#poignant songwriting

[ranjith11]

Harmonies of Heartache: Interpreting 'Fallen' by Proof Of Burden

Welcome to our channel! 🎶 Immerse yourself in the powerful and emotive world of "Proof Of Burden - Fallen (with Lyrics)." 🎵 Join us as we journey through this captivating musical masterpiece, adorned with poignant lyrics that touch the depths of the soul. 🌌 Harmonies of Heartache: Interpreting 'Fallen' by Proof Of Burden

[mathewbaron]

Harmonies of Heartache: Interpreting 'Fallen' by Proof Of Burden

Welcome to our channel! 🎶 Immerse yourself in the powerful and emotive world of "Proof Of Burden - Fallen (with Lyrics)." 🎵 Join us as we journey through this captivating musical masterpiece, adorned with poignant lyrics that touch the depths of the soul. 🌌 Harmonies of Heartache: Interpreting 'Fallen' by Proof Of Burden

[musicrunsthroughmysoul]

I'd feel like it'd be controversial to say I don't also love Kirsten Adamson's cover of this song, but this version is so far my favorite cover of this song that I've found. It gets an A-fucking-plus for being done in the cover artist's individual, creative, unique style (as does Kirsten Adamson's version), and honestly I haven't really found any other covers of this song that accomplish that, as well, making a truly worthwhile cover.

[stanley50]

'You've Got a Hold On Me' A song written and recorded in my home studio in Brighton UK. This ditty is one of many songs I've written over the years. Hope you like it! If you do I'd appreciate a 'like' and a 'share/reblog'. Thanks Mark

[eggsworthy]

Feist, "Let It Die" - September 17, 2024

[delicatebarness]

the hard launch

Pairing: Actor!Bucky Barnes x Singer!Reader

Summary: You and Bucky have been secretly dating for a few years, and it's finally time to tell the world.

Warnings: Fluff.

Word Count: 725

Masterlist | Support: Ko-Fi

A/N: I love them. - Please feel free to leave feedback, you know I love hearing your opinions. - B

Tags: @princesscore-angel | @msanimeotaku181

Everything Tags: @hallecarey1 | @pattiemac1 | @uhmellamoanna | @scraftsku35 | @ozwriterchick

The world knew James ‘Bucky’ Barnes as the brooding, captivating actor who brought characters like The Winter Soldier, to life on the big screen. However, the world didn't know that the man behind the character had been holding a secret close to his heart.

To that same world, you were known as the singer-songwriter whose voice melted hearts with lyrics that spoke of hidden sorrows and forbidden love. Your latest album has taken the world by storm. It climbed to the top of the charts, with each song more poignant than the last. Yet, behind your public persona, you lived a secret life: one shared with Bucky Barnes.

You had met Bucky at a charity event– a glitzy Hollywood soirées, filled with flashes toward fake smiles and whispers behind champagne flutes. You had agreed to perform your latest single, your voice called to Bucky like a siren’s call. The pair of you talked, laughed, and exchanged numbers as a professional courtesy. However, as the weeks turned into months, your text messages turned into late-night FaceTime calls, which shortly turned into stolen weekends away.

The relationship was a guarded secret, known only to a select trustworthy few. There were suspicions, of course, throughout the tabloids and your respected fanbases. As things between you and Bucky grew more serious, paparazzi photos of Bucky slipping out of your apartment at odd hours, and mentions of his eyes lit up when your songs played in the background of interviews. 

But, neither one of you confirmed anything, you relished in the intimacy of your private world. 

That was until, your new single, “End of the Line” was about to be released. A heartfelt ballad about a secret love, cherishing stolen moments, and the bittersweet beauty of hiding. You suggested to Bucky that should star in the music video, but at first, he hesitated. 

“Are you sure about this?” he asked you, his brow furrowing as he held your gaze. “This is a big step.” 

Taking his hand, your fingers interlocking with his. “I am, Buck. We’ve been hiding for so long. I want the world to see our love. Plus, the song is ours, it’s about us. Who else could bring it to life the way you can?” 

The way your passion for music mirrored his own for acting, he saw the fire in your eyes. And, he agreed. 

~

Directed by a close friend to you both, who already knew your secret, the shoot was an exercise in restraint and release. Set in a secluded cabin, surrounded by nature, the scenes were tender. They were filled with longing glances and gentle touches. Your real emotions poured into your performances, the chemistry you shared with Bucky was undeniable and electrifying. The camera captured your unspoken love as you danced in the moonlight, and shared whispered secrets.

During one intimate scene, he whispered, “Are you nervous about how they’ll react?” 

You looked up at him, your eyes shining with unshed tears. “A little, but we’ve come this far together. No matter what happens, we’ll still have us.” 

He brushed a strand of hair from your face as he smiled down at you. “Till the end of the line.” You echoed his words softly back to him. 

~

Shockwaves were sent through your fanbases when the video was released. The cinematography was stunning and raw, unfiltered emotion haunted the song. Your secret was out, and it captivated the world. Instead of the scandal you had feared, the response was overwhelmingly positive. 

Fans and critics alike praised the authenticity of your love and the bravery you both had shown by sharing something incredibly personal to the world. 

~

The ‘hard launch’ was a success, and as you stood on stage at your next concert, you sang the song live to a crowd for the first time. The crowd erupted in applause as Bucky appeared on stage behind you. Turning in confusion, your voice trembled slightly with emotion as the love of your life ran toward you. 

The second he reached you, he took your face in his hands and pulled you into a kiss. Right there in front of thousands, sealing your love in the spotlight. He whispered against your lips, “I love you, till the end of the line.” you smiled, repeating the words back to him as tears of joy streamed down your face. 

---

Masterlist | Support: Ko-Fi

[selamat-linting]

inspired by me listening to sza and realizing some of her lyrics are eerily fitting to at least one other person and two characters and they all share the same zodiac. insane

zodiacs arent real except for whatever scorpios got going on

[ourpickwickclub]

The Retropop review of Bouquet is so nice and objectively fair. He gets it.

https://retropopmagazine.com/gwen-stefani-bouquet-album-review/

On 2020’s Let Me Reintroduce Myself, Gwen Stefani declared she’s ‘still the original me’, but four years later the singer – who scored a run of hits with No Doubt before launching a chart-topping solo career – reemerges as a ‘70s yacht rock siren on her fifth LP, ‘Bouquet’.

A collaboration with country producer Scott Hendricks, the 10-song LP sees the hitmaker ditch the ska, electro-pop and hip-hop sounds of her previous releases in favour of a more organic direction, resulting in her most personal body of work to date.

It’s only fitting that first single Purple Irises features Gwen’s husband, Blake Shelton, as her duet partner. Not only one of the earliest songs to emerge from the album sessions, the autobiographical track journeys through her early relationship insecurities to the pair’s life together on their Oklahoma ranch.

Lead single Somebody Else’s is something of an outlier on the record, with the storming anthem bidding farewell to the past with no uncertainty. A sure-fire radio hit, it stands out as one of the strongest tracks in her repertoire and a line in the sand as she proclaims: ‘Leaving you saved me, my God / Look at me blossom.’

The botanical theme runs through the record, with the title song and Marigolds early highlights that celebrate their connection, as she sings on the former: ‘Look at the life we made / We’re makin’ our own bouquet.’

It’s a metaphor for the album as a whole, with each song reflecting a particular moment, mood or emotion; Empty Vase is a tribute to Shelton filling her world with life and colour, while Pretty sees Gwen compare her inner glow and contentment to a dazzling diamond ring.

The understated Reminders is among the singer-songwriter’s most poignant lyrics, as she reflects upon the moments of happiness that enrich her day-to-day life, as the slow-burning Swallow My Tears sees her set aside past heartbreaks and embrace the present wholeheartedly.

"No doubt a jarring listen for longtime fans who have come to expect a signature sound from Gwen, it’s nonetheless one of the strongest releases of her career to date and further proof of the diva’s versatility in tackling a spectrum of genres with ease. It may not be her most commercial offering, but ‘Bouquet’ will surely be remembered as an essential chapter in Gwen Stefani’s decades-spanning and ever-evolving career."

A great review! Thanks for sharing it.

— M

[filmofhybe]

a song from me to you

pairing : park jeongseong x reader Genre : Producer x singer , angsty , ex to lovers , fluff warnings : swearing , kissing 1196 words

a/n : been thinking about producer Jay after he was listed in the credit of sweet venom. So proud of my boy and I hope this comeback would be a success as always!!

> masterlist of all my work

© filmofhybe on tumblr — do not copy , translate or share.

Y/n Y/l/n, a talented singer-songwriter who had a gift for pouring her heart and soul into her music, creating songs that resonated deeply with listeners. Y/n’s career had taken off when she met Jay, a skilled producer who believed in her talent and helped shape her sound.

Y/N and Jay not only shared a professional relationship but also a romantic one. They were deeply in love, and their connection fueled their creative collaborations. Jay is always willing to guide y/n through during recording, praising her from time to time like a good boyfriend he is. Staying up late just to produce songs that are now top hits of hers, supporting her through everything. Both of them were so thankful for each other.

However, as time went on, the pressures of the industry and their personal lives began to strain their relationship. As time goes on, both of them eventually realize their ideas aren’t colliding together anymore, nothing seems to be working between them. As stress and disagreements starts involving constantly, they decided to part ways both personally and professionally. Leaving piles of unfinished lyrics and production behind.

After their broke up, Y/N had written a poignant song for Jay, a heartfelt tribute that mirrored the love they once shared. But she had never released it, believing that without Jay's production, the song wouldn't reach its full potential. It remained hidden away, a secret piece of her heart.

“So have you ever have a song you wanted to release so badly but just can’t?”

Currently, an interviewer is asking y/n about the unreleased song during an interview.

“yeah. I always will have. And it will always be that song.”

“And why’s that..?”

“I wrote it for someone, or should I say ex now. I scrapped it, not because it wasn’t nice or it brought bad memories. Is just I think without him helping me produce it, it just won’t be the same as my other songs. And it just won’t hit different.”

Y/N poured her heart out, explaining that she hadn't released it because she felt it needed Jay's touch to truly capture its essence.

“I feel like I know who it is…”

“I think everyone knows. He really means the absolute world to me. I’m just mad the industry broke us apart.”

“If you guys ever cross path again, would you release it?”

“Absolutely. 100% actually. Because this song can imply with anyone if you are still so In love with that person your no longer with.”

Upon hearing y/n’s words, Jay found himself overwhelmed with emotions. He realized the depth of Y/N's feelings and the impact their collaboration had on her music. They realized none of their music would be perfect without each other. They both needed each other without realizing it until one spoke up. Filled with hope, Jay decided to reach out to y/n, hoping to rekindle their relationship and artistic partnership.

A few days passed, y/n was initially surprised by Jay's contact

“Hey I saw your interview.. it was really meaningful.”

“haha thank you..”

“I know it’s about me. I’m willing to risk everything I’m currently doing just to work with you again. Not just work but to continue our love again. You don’t understand I only work best with you.”

“I know.. you’re the only person that gets me. If I’m being honest with you, my songs aren’t the even close to being the best without your producing. I hate how we thought us separating was a good decision.”

“Baby you know I’ll always wait for you, for you to reach out once again. So I can produce more songs and memories with you.”

“Then what are you waiting for? Come over tomorrow I miss you too much..”

they both took some time to reflect on their past and the love they shared. After careful consideration, she decided to give it another chance. She believed in their connection and the magic they created together.

A few days later, Y/N and Jay found themselves back in the studio, working side by side once again. There was a renewed sense of purpose and understanding between them, having grown individually during their time apart. They poured their hearts into their music, creating an atmosphere of creativity and passion. The studio was once again filled with laughter, pictures and Polaroids of each other, kissing and cuddling section through out, and jay’s praises filled the air once again.

“Baby you’re doing really good, I just need your voice to be more high pitch there alright? You’re doing a good job baby girl.”

“Ugh imma die from all these notes your telling me to do..”

“The other producers must be going easy on you because I ain’t, now focus.”

“Kisses for reward?”

“Always my love..”

“You know you’re so good at producing sometimes is scary.”

“And you’re so good at writing lyrics it scares me sometimes.”

“Stop making me Flattered” I mumbled against his neck. Arms wrapped around his neck as I cuddle into his lap. Watching him focus on fixing the track.

“I’m not I’m just being serious love, you’re really good at it.. the lyrics are beautiful. I can’t believe this song is about me and I’m producing it.” As jay looks at you with much adoration in his eyes

“Everything about you is beautiful that’s why the lyrics are always. And with you producing it, it makes it ten times more better!” You laughed and before you know it jay kisses you deeply before mumbling a small “thank you” against your lips.

And finally, the day arrived when Y/N felt ready to share the song she had written for Jay with the world. Titled "A Song from Me to You," it was a beautiful testament to their love and the journey they had been through. Y/N's heartfelt lyrics, combined with Jay's personal touch as a producer, made the song truly extraordinary. She was so thankful for Jay, so grateful that she can finally share this song she once scrapped to the word.

When "A Song from Me to You" was released, it made waves in the music industry. Listeners were captivated by the raw emotion and the undeniable chemistry between Y/N's vocals and Jay's production. The song struck a chord with people from all walks of life, touching their hearts and reminding them of the power of love. After a year of hard work, the song was now a top hit once again.

Y/N and Jay's reunion not only brought them personal happiness but also propelled their careers to new heights. The success of "A Song from Me to You" opened doors for more collaborations, making more memories in the future, loving each other and them continuing to create music that resonated deeply with their fans. Y/n and Jay's journey was a reminder that sometimes, second chances can lead to beautiful outcomes, both personally and professionally.

And I was delighted to know that jay and the world can hear the lyrics of “a song from me to you.”

taglist : @surefornext @spilled-coffee-cup @skepvids @amymyli @in-somnias-world @okjaeminn @nonotwice1 @thinkmyg @blubbfsh

Reblog , comment or dm to be on my perm taglist !

networks : @k-films @k-neighborhood @k-labels @kflixnet

[moineauz]

𝐓𝐇𝐄 𝐒𝐔𝐍𝐁𝐈𝐑𝐃'𝐒 𝐒𝐈𝐗 ( rockin'roll ! )

"and if you don't love me now, you won't ever love me again."

★ 𝐓𝐇𝐄 𝐒𝐔𝐍𝐁𝐈𝐑𝐃'𝐒 𝐒𝐈𝐗 / the 70's rock band that took teyvat by storm

ISSUE 01. Everyone knows who The Sunbird's Six were. Their songs revited through the nations: tender and ethereal with each poignant verse. Yet, the group of six showed they could sing verses of ardour while thirsting with unrequited rage that tore souls apart in one sitting. Their debut and only album ‘Vermilion’ was hypnotic and utterly divine. It was a mosaic of winsome pieces that were put together to make one gut-wrenching album that you ultimately ugly cry to.

SO WHO WAS THE SUNBIRD'S SIX? Comprised of four founding members from Mondstadt, one from Snezhnaya, and the other from Fontaine, we get a cast of Teyvat's most talented musicians. Specifically, Diluc Ragnvindr as lead guitarist, songwriter and vocalist and ( Name ) St. Laurent as lead vocalist and songwriter. The duo bewitched the throng and perhaps themselves with both their flaming allure and vocals. Youth of the 70's wanted to become ( Name ) with all her charm and freedom while some fans died to get a strand of Diluc's hair alone. The other members include Jean Gunnhildr on keys, Rosaria on drums, Kaeya Alberich as bass guitarist, and 'Childe' as rhythm guitarist.

ISSUE 02. Yet, as The Sunbirds Six became a renowned household and rock name, their disbandment remains unknown- until now.

★ 𝐏𝐑𝐄𝐕𝐈𝐄𝐖 𝐎𝐅 𝐓𝐇𝐄 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐖𝐈𝐓𝐇 𝐓𝐇𝐄 𝐒𝐔𝐍𝐁𝐈𝐑𝐃𝐒 𝐒𝐈𝐗

Kaeya Alberich ( bass guitarist ) : Ha! We were good... too good.

Rosaria ( drummer ) : Back then- things were simpler. You wanted to play? Grab an instrument and fucking play. That was our original motto... until things started getting messy. And by messy I mean Diluc and Childe. Maybe even ( Name ) too. *Sighs* Actually, all of us. But, you can't write an album like 'Vermilion' without going through all that shit.

Jean Gunnhildr ( pianist ) : When the four of us first came together, we were decent. We all loved playing- some more than others- but we were okay! *Smiles slightly* But, if you're going to go beyond the walls of the Ravginder basement- we needed more.

Childe ( rhythm guitarist ) : Do I sit here? *Laughs* Oh okay. When I was invited to join the band- I said, "Okay, my partner will join too." and of course, there was zero objection cause you don't find a musician like ( Name ) anywhere... a small part of me selfishly wishes that she [ ( Name ) ] said no when I asked. *Laughs* But who am I kidding? I'd go through all that again and again... even if it meant dealing with Diluc-

Diluc Ragnvindr ( lead guitarist ) We only needed another vocalist, a female one. So, we found one.

Kaeya : I was the one who told him we needed a female vocalist and I found her and Childe.

Rosaria : Rockin' roll is not serious till you really add whatever emotions ( Name ) had in the mix- and that's exactly what she did.

( Name ) St. Laurent : *Smiles sweetly* It was ugly, so ugly. However, bygones be bygones. It was only rockin' roll.

Diluc : It was not just rockin' roll.

★ ARTISTS AND OTHERS. Diluc Ragnvindr, 'Childe' or Ajax, Jean Gunnhildr, Rosaria, Kaeya Alberich, Zhongli, Lisa, Neuvillette, Albedo Kreideprinz, Xinyan, Pantalone, Rosalyne Lohefalter and more.

UPDATES AND POSTSCRIPT. Updates at least once a week (subjective to change). Female pronouns and vocal references.

SIDE COMMENTS. I love rock so let’s combine both. (If you genuinely understand the song reference in the beginning you are my friend now). Inspired by Fleetwood Mac, Stevie Nicks, Florence Welch, the ambient sounds of the 90’s (Mazzy star and Mojave 3), Daisy Jones & the Six and of course the 70’s. Warnings will be in each chapter.

WHAT DO THEY SOUND LIKE? Here is a playlist of the previous artists and more to give you a feel!

★ 𝐕𝐄𝐑𝐌𝐈𝐋𝐈𝐎𝐍 / the album , track 01

expect occasional changes to the track as the story develops

PREFACE — who are you? WILD CHILD — don't stop the music!

Vermilion

Stay Around (or not)

Reverie

Don’t Look Back Now

Runner Up

Tell Me You Love Her

Bright, Young, Woman

The Voices

White Lies

Visceral

Underneath My Skin

Valberry

Gone to Waste

Shoot Your Shot

From Afar

Dawn’s Shadow

In Leather and Faux Fur

Two for Two

My Monoceros Caeli

Deep Six

INWARDS NOT OUT — tell me, how have you been honey?

TAGLIST. @aphrodict @tragedy-of-commons @tipheeweefee @nyoomiin @https-mika @stvrdew @kascar-chronicle if you are interested in becoming part of the taglist, then drop by through an ask!

[botanic-eden]

Songs about Ireland / In Irish that I would recommend EVERYONE to listen to.

Firstly, we have Sinéad O'Connor's song 'Famine'. Sinéad was an Irish singer-songwriter and a prominent activist. A very interesting figure, who wrote beautifully poignant songs on issues Ireland faced in the 90's in particular, but these songs still remain very relevant today. This song deals with the truth behind the so-called famine in Ireland, and has been deemed controversial since Sinead first performed it.

Of course, next we have Hozier. 'Butchered Tongue' is a wistful song about the decline in the Irish language and Irish culture. It also touches on the pitchcapping of Irish Rebels during the 1798 rebellion against the british. Yes I cried when hearing this song for the first time.

Another Hozier song, that actually surprised me a lot, is 'De Selby (part 1)'. This song is the first time I have heard the Irish language in a song by a globally popular artist. The idea that this song was played, that Irish was played across the world still amazes me. See my translation for this song here. This song is incredibly beautiful.

A band that sings in Irish is Dysania, and I would really recommend their song 'Lasú Croí'. The song slaps, and they are incredible for keeping our language alive through modern music. I'd also recommend 'Bothar Briste'.

Another band that sings as gaeilge is IMLÉ. I'd recommend 'Éad' and 'Go Deo, Go Deo.' Their songs are incredibly moving, 'Go Deo, Go Deo' kinda reminds me of a calmer version of 'Army Dreamers' by Kate Bush.

'The Town I Left Behind' is also a classic song that practically every Irish person knows. I would personally recommend The Dubliner's version. As well as this I would recommend listening to 'Grace', and 'The Foggy Dew'. All these songs deal with Ireland's history in some way - from the troubles to the 1916 rising.

'Isle of Hope, Isle of Tears' is another well-known song that I particularly remember learning in primary school. The Irish-Americans might be interested in this one - it's a song about the mass immigration to America during the Famine.

[simchanel]

STARBUZZ EXCLUSIVE 💫!

Lennon Greenwood Drops Heart-Wrenching New Album as Divorce Finalizes!

In a whirlwind of emotional turmoil, beloved singer-songwriter Lennon Greenwood has released her most personal album to date, titled Gutted, just as her high-profile divorce from actor Jesse Foster becomes official. The album, filled with raw emotion and poignant lyrics, is already making waves in the music industry, with fans and critics alike praising its authenticity and depth.

Greenwood, known for her soulful hits and powerful stage presence, has channeled the pain and heartbreak of her recent split into a musical masterpiece. The album covers themes of betrayal, loss, and resilience, offering listeners a glimpse into her tumultuous journey over the past year.

The timing of the album’s release has only added to its impact. As news broke of her finalized divorce, Greenwood’s poignant lyrics and haunting melodies in Gutted provided a cathartic outlet for both the artist and her fans. Songs like “Midnight Confessions” and “Crossed Lines” are already being hailed as some of her best work, resonating deeply with anyone who has experienced the sting of a broken relationship.

Sources close to Greenwood reveal that the creative process for Gutted was both therapeutic and challenging, with the artist pouring her heart and soul into every track. Despite the personal pain, Greenwood has emerged stronger, using her music as a powerful means of expression and healing.

Stay tuned, StarBuzz readers, as we continue to follow Lennon Greenwood’s journey. One thing is for sure: this incredible artist has turned her personal heartbreak into a triumphant musical comeback, reminding us all of the power of resilience and the beauty of raw, unfiltered emotion.

[my-dark-happy-place]

War isn't murder by Jesse Welles

This song is incredible and it hasn't left my head since it came out. There is so many haunting and poignant lyrics in there. Jesse Welles is an incredible songwriter and artist.

[mastermindmp3]

Well, we've finally reached it. The song that made me first start crying on my initial TTPD listen.

There's so much to this song, so much about how we use up and discard the women who make culture. Clara Bow is about the women who get held up as touchstones posthumously / very late into their careers. Swift has stated that she pulled from actual examples used about her, but I can think of so many more that could've been pulled in board rooms.

You look like Gwen Stefani, you look like Brittney Spears, you look like a Spice Girl. I can think of so, so many examples, beyond the ones who are listed in Clara Bow. We, as in the public consciousness, forget the women who shaped the imagery we love. Billie Holiday shaped jazz and pop, Anna May Wong as a pivotal film actress in Hollywood's earliest days, and Sister Rosetta Tharpe for rock and roll. For a very long time, any plus size woman trying to get into music was compared to Adele, and now it's Lizzo.

Young women, especially those in the media industry, are constantly, constantly inundated with women we are supposed to be like, but not entirely. We're supposed to be the better version of them, damned with faint praise. A line that has, in hindsight, stuck out to me was "You look like Stevie Nicks in '75, the hair and lips," because... Why '75?

Obviously, part of it is for the rhyme scheme. But the song is told entirely in quotes, something someone said. Swift looks like Stevie Nicks in '75, because she looks like Stevie when she was young, when she was "new," when she was dazzling.

That's not to say that Stevie Nicks isn't a powerhouse now. She still performs, still writes. She performed this year! In 2024! And yet, she will forever be frozen in '75, when she was with Fleetwood Mac and was releasing their self-titled album, in the throes of writing Rumorus. ( side note: please read the history of Rumours writing process. )

It's an endless cycle: women's ideas are taken, consumed by the public, and when only the bones remain, they're used to compare.

"Promise to be dazzling" is the ending line of the chorus - and it's both a beautiful, poignant reminder that the women listed in the song have captured audience's hearts and minds, and a threat. Promise us that you'll be dazzling, you'll forever be sixteen, forever hold up these ideals and stay the exact same.

I think Swift said it best herself, "There's this thing people say about celebrities, that they're frozen at the age they got famous." The demand is: promise to remain the newest thing, and we will always love you.

The truth is that, well, it's not possible. The promise is designed to not be kept. When public opinion turns on these women, it's to detract from their legacy of art.

Getting older is not a curse, it's a gift. We have so many public figures who didn't get that gift, who are frozen at 18, at 22, at 27. And yet, the societal demand is that women stay young, women can only be beautiful, can only be successful if they are young.

A couple of other songwriting notes.

"Did you know you'd be picked, like a rose?" Another question from imaginary men in meetings; did you know, you would be picked to be the new great thing? Did you know, that you too will begin to wilt under the pressure?

I love the repeats of "I'm not trying to exaggerate, but I think I might die if it happened to me / I might die if I made it." Because it relates back to that idea of how caustic fame is. How everyone around the Narrator (very much Swift, in this case) can see how she's being affected by it, and are indirectly praising her for being so strong. Neverminding that this entire album is a statement, a saying of "fame has drained me so, please let me off this pedestal."

But, didn't you know? "[You're] flesh and blood amongst war machines / You're the new god we're worshiping."

That final verse - You look like Taylor Swift, in this light, we're loving it. You've got edge, she never did. The future's bright, dazzling. Her delivery of the lines is soft, but the intent is clear. It doesn't actually matter who the imaginary board director is addressing - it doesn't matter which of the new generation of pop artists look, sound, act, are like Taylor Swift.

What matters, I think, is the warning. Don't let them do this to you. Do not let them tell you that youth is all you have, do not let them make you follow the mold of women before you, that you may only ever be bejeweled right now.

The future, too, is dazzling.

[stanley50]

The lightning on that dusty road didn’t make a sound

The morning didn’t do too much for me

Looking forward to the night time

And a little rest for what it was worth

And the sun slowly died and then we went our ways

I had walked down on the sunny side but didn’t see no one

As I walked the fallen leaves were lying 

but they made no sound

The wind was crying out and the clouds were lying low

That give me that one last goodbye

Just let me take one rest, I won’t trouble you because I’ll be on my way

There is nothing here that wants to keep me and nothing here that makes me want so stay

To leave today may not be right it could be a losers way

The silence that now falling could be something that could be going to stay

Just one more look, a smile and I don’t care what they may say

Oh I don’t need no more time

[foxykatie425]

Jedi: Fallen Order - The Musical (Act 1)

Wait, hear me out…

Alright look, I am fully aware that trying to turn Jedi: Fallen Order into a musical is a dumb idea. I am fully aware that Star Wars in general would probably not benefit from the musical treatment. And I am fully aware that even when people hear me out, there’s not a single human on this earth that really cares or has interest in this idea. And honestly, why should they? It’s not even like I have songs to offer, because despite my music degree, I am a really lousy songwriter!

However, all that being said, I really enjoy the problem-solving challenges that come with adapting a story for a very different medium than originally intended! And when I get my stupid ideas, I want to share them and get them outta my head! So while I have a captive audience, I’m gonna share some of my main ideas for Act 1 of Jedi: Fallen Order - The Musical! If anybody actually cares to read, please like this post, leave comments, reblog or whatever so I can find my drive to finish writing out my main ideas for Act 2! (And if you are not interested in reading 4500 words of my incoherent brainstorming, go ahead and keep scrolling. I will not be offended!)

Act 1

To start the show off, I think it would be somewhat poignant if, at the end of the overture, a single light comes up on Cal and he says the line “A long time ago in a galaxy far, far away…” before immediately transitioning into Bracca.

I imagine the introduction to the scrappers guild to be a Newsies style dance number, although perhaps not quite as happy.

The opening scenes on Bracca need to lay the foundations for the audience: who were the Jedi? What happened to them? And what is the current state of the galaxy? We have to assume, to an extent, that the audience has no background knowledge of Star Wars.

We also need to establish Cal’s current state of mind- fearful and alone. His only goal is to stay alive. He doesn’t trust anyone, but at the same time he does have friends that he cares about, such as Prauf.

Speaking of Prauf, odds are he’d be adapted into a human or humanoid character for this show. There’s nothing saying his character has to be an Abednedo, and it would be a lot of work to turn an actor into this alien character when said character is killed very early on. The actor would likely join the ensemble for the remainder of the show.

Let’s talk about Cere. Not much about her character would need to change, but without video game restraints confining us to Cal’s perspective, it becomes easier to flesh out Cere’s character arc a bit more. We can have the chance to see inside her head, and we can also have one or two scenes where she has the stage to herself.

Cere’s backstory can also be expanded on. Not only would I have her tell the story of how she tried to lure the imperials away from Trilla a bit earlier in the narrative, I would also have the scene play out onstage from Cere’s perspective so the audience actually gets to see young Trilla (and it foreshadows later when we get to see the exact same scene from Trilla’s perspective). There could also be two or three scenes throughout the first act where we get to see more flashbacks of Cere being a master. Perhaps as she gives advice to Cal, she reflects on times she had to give the exact same advice to Trilla (which could also have the added side effect of making Cal and Trilla interesting foils to each other).

Now Greez you could portray on stage a few different ways. I probably wouldn’t turn him into a humanoid character like with Prauf, because 1) he’s in the show for a lot longer, and 2) if all of your main characters are human it makes it difficult to portray the setting as “a galaxy far, far away.” For an alien species that’s meant to be so short in stature, you could potentially do him as a puppet, kind of like the way Olaf is done in Frozen the Broadway Musical, but I’d probably lean away from that because with a story as serious as this one, some strong emotions could get lost in translation. More likely, I’d try to cast an actor who is shorter in stature (most likely not quite Greez sized, but we just suspend our disbelief) and give him some prosthetic makeup and an extra set of arms that can be puppeted to mimic his real arms. (You might also be able to create his short stature by having the actor on his knees, like Lord Farquaad in Shrek the Musical, but again, you start to risk turning the character into a joke.)

As far as Greez’s character arc, it unfortunately comes off as a bit of an afterthought in the game (aside from the Haxion Brood level) but there is a bit that can be expanded on. He started off accepting Cere’s charter in an effort to pay off his debts, but he eventually comes to believe in her and in her quest. It’s not highlighted very much in JFO because a lot of that growth happened before Cal came into the picture. The most we get to see is his underlying dislike for Cal at the beginning grow into respect and eventually care. In a stage show, his arc would still have to be secondary to Cere’s and especially Cal’s arc, but he could definitely be played as a Han Solo-type character who took a job for money that slowly comes to mean more to him.

You can’t have a Jedi game, or a Jedi musical, without Cal’s best buddy BD-1. Now being a droid, and a very small droid at that, BD-1 would be puppeted onstage by an actor in a similar style to the characters in Avenue Q or Finding Nemo: The Musical. I tend to imagine BD-1 being played by a petite young woman (namely, a dancer) but nothing says it has to be. Since BD-1 doesn’t speak English (sorry, Basic!) it would be a silent role with BD’s beeps and trills being produced by a soundboard, probably controlled by someone in the booth rather than by the actor. However, the actor would bring life to BD-1 through their motions and facial expressions. And despite being a non-speaking and non-singing role, I do imagine BD-1 being front and center in every dance number!

The puppet for BD-1 would need to be lightweight and maneuverable. Due to the distance between the stage and the audience, it would probably need to be larger in scale than BD-1 is necessarily meant to be. It could feature some color changing lights that would likely be controlled by the actor. The entire puppet would be independently controlled by the actor rather than being attached to Cal’s back, however there could also be another version of the puppet that could be strapped to Cal’s back for scenes where BD-1’s absence wouldn’t make sense but a lack of contribution to the scene would make the presence of the actor onstage somewhat awkward (for example, some more personal scenes between Cal and Merrin).

Next character to discuss is Eno Cordova. He would likely have about the same level of involvement as he did in the game, although some bits of his instructions may be altered somewhat to make his quest a little less of a wild goose chase. (I mean let’s be real, he coulda just said “you need an Astrium to unlock the vault, there’s one on Dathomir, go get it.”) He would probably not be a singing role, but he would be portrayed by an actor on the stage, with the hologram effect being achieved by simply highlighting him with a blue spotlight.

Okay, now we get to the bulk of the story and our three main planets: Zeffo, Kashyyyk, and Dathomir. There’s a lot to talk about with these three locations, both individually and collectively, but let’s start with set design. For any show that features as many different locations as this one, you’d be best to have a unit set that doesn’t move that can function as all of those locations. I imagine this show having a large set with several different levels of platforms (it is a “platforming” video game after all) and the primary visual indication that we’ve changed locations would be different colored lights illuminating the cyclorama, the white backdrop at the back of the stage. Likely the choice of color for each planet would match the color of each planet on the holomap in the game (green for Kashyyyk, red for Dathomir, etc). There can also be props brought onto the stage that help indicate a change of setting, such as bringing out Greez’s pilot chair when we return to the Mantis.

As I hinted at before, Cordova in the game basically sends Cal out on a wild goose chase. Yes it’s meant to test him, but ultimately the only one of those three planets where Cal actually retrieves something tangible he needs to complete his quest is Dathomir. Now that works for a video game where there’s things for the player to do along the way, but for a passive audience who is watching rather than participating in the story, there needs to be a better reason for Cal to go to each planet. That’s not to say that Cordova should give him all of the answers, but perhaps there is something that Cal needs to retrieve from each tomb. Perhaps the Astrium comes in three different pieces. Yes, there are two tombs on Zeffo and none on Kashyyyk, but Cordova was here first after all. He wasn’t going to put back whatever pieces he found, but he also didn’t get all of them because he found another Astrium somewhere. Cal knows this because he found that Astrium destroyed in the vault. So he goes to Zeffo and through the Tomb of Eilram only to find that Cordova already took the piece that was there. BD plays the recording where Cordova talks about Tarfull and Kashyyyk, leading Cal to believe Cordova left the piece there and that Tarfull would know where to find it. He goes to Kashyyyk and fights alongside the Partisans, but he is unable to find the piece without Tarfull’s help, so he will have to return when the Partisans find him. Out of other leads, Cal remembers Cordova saying something about Dathomir, so he decides to search there. When he reaches the Tomb of Kujet, he finds that he needs the other two pieces of the Astrium to enter so he can retrieve the third. (Because in this context we can’t really use game mechanics like double jumping as a reason for why we can’t continue.) At the same time, Cere hears about Project Auger being restarted, and they return to Zeffo to search for the Tomb of Miktrull. Beyond this, the sequence of events would largely follow the remainder of the game.

Zeffo would probably be the hardest of the three planets to adapt to the stage because, with the exception of Cal’s confrontation with Trilla, not much really happens there. Much of your time on Zeffo in the game is spent traversing the land and solving puzzles in the tombs, all of which is less than exciting for a passive audience. Some kind of story beats would need to be added to Cal’s time on Zeffo (especially the first visit) that makes up for all the combat and platforming that doesn’t really translate to the stage. The story of JFO already has the slight inconvenience of being largely concentrated in the second half of the game, while in most musicals the first act tends to be longer. (And the game provides a perfect built-in spot for an intermission when Cal gets captured by the Brood, so I don’t really want to change that either.) There aren’t a lot of people for Cal to meet on Zeffo, so you could create a new character(s) and give them their own little subplot, but that runs the risk of creating one too many plot lines for the audience to follow as well as having little impact on the overall story. So more likely you would use that time to teach the audience about the Zeffo and have constant communication between Cal and Cere.

Believe it or not, at one point I considered cutting Kashyyyk entirely. But it’s important to show the early stages of rebellion against the Empire and have Cal get a taste of fighting back. Plus, the Partisans create an opportunity for a pretty fun dance number! However, I probably would cut out Saw Gerrera, simply because the more iconic the character is, the harder it is to translate them to the stage. (Obviously we’re gonna run into that same problem with Darth Vader, but we’ll discuss that when we get there.) Instead, I’d probably single out Mari Kosan as the leader of this group of Partisans, but mention that she is working under Saw. The great thing about Mari is that she’s so minor a character in the game that she can be a completely different character in an adaptation. You might even call her a completely new character with only her name being borrowed from a background character in the game. In this sense, we’d get to see the extremist side of the Partisans through her actions rather than Saw’s, but probably not until Cal returns to Kashyyyk in Act 2. (Also, if it proved necessary for the narrative, you could get away with killing off Mari, something you couldn’t do with Saw.)

I talked about iconic characters not translating well to the stage. Well, let’s talk about Wookiees and Stormtroopers. We certainly can’t go to Kashyyyk without seeing some Wookiees, but we’d want to keep their stage presence to a minimum. Creating their look in a live setting, while certainly possible, is not necessarily easy, and it quickly runs the risk of appearing fake to the point of being distracting, thus breaking the audience’s suspension of disbelief. Stormtroopers, on the other hand, would be a very easy, iconic look to recreate. Too easy, in fact. Despite the fact that they tend to be the butt of every Star Wars joke, the presence of Stormtroopers still needs to be felt as a threat, and that threat can be very quickly undermined if they are overused onstage. Not to mention, the moment you put Stormtroopers in a dance number, it becomes Star Wars Weekends at Disney World. So we’re gonna leave the dance numbers to the scrappers, the Partisans, and maybe the Dathomirians.

Speaking of Dathomir, we have to get there early. Obviously in the game you have the option to go there early on, but you don’t have a story reason to go there until much later. In the game, the crew returns to Zeffo right after they first visit Kashyyyk because Cere gets word of the Empire finding the other tomb. But in this case, let’s say she doesn’t hear about that until after Cal first visits Dathomir. We need to get to Dathomir early because 1) Merrin is far too important a character to be introduced in the second act, and 2) as previously mentioned, the second act is very story heavy and we need to shift some of that into the first act to make it slightly more balanced.

Finally it’s time to talk about Merrin! Her character in the first game was so underused and this adaptation offers the chance to expand on her story. (Although I need someone to hold me back a little, because she’s my favorite character but I need to be reminded that this is not her story. She cannot be a bigger character than Cal or Cere.) Introducing her earlier gives the audience more time to think of her as an antagonist, as they watch her repeatedly reject Cal’s attempts to reach out to her.

Let’s talk special effects, because Dathomir is where that really gets fun. Much of the appearance of Merrin’s magick can be achieved with the use of clever lighting and purposeful staging. Her ability to teleport can be mimicked by having her enter the stage in darkness and then using green lighting and perhaps some fog to illuminate her. Magick flames in her hands can be a combination of lighting and some classic magician props. (Disclaimer: Serious safety precautions would have to taken if we’re considering playing with actual fire though!) And the effects of her magick on her eyes and mouth can be achieved with black-light makeup that is invisible in regular lighting.

Now if there’s one person that tries to convince Cal that Merrin is a threat that can’t be reasoned with, it’s Malicos. As in the game, Cal would encounter this “wanderer” on the path to the Tomb of Kujet. He tells Cal that he was marooned on this planet when he came to study the Dathomirian culture, and that he has been hiding from the Nightsister, who he claims has repeatedly tried to kill him without hearing what he had to say (much like she tried to kill Cal upon their first encounter). Cal offers to help him escape the planet, but Malicos rejects this offer, stating that he has not yet completed his research on the planet (red flag # 1). Cal explains his mission, and Malicos explains that the ruins are surrounded by darkness and the magick of the Nightsisters. He tells Cal that Merrin will throw everything at him to keep him from entering the Tomb, and he tries to convince him that the only way to complete his quest is to kill her before she kills him (red flag # 2). But Cal, beginning to suspect he has ulterior motives, dismisses him and continues on to the Tomb. What Cal doesn’t know yet is that Malicos is also pulling the strings on Merrin’s side and actively trying to pit them against each other in the hopes of solidifying his control over whoever came out on top, as well as to keep them from uniting against him, which he knows would likely happen if his lies to Merrin about the massacre were exposed.

I debated a bit whether I should try to work in the romance between Cal and Merrin. Putting them together in Fallen Order definitely runs the risk of coming off rushed, and the way it was handled in Jedi: Survivor was perfect and probably could not be outdone. However, musicals don’t tend to get sequels (unless it’s Love Never Dies) and especially if we’re expanding on Merrin’s character, you can’t really write her and Cal together without there being sexual tension, and the audience will want to see that resolved, so I guess we’re going for it! (And besides, it’s my musical and I want to!) However, I still want Merrin to be an antagonist for most of the story, and prior to fighting Malicos I don’t want slip into the overused tropes of “he saved her life” or “they had to work together to survive.” The dynamic I’ve come up with instead bears a slight resemblance to Rey and Kylo Ren (cuz let’s be honest, Merrical is everything Reylo wishes it was!). Their first encounter is basically the same as the game, where she tells him to leave and sends the Nightbrothers after him. Take note that when I envision this scene, I have Merrin standing above Cal on one of the higher levels of the set (she had the high ground!). However, I’ve created a new scene between them in Act 1 while Cal is making his way back to the Mantis to return to Zeffo. He stumbles upon her praying to her fallen sisters for guidance, having taken off her hood and cloak. (Metaphorically, it’s almost like he catches her indecent.) Caught off guard and scared, Merrin prepares to defend herself, but Cal shows her that he has no intention of fighting her right now, and Merrin, knowing she wouldn’t win any fight she started in this moment, stands down. This scene gives an interesting visual representation of the power dynamics between the two of them, because where she stood high above him in her first scene, they now stand on the same level, which is made even more interesting if the actor playing Cal happens to be taller than her. Cal explains that he is leaving, but will return, and Merrin proclaims that she will be ready to face him when he does. He tells her about his mission and informs her that the Jedi have been wiped out, but importantly it never comes out that she believes the Jedi killed her family. They sing a counterpoint duet detailing their differing points of view, with Merrin stubbornly refusing to believe Cal’s Jedi “lies.” (This is actually the only song I’ve named: “Fool Me Once.” Fill in the rest of the saying.) By the time the scene ends, the audience should not yet be thinking that Merrin will eventually become Cal’s ally. However, the scene would definitely include noticeable sexual tension during their argument, mostly being in each other’s personal space for a hair too long and some extended eye contact.

Now that I’ve beaten that scene into the ground, let’s go back to Zeffo. Cal explores the Tomb of Miktrull and finally finds the first of the three pieces of the Astrium before encountering (hang onto your hats) the Second Sister, aka Trilla Suduri, Cere’s former Padawan! (Dun dun duuunnnn!!) Nothing super noteworthy changes in this section of the story except that Cal doesn’t encounter Trilla until after he explores the Tomb.

Remember those flashback scenes I was talking about with Cere and Trilla? This is what they’ve been leading up to. In the game, when Trilla takes her helmet off, the only reason we know who she is, is… well, she says so. However, if we see flashbacks of Trilla earlier in the show, now the audience recognizes the face under the mask. Now I know what you’re thinking: “won’t the voice give it away?” Not necessarily, if you’ve got a good enough actress. For all intents and purposes, Trilla and the Second Sister, much like Anakin and Darth Vader, are two different characters and should be treated by an actor as such. A good actress could make her tone and delivery so different between the two characters that first-time viewers wouldn’t put them together (as long as the playbill doesn’t give it away). But even if the audience does figure it out, I don’t think the fact that Trilla became an inquisitor is the biggest revelation in this scene. Because let’s be honest with ourselves, in terms of Star Wars plot twists, that one was a little predictable. But no, the bigger revelations are that Cere betrayed Trilla by giving up her location, she used the dark side in the aftermath, and perhaps most damningly, she has been keeping secrets from Cal.

Alright let’s talk stage combat. For this fight in particular, much like the game, it would get cut short and end up being more talking than fighting. But in general, stage combat tends to be more dance-like movements than martial arts. We’re not going for prequel-style lightsaber duels here. Plus, on stage, you only get one take, so you can’t exactly afford for anyone to get hurt halfway through. We’ll talk a little bit more about lightsaber effects later, but suffice to say, the stage combat, while important, comes second to the emotions surrounding the scene.

So BD-1 cuts the fight short by activating a laser gate between Cal and Trilla. Trilla reveals her past and sings about how you can never trust anyone before leaving. Now on stage alone, Cal finishes out the song by briefly lamenting why Cere didn’t tell him the truth. He hears another disturbance just offstage and prepares to defend himself before being hit by a stun grenade and knocked out by an unknown bounty hunter. Blackout.

End Act 1

So those are my notes on Act 1 of Jedi: Fallen Order - The Musical. I’ll be posting my Act 2 notes in the near future, but before I go, I want to quickly discuss the vocal ranges of each of the characters.

- Cal: Being a classic male hero, Cal would almost certainly have to be a pretty high tenor. However, he shouldn’t be like a squeaky tenor, for lack of a better phrase; his tone should be more round and even. (I’m just gonna say it- Cal probably shouldn’t have gay voice! I’m sorry, I don’t mean that in an offensive way, I just don’t have a better way of describing what I mean!)

- Cere: She would definitely be a low alto. (If we’re talking Broadway, I’m picturing Heather Headley or someone similar.) Not only would that be a good match for Debra Wilson’s voice in the game, but a lower singing voice is often used to portray age. It helps give the audience the impression that she is older and wiser than Cal.

- Greez: He’s a little tricky, but I’d probably put him somewhere in the mid-range, maybe a high-end baritone. I’m not locked into that though, I could also possibly imagine him as more of a low tenor.

- Merrin: Okay some people are gonna disagree with me here, but I would not make Merrin an alto. She can’t have the same range as Cere. That’s not to say I think she should have a super high singing voice, more like low mezzo soprano. But her voice should be powerful; I’m thinking like an Idina Menzel-style belter. (I mean, she is a witch, after all!)

- Trilla: Lemme start by saying that Trilla would not sing with her helmet on, so her first song probably wouldn’t be until the Act 1 finale. I imagine her having a very similar range to Merrin, with perhaps a slightly darker tone.

- Ninth Sister: We’ll talk about her more in Act 2, but she would definitely be a very low alto. She’s a big character, and generally the bigger the instrument, the lower the pitch. She also leans very heavy on the melodrama.

- Malicos: Now odds are he wouldn’t sing until Act 2, but he would definitely be a low baritone, if not a bass. I’ve been comparing him to Claude Frollo from Hunchback, both in terms of his character and his voice. So I would definitely imagine his voice sounding a bit aged, although the actor would also need to be able to do at least a small amount of stage combat, so he might have to be slightly younger than we might imagine the character.

- Sorc Tormo: Speaking of Hunchback, here we’ve got our Clopin Trouillefou. Eccentric and dramatic, Sorc Tormo would be the one to have that squeaky tenor voice that I didn’t want for Cal. (Now HE can have gay voice!)

- Jaro Tapal: I’ll throw him in because I haven’t decided whether or not he would sing, but if he does, he would most definitely be a bass.

One other note about casting: I am in my mind imagining the characters being played by actors who look similar to the actors in the game, with Cal, Greez, and Merrin all being white, and Cere and Trilla being people of color. However, the beautiful thing about a story like this is that there is absolutely no reason that you couldn’t colorblind cast every single one of the characters.

But I think I’ve rambled on enough for now. If anyone is actually still reading up to this point, thank you for indulging me! You are my favorite! Please share your thoughts and ideas in the comments, because I have no one to discuss this topic with and it would make me really happy… 🥺🫶

Act 2 coming soon!!