irving berlin’s “let’s face the music and dance” is a familiar and classic older love song, full of swing influence and 1930s jazz syncopation. the titular lyric in question is used to suggest that while there may be trouble ahead, right now, the lovers are here together--so they’ll face the music and dance. HOWEVER, without context, the lyric could be taken with a slightly darker tone, the phrase about facing the music turns into the common saying at the end of a story where the criminal finally gets his due. but then to dance. to dance to the music and police waiting for you, to face the consequences of previous actions, to go out with a song. in this essay i will--
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I love talking with people about just how fucking hard it is to draw human faces. This was totally not brought about by trying to draw someone in my animation sketchbook and failing miserably but now I have to commit to the fucking bit and might as well just start digging my own grave.
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Fred Astaire & Ginger Rogers: Let's Face the Music and Dance
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It’s so fucked up how tiktok culture has made clout-poisoned people turn the public into content, every day I see people minding their business have their entire faces put online for thousands of likes, a couple kissing on the train, a lady dancing across a cross walk, a guy nodding his head to the music at a club, a lady buying a banana at the store, ring camera footage of the neighbors kids being stupid. Just let people live jfc
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Character idea that I had at some point: A dance teacher who had to give up his own highly promising career as a performer after an injury, and now makes his living giving lessons to children. He comes off as stern, serious, and frighteningly strict, and even some of the parents have a hard time believing that the kids genuinely like him and enjoy the lessons. Which, to be fair, are frightening to watch with no context of what this is about.
The children go through their practices with downright eerie, automation-like, coordinated synchrony, with stern and focused looks on their faces, while the teacher circles them, observing and correcting, brandishing his cane like a weapon and every once in a while dramatically lamenting about how "you little vermin can't do anything right", and occasionally the music stops and the only sounds coming from the studio are of kids running and screaming while their teacher bellows about teaching them a lesson.
This, however, is all just method. He started the first lesson with the children by proposing a game: How about they play flea circus, where he is the cruel evil ringmaster and they are all his poor suffering little fleas. One of the girls starts crying, protesting that she doesn't want to be a flea. Well, how about mice? Mice are cute. The children accept these terms, and ever since they've spent dance lessons playing Evil Circus.
For reasons beyond adult comprehension, children of a certain age really love playing pretend in a setting where everything is Dark And Horrible And The Worst, and Evil Mouse Circus is exactly that. And whenever he picks up that the kids are starting to get too genuinely nervous or agitated, that's when he goes "that's it I'm going to beat all of you" which is their cue to take a break to run around screaming, while he chases them. He won't catch them and isn't even trying to, the kids just need to let the nervous energy out.
It looks horrible to an outside observer, but the kids are having an excellent time playing circus mice.
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