paid attention to the direction in this scene. It's well known that Spielberg is the king of "people looking at stuff in awe" reaction shots. Here Whoopi is hiding almost all of her face but you can still see her eyes and you get everything you need to know from that.

#6) Animal Crackers: I didn't know this was the source for "Mashed Potatoes and Molasses" but it makes sense: adorable/approaching annoying kid singer singing about food. Much better than the other song from this film, down to the choreography which is pretty great, with every movement cut perfectly to the music, and the orphans turning like a row of chorus girls one after another and even the bizarre "galley ship" move that happens at one point. Again, I can't watch Shirley Temple and not run through in my brain to her abuse and how she was enslaved in a way...it's a pretty dark and unintentional consequence of the song.

#7-8) Hooked on Your Love: I'd never heard of this film until this exercise. I'm sure I'd like this better if it were an actual Supremes song. The music and production is so 1970s light rock and not in a good way. No band in the Universe sounded like this in the 1950s. What were they thinking? The performance is good, great even, in Aretha's version, but it's so much like 70s Aretha and not Diana Ross, that it's too distracting for me. If I didn't KNOW this was based on the Supremes maybe I would like it more. It took me a few viewings of Velvet Goldmine to get over the fact that there wasn't going to be any actual Bowie music in it, so maybe Sparkle is the same? I'm interested in seeing the film now though, which is a good sign.

#9-10) I Know Why (and so do you): On second viewing, I think my favorite part of this is the one minute reprise of Moonlight Serenade at the beginning. Noticing a few cracks like the lip sync could be better, but I also noticed Milton Berle is it for a minute so there's that...

#11) Return to Sender: A bit phoned in for an Elvis performance. Great song but something about the lack of energy on screen here is sending me to sleep. I miss Ann Margaret who was the savior of these later Elvis outings.

#12) Danger Zone: OK so in the other round I talked about hating Top Gun, but hating Kenny Loggins? Impossible. The song gets bonus points for being written by Giorgio Morodor which explains the ESL quality of the lyrics, which always puzzled me. A little nostalgia must be at work here because I don't hate this as much as I thought I would...:D

#13) Ciao Papa: I still don't like this song and kid singing is still annoying but dang the animation is really cool.

#14) Essie Mundo e Meu: I wish I could see more of the context of the film, but this just as catchy and pleasing the second time through.

15) Tien: I like this more than the other song from this film. It's a better song, more interesting arrangement with diegetic instruments and seeing it in the film helps a lot.

16) Suzume: cool song. I haven't seen the film, and would probably rate it much higher if I could see it in context of the film, espl as described for this exercise.

17) Q'uest-ce ce quon...: Another catchy number I'd probably rate higher if I'd seen the context of it in the film and the animation.

18) Troi Sang Roi: this one just didn't do it for me. My least fave.

2023 Movie Odyssey Award for Best Original Song Final

TAGGING (interested observers, non-participating observers, and participants): @addaellis, @birdsongvelvet; @cinemaocd, @cokwong, @doglvr, @emilylime5, @exlibrisneh, @halfwaythruthedark, @idontknowmuchaboutmovies, @machpowervisions, @maximiliani, @memetoilet, @metamatar, @monkeysmadeofcheese, @myluckyerror, @phendranaedge, @plus-low-overthrow, @rawberry101, @rosymeraki-blog, @shootingstarvenator, @stephdgray, @theybecomestories, @umgeschrieben, @underblackwings, and @yellanimal.

OPEN INVITES go out to (longtime followers and former participants who have not accepted/declined): @dog-of-ulthar, @introspectivemeltdown, @mehetibel, @noelevangilinecarson, @qteeclown, @shadesofhappy, @the-lilac-grove

Hello everybody,

A good day to you wherever you are reading this. Following the most dramatic preliminary round in Movie Odyssey Award for Best Original Song (MOABOS) history, it is now time for the final.

Might the final also have some surprises and razor-thin close calls in store? As many of you know, this is the eleventh edition of MOABOS (MOABOS XI) and the tenth with participation from family, friends, and tumblr followers. At the beginning of every year, I never know whether or not this admittedly strange competition will return for another year. That it has persisted all this time – and grown – has been a personal joy. And it is not possible without all of you.

I began record-keeping for MOABOS XI when I saw Guillermo del Toro's Pinocchio (2022) on New Year's Day this year. From there, I kept a running shortlist until the preliminary began on American Thanksgiving weekend. That one song from GdT's Pinocchio has survived the entire year to get to the final. Over the rest of 2023, numerous songs from various movies filtered in and out on my master shortlist, culminating into this final round.

INTRODUCTION

For those who have never participated in this before, my classic movie blog traditionally ends the year by honoring some of the best achievements from movies that I saw for the first time that calendar year (the "Movie Odyssey", in which any rewatches do not count) with an Oscar-like ceremony. I choose all the nominees and winners from each category except for this, Best Original Song. Original Song is the only category which does not require you to watch the movies in their entirety. As always, MOABOS is considered a sort of cinematic-musical thank-you for your moral support in various ways over how long I've known you for. In addition, I think it's a fun, novel way to introduce to all of you films and music you may not have otherwise encountered or sought and to give everyone a little bit of film and music history.

However, MOABOS is but a foot-deep glimpse into my much larger Movie Odyssey for this last year. There are many films I saw this calendar year that I consider much better than the ones that appear here. But did they have any original songs? They did not!

WHAT'S IN THE FINAL

This final will be contested by fifteen songs.

In a preliminary round filled will thrills and spills, some popular titles have failed to make it this far. That includes Lady Gaga's "Hold My Hand" from Top Gun: Maverick (2022) and "Take My Breath Away" by Berlin in Top Gun (1986). But there's a Top Gun song in here, even more widely recognizable than both of these songs, that will be looking to assert its frontrunner status.

Snapping back from what was the first-ever monolingual MOABOS last year, the 2023 final sets the record for the most multilingual field ever with six languages represented – English, French, Hindi, Japanese, Portuguese, and Vietnamese. This breaks the previous record held by MOABOS VI (2018), which featured five different languages. After three-year absences, both Hindi-language and Japanese-language songs have progressed to the final. A Portuguese-language song marks the language's (and Brazilian cinema's) first appearance in a MOABOS final.

Two films from 20th Century Fox's Golden Age will also be contending. The first film, Sun Valley Serenade (1941), has two entries by Glenn Miller and His Orchestra. In addition to the appearance of Orchestra Wives (1941) in MOABOS IX (2021), this ensures that each song featuring Miller that has qualified for MOABOS has made the final. In addition, some big news as Shirley Temple – so often on the wrong end of the points totals in the preliminary round – finally sees a final round with Curly Top (1935).

Finally, in a round usually riddled with multiple entries for certain films, there's a distinct lack of films with two or more contenders for MOABOS this year. The only exceptions to that are, surprisingly, Sun Valley Serenade and Good Morning and Good Night (which I encountered for Viet Film Fest this year).

2023's winner will join this company (winners' playlist):

2012 (Special): To be contested

2013 (I): “The Gold Diggers’ Song (We’re In the Money)”,Gold Diggers of 1933 (1933)

2014 (II): “Rainbow Connection”, The Muppet Movie (1979)

2015 (III): “Amhrán Na Farraige (Song of the Sea)”, Song of the Sea (2014)

2016 (IV): “Stayin’ Alive”, Saturday Night Fever (1977)

2017 (V): “Remember Me (Recuérdame)”, Coco (2017)

2018 (VI): “Love Is a Many-Splendored Thing”, Love Is a Many-Splendored Thing (1955)

2019 (VII): “I Wish I Didn't Love You So”, The Perils of Pauline (1947)

2020 (VIII): “Can't Help Falling in Love” , Blue Hawaii (1961)

2021 (IX): “Lullaby in Ragtime”, The Five Pennies (1959)

2022 (X): “9 to 5”, Nine to Five (1980)

INSTRUCTIONS

Please rank (#1-15) your choices in order. The top ten songs will receive nominations; all others get "Honorable Mentions". There is no minimum or maximum amount of songs you can rank, but because of the nature of single transferable vote (the tabulation method described in the "read more"), it is highly recommended to rank as many songs as possible, rather than only one or two. Those who rank fewer songs run a greater risk of their ballots being discarded in the later rounds of tabulation. Since this rule change (first implemented in MOABOS VI in 2018), no participant who has only ranked one song has seen their choice win MOABOS. Again, this is all described in the "read more".

The tabulation method used in the preliminary round (10 points for 1st place, 9 points for 2nd, etc.) is being used for this round. However, it is used for the final only as the second tiebreaker (the tabulation method that will be used principally for the final – aka "single transferable vote" – is described in the "read more").

Please consider, to the best of your ability (these are only suggestions, not strict guidelines):

How musically interesting the song is (incl. and not limited to musical phrasing and orchestration);

Its lyrics (incl. and not limited to lyrical invention and flow); 

Contextual use within the film (contextual blurbs provided for every entry for those who haven't seen the films);

Choreography/dance direction (if applicable; I know that almost none of us have a dancing background, but please do not dismiss this aspect entirely);

The song's cultural/sociopolitical impact and legacy/listenability outside the film's context (if applicable, and, in my opinion, least important factor)

Remember: you are not judging music videos.

A notice on audio/video quality and colorization of black-and-white film: Because it is sometimes difficult to find clean recordings of much of this music, imperfections in audio and video quality may not be used against any song while you are drawing up your rankings – you're on the honor system on this one. In addition, in respect to personal and blog policy, I will not provide colorized videos of films that were originally in black-and-white. You can call this snobby all you want. But to yours truly, film colorization of B&W is disrespectful to the artisans who plied their craft and made decisions based on the fact the film was shot in black-and-white. It is essentially redirecting a movie without consent.

You are encouraged to send in comments and reactions with your rankings - it makes the process more enjoyable for you and myself!

The deadline for submission is Wednesday, January 10 at 9 PM Pacific Time. That is7 PM Hawaii/Aleutian Time and 11 PM Central Time. That deadline is also Thursday, January 11 at Midnight Eastern Time / 5 AM GMT / 6 AM CET / 7 AM EET / 2 PM Korea Standard Time. This deadline – as it always seems to happen – will be pushed back if there are a large number of people who have not submitted in time. The deadline is later this year due to Christmas and New Year's being on Mondays this year.

All of the below songs can also be found in this YouTube playlist (but please note you may not judge the music video, but instead judge the song and how it is used in context).

Enjoy the music! Feel free to listen as many times as you need, and I hope you discover music and movies you may have never otherwise heard of that you find fascinating. The following is formatted... ("Song title", composer and lyricist, film title) and presented in alphabetical order (so feel free to shuffle the order!):

2023 Movie Odyssey Award for Best Original Song Final (playlist)

“Animal Crackers in My Soup”, music by Ray Henderson, lyrics by Ted Koehler and Irving Caesar, Curly Top (1935)

Performed by Shirley Temple

6th in Group B

Young Elizabeth Blair (Temple) and her elder sister, Mary (Rochelle Hudson) are living in an orphanage and are the primary entertainers for their fellow orphan girls. This number occurs early in the film and is quoted multiple times in the film's score. For those of you who despised this song's placement in those Shirley Temple DVD infomercials, I have no apologies to offer you.

For those familiar with Over the Garden Wall, this number inspired "Potatoes and Molasses" and its respective episode.

Where Alice Faye (MOABOS X's "A Journey to a Star" from 1943's The Gang's All Here)   and Betty Grable may have been the two primary musical adult actresses at 20th Century Fox, Shirley Temple eclipsed both. Her modestly-budgeted movies showcased her childhood innocence and spunk, endearing her to a moviegoing public faced with the Great Depression. She was the highest-grossing actor in Hollywood from 1934-1938, and moviegoers of the Lost, Greatest, and early Silent Generations credit Temple's movies as needed morale boosters.

“Barsaat mein hamse mile tum sajan (In the Rainy Season, We Met One Another)”, music by Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, lyrics by Shailendra, Barsaat (1949, India)

(initial version) / (end-of-film reprise)

Performed by Nimmi (singing voice dubbed by Lata Mangeshkar)

Lyrics in Hindi (translations in the CC's in provided videos)

5th in Group A

Raj Kapoor was a major director/actor in the early decades of Bollywood. In one of his first directed movies, shortly after the Partition of India, we find Barsaat. This romance tells of two love stories of vacationing city men meeting women who live in Kashmir (a disputed region between India, Pakistan, and China). Later in the films, we will find Pran (Raj Kapoor) and Reshma (Nargis) quickly falling in love. But this song surrounds the womanizing Gopal (Prem Nath) and Neela (Nimmi), whose faithful love for Gopal goes largely unrequited. After much convincing from Neela, Gopal attends a local festival – and doesn't pay much attention to this Neela-led song-and-dance number.

In the reprise, Neela has died near the end of the film. Reformed, realizing too late how horrible he has been to Neela, Gopal carries her body to her funeral pyre as the monsoon rains – as hinted in this film's very title – finally arrive.

“Chattanooga Choo Choo”, music by Harry Warren, lyrics by Mack Gordon, Sun Valley Serenade (1941)

Performed by Glenn Miller and His Orchestra, Tex Beneke, Paula Kelly, and The Modernaires; danced and sung by the Nicholas Brothers and Dorothy Dandridge

Nominated for the Academy Award for Best Original Song

Advanced directly to the final

Midway through this musical, the Phil Corey Orchestra (Glenn Miller and His Orchestra) are anxiously awaiting for their pianist (John Payne) before rehearsal for a Christmas concert in the ski resort town of Sun Valley, Idaho. He's been delayed by an unexpected detour while skiing down the slopes in pursuit of a young woman (Sonja Henie) who has been flirt-trolling him on the slopes. Phil is asked to "stall for time" by the band's manager (Milton Berle). But, quietly, Phil essentially says "screw it" and starts the rehearsal. As one of my tumblr followers put it, classic Hollywood's legacy of weird shenanigans at ski resorts continues.

Nicholas Brothers' and Dorothy Dandridge's segment feels separate from the rest of this number by design. White-owned theaters in the American South would refuse to show films with prominent roles with black actors, so 20th Century Fox structured Nicholas Brothers numbers in a way so that their dances could be easily cut for those theaters. MOABOS IX (2021) participants will recall that "I've Got a Gal (in Kalamazoo)" from Orchestra Wives (1942) and the reprise to the title song for Down Argentine Way (1940) were impacted similarly.

It's a brief, but memorable role for Dandridge in her early career. She would become one of the best African American actresses ever, thirteen years removed for her Best Actress nomination for Carmen Jones (1954).

This was the first of only two films made by Glenn Miller and His Orchestra while contracted to 20th Century Fox (RIP "Fox"). They were to make more, but then Miller decided to join the U.S. Army Air Forces (the predecessor of the Air Force) to lead its official band. Miller, an enormous musical figure of the swing jazz era, disappeared over the English Channel in December 1944. This was the first song ever to receive a gold record, and it was musically referenced across numerous Fox movies during the 1940s and '50s, becoming an unofficial studio anthem.

The city of Chattanooga and railways have and still embrace the song; localized Dutch, Finnish, German, and Italian versions of this song exist.

“Ciao Papa”, music by Alexandre Desplat, lyrics by Roeban Katz and Guillermo del Toro, Guillermo del Toro’s Pinocchio (2022)

Performed by Gregory Mann

3rd in Group A

In this adaptation of Carlo Collodi's Pinocchio, director Guillermo del Toro injects the tale with his signature gothic touch – moving the narrative up in time to Fascist Italy and not shying away from the original book's grotesqueness and the title character's sociopathy. This song appears as part of a montage where Geppetto (David Bradley) goes in search of Pinocchio (Mann) after Count Volpe (Christoph Waltz) abducts the wooden son. Pinocchio is performing for Volpe in part to avoid conscription into Fascist Italy's military.

“Danger Zone”, music and lyrics by Giorgio Moroder and Tom Whitlock, Top Gun (1986)

Performed by Kenny Loggins

Advanced directly to the final

This song first appears in the film's opening credits, as a number of U.S. Navy F-14 Tomcats are about to lift off from the aircraft carrier USS Enterprise in the middle of the Indian Ocean. The Tomcats are being scrambled to address an incursion of what is heavily implied to be Soviet aircraft (and results in an exchange that should've immediately started WWIII, but the always-jingoistic Top Gun movies do not care about geopolitical consequences). The song is briefly played again for a similar scene later in the film.

“Esse Mundo é Meu (This World is Mine)”, music by Sérgio Ricardo, lyrics by Sérgio Ricardo and Ruy Guerra, Esse Mundo é Meu (1964, Brazil)

Originally performed a cappella by Antônio Pitanga; provided version performed by Marina Lutfi and Adriana Lutfi (lead vocals), Sérgio Ricardo (vocals), João Gurgel (vocal/guitar), Alexandre Caldi (winds), Marcelo Caldi (piano/accordion), Lui Coimbra (cello), Giordano Gasperin (bass), and Diego Zangado (percussion)

Lyrics in Portuguese (extremely rough translation... "Saravá ogum" is an Afro-Brazilian exclamation; I'm not sure what "Mandinga" means in the song's context, but it's an Afro-Brazilian word that either refers to an ethnic group or "magic")

2nd in Group A

In this film almost never screened outside Brazil, two separate romantic storylines – a white couple and a black couple – play out in a Rio de Janeiro favela. In the latter storyline, Antônio Pitanga plays a shoeshiner. One day, while setting up his shoeshining equipment along the beach, he sings this song – an optimistic number in hopes for a better tomorrow. Black Brazilian romance was and is rare in Brazilian cinema, and the inclusion of such a romance so prominently featured in this film makes it a landmark of the nation's film history, alongside the likes of Black Orpheus (1959; although Esse Mundo é Meu came from a filmmaking movement – Cinema Novo – that rejected the likes of Black Orpheus).

From the song's humble origins and use in the film, Sérgio Ricardo turned it into bossa nova. That's the late composer/film director himself in the provided video (the older man furthest to the left). The lead singers are his daughters.

“Hooked On Your Love”, music and lyrics by Curtis Mayfield, Sparkle (1976)

Performed by Lonette McKee, Irene Cara, and Dwan Smith

(use in film) / (soundtrack version with Aretha Franklin)

Advanced directly to the final

Loosely based on the history of the Supremes, the musical Sparkle is the story of the three Williams sisters (the late Cara as lead singer Sparkle, McKee as Sister, and Smith as Dolores). They decide to take their church singing experience to become a semi-professional group called the Hearts.

This song appears midway through the film, as the boys have dropped out to become managers and the girls have renamed the group Sister and the Sisters (I would've kept the original name). This is the debut performance of Sister and the Sisters. If you're wondering what's going on with the lighting here, that's because the cinematographer of Sparkle didn't know how to light non-white actors.

The film's original soundtrack does not contain any of the original performances. Instead, Aretha Franklin sings all the songs from the film in the soundtrack.

“I Know Why (And So Do You)”, music by Mack Gordon, lyrics by Harry Warren, Sun Valley Serenade (1941)

(initial version) / (reprise)

Performed by Glenn Miller and His Orchestra, Lynn Bari (dubbed by Pat Friday), The Modernaires, and John Payne; reprise by Payne and Sonja Henie

6th in Group A

This song's melody forms the backbone of the film's score throughout. In the opening minutes of this musical, we find the Phil Corey Orchestra (Glenn Miller and His Orchestra) rehearsing in preparation for a Christmas concert they will be headlining in the mountainous resort town of Sun Valley, Idaho. The first 48 seconds of the first video are an instrumental version of Glenn Miller's "Moonlight Serenade".

The reprise occurs near the end of the film as Norwegian refugee/figure skating extraordinaire Karen Benson (Sonja Henie, a 3x Olympic gold medalist in figure skating) and pianist Ted Scott (John Payne) find themselves stuck in a mountainside cabin. Karen, who has fled Norway due to the Nazi takeover there, has been pursuing Ted for almost all of the film, and Ted finally succumbs to her charms here – to the outrage of his girlfriend (Lynn Bari). Suffice it to say nobody should watch 20th Century Fox musicals for the plot (but refreshingly, they're not pretending to be any more than what they are).

What the heck is an Olympic figure skater doing and singing in a movie? Well, Henie was used in a handful of Fox musicals in musical numbers set to an elaborate figure skating sequence. These days, Henie's movies are largely out of print and hard to find. Her popularity was such that Metro-Goldwyn-Mayer (MGM) hired aspiring swimmer Esther Williams (unable to compete at the canceled 1940 Summer Olympics) as response to Fox's Sonja Henie movies. 

“I’m Just Ken”, music and lyrics by Mark Ronson and Andrew Wyatt, Barbie (2023)

Performed by Ryan Gosling and company

3rd in Group B

The Kens of Barbieland have taken over power from the Barbies after Ken (Ryan Gosling) learns about patriarchy in our real world. In response, the Barbies, Allan, and Mattel employee Gloria and her daughter Sasha have manipulated the Kens into fighting each other (or, in the Kens' parlance, "beaching off") while they attempt to reestablish control. According to director Greta Gerwig, the dance segment seen here was influenced by "Lullaby of Broadway" from Gold Diggers of 1935 (1935; see the warm-up playlist I sent to many of you) and "The Broadway Melody" from Singin' in the Rain (1952).

The production design and overall look of Barbie was meant to have a sort of plastic toy aesthetic. Gerwig wanted to achieve an "authentic artificiality", injecting a sense of child's play into the filmmaking, and spiritually inspired by the production design of The Red Shoes (1948) – especially its 15-minute ballet sequence.

“Miss Celie’s Blues (Sister)”, music by Quincy Jones and Rod Temperton, lyrics by Quincy Jones, Rod Temperton, and Lionel Richie, The Color Purple (1985)

Performed by Margaret Avery (singing voice dubbed by Táta Vega)

Nominated for the Academy Award for Best Original Song

1st in Group A

Based on the book of the same name by Alice Walker, The Color Purple stars Whoopi Goldberg as Celie Harris in her breakthrough role. Celie, forcibly married off to Albert "Mister" Johnson (Danny Glover) as a teenager, has grown resigned after a lifetime of parental and spousal abuse. Mister has a mistress named Shug Avery (Margaret Avery), who works as a showgirl in Memphis. After one stormy evening, a sickly Shug appears at Mister's homestead for the first time and, over a few weeks, Celie nurses her back to health. The two grow attached and, as tribute, Shug performs this song at the local riverside juke joint.

In the book, the romantic relationship between Celie and Shug after this moment is more explicit. Director Steven Spielberg's greatest regret over this film was not making more of this romantic relationship. Given that the movie was released at the height of the HIV/AIDS crisis and in an environment where LGBTQ+ themes were verboten to the major movie studios, I don't believe much more could've been done in 1985.

“Qu'est-ce qu'on fait de l'amour? (What Do We Do with Love?)”, music and lyrics by Vincent Courtois, Ernest and Celestine: A Trip to Gibberitia (2022, France)

Performed by Pomme

Lyrics in French (rough translation)

1st in Group B

This song appears at the top of the end credits of this sequel to 2012's Ernest & Celestine, which was nominated (against the odds) for the Academy Award for Best Animated Feature. The original was, as I wrote back in 2014, "cinematic friendship at its most rewarding and profoundly beautiful." In this sequel for our dynamic mouse and bear duo, Celestine (the mouse) accidentally breaks Ernest's (the bear) precious Stradibearius violin. It leads the unlikely friends to search for an old violin maker acquaintance of Ernest's back in his homeland of Gibberitia ("Charabïe" in the original title, a name derived from "charabia", the French word for "gibberish").

A further shameless plug for all of you reading this to seek out animation that is not from the major American and Japanese studios.

“Return to Sender”, music and lyrics by Winfield Scott and Otis Blackwell, Girls! Girls! Girls! (1962)

Performed by Elvis Presley

5th in Group B

The eleventh of Elvis' 31 movies (if MOABOS returns for future editions, let's just say there's a lot more Elvis to come) and the second shot in Hawai'i after 1961's Blue Hawaii, Girls! Girls! Girls! is a misnomer as there are only two girls vying for Elvis' affections (it would be an appropriate title for many other Elvis movies). My sister thinks this film should've been titled Girls? Girls. Girls!

Here, Ross Carpenter (Elvis) is a fisherman who spends his evenings as a nightclub singer. Fellow nightclub singer Robin Gantner (Stella Stevens) and the secretly wealthy Laurel Dodge (Laurel Goodwin) are very much attracted to him. This number occurs after Ross starts seeing Laurel, inflaming Robin's suspicions, and resulting in a spat at the bar that immediately preceded the song.

“Suzume”, music and lyrics by RADWIMPS, Suzume (2022, Japan)

Performed by RADWIMPS and Toaka

Lyrics in Japanese (extremely rough translation)

2nd in Group B

This song's melody (especially the eighteen-note vocalized motif) appears throughout the film. But this version, with lyrics, only appears as the second song in the end credits. In this film, 17-year-old Suzume and a young man named Souta must journey across Japan to close a series of mystical doors. Mysterious phenomena are passing through these once-locked into our world, and are causing natural disasters.

Makoto Shinkai's latest, unadjusted for inflation, is the fourth-highest grossing Japanese film of all time. MOABOS regulars will recall previous entries from Your Name (2016) and Weathering with You (2019) – all RADWIMPS compositions. Suzume directly addresses a trauma that Your Name and Weathering with You danced around: the 3/11/11 earthquake, tsunami, and Fukushima Daiichi nuclear disaster.

“Tiền”, music and lyrics by Trần Khắc Trí, Good Morning and Good Night (2019, Vietnam)

Performed by Trần Lê Thúy Vy, Hà Quốc Hoàng, and company

Lyrics in Vietnamese (translation in provided video)

4th in Group B

In this romantic musical influenced heavily by Richard Linklater's Before trilogy, indie musician Tâm (Hà Quốc Hoàng) unexpectedly forms a deep connection with Thanh (Trần Lê Thúy Vy), a rideshare driver who challenges his view of life, love, and art over a full day traversing Saigon. This song appears about a third of the way through, after a conversation about money ("tiền" means "money" in Vietnamese). Most of the numbers in this film are composed in a style suited to Vietnamese indie music.

“Trời Sáng Rồi, Ta Ngủ Đi Thôi (Good Morning and Good Night)”, music by Phạm Hải Âu, lyrics by Phạm Hải Âu and Chung Chí Công, Good Morning and Good Night (2019, Vietnam)

Performed by Hà Quốc Hoàng and Trần Lê Thúy Vy

Lyrics in Vietnamese (translation in provided video)

4th in Group A

In this romantic musical influenced heavily by Richard Linklater's Before trilogy, indie musician Tâm (Hà Quốc Hoàng) unexpectedly forms a deep connection with Thanh (Trần Lê Thúy Vy), a rideshare driver who challenges his view of life, love, and art over a full day traversing Saigon. This song appears at the top of the end credits. Most of the numbers in this film are composed in a style suited to Vietnamese indie music.

Have a question or comment about MOABOS's processes? Maybe you would like to know something more about a song or a movie featured in this year's competition? I'm the one to ask! If you are having difficulty accessing any of the songs (especially if region-locked) or if there are any errors in the links above or the playlist, please let me know as soon as possible.

Once more to all, my thanks all for your support for the Movie Odyssey, the blog, and for me personally over this last calendar year and beyond. However long you've known me – it has been and is a distinct privilege and a pleasure to share all this music and (at least excerpts of) these movies with you. It's my hope you find this entertaining and enlightening about cinema and the music that goes along with it. Do not worry too much about this if you cannot participate, although I will be checking in as the deadlines get close. Happy listening, and I hope you have fun!

A happy holiday season to you and yours!

PS: TABULATION

The winner is determined by a process distinct from the preliminary round. For the final, the winner is chosen by the process known as single transferable vote (the Academy Awards uses this method to choose a Best Picture winner, visually explained here):

All #1 picks from all voters are tabulated. A song needs more than half of all aggregate votes to win (50% of all votes plus one… i.e. if there are thirty respondents, sixteen #1 votes are needed to win on the first count).

If there is no winner after the first count (as is most likely), the song(s) with the fewest #1 votes or points is/are eliminated. Placement will be determined by the tiebreakers described below. Then, we look at the ballots of those who voted for the most recently-eliminated song(s). Their votes then go to the highest remaining non-eliminated song on their ballot.

The process described in step #2 repeats until one song has secured 50% plus one of all votes. We keep eliminating nominees and transfer votes to the highest-ranked, non-eliminated song on each ballot. A song is declared the winner when it reaches more than fifty percent of all #1 and re-distributed votes.

NOTE: It is possible after several rounds of counting that respondents who did not entirely fill in their ballots will have wasted their votes at the end of the process. For example, if a person voted the second-to-last place song as their #1, ranked no other songs, and the count has exceeded two rounds, their ballot is discarded (lowering the vote threshold needed to win), and they have no say in which song ultimately is the winner. No one who has ranked only one or two songs on their rankings and nothing more has succeeded since this tabulation method was implemented. I highly discourage, but do not forbid, these practices.

Tiebreakers: 1) first song to receive 50% plus one of all #1 and transferred votes; 2) total points earned (the preliminary round's primary tabulation method); 3) total #1 votes; 4) average placement on my ballot and my sister’s ballot; 5) tie declared

For reference: 2013 final 2014 final (input from family and friends began this year) 2015 final 2016 prelim / final 2017 prelim / final 2018 prelim / final 2019 prelim / final 2020 prelim / final 2021 prelim/ final 2022 prelim / final

[lokiondisneyplus]

Natalie Holt's timeline was turned upside down last fall when she landed the highly-coveted composer gig for Marvel Studios' Loki series on Disney+.

"My agent got a general call-out looking for a composer on a Marvel project," she tells SYFY WIRE during a conversation over Zoom. "So, I didn’t know what it was. It was [described as] spacey and quite epic ... I sent in my show reel and then got an interview and got sent the script and then I realized what it was for. I was like, ‘Oh my god!’ It was amazing ... Loki was already one of my favorite characters, so I was really stoked to get to give him a theme and flesh him out in this way."

***WARNING! The following contains certain plot spoilers for the first four episodes of Loki!***

Imbued with glorious purpose, Holt knew the score had to match the show's gonzo premise about the Time Variance Authority, an organization that secretly watches over and manages every single timeline across the Marvel multiverse. The proposition of such an out-there sci-fi concept inspired the composer to bring in uniquely strange sounds, courtesy of synthesizers and a theremin.

"I got my friend, Charlie Draper, to play the theremin on my pitch that I had to do," she recalls. "They gave me a scene to score, which I’m sure they gave to loads of other composers. It was the Time Theater sequence in Episode 1. The bit from where he goes up the elevator and then into the Time Theater ... I just went to town on it and I wanted to impress them and win the job and put as many unusual sounds in there and make it as unique as possible."

The end result was a weird, borderline unnatural sound that wouldn't have felt out of place in a 1950s sci-fi B-movie about big-headed alien invaders. Rather than being turned off by Holt's avant garde ideas, Marvel Studios head honcho Kevin Feige embraced them, only giving the composer a single piece of feedback: "Push it further."

Holt admits that she was slightly influenced by Thor: Ragnarok ("I loved the score for it and everything"), which wasn't afraid to lean into the wild, Jack Kirby-created ideas floating around Marvel's cosmic locales. Director Taika Waititi's colorful and bombastic set pieces were perfectly complimented by an '80s-inspired score concocted by Devo co-founder, Mark Mothersbaugh.

"To be honest, I tried not to listen to it on its own," Holt says of the Ragnarok soundtrack. "I didn’t want to be too influenced by it. I watched the film a couple of times a few years ago, so yeah, I don’t think I was heavily referencing it. But I definitely had a memory of it in my mind."

After boarding Loki last September, Holt spent the next six months (mostly in lockdown) crafting a soundtrack that would perfectly reflect the titular god of mischief played by Tom Hiddleston. One of the first things she came up with was the project's main theme — a slightly foreboding cue that pays homage to the temporal nature of the TVA, as well as the main character's flair for the dramatic. "He always does things with a lot of panache and flair, and he’s very classical in his delivery."

She describes it as an "over-the-top grand theme with these ornate flourishes" that plays nicely with Loki's Shakespearean aura. "I wanted those ornaments and grand gestures in what I was doing. Then I also wanted to reflect that slightly analog world of the TVA where everything has lots of knobs and buttons ... [I wanted to] give it that slightly grainy, faded [and] vintage-y sci-fi sound as well."

"I just wanted it to feel like it had this might and weight — like there was something almost like a requiem about it," Holt continues. "These chords that are really powerful and strident and then they’ve got this blinking [sound] over the top. I just came up with that when I was walking down the street and I hummed it into my phone. There’s a video where you can just see up my nose and I’m humming [the theme]. I came home and I played it."

As a classically-trained musician, Holt drew on her love of Mahler, Dvořák, Beethoven, Mozart, and most importantly, Wagner. A rather fitting decision, given that an actual Valkyrie (played by Tessa Thompson) exists within the confines of the MCU.

"I would say those flourishes over the top of the Loki theme are very much Wagner," Holt says. "They’re like 'Ride of the Valkyries.’ I wanted people to kind of recall those big, classical, bombastic pieces and I wanted to give that weight to Loki’s character. That was very much a conscious decision to root it in classical harmony and classical writing ... There’s a touch of the divine to the TVA. It’s in charge of everything, so that’s why those big powerful chords [are there]. I wanted people almost to be knocked off their socks when they heard it."

With the main theme in place, Holt could then play around with it in different styles, depending on the show's different narrative needs. Two prime examples are on display in the very first episode during Miss Minutes' introductory video and the flashback that reveals Loki to be the elusive D.B. Cooper.

"What was really fun was [with] each episode, I got to pull it away and do a samba version of the theme or do a kind of ‘50s sci-fi version of the theme," she explains. "I can’t say other versions of the theme because they’re in Episode 5 and 6…or like when Mobius is pruned, I did this really heartfelt and very emotional [take on the theme] when you see Loki tearing up as he’s going down in slow motion down that corridor. It was cool to have the opportunity to try out so many different styles and genres. And it was big enough to take it all. It was a big enough story."

The other side of the story speaks to the old world grandeur of Loki's royal upbringing on Asgard, a city amongst the stars that eventually found its way into Norse mythology.

"I went to a concert in London three years ago and I heard these Norwegian musicians playing in this group called the Lodestar Trio," Holt recalls. "They do a take on Bach, where they’re kind of giving it a folk-y twist … [They use] a nyckelharpa and a Hardanger fiddle — they’re two historic Norwegian folk instruments. I just remembered that sound and I was like, ‘Oh, I have to use those guys in our score.’ It seemed like the perfect thing. I was like, ‘Yes, the North/Norwegian folk instruments.’ It just felt like it was the perfect thing for his mother and Asgard and his origins."

That folk-inspired sound also helped shape the music for Sylvie (played by Sophia Di Martino), a female variant of Loki with a rather tragic past. "Obviously, we’ve seen in Episode 4 what happened to her as a child," Holt says. "I just feel like she’s so dark. She’s basically grown up living in apocalypses, so she has that Norwegian folk violin sound, but her theme is incredibly dark and menacing and also, you don’t see her. She’s just this dark figure who’s murdering people for a while."

And then there were all the core members of the TVA to contend with. As Holt mentioned above, fans recently lost Agent Mobius (Owen Wilson), may he rest in prune. We mean peace. What? Too soon? During a recent interview with SYFY WIRE, Loki head writer Michael Waldron said that he based Mobius off of Tom Hanks's dogged FBI agent Carl Hanratty in 2002's Catch Me If You Can.

"There’s this thing that he loves jet ski magazines," Holt says. "I had this character in my head and then when I saw Owen Wilson’s performance, I was like, ‘Oh, he’s actually a lot lighter and he plays it in a different way from how I’d imagined.’ But I was listening to Bon Jovi and those slightly rock-y anthemic things. ‘90s rock music for some reason was my Mobius sound palette."

Mobius is pruned on the orders of his longtime friend, Ravonna Renslayer (Gugu Mbatha-Raw), after learning that everyone who works for the TVA is a variant who was unceremoniously plucked out of their original timelines. A high-ranking member of the quantum-based agency, Renslayer has a theme that "is quite tied in with Mobius and it’s like a high organ," Holt adds. "It doesn’t quite know where it’s going yet. But yeah, we’ll have to see what happens with that one."

Wilson's character isn't the only person fed up with the TVA's lies. Hunter B-15 (Wunmi Mosaku) also became disillusioned with the place and allowed Sylvie to escape in the most recent episode

"Hunter B-15 has this moment in Episode 4 where Sylvie shows her her past, her memories. I thought that was a really powerful moment for her," Holt says. I feel like she’s such a fighter and when she comes into the Time-Keepers and she makes that decision, like, ‘I’m switching sides,’ so her theme is more like a drum rhythm. I actually kind of sampled my voice and you can hear that with the drums. I did loads of layers of it, just like this horrible sliding sound with this driving rhythm underneath it. So, that was B-15 and then her softer side when she has her memory given back to her."

Speaking of the Time-Keepers, we finally got to meet the creators of the Sacred Timeline...or at least we thought we did. Loki and Sylvie are shocked to learn that the red-eyed guardians of reality are nothing but a trio of high-end animatronics (ones that could probably be taken out by a raging Nicolas Cage). Even before Sylvie manages to behead one of them, something definitely feels off with the Time-Keepers, which meant Holt could underscore the uncanny valley feeling in the score.

"When they walked in for their audience with the Time-Keepers, it was like this huge gravitas," she says. "But you look up and there’s something a bit wrong about them. I don’t know if you felt that or if you just totally believed. You were like, ‘Oh, this is so strange.’ I just felt like there was something a little bit off and musically, it was fun to play around with that."

Holt is only the second solo female composer to work on an MCU project, following in the footsteps of Captain Marvel's Pinar Toprak. Her involvement with Loki represents the studio's growing commitment to diversity, both in front of and behind the camera. This Friday will see the wide release of Black Widow, the first Marvel film to be helmed solely by a woman (Cate Shortland). Four months after that, Chloé Zhao's Eternals will introduce the MCU's first openly gay character into the MCU.

"I just feel like it’s an honor and a privilege to have had that chance to be the second woman to score a thing in the MCU and to be in the same league as those incredible composers like Mothersbaugh and Alan Silvestri. They're just legends," Holt says. "Another distinctive thing about [the show] is that all the heads of department are pretty much women. Marvel are showing themselves to be really progressive and supportive and encouraging. I applaud [them]. Whatever they’re doing seems to be working and people seem to be liking it as well, so that’s awesome."

Holt's score for Vol. 1 of Loki (aka Episodes 1-3) are now streaming on every music-based platform you could think of. Episodes 1-4 are available to watch on Disney+ for subscribers. Episode 5 (the show's penultimate installment) debuts on the platform this coming Wednesday, July 7.

Natalie isn't able to give up any plot spoilers for the next two episodes (no surprise there), but does tease "the use of a big choir" in one of them. "Episode 6, I’m excited for people to hear it," she concludes. "That’s all I can say."

[forthegothicheroine]

Help, which Arthurian tellings have Lancelot present but either no affair or Gwen gives it up and chooses Arthur? I remember you talking about one in particular but I can't remember the name for the life of me.

The one closest to being canon is a medieval German work called Diu Krone, which is largely about Gawain achieving the Grail, but also has a plot where a knight claims to be Guinevere's lover. She denies this. Arthur offers to let her choose between them and leave if she wants, and she chooses Arthur. My heart went aflutter upon reading that, you can be sure!

The musical Artus-Excalibur (known as X-Calibur in South Korea) has Lancelot die at the end, tell Arthur that he was always the one Guinevere truly loved, and they get back together. I liked it, though I could only watch bootlegs with no subtitles.

The romance novel Lancelot by Gwen Rowley (between Lancelot and Elaine) has a surprise twist where he hasn't been having an affair with Guinevere but has been covering up a big secret for her, and as a result they're sort of emotionally codependent and everyone assumes they're lovers. It comes out in a verbal fight with Arthur, and by the end he and his wife are working on being more honest and trusting with each other.

The Winter Prince has Arthur and Guinevere as happily married with children; Medraut describes her as not beautiful but intelligent and comforting to be around. Lots of less savory stuff happens between other characters, though.

The Squires Tales series has Guinevere and Lancelot having an affair in the second book which breaks off at the end. In later books they mature much more, and anything between them has been long over by the time they are actually accused of adultery.

The Warlord Chronicles, which a lot of people like but I do not, has them having an affair in the second book which is over by the third, when everyone has turned on each other. Guinevere then gets the best character development in the series and is back with Arthur at the end.

The 1950s tv show The Adventures of Sir Lancelot, presumably due to censorship, have him be her champion but not her lover. It's a fun show, in the vein of Disney's Zorro, and I think the non-romantic champion thing works.

In the cartoon Prince Valiant there's no indication of an affair (was Lancelot even on that show? He must have been, but I don't remember him at all.) Interestingly, censorship on both shows seems to have decreed that there be no magic, and both got around it by having Merlin be a Da Vinci figure with endless traps and inventions.

The Kingmaking, the first book in the Pendragon Banner cycle, is basically an Arthurian bodice ripper, and Guinevere is a feisty heroine who fully loves her man. I think he does have mistresses in the later books, but I didn't read those.

Royal Enchantment is a romance novel where she never had an affair but distrust drove them apart, which sounded like a great premise for rekindling their love but the book was pretty meh.

Merlin: The Return is a notoriously terrible movie which I've seen with Rifftrax, but at least Guinevere goes back to Arthur and he forgives her. I mostly remember it because Merlin has very intense hair, and also Gawain gets inexplicably creepy towards a villainess at the end, to which she thankfully responds by only looking mildly annoyed.

[stay-tinystars]

Traveling Teacher

Ship: Mark (NCT) x fem reader.

Traveling teacher, non idol au

Word count: 1585

Warnings: reader has very anxious thoughts at the beginning.

A/N: random story I started months ago. I hope you all enjoy this random story. I wanted to write something for Mark, because he's just adorable. I'd love feedback on what you think of this story.

Deep breath in, deep breath out. That's all you kept repeating in your head. You had to calm down, it was going to be alright. He would be here any minute, he was just running late. He wouldn't have asked you here just to stand you up, or would he? This couldn't be another prank.

 Leaning forward you rested your head in your hands. Trying to focus on the things around you to ground yourself. You felt the slight breeze around you. The sound of the birds, and the city. The wooden bench beneath you. The feel of the gravel under your shoes. The light weight of your jacket across your shoulders.

The anxiety of the situation seemed to decrease as you focused on the things around you. The sound of shoes against the gravel sounded calming.

"____, You actually came." his words pulling you back to the present, immediate relief flooded through your chest. You looked up to see him smiling at you, he seemed pleased.

"Of course, you asked me to come." You smiled as you stood up dusting off your dark jeans, fixing the hem of your shirt and adjusting the light jacket. You felt lightly undressed. He looked like a model, per usual. His perfectly styled, yet messy hair swept back from his forehead, the leather jacket over a vintage band shirt, and a pair of jeans.

"I wasn't sure that you would actually show." his eyes on the ground as his fingers ran through his hair. His eyes then met yours. "You're usually really reserved, I was afraid I might have scared you off, saying it was a date. I'm glad it didn't." his eyes becoming little crescents, as he gave a genuine smile.

The butterflies in your stomach seemed to swarm, as he guided the way. You started down the path towards the main part of the park.

-------------

Mark was a traveling music instructor, so he came to the primary school twice a week to teach beginning band, and choir. Being an office aid you saw him when he picked up his badge checking in for his class, and when he returned his badge. 

The first day he came in, he took you by surprise. The last traveling teacher was a grumpy older man, Mark however was literal sunshine, always kind and friendly to everyone he came across. The children adored him, and all the ladies at the school gushed over him, single or not.

In the few words you would exchange as he checked in and out, you slowly got to know him. You both shared a love for music, especially live music. Last week when he mentioned going to the free concerts in the park you talked with him about some of the ones you attended last summer. That's when he invited you to join him for the mini festival of cover bands that weekend. Completely ignoring the other flirtatious aid, who offered to go in your place, being as you 'didn't get out much'. He just smiled and looked back at you, stating it would be a great getting to know you date. After that he left. You were as red as a tomato, laughing internally at your coworker who was now insisting that there was something wrong with him.

---------

"We haven't ever discussed what made you want to be an office aid at a school" Mark noted, as you strolled towards the outdoor amphitheatre.

"Truthfully I never planned on being an office aid" you laughed. "I wanted to do something with kids, but I didn't want to teach. I considered being a school librarian, but every job I applied for fell through. Then someone my mom knew was retiring from being an office aid, and my mom gave her my resume. I got a call for an interview for a job I never applied for. They ended up hiring me immediately after my interview. I guess the rest is history."

"They must've known you'd be great with kids." He remarked as he guided you towards the small seating section.

"I'm not so sure. I think they needed someone who was kind, but had a firm hand. So I got the job."

"I've seen you with some of those kids. Even the troublemakers listen to you." He praised as he motioned towards the reserved seats in the third row off to the side.

"I'm nowhere near as good with them as you are. You helped Jin get into that special summer program, which I never expected to happen. Especially after he flushed Mrs. Kim's prized fish last year." You praised back as you both took a seat.

"I heard about that." He chuckled. "Jin has a lot of potential, he just didn't know how to direct it. All I did was guide him, and help him on the right path."

"Is that why you became a traveling teacher?"

"Actually, no." He let out a small laugh. "I was supposed to be in Law school. After the first semester I knew I couldn't handle it. I had been tutoring kids in music lessons when I decided I would just try that path. I must say I feel like I make more of a difference now, then I would've as a lawyer."

"You do make a huge difference at my school. The kids are always excited when they get to have Mr. Lee's class. We also have less absences on the days you teach."

"I don't know that I make that much of a difference." His ears turned a slight pink.

"You do. I'm sure we will see many kids in the music industry in the future because of you." 

"Guys look it's Mr. Lee, and Miss ____." A child yelled from behind you. The two of you turned in your seats,, to see a few students getting settled in the grass a ways behind you. You both smiled and waved.

"I bet they are on a date!" Another said loudly, your eyes looked down, as you turned around in your seat. The blush was apparent on your cheeks. As Mark made a big scene of stretching and putting his arm around you. A light giggle left your lips as you looked over at him, with a questioning look.

"What?" He asked, and you glanced at his arm then back up to his face. "The kids have to learn somehow. This is how to be smooth." he nodded then did an over the top wink. You laughed again, covering your face with one hand, shaking your head. He was anything but subtle or smooth.

Soon the music started, the energy pulsed through the air. You both sang and danced along to cover after cover. The first band played music your parents listened to.

The second band played music from the early 2000s which Mark ended up serenading you with.

Between bands you just sat, and talked. He found out your favorite movie. You found out he loves cookies and cream Ice Cream.

The last band was a big band 1950s style cover band. During a slower song Mark spun you around, dancing between the rows of seats.

The mini festival seemed to end as soon as it began. The sun had started to pitch in the sky, when Mark asked you to join him for dinner. With a nod of your head you both set off towards the main road in search of food.

"Can I ask you a question?" Mark asked, as you both strolled the main walkway.

"Of course" you looked towards him, curiously.

"If I were to hold your hand would it make you uncomfortable? I mean if you don't want to we don't have to. I mean this is our first date. If you want to consider it an official date. I am but..." he stumbled over his words, he seemed as panicked as you felt. Your lips slightly turned upwards as you reached for his hand.

"We never know unless we try right? That's what I tell the kids." you stated with a small nod, as his fingers encompassed yours. His thumb gently rubbing the back of your hand as you walked together.

"That's a good way to look at it. I like the way you look at things. I've noticed that you like to look for that silver lining." He noted, as he glanced towards you, slightly bumping you with his shoulder.

"I have to, it's the only way to keep the storm clouds from taking over." the words came out before you could stop them. His hand gently squeezing yours.

"Storm clouds are part of life. I've encountered my fair share of storms, but most people dwell on the storms." His words settled in your skin. "You don't seem to though."

"It takes rain to make a rainbow." You said quietly, taking a deep breath. "I've been through a lot of storms, some destroyed me. Though those I've learned as the storms come to try to make the best of it, because I know there is a rainbow coming."

He paused his stride, softly pulling your hand making you stop, you turned to face him. His smile was genuine and pure. The setting sun gave him a warm glow.

"You know, I'm starting to think you're my rainbow." His soft words made you melt.

You could feel the heat in your cheeks and ears, as you looked towards the ground. Then back into his eyes. "You might be mine as well"

[twh-news]

Loki' composer on how her MCU score reflects the main character's flair for the dramatic

By Josh Weiss

Natalie Holt's timeline was turned upside down last fall when she landed the highly-coveted composer gig for Marvel Studios' Loki series on Disney+.

"My agent got a general call-out looking for a composer on a Marvel project," she tells SYFY WIRE during a conversation over Zoom. "So, I didn’t know what it was. It was [described as] spacey and quite epic ... I sent in my show reel and then got an interview and got sent the script and then I realized what it was for. I was like, ‘Oh my god!’ It was amazing ... Loki was already one of my favorite characters, so I was really stoked to get to give him a theme and flesh him out in this way."

***WARNING! The following contains certain plot spoilers for the first four episodes of Loki!***

Imbued with glorious purpose, Holt knew the score had to match the show's gonzo premise about the Time Variance Authority, an organization that secretly watches over and manages every single timeline across the Marvel multiverse. The proposition of such an out-there sci-fi concept inspired the composer to bring in uniquely strange sounds, courtesy of synthesizers and a theremin.

"I got my friend, Charlie Draper, to play the theremin on my pitch that I had to do," she recalls. "They gave me a scene to score, which I’m sure they gave to loads of other composers. It was the Time Theater sequence in Episode 1. The bit from where he goes up the elevator and then into the Time Theater ... I just went to town on it and I wanted to impress them and win the job and put as many unusual sounds in there and make it as unique as possible."

The end result was a weird, borderline unnatural sound that wouldn't have felt out of place in a 1950s sci-fi B-movie about big-headed alien invaders. Rather than being turned off by Holt's avant garde ideas, Marvel Studios head honcho Kevin Feige embraced them, only giving the composer a single piece of feedback: "Push it further."

Holt admits that she was slightly influenced by Thor: Ragnarok ("I loved the score for it and everything"), which wasn't afraid to lean into the wild, Jack Kirby-created ideas floating around Marvel's cosmic locales. Director Taika Waititi's colorful and bombastic set pieces were perfectly complimented by an '80s-inspired score concocted by Devo co-founder, Mark Mothersbaugh.

"To be honest, I tried not to listen to it on its own," Holt says of the Ragnarok soundtrack. "I didn’t want to be too influenced by it. I watched the film a couple of times a few years ago, so yeah, I don’t think I was heavily referencing it. But I definitely had a memory of it in my mind."

After boarding Loki last September, Holt spent the next six months (mostly in lockdown) crafting a soundtrack that would perfectly reflect the titular god of mischief played by Tom Hiddleston. One of the first things she came up with was the project's main theme — a slightly foreboding cue that pays homage to the temporal nature of the TVA, as well as the main character's flair for the dramatic. "He always does things with a lot of panache and flair, and he’s very classical in his delivery."

She describes it as an "over-the-top grand theme with these ornate flourishes" that plays nicely with Loki's Shakespearean aura. "I wanted those ornaments and grand gestures in what I was doing. Then I also wanted to reflect that slightly analog world of the TVA where everything has lots of knobs and buttons ... [I wanted to] give it that slightly grainy, faded [and] vintage-y sci-fi sound as well."

"I just wanted it to feel like it had this might and weight — like there was something almost like a requiem about it," Holt continues. "These chords that are really powerful and strident and then they’ve got this blinking [sound] over the top. I just came up with that when I was walking down the street and I hummed it into my phone. There’s a video where you can just see up my nose and I’m humming [the theme]. I came home and I played it."

As a classically-trained musician, Holt drew on her love of Mahler, Dvořák, Beethoven, Mozart, and most importantly, Wagner. A rather fitting decision, given that an actual Valkyrie (played by Tessa Thompson) exists within the confines of the MCU.

"I would say those flourishes over the top of the Loki theme are very much Wagner," Holt says. "They’re like 'Ride of the Valkyries.’ I wanted people to kind of recall those big, classical, bombastic pieces and I wanted to give that weight to Loki’s character. That was very much a conscious decision to root it in classical harmony and classical writing ... There’s a touch of the divine to the TVA. It’s in charge of everything, so that’s why those big powerful chords [are there]. I wanted people almost to be knocked off their socks when they heard it."

With the main theme in place, Holt could then play around with it in different styles, depending on the show's different narrative needs. Two prime examples are on display in the very first episode during Miss Minutes' introductory video and the flashback that reveals Loki to be the elusive D.B. Cooper.

"What was really fun was [with] each episode, I got to pull it away and do a samba version of the theme or do a kind of ‘50s sci-fi version of the theme," she explains. "I can’t say other versions of the theme because they’re in Episode 5 and 6…or like when Mobius is pruned, I did this really heartfelt and very emotional [take on the theme] when you see Loki tearing up as he’s going down in slow motion down that corridor. It was cool to have the opportunity to try out so many different styles and genres. And it was big enough to take it all. It was a big enough story."

The other side of the story speaks to the old world grandeur of Loki's royal upbringing on Asgard, a city amongst the stars that eventually found its way into Norse mythology.

"I went to a concert in London three years ago and I heard these Norwegian musicians playing in this group called the Lodestar Trio," Holt recalls. "They do a take on Bach, where they’re kind of giving it a folk-y twist … [They use] a nyckelharpa and a Hardanger fiddle — they’re two historic Norwegian folk instruments. I just remembered that sound and I was like, ‘Oh, I have to use those guys in our score.’ It seemed like the perfect thing. I was like, ‘Yes, the North/Norwegian folk instruments.’ It just felt like it was the perfect thing for his mother and Asgard and his origins."

That folk-inspired sound also helped shape the music for Sylvie (played by Sophia Di Martino), a female variant of Loki with a rather tragic past. "Obviously, we’ve seen in Episode 4 what happened to her as a child," Holt says. "I just feel like she’s so dark. She’s basically grown up living in apocalypses, so she has that Norwegian folk violin sound, but her theme is incredibly dark and menacing and also, you don’t see her. She’s just this dark figure who’s murdering people for a while."

And then there were all the core members of the TVA to contend with. As Holt mentioned above, fans recently lost Agent Mobius (Owen Wilson), may he rest in prune. We mean peace. What? Too soon? During a recent interview with SYFY WIRE, Loki head writer Michael Waldron said that he based Mobius off of Tom Hanks's dogged FBI agent Carl Hanratty in 2002's Catch Me If You Can.

"There’s this thing that he loves jet ski magazines," Holt says. "I had this character in my head and then when I saw Owen Wilson’s performance, I was like, ‘Oh, he’s actually a lot lighter and he plays it in a different way from how I’d imagined.’ But I was listening to Bon Jovi and those slightly rock-y anthemic things. ‘90s rock music for some reason was my Mobius sound palette."

Mobius is pruned on the orders of his longtime friend, Ravonna Renslayer (Gugu Mbatha-Raw), after learning that everyone who works for the TVA is a variant who was unceremoniously plucked out of their original timelines. A high-ranking member of the quantum-based agency, Renslayer has a theme that "is quite tied in with Mobius and it’s like a high organ," Holt adds. "It doesn’t quite know where it’s going yet. But yeah, we’ll have to see what happens with that one."

Wilson's character isn't the only person fed up with the TVA's lies. Hunter B-15 (Wunmi Mosaku) also became disillusioned with the place and allowed Sylvie to escape in the most recent episode

"Hunter B-15 has this moment in Episode 4 where Sylvie shows her her past, her memories. I thought that was a really powerful moment for her," Holt says. I feel like she’s such a fighter and when she comes into the Time-Keepers and she makes that decision, like, ‘I’m switching sides,’ so her theme is more like a drum rhythm. I actually kind of sampled my voice and you can hear that with the drums. I did loads of layers of it, just like this horrible sliding sound with this driving rhythm underneath it. So, that was B-15 and then her softer side when she has her memory given back to her."

Speaking of the Time-Keepers, we finally got to meet the creators of the Sacred Timeline...or at least we thought we did. Loki and Sylvie are shocked to learn that the red-eyed guardians of reality are nothing but a trio of high-end animatronics (ones that could probably be taken out by a raging Nicolas Cage). Even before Sylvie manages to behead one of them, something definitely feels off with the Time-Keepers, which meant Holt could underscore the uncanny valley feeling in the score.

"When they walked in for their audience with the Time-Keepers, it was like this huge gravitas," she says. "But you look up and there’s something a bit wrong about them. I don’t know if you felt that or if you just totally believed. You were like, ‘Oh, this is so strange.’ I just felt like there was something a little bit off and musically, it was fun to play around with that."

Holt is only the second solo female composer to work on an MCU project, following in the footsteps of Captain Marvel's Pinar Toprak. Her involvement with Loki represents the studio's growing commitment to diversity, both in front of and behind the camera. This Friday will see the wide release of Black Widow, the first Marvel film to be helmed solely by a woman (Cate Shortland). Four months after that, Chloé Zhao's Eternals will introduce the MCU's first openly gay character into the MCU.

"I just feel like it’s an honor and a privilege to have had that chance to be the second woman to score a thing in the MCU and to be in the same league as those incredible composers like Mothersbaugh and Alan Silvestri. They're just legends," Holt says. "Another distinctive thing about [the show] is that all the heads of department are pretty much women. Marvel are showing themselves to be really progressive and supportive and encouraging. I applaud [them]. Whatever they’re doing seems to be working and people seem to be liking it as well, so that’s awesome."

Holt's score for Vol. 1 of Loki (aka Episodes 1-3) are now streaming on every music-based platform you could think of. Episodes 1-4 are available to watch on Disney+ for subscribers. Episode 5 (the show's penultimate installment) debuts on the platform this coming Wednesday, July 7.

Natalie isn't able to give up any plot spoilers for the next two episodes (no surprise there), but does tease "the use of a big choir" in one of them. "Episode 6, I’m excited for people to hear it," she concludes. "That’s all I can say."