#the style of dance and costumes not the existence of the sections

[just-gay-thoughts]

Watching different versions of the nutcracker is interesting because there's definitely questionable decisions made in the original, so seeing how a modern production handles it betrays a lot more than a fully faithful version.

[physalian]

Humanizing Your Characters (And Why You Should)

To humanize a character is not to contort an irredeemable villain into the warped funhouse mirror reflection of a hero in the last 30 seconds to gain “narrative subversion” points. To humanize is not to give said villain a tragic backstory that validates every bad choice they make in attempt to provide nuance where it does not deserve to be.

To humanize a character, villain or otherwise, is to make them flawed. Scuff them up, give them narrative birthmarks and scars and imperfections. Whether it’s your hero, their love interest, the comic relief, the mentor, the villain, the rival, these little narrative details serve to make all your literary babies better.

Why should you humanize your characters?

To do this means to write in details beyond those that service the plot, or the themes, or the motifs, morals, foreshadowing, or story. These might be (and usually are) entirely unimportant in the grand scheme of things. So, if I wrote lengthy diatribes on pacing and why every detail must matter, and character descriptions and thematic importance, why am I now suggesting go free-for-all on the fluff?

Just like real people have quirks and tics and beliefs and pet peeves that serve our no greater purpose, so should fictional people. Your average reader doesn’t have the foggiest idea what literary devices are beyond metaphor, simile foreshadowing, and anecdote, but they can tell when the author is using motif and theme and all the syntactical marvels because it reads that much richer, even if they can’t pinpoint why.

And, for shipping fodder, these tiny little details are what help your audience fall in love with the character. It doesn’t even have to be in a book – Taylor Swift (whether you like her or not) never fills her music with sexual innuendo or going clubbing. She tells stories filled with human details like dancing in the refrigerator light. People can simultaneously relate to these very specific and vivid experiences, and say “not that exactly, but man this reminds me of…” and that’s (part of) the reason her music is so popular.

What kinds of narratives need these details?

All of them. Visual media, audio, written, stage play. Now, to what degree and excess you apply these details depends on your tone, intended audience, and writing style. If your style of writing is introspection heavy, noir character drama, you might go pretty heavy on the character design.

But even if you’re writing a kids book with a scant few paragraphs of setting descriptors and internal narration, or you’re drawing a comic book – if you have characters you want people to care about, do this.

Animators, particularly, are very adept at humanizing non-human characters, because, unlike live acting, every single stroke of the pen is there with intent. They use their own reflections for facial references, record their own movements to draw a dance, and insert little bits of themselves into signature character poses so you know that *that* animator did this one.

How to humanize your characters.

I’m going to break this down into a couple sections: Costume/wardrobe, personality, beliefs/behavior/superstitions, haptics/proxemics/kinesics, and voice. They will all overlap and the sheer variety and possibilities are way too broad for me to capture every facet.

Costumes and Wardrobe

In the film Fellowship of the Ring, there’s a blink-and-you’ll-miss-it moment where, after Boromir is slain by the Uruk-Hai, Aragorn takes Boromir’s Gondorian vambraces to wear in his honor, and in honor of their shared country. He wears them the rest of the trilogy. The editing pays no extra attention to them beyond a split second of Aragorn tightening the straps, it never lingers on them, never reminds you that they’re there, but they kept it in nonetheless. His actor also included a hunting bow that didn't exist in the book because he's a roamer, a ranger, and needs to be able to feed himself, along with a couple other survival tools.

Aragorn wears plenty of other symbolic bits of costume – the light of the Evenstar we see constantly from Arwen, the Lothlorien green cloaks shared by the entire Fellowship, his re-forged sword and eventual full Gondorian regalia, but all those are Epic Movie Moments that serve a thematic purpose.

Taking the vambraces is just a small, otherwise insignificant character moment, a choice made for no other reason than that’s what this character would do. That’s what makes him human, not an archetype.

When you’re writing these details and can’t rely on sneaking them into films, you have to work a little harder to remind your audience that they exist, but not too often. A detail shifts from “human” to “plot point” when it starts to serve a purpose to the themes and story.

Inconsequentiality might be how a character ties, or doesn’t tie their shoelaces, because they just can’t be bothered so they remain permanent knots and tripping hazards. It might be a throw-away line about how they refuse to wear shorts and strictly stick to long pants because they don’t like showing off their legs. It might be perpetually greasy hair from constantly running their fingers through it with stress, or self-soothing. A necklace they fidget with, or a ring, a belt they never bother to replace even though they should, a pair of lucky socks.

Resist the urge to make it more meaningful than “this is just how they are”. If I’m using the untied shoelaces example – in Spiderverse, this became a part of the story’s themes, motifs, and foreshadowing, and doesn’t count. Which isn’t bad! It’s just not what I’m talking about.

Personality

In How to Train Your Dragon, Toothless does not speak. All his personality comes from how he moves, the noises he makes, and the expressions on his face. There’s moments, like in the finale, when his prosthetic has burned off and Hiccup tells him to hold on for a little bit longer, and you can clearly see on his face that he’s deeply uncertain about his ability to do so. It’s almost off the screen, another blink-and-you’ll-miss-it moment. Or the beat of hesitation before he lets Hiccup touch him in the Forbidden Friendship scene. Or the irritated noise he makes when he’s impatiently waiting for Hiccup to stop chatting with his dad because they have a giant dragon to murder. Or when he slaps Hiccup with his ear fin for flying them into a rock spire.

None of those details *needed* to exist to endear you to his character or to serve the scenes they’re in. The scenes would carry on just fine without them. He’s a fictional dragon, yes, but these details make him real.

Other personality tics you could include might be a character who gets frustrated with tedious things very quickly and starts making little inteligible curses under their breath. Or how they giggle when they’re excited and start bouncing on their toes. Maybe they have a tic where they snap their fingers when they’re concentrating, trying to will an idea into existence. Or they stick their tongue out while they work and get embarrassed when another character calls them on it. They roll around in their sleep, steal blankets, drool, leave dishes in the sink or are neurotic with how things must be organized. They have one CD in their car, and actually use that CD player instead of the phone jack or Bluetooth. They sing in the shower, while they cook, or while they do homework, no matter how grating their voice.

They like the smell of new shoes or Sharpies. They hate the texture of suede or velvet or sticky residues. They never pick their socks up. They hate the overhead light in their room and use 50 lamps instead. They hate turning into oncoming traffic or don’t trust their backup camera. They collect Funko Pops and insist there’s always room for more.

And about a million others.

Beliefs, Behaviors, and Superstitions

*If you happen to be writing a story where superstitions have merit, maybe skip this one.* Usually, inevitably, these evolve into character centerpieces and I can’t actually think of one off the top of my head that doesn’t become this beyond the ones we all know. A few comedic examples do come to mind:

The Magic Conch in “Club Spongebob” and the sea-bear-proof dirt circle in “The Camping Episode”

Dean Winchester’s fear and panic-driven actions in “Yellow Fever” and “Sam, Interrupted”

The references to the trolls that steal left-foot socks in How to Train Your Dragon

I’m not a fan of wasting time writing a religious character doing their religious thing when Plot Is Happening, but smaller things are what I’m talking about. Like them wearing a cross/rosary and touching it when they’re nervous. Having a specific off-beat prayer, saying, or expression because they don’t believe in cursing.

The classic ones like black cats, ladders, broken mirrors, salt, sidewalk cracks can all be funny. Athletes have plenty, too, and some of them, particularly in baseball culture, are a bit ridiculous. Not washing socks or uniforms, having a team idol they donate Double Bubble to and also rub their toes. A specific workout routine, diet, team morale dance.

Other things, too. A character who’s afraid to go back downstairs once the lights are off, or fear the basement or the backyard shed. Or they’re really put-off by this old family photo for no reason other than how glassy their eyes look and it’s creepy. They like crystals, dreamcatchers, star signs, tarot, or they absolutely do not under any circumstances.

They believe in all the tried and true ways of predicting the weather like a grizzled old sailor. They believe in ghosts, vampires, werewolves, witches, skinwalkers, doppelgangers, fairies. They talk to the cat statue in their kitchen and named it Fudge Pop. They whisper to the spirit that possessed the fridge so it stops making all that racket, and half the time, it works every time. They wear yellow for good luck or carry a rabbit’s foot. They’re not religious at all but still throw prayers out to whoever’s listening because, you know, just in case. They sit by their window sill and talk to the moon and the stars and pretend like they’re in a music video when they’re driving through the city in the rain.

Haptics, Proxemics, and Kinesics

These are, for all you non-communication and psych majors out there, touch and physical contact, how they move, and how they move around other people.

Behold, your shipping fodder.

Two shining examples of proxemics in action are the famous “close talker” episode of Seinfeld (of which every communication major has been subjected to) and Castiel’s not understanding of personal space (and human chronemic habits) in Supernatural.

These are how a character walks, if they’re flat-footed, clumsy, or tip-toers. If they make a racket or constantly spook the other characters. If they fidget or can’t sit still in a seat for five seconds, if they like to sit backwards or upside down. How they touch themselves, if they do a lot of self-soothing maneuvers (hugging themselves, rubbing their arms, touching their face, drawing their knees up, holding their neck, etc) or if they don’t do any self-soothing at all.

This is how they shake hands, if they dance while they cook or work. It’s how much space they let themselves take up, if they man-spread or keep their limbs in closer. How close they stand to others or how far. If they let themselves be touched at all, or if they always have their skin covered. If they always have their back to a wall,  or are always making sure they know where the nearest exit is. If they make grand gestures when they talk and give directions. If they flinch from pats on the back or raised hands. If they lean away from loud voices or project their own. If they use their height to their advantage when arguing, puff their chest, square their shoulders, put their hands on their hips, or point fingers in accusation.

If they touch other characters as they pass by. If they’re huggers or victims of falling asleep on or near their comrades. If they must sleep facing the door, or with something solid behind them. If they can sleep in the middle of a party wholly uncaring. If they sleepwalk, sleeptalk, migrate across the bed to cuddle whoever’s nearest with no idea they’re doing it.

If they like to be held or like to hold others. If they hate being picked up and slung around or are touch-starved for it. If they like their space and stick to it or are more than happy to share.

Do they walk with grace, head held high and back straight? Or are they hunched over, head hung, watching their feet? Are they meanderers or speed-walkers? Do they cross their arms in front or lace their hands behind them? Do they bow to authority or meet that gaze head on?

I have heard that Prince Zuko, in Last Airbender, is usually drawn sleeping with his bad ear down when he doesn’t feel safe, like on his warship or anywhere in the Fire Nation, or on the road. He’s drawn on his other side once he joins the Gaang. In Dead Man’s Chest, just before Davy Jones drives the Flying Dutchman under the waves, two tentacles curl up and around the brim of his hat to keep it from blowing off in the water.

When they fight, do they attack first, or defend first? Do they touch other characters’ hair? Share makeup, share clothes? Touch their faces with boops or bonks or nuzzles and eskimo kisses? Do they crack their knuckles and necks and knees?

Do they stare in baffled curiosity at all the other characters wholly comfortable in each other's spaces because they can’t, won’t, or don’t see the point in all this nonsense? Do they say they’re happy on the outside, but are betrayed by their body language?

Voice

Whether or not to write an accent is entirely up to you. Books like Their Eyes Were Watching God writes dialogue in a vernacular specific to its characters. Westerners and southerners tend to be written with the southern drawl or dialect, ripe with stereotypical contractions. Be advised, however, that in attempt to write an accent to give your character depth, you could be instead turning off your audience who doesn’t have energy to decipher what they’re saying, or you went and wrote a racist stereotype.

Voice isn’t just accent and dialect, nor is it how it sounds, which falls more solidly under useful character descriptions. Voice for the sake of humanizing your characters concerns how they talk, how they convey their thoughts, and how they become distinct from other characters in dialogue and narration.

If you’re writing a narrative that hops heads and don’t want to include a big banner to indicate who’s talking at any given time, this is where voice matters. It is, I think, the least appreciated of all the possible traits to pay attention to.

First person narrators have the most flexibility here because the audience is zero degrees removed from their first-hand experiences. Their personality comes through sharply in how they describe things and what they pay attention to.

But it’s also in what similes and metaphors they use. I read a book that had an average (allegedly straight) male narrator going off and describing colors with types of flowers, some I had to look up because I just don’t know those off the top of my head. My immediate thought was either this character is a poorly written gay, or he’s a florist. Neither (allegedly), the writer was just being too specific.

Do they have crutch words they use? like, um, actually, so…, uh

Or repeat exclamations specific to them? yikes, yowzers, jeepers, jinkies, zoinks, balls, beans, d’oh!

Or idioms they’re fond of? Like a bat out of hell. Snowball’s chance.

Do they stutter when they’re nervous? Do they lose their train of thought and bounce around, losing other characters in the process? Do they have a non-Christian god they pray to and say something other than “thank God”? Are they from another country, culture, time period, realm, or planet with their own gods, beliefs, and idioms?

When they describe settings, how flowery is the language? Would this grizzled war hero use flowery language? How would he or she describe the color pink, versus a PTA mom? Do they use only a generic “blue, green, red” or do they really pay attention with “aquamarine, teal, emerald, viridian, vermillion, rose, ruby”?

How do this character’s hobbies affect how well they can describe dance moves, painting styles, car models, music genres?

This mostly matters when you’re head-hopping and the voice of the narrator serves to be more distinct, otherwise, what’s the point of head-hopping? Just use third-person omniscient.

If you really want to go wild, give a specific narrator unique syntax. Maybe one character is the ghost of Oscar Wild with never-ending run-on sentences. Just be sure to not go too overboard and compromise the integrity of your story.

In the book A Lesson Before Dying, a somewhat illiterate, underprivileged and undereducated minor has been given a mentor, a teacher, before they face the death penalty. At the end of the book, you read all of the letters they wrote to their teacher. There’s misspellings everywhere, almost no punctuation, and long, rambling sentences.

It’s heartbreaking. The subject matter is heavy and horrible, yes, but it’s the choice to write with such poor English that has a much bigger impact than perfect MLA format.

How to implement these details

Most of these, in the written medium, need only show up once or twice before your audience notices and wonders why they’re there. Most fall squarely under character design, which falls under exposition, and should follow all the exposition guidelines.

These details exist to be random and fluffy, but they can’t exist randomly within the narrative. If you want to have your character be superstitious, pick a relevant time to include that superstition.

Others, like ongoing speech habits or movements, still don’t overuse, especially if they’re unique. A character might like to sit backwards in a chair, but if you mention that they’re doing it every single time they sit down, your audience will wonder what’s so important and if the character is unwell.

And, of course, you can let these traits become thematically important, like a superstition being central to their personality or backstory or motivation. These all serve the same purpose of making your character feel like a real person instead of just a “character”.

Just think about tossing in a few random details every now and then and see what happens. One tiny sentence can take a background character and make them candidates for the eventual fandom’s fan favorite. Details like these turn your work from “This a story, and these are the characters who tell it” into “these are my characters, and this is their story.”

[pinksilvace]

Most of this is based on information from this page on the Cats wiki because I don't really have the energy to search for more at the moment. First, let's just appreciate this section:

Imagine. Imagine. I think about what an aristocats-style Cats would look like every single day. This version, though, wouldn't have had Webber's music.

Anyway, when Amblimation (animation studio founded by Spielberg) got the go-ahead to make an adaptation of the musical, the initial plan was to use a lot of new characters and such, which... okay. Sure. Maybe it would have worked. We'll never know.

Promotional materials for this project date back as far as 1990. By 1994, the studio was supposed to begin on a feature-length film for release in 1997. Production reportedly began by sometime in 1995. Then, Amblimation shut down in 1997, thus leading to the project's demise. In its place, Cats '98 was released.

In terms of whether I would have preferred to get one over the other, I'm glad '98 exists; it's as close to a "definitive" version of the show as we might ever get. Considering that some of the creative team, including Spielberg himself, went on to contribute to 2019, the original vision for the animated film might not have been something I liked at all, but I'm not actually sure how much input these folks had.

But oh, gosh, the concept art. The concept art.

This isn't to say that this adaptation would have been perfect. Far from it. The information we do have leads me to believe that certain aspects would come across in a less than ideal (read: racist) way, but I'd be a liar if I said the style wasn't alluring.

I know a number of artists here on tumblr have tried their hand at redesigning Cats characters for hypothetical animated projects, and they look fantastic.

Going back to the original question: do I think an animated adaptation of Cats should be made? I would certainly like one. I think it would have the potential to be fantastic.

The biggest argument I see against doing something like this is that the dance aspect of Cats would be lost or, at the very least, diminished. It all depends on how different folks view the show, but I personally enjoy Cats because of set design, costume design, and character interactions - things that could all translate very easily into an animated film. Besides, I think that 2D hand-drawn animation is the most dynamic visual medium out there, and even if the characters weren't outright dancing in this hypothetical film - which they very well could - the visual style alone could simulate a similar feeling.

At this point, I simply must shout out the Cats 2019 re-animated fan project - some of the clips in there show INCREDIBLE movement, even the ones clearly meant for laughs. Or, think about Lackadaisy! Visual style just isn't a concern in my mind for this hypothetical.

An animated film would be able to give pointed emphasis to certain character interactions, which is what I'd personally be looking forward to most. Even just imagining an animated Munkustrap interacting with the kittens fills me with excitement, and oh, gosh, the kittens! If nobody had told me that Pouncival, Victoria, Tumblebrutus, Electra, Etcetera, and George are kittens, I might not have ever guessed it for myself because 1) they're obviously played by adults, and 2) most of them blend into the chorus. Little clarity problems like that could be solved instantly.

This is all without mentioning how different characters could be made to better resemble siblings, to convey facial emotion, and just express personality, family, and thought through visual design alone.

I think I might start repeating myself, so I'll just say that I think an animated Cats film could be incredible IF it's directed by somebody that actively enjoys the source material and appreciates everything that it builds up. This is a character-driven show, after all, so somebody that doesn't understand the characters (cough Tom Hooper cough) wouldn't make a faithful adaptation at all.

Do you ever think they should make an animated Cats musical?

Bestie I am forever mourning the canceled 1990s Spielberg Cats adaptation

[vinceaddams]

What would your ideal outfit for a ball at Lost Hope be?

Ooh that's a good question! In the book they all wore very up to date fashionable clothing there, but 1810's is later than my favourite eras of fashion, so I'll assume I can dress more like they did in the mini-series where everyone's in fashions of various different eras.

(Not the most accurate, but hey, they're mostly extras and it's a fantasy scene so I don't mind, especially since the main characters have such good costumes.)

With the lighting it's hard to tell what the colours are, but it looks to be a lot of pale greenish greyish colours, which I quite like. I am very fond of lichen-y greens.

My first instinct would be to say a 1740's or 50's suit with frogging on the coat, kind of like this one, but in foresty colours to give it a mossy appearance.

(Georges-Louis Leclerc, Comte de Buffon, by François-Hubert Drouais, 1753.)

I'm not sure if that would be appropriate for a ball though. I don't know for sure, but I get the impression that these frogged coats tend to be more informal? And quite a large portion of them are fur lined ones which I think are more for at-home wear.

It would be so much fun to make frogging that looked like little clusters of lichen and mushrooms, on a fabric that's.. hmm, maybe light brownish grey silk brocade that's woven to look like stylized tree bark texture. And I'd have a contrasting waistcoat in lichen green, with a lichen and mushroomy pattern either embroidered or woven to shape.

And of course the usual accessories - shoes with pretty buckles, white stockings, queue bag, plain white neck stock. I'd have my hair nicely styled like this (or Maybe a wig, since my hair is getting quite thin and harder to style):

(Maurice Quentin De La Tour, Self portrait, 1751)

But if propriety forbids my possibly informal frogged coat then I think I'd have go 1730's. I do love love love the fashions of 1785-95, but I'm honestly not so keen on the court dress from that era. That particularly popular style of polychrome floral embroidery on dark velvet with little woven geometric patterns just doesn't do it for me. Late 80's-early 90's is my long time favourite, but more for the fun mix and match stuff, and all the wacky patterns and embroideries. I'm also not quite as fond of the cuts of late 18th-early 19th century court suits as I am of everything else.

But the 30's! No weird mixing of dark geometric velvet and bright florals! And the fuller coat skirts would look nicer while dancing. (I don't know how to dance at all, but I'm assuming I'd learn pretty quickly if I was kidnapped by fairies and sent to dance at a ball all night every night.)

I'd want a suit that's cut basically the same as this 1730's one I finished last year.

But with the breeches and the coat in plain velvet in either green or brown, and the coat cuffs and waistcoat in a contrasting brocade in mostly pale greens and greys. I like it when the coat has contrasting cuffs made of the same fabric as the waistcoat, and it continues well into the 18th century in some capacity, but was much more popular earlier. Which makes sense, since it works so much better with those bigger styles of coat cuff!

(John Vanderbank - John Bourchier, 1732)

Yeah I could just use a plain contrasting silk and embroider it instead, but I'd prefer to do that thing where you've got a gorgeous brocade with an absolutely enormous asymmetrical pattern and the repeat is so big that you can't see the whole design on your waistcoat, and certainly not on your coat cuffs, so you've got unique and varied little chunks of the design.

(Young Knight of the Order of St John by Antonio David, c. 1730, detail)

(Portrait of a Gentleman, Louis-Michel Van Loo, 1734, detail.)

So a big brocade like that, but in a more whimsical pattern depicting twisty old trees and mushrooms and lichen and such. It's a good thing the fabric I'm describing doesn't exist to tempt me, so I can't add this to my already horribly long "to sew" list.

And with the buttons and buttonholes all done in silver thread, like the ones above. Not this layout though, I'd want mine evenly spaced and I wouldn't put those extra buttons on the buttonhole side.

The shirt would be pretty much like the one in the above portrait, just a normal fancy shirt for the 30's with some nice lace. And as long as I'm describing fantasy textiles for a fairy ball, I also want a pattern of little mushrooms woven into the lace itself. Ohhh now I'm sad that I can't have some nice cotton or linen lace with a pattern of little mushrooms in it :( Maybe I could do some whitework embroidered ruffles like that someday...

Ok, yes, that is what I'd wear! 1730's suit in muted brown or green velvet with a waistcoat and coat cuffs in pale green/grey brocade with a huge woven pattern of forest-y things, and with silver buttons & buttonholes. Same accessories as I said for the one with the frogging, because stocks and queue bags and buckle shoes are in fashion for quite a long period of time. Normally the shoes and queue bag are black, but for this maybe I'd soften them down to a nice grey. Early 18th century men's shoes aren't nearly as cute as late 18th century men's shoes, but oh well! I'd still feel darn cute in such an outfit, with my big swishy coat and my hair in nice little poofy curled sections at the sides.

That was really fun to think about, thank you for asking!

[write-orflight]

Watch Over Me: Chapter One

**Gif Not Mine**

Prev -  Next

Pairings: Steve Rogers x Reader

Rating: M

Words: 3.2K

Warnings: none for this chapter: innuendo, language

Request: OPEN/CLOSED

Summary: Steve Rogers learns about the future from a woman stuck in the past.

A.N This is my jazz club reader fic I’ve been talking about writing. This fic isn’t gonna be long but I like it so I hope yall do too. I’m not using my perm taglist because it’s different than my normal content. reply, message, or inbox to be tagged. Devil Has Lilith will be updated Saturday.

Slang used in this chapter:

Dish: An attractive Woman

Butter and egg man: The money man, the man who comes to town to blow a big wad in nightclubs.

Dip the bill: Have a drink.

Corn: Bourbon

Cake-eater: A ladies’ man

Jalopy: An old car.

Drop a dime: Make a phone call

Chapter 1: There's a somebody I'm longin' to see 

“I can’t watch this anymore!” Tony said storming into the compound’s kitchen one night.  Steve looked up from his sketchbook in confusion. “I can’t watch you sit in here another friday night. It’s tragic!” 

“Ugh, not this again, Tony.” Steve says, sighing. Nat and Bucky begin snickering next to him, knowing where the conversation was going. 

“Yes, this again. Cap, I excused it for the first couple of years because you were adjusting to the times but it’s been years! If you’re not on a mission, you don’t go out! Sometimes, when Pep is having trouble sleeping I describe your social life to her, puts her right slee--” 

“Alright, I get it!” Steve cuts him off, slapping Bucky, who was in full hysterics at this point, in the arm. “I know my personal life is--” 

“Non-existent?” Nat provides.   

“Dead?” Tony adds, laughing.  

“But it’s my personal life. I’m over 100 years old. If I looked it, you guys wouldn’t be questioning my staying home.”   

“Exactly, if you looked it, I wouldn’t. But you are not that old yet.” Tony says. “Come on, let’s just all go out once. If you don’t like it, I’ll never make you go out again. I’ll even get you a coloring book or a model ship, or whatever old people do.” 

“Fine.” Steve sighed, as the man next to him cheered. “But nothing like those places you typically go to. They’re too noisy and sweaty and--” 

“Yea I got it, old-timer. We’re not going anywhere like that.” Tony provides. “My friend recently opened a restaurant where their back room is a speakeasy, very accurately themed, you need a password and everything to get in. You’ll fit right in.” 

“Prohibition ended in the 30s.” Bucky says. “Long before Stevie could even drink.” 

“Even still, work with me a little here.” Tony says. 

“Fine.” Steve sighs.  

“Awesome. Now, you’ve got to come in costume to these things so I’ve already taken the liberty of telling my tailor to make you guys something.” 

“What if I had said no?” Steve asks. 

“Oh, Cap. You should know by now I don’t take no as an answer.” 

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

  Steve shifted uncomfortably in his uniform. It was almost exactly like the one he would wear out during down times in the war though he knew it wasn’t the real one as that one was in the Smithsonian. Still, Tony’s tailor did a good job with seemingly all the costumes. Tony looked almost identical to how Steve remembered Howard back in the day. Bucky was in a uniform that looked similar to his back in the day, Glove covering his metal hand. Natatsha was in a sleek red gown, white gloves and pearls that was more modest than he’d seen her wear but still made her look drop dead gorgeous. 

Tony led them down a dark alley to what seemed to be a back door. Steve looked around confused as they entered the smokey hallway. At the end of the hallway there were two large doors and a lady with pinned up hair and a black shimmery dress, smoking with her feet propped up on the desk she was sitting at. 

“Evening gentlemen.” She croons in an english accent. “And lady. Are you lost?” 

“We have a meeting with Dr. Volstead.” Tony says, confidently. 

The woman tilts her head back giving all of you a once over. “It’s a nice night, isn’t it?” She asks. 

“Yes, it is. But I prefer the rain.” Tony says.  

With that the woman stands and walks over to the large doors and knocks rhythmically 3 times. The doors open to reveal a large dance hall where couples are in full swing, laughing and drinking. A trio of girls crooned a faced paced song as a jazz band was playing behind them. For a moment, Steve did actually forget he was in the 21st century. 

“Enjoy Paradise, my friends.” The woman smiles, before shutting the doors to the outside world. 

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

You were in the kitchen, taking a much needed headache break from the facade you had been putting up for your tables all night long when your Co-worker, Dalia, came up to you. 

“Y/N, Y/N! You have to trade tables with me.” 

You looked at her with a suspicious look. “Why?” 

“Come on, It’s a 4-top anyway. I’ll even trade you the party table for it.” That made you even more suspicious. “50 bucks for it, come on.” 

“Don’t trade, Y/N/N!” Your co-worker and friend/roommate, Jade added. “Tony Stark is in your section. I bet she only wants to give you 50 for it because she knows she’ll make 500.” 

“Come on, that’s not even why.” Dalia groans. “Black Widow is also at your table and you know she’s on my ‘Celebrities I have to fuck before I die’ list.” 

“God, are the rest of the avengers here?” You ask. 

“Not all but you know who is here?” Jade asks. “Steve Rogers.” She says, in a mocking singsong tone, jabbing you. Your crush on Captain America wasn’t really a secret anymore after you confessed it drunk one night. “And he looks almost edible.”  

You hum, you didn’t really feel like taking another table but this wasn’t a normal table. You doubt you had a chance but you weren’t passing up on serving Steve Rogers. 

“I’ll make you a deal. I still want that 50 bucks and we share the table, I’ll consider splitting the tip.” You say, the idea of making your rent in a night did appease you. 

“Deal.”

“Now ladies, I have a song to do.” You say, leaving the girls behind in the kitchen. 

—————————————-

Steve, for the first time in a while it seemed, was having fun. Tony was right, he did feel like he fit right in here. He clapped with the crowd, as the three girls bowed and left the stage. The piano man stood up and took the microphone Steve could tell was only styled to look old but actually wasn’t that old. 

“One more time for the Duclaw sisters folks.” The smooth voiced man said into the microphone, inciting another round of applause from the crowd. “Our next performer is actually the last of the night.” That incited a few ‘awws’ of disappointment. “Don’t cry just yet because Old Gary never disappoints, our next performer is my personal favorite. Sings like a Canary and the Cat who caught it.” That induces a laugh from the crowd and a small chuckle from Steve. “And maybe if you’re good she’ll come on for an encore later. Ladies and Gentlemen, The Sultry Sounds of Y/N L/N.” He says, moving from the mic back to the piano as the crowd cheers. Steve watches the stage as arguably the most beautiful woman he’s ever seen seems to glide out from the backstage. She’s wearing a floor length silver gown that seemed to glimmer with every step she took. Her hair came down in long fingerwaves, pinned back so you could see the sculpt of her face. Steve would be lying if he said that wasn’t his favorite part of her facade. She had on simple eyeliner, foundation, and a bold red lip he could probably see from mars. You were beautiful, in a timeless sort of way. 

“My, my.” She crooned in an sultry old new york accent that reminded Steve of the women he grew up around. “What would your wife say if she knew I was your favorite, Old Gary?” 

“She’d agree!” The man called from the piano, inducing the chuckle from the crowd. And a deep sultry one from you. 

“Well as they say, two’s just fine but three’s a party.” She winked at the old man in a way that would make Steve weak if he wasn’t already sitting. 

“You ok there, Cap?” Tony said, snapping Steve out of the mystery woman’s trance. “You disappeared for a second.” 

“I’m fine.” Steve said, fighting the flush that threatened to spread over his face. He looks out the side of his eye to Bucky, who was smirking at him knowingly. Of course, he knew. 

“You know, you saying something about being good got me thinking, Old Gary.” She said, as the man softly played behind her. “A good man is hard to find. Great men are great, bad men are good sometimes too.” She winked to the crowd. “But every girl wants a good man, someone to watch over her.” Old Gary seems to take the cue to start playing her song. 

“There's a saying old, says that love is blind. Still we're often told, ‘seek and ye shall find’” She began singing and it made Steve sit up in his seat. She had the kind of voice that was almost beckoning. She was becoming his own personal siren. “So I'm going to seek a certain lad I've had in mind”  

“She’s a looker, huh?” The server, who introduced herself as Dalia, said as she sat down Bucky’s drink. “Y/N’s the main dish of this place.” 

“I think I’m more interested in you, doll.” Bucky flirted, shamelessly. 

“And I think I’m more interested in dames, Soldier.” She says, winking to Natasha who smiles coyly at her. Steve hardly pays them any mind as his focus was on you as you finished your song and thanked the crowd and waved while Old Gary helped her off stage. 

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

You were changing from your stage outfit into your floor outfit when Dalia burst into the locker room.

“Y/N/N, I actually think I might have a chance with Widow. I mean, she’s kinda been ignoring me the whole night but when I mentioned I was into girls she smiled!” Dalia ranted, excitedly as you nodded. You turned your back to her so she’d get the clue to zip you up which she does. “Also, you should’ve seen the way Steve Rogers was watching you sing. He totally wants to hit that.” That makes you perk up a bit. 

“I doubt it. I have it under good authority that he hasn’t hit anything in over 70 years. I doubt I’m what he’s been waiting for.” You laugh. “Still, it’s fun to think about.” 

Dalia tugs you out of the locker room. “Come on, let's get back out there.” 

You sighed before stepping out of the locker room and seemingly out of this century. 

You fake laughed with a guest at the bar as you grabbed your tray of drinks and made your way over to the table that had been making you nervous all night. You placed the four whiskey rocks drinks on the tables. 

“Courtesy of Dean.” You say, placing the drinks down. Stopping at Tony Stark. “Don’t know why? You seem to be the butter and egg man out tonight. 

“Butter and egg?” He asks, looking to Steve and Bucky. 

“Means money man, High roller.” Bucky explains, Steve nods. 

“Ah, well I am that.” Tony says, laughing. “I must say Miss, what was it? Y/N?” You nod confirming. “I have to say you are quite the performer.” 

“Thank you kindly, Mr. Stark. Go ahead, dip your bill.” You say pointing to the drink, Hoping they’d get the hint. They did of course, after seeing Steve and Bucky take a sip. You watch Steve grimace slightly at the taste of the liquor. 

“Everything alright, fella?” 

You watch Steve flush at the attention being tossed his way. You can’t help the confident smirk that graced your face knowing it was you that had Steve Rogers flustered. “I’m fine, I just don’t enjoy the taste.” 

You hum. “Yea, it’s the big cheese’s favorite drink and he’s known for liking it rough.” You wink, somehow making Steve flush more. That made you want to push it more. “I’ve got some corn in the back they call the Y/N because it feels really good when it’s going down.” That makes Steve choke a little and induces a hearty laugh from the group. “Can I get you a glass, Soldier?”  

“Y-Yea, I’d like that.” Steve flushes. It was almost fun at this point. 

“I’d love to try the real thing.” Bucky says, flirting right back with a smirk you knew has to make every girl in the 40s weak in the knees. You didn’t indulge him though. 

“Well, aren’t you a regular cake-eater.” You smirk. “I’ll be back with two glasses.”  

“I see the serum didn’t enhance your ability to talk to pretty girls.” Bucky laughs as you want away. Steve can’t help but become a little distracted by the sway of your hips. 

The rest of the night seemed to go like that. You bringing them drinks and flirting with the captain anyway you could just to see the pretty flush that spread across his face. But soon the time came for the superheroes to take their leave. As you sat the check in front of Tony, you brushed a hand over the Captain’s shoulder admiring the broadness of them. 

“You’ll come back and see me, Sugar?” You say, phrasing it like a question despite it not really being one. Steve nods, dumbfounded by you. You smile and wink at him before walking away. 

You’re in the kitchen eating the pizza you had ordered earlier when your manager, Dean comes out of his office for the first time that shift. 

“Y/N!” You roll your eyes when you hear him scream your name. “What do you think you’re doing?!” 

“I’m eating dinner. Something I could’ve done on my break if I ever got one.” 

“You know you’re not supposed to be eating anything that couldn’t be made in the 30s. People pay for the illusion and if they see you gorging yourself on pizza, it ruins it.” 

“No one’s looking in the fucking kitchen, Dean.” 

“Uh-huh, and another thing. You know what kind of songs you’re supposed to sing.” You roll your eyes harder. You knew this argument was coming. “That song is from the 50s and you knew it.” 

“None of those bullshit hipsters know who Ella fucking Fitzgerald is!” You yell. “Much less what years her fucking songs came out. That song killed and that’s all that fucking matters.” 

“Change your set or you’re fired.” 

That makes you laugh in his face. “Uh-huh, as if you’re going to find a singer who’ll work as cheap as me.” You say, brushing past him. “See you tomorrow.” 

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

Steve comes back to the bar the following week. He tells himself that it’s just for a quick drink but he knew the real reason was because he could not stop thinking about you. He also knew you were probably just being friendly because it’s your job to. He just needed you to reject him so he could go on with his life. 

He found himself in that hallway again approaching the woman he had seen last week. 

“Evening, Sir.” She says. “Are you lost?” 

“Umm.. I have a meeting with Mr. Volstead?” Steve questions, not really recalling the password fully. 

The woman hums. “Nice night, no?” She says. 

“I prefer the rain.” 

The woman sighs. “I’m sorry. I typically would let you in because I don’t really care but technically I’m not supposed to let anyone who doesn’t know the password in… even if  they are kinda famous.” She says. “The password changes every week. I’m sure if you ask Mr. Stark, he can find it for you.” 

“Oh, no worries. Sorry for wasting your time.” Steve sighs, turning back out the building. 

He’s approaching where he parked his bike when he hears a string of expletives being screamed followed with a car stuttering before not starting. He looks over to see a woman angrily get out of her car and lift the hood to see it smoking. The woman lets out another stream of expletives before kicking the tire and leaning her head on the roof of the car, defeated. For some reason, he feels compelled to go over and see how he could help. As he got closer he couldn’t believe his luck, it was you. He tapped you lightly on the shoulder and you turned with the beginnings of tears in your eyes. 

“Oh, Soldier!” You said, quickly turning around to wipe your eyes and putting the facade you typically used with customers back up. “I almost got offended when you didn’t come back to see me. Imagine a broad’s old luck.” You said, smiling flirtatiously. Steve didn’t buy that smile for a second. He could see in your eyes you were still upset. 

“Everything okay?” He asks. 

“Oh, everything’s swell! This old jalopy has seen better days, gonna drop a dime to a friend hopefully--” You cut yourself off, switching into your normal speaking voice. “Listen, I’m sorry I just can’t keep talking like this off the clock. I’ll drive myself insane. Please, don’t tell my boss. I’m already on thin ice for not ‘maintaining the illusion’.” 

Steve laughs, a weight suddenly feeling lifted off his shoulders. Suddenly you weren’t this mysterious woman who seemed to have all the right things to say and how to say them. You were human, just like him. “Your secret’s safe with me.” He says. 

“Good.”  You say, smiling briefly. “Now, if you’ll excuse me. I’ve gotta call Triple A for a tow.” You say, pulling your cell phone out. Steve had to admit it looked a little weird to see you with a cellphone in your olden days attire. 

“How will you get home?” He asks. 

“I’ll probably hoof it.” You shrug. “Or take the subway.” 

“At night?!” Steve says, incredulously. “No, I can take you if you’d like.” 

You look at him, hopefully. “I don’t want to be a burden.” You say. 

“You won’t be one.” He smiles. God, that smile made you feel a little weak. 

“Okay.” You smile back. 

“Are you hungry by chance?” He asks, as the two of you walk back to his ride. “I was going to eat in the bar but I couldn’t remember the password.” He says, sheepishly. 

That makes you laugh out loud. “Those passwords are such bullshit, Dean keeps changing them to keep it ‘exclusive’ but they always end up online anyway.” You say. “Every server has their own password, to keep track of regulars coming in. If you tell them you have a rose delivery for Mae, They’ll take you to my table no questions.” 

“Mae?” Steve asks. 

“For Mae West.” You explain, That makes Steve laugh again, of course you liked Mae West. “I could eat though. There’s actually a diner right down the road from here.” 

“Perfect.” He says, straddling onto his bike. He raises an eyebrow at you when you hesitate. “Something wrong?” 

“I’ve never ridden on a bike before is all.” 

“As long as you hold on to me, you’ll be fine.” He says, smirking when he sees a flush creep over your face as he hands you his helmet. It was about time for you to be flustered by your interactions. 

“I have no problems with that.” You say, placing that helmet on your head after you straddle the bike behind him. Your hands are tight around his waist as the two of you ride out of the lot, leaving Paradise behind. 

Taglist: @buckybarneshairpullingkink

[unpopularwiththepopulace]

Chicago at Long Beach, LA, 1992: A Story of Bebe Neuwirth, Choreography, Riots, Revivals, and Relevance

Recently and rather excitingly, more footage made its way to YouTube of the 1992 version of Chicago staged at Long Beach in LA, featuring Bebe Neuwirth as Velma and Juliet Prowse as Roxie.

Given its increased accessibility and visibility, this foregrounds the chance to talk about the show, explore some of its details, and look at the part it might have played as a contribution to the main ‘revival’ of Chicago in 1996 – which has given the show one of the most resonant and highly enduring legacies seen within the theatre ever.

This Civic Light Opera production at Long Beach was staged in 1992, four years before the ‘main’ revival made its appearance at Encores! or had its subsequent Broadway transfer, and it marked the first time a major revival of Chicago had been seen since the original 1975 show disappeared nearly 15 years previously.

This event is of particular significance given its position as the first step in the chain of events that make up part of this ‘new Chicago’ narrative and the resultant entire multiple-decade spanning impact of the show hereafter.

But for all of its pivotal status, it’s seldom discussed or remembered anywhere near as much as it should be.

This may be in part because of how little video or photographic record has remained in easily accessible form to date, and also because it only played for around two weeks in the first place. As such, it is a real treat on these occasions to get to see such incredible and unique material that would otherwise have been lost forever after such a brief existence some 30 years ago.

This earlier revival of the show still feels like what we have come to identify “Chicago” as in modern comprehension of the musical, most principally because the choreography was also done by Ann Reinking. As with the 1996 production, this meant dance was done “very much in the master’s style” – or Mr Bob Fosse.

The link below is time-stamped to Bebe and Juliet performing ‘Hot Honey Rag’. As one of the most infamous numbers in Broadway history, it’s undoubtedly a dance that has been watched many times over. But never before have I seen it done quite like this.

https://youtu.be/4HKkwtRE-II?t=2647

‘Hot Honey Rag’ was in fact formerly called ‘Keep It Hot’, and was devised by Fosse as “a compendium of all the steps he learned as a young man working in vaudeville and burlesque—the Shim Sham, the Black Bottom, the Joe Frisco, ‘snake hips,’ and cooch dancing”, making it into the “ultimate vaudeville dance act” for the ultimate finale number.

Ann would say about her choreographical style in relation to Fosse, “The parts where I really deviate is in adding this fugue quality to the numbers. For better or worse, my style is more complicated.” The ‘complexity’ and distinctness she speaks of is certainly evident in some of the sections of this particular dance. There are seemingly about double the periodicity of taps in Bebe and Juliet’s Susie Q sequence alone. One simply has to watch in marvel not just at the impressive synchronicity and in-tandem forward motion, but now also at the impossibly fast feet. Other portions that notably differ from more familiar versions of the dance and thus catch the eye are the big-to-small motion contrast after the rising ‘snake hips’ section, and all of the successive goofy but impeccably precise snapshot sequence of arm movements and poses.

More focus is required on the differences and similarities of this 1992 production compared against the original or subsequent revival, given its status and importance as a bridging link between the two.

The costumes in 1975 were designed by Patricia Zipprodt (as referenced in my previous post on costume design), notably earning her a Tony Award nomination. In this 1992 production, some costumes were “duplications” of Zipprodt’s originals, and some new designs by Garland Riddle – who added a “saucy/sassy array” in the “typical Fosse dance lingerie” style. It is here we begin to see some of the more dark, slinkiness that has become so synonymous with “Chicago” as a concept in public perception.

The sets from the original were designed by Tony Walton – again, nominated for a Tony – and were reused with completeness here. This is important as it shows some of the original dance concepts in their original contexts, given that portions of the initial choreography were “inextricably linked to the original set designs.” This sentiment is evident in the final portion of ‘Cell Block Tango’, pictured and linked at the following time-stamp below, which employs the use of mobile frame-like, ladder structures as a scaffold for surrounding movements, and also a metaphor for the presence of jail cell bars.

https://youtu.be/4HKkwtRE-II?t=741

Defining exactly how much of the initial choreography was carried across is an ephemeral line. Numbers were deemed “virtually intact” in the main review published during the show’s run from the LA Times – or even further, “clones” of the originals. It is thought that the majority of numbers here exhibit greater similarity to the 1975 production than the 1996 revival, except for ‘Hot Honey Rag’ which is regarded as reasonably re-choreographed. But even so, comparing against remaining visible footage of Gwen Verdon and Chita Rivera from the original, or indeed alternatively against Bebe and Annie later in the revival, does not present an exact match to either.

This speaks to the adaptability and amorphousness of Fosse-dance within its broader lexicon. Fosse steps are part of a language that can be spoken with subtle variations in dialect. Even the same steps can appear slightly different when being used in differing contexts, by differing performers, in differing time periods.

It also speaks to some of the main conventions of musical theatre itself. Two main principles of the genre include its capacity for fluidity and its ability for the ‘same material’ to change and evolve over time; as well as the fact comparisons and comprehensions of shows across more permanent time spans are restricted by the availability of digital recordings of matter that is primarily intended to be singular and live.

Which versions of the same song do you want to look at when seeking comparisons?

Are you considering ‘Hot Honey Rag’ at a performance on the large stage at Radio City Music Hall at the Tony Awards in 1997? Or on a small stage for TV shows, like the Howard Cosell or Mike Douglas shows in 1975? Or on press reel footage from 1996 on the ‘normal’ stage context in a format that should be as close to a replica as possible of what was performed in person every night?

Bebe often remarks on and marvels at Ann’s capacity to travel across a stage. “If you want to know how to travel, follow Annie,” she says. This exhibits how one feature of a performance can be so salient and notable on its own, and yet so precariously dependent on the external features its constrained to – like scale.

Thus context can have a significant impact on how numbers are ultimately performed for these taped recordings and their subsequent impact on memory. Choreography must adjust accordingly – while still remaining within the same framework of the intention for the primary live performances.

This links to Ann’s own choreographical aptitude, in the amount of times it is referenced how she subtly adapted each new version of Chicago to tailor to individual performers’ specific merits and strengths as dancers.

Ann’s impact in shaping the indefinable definability of how Chicago is viewed, loved and remembered now is not to be understated.

An extensive 1998 profile – entitled “Chicago: Ann Reinking’s musical” – explores in part some of Ann’s approaches to creating and interacting with the material across a long time span more comprehensively. Speaking specifically to how she choreographed this 1992 production in isolation, Ann would say, “I knew that Bob’s point of view had to permeate the show, you couldn’t do it without honoring his style.” In an age without digital history at one’s fingertips, “I couldn’t remember the whole show. So I choreographed off the cuff and did my own thing. So you could say it was my take on his thoughts.” Using the same Fosse vocabulary, then – “it’s different. But it’s not different.”

One further facet that was directly carried across from the initial production were original cast members, like Barney Martin as returning as Amos, and Michael O'Haughey reprising his performance as Mary Sunshine. Kaye Ballard as Mama Morton and Gary Sandy as Billy Flynn joined Bebe and Juliet to make up the six principals in this new iteration of the show.

Bebe, Gary and Juliet can be seen below in a staged photo for the production at the theatre.

The venue responsible for staging this Civic Light Opera production was the Terrace Theatre in Long Beach in Los Angeles. Now defunct, this theatre and group in its 47 years of operation was credited as providing some of “the area’s most high profile classics”. Indeed, in roughly its final 10 years alone, it staged shows such as Hello Dolly!, Carousel, Wonderful Town (with Donna McKechnie), Gypsy, Sunday in the Park with George, La Cage aux Folles, Follies, 1776, Funny Girl, Bye Bye Birdie, Pal Joey, and Company. The production of Pal Joey saw a return appearance from Elaine Stritch, reprising her earlier performance as Melba Snyder with the memorable song ‘Zip’. This she had done notably some 40 years earlier in the original 1952 Broadway revival, while infamously and simultaneously signed as Ethel Merman’s understudy in Call Me Madam as she documented in Elaine Stritch at Liberty.

Juliet Prowse appeared as Phyllis in Follies in 1990, and Ann Reinking acted alongside Tommy Tune in Bye Bye Birdie in 1991, in successive preceding seasons before this Chicago was staged.

But for all of its commendable history, the theatre went out of business in 1996 just 4 years after this, citing bankruptcy. Competition provided in the local area by Andrew Lloyd Webber and his influx of staging’s of his British musicals was referenced as a contributing factor to the theatre group’s demise. This feat I suspect Bebe would have lamented or expressed remorse for, given some of her comments in previous years on Sir Lloyd Webber and the infiltration of shows from across the pond: “I had lost faith in Broadway because of what I call the scourge of the British musicals. They've dehumanized the stage [and] distanced the audience from the performers. I think 'Cats' is like Patient Zero of this dehumanization.”

That I recently learned that Cats itself can be rationalised in part as simply A Chorus Line with ears and tails I fear would not improve this assessment. In the late ‘70s when Mr Webber noticed an increase of dance ability across the general standard of British theatre performers, after elevated training and competition in response to A Chorus Line transferring to the West End, he wanted to find a way he could use this to an advantage in a format that was reliable to work. Thus another similarly individual, sequential and concept-not-plot driven dance musical was born. Albeit with slightly more drastic lycra leotards and makeup.

But back in America, the Terrace theatre could not be saved by even the higher incidence of stars and bigger Broadway names it was seeing in its final years, with these aforementioned examples such as Bebe, Annie, Tommy, Juliet, Donna, or Elaine. The possibility of these appearances in the first place were in part attributable to the man newly in charge as the company’s producer and artistic director – Barry Brown, Tony award-winning Broadway producer. 

Barry is linked to Bebe’s own involvement with this production of Chicago, through his relationship – in her words – as ��a friend of mine”.

At the time, Bebe was in LA filming Cheers, when she called Barry from her dressing room. Having been working in TV for a number of years, she would cite her keenness to find a return to the theatre, “[wanting] to be on a stage so badly” again. The theatre is the place she has long felt the most sense of ease in and belonging for, frequently referring to herself jokingly as a “theatre-rat” or remarking that it is by far the stage that is the “medium in which I am most comfortable, most at home, and I think I'm the best at.”

Wanting to be back in that world so intensely, she initially proposed the notion of just coming along to the production to learn the parts and be an understudy. Her desire to simply learn the choreography alone was so strong she would say, “You don’t have to pay me or anything!”

She’d had the impetus to make the call to Barry in the first place only after visiting Chita Rivera at her show in LA with a friend, David Gibson. At the time, the two did not know each other that well. Bebe had by this point not even had the direct interaction of taking over in succession for Chita in Kiss of the Spider Woman in London. This she would do the following year, with Chita guiding her generously through the intricacies of the Shaftesbury Theatre and the small, but invaluable, details known only to Chita that would be essential help in meeting stage cues and playing Aurora.

Bebe had already, however, stepped into Chita’s shoes multiple times, as Anita in West Side Story as part of a European tour in the late ‘70s, or again in a Cleveland Opera Production in 1988; and additionally as Nickie in the 1986 Broadway revival of Sweet Charity – both of which were roles Chita had originated on stage or screen. In total, Velma would bring the tally of roles that Bebe and Chita have shared through the years to four, amongst many years also of shared performance memories and friendship.

They may not have had a long history of personal rather than situational connections yet when Bebe visited her backstage at the end of 1991, but Chita still managed to play a notable part in the start of the first of Bebe’s many engagements with Chicago.

After Bebe hesitantly relayed her idea, Chita told her, “You should call! Just call!”

So call Bebe did. One should listen to Chita Rivera, after all.

Barry Brown rang her back 10 minutes later after suggesting the idea to Ann Reinking, who was otherwise intended to be playing Velma. The response was affirmative. “Oh let her play the part!”, Annie had exclaimed. And so begun Bebe’s, rather long and very important, journey with Chicago.

In 1992, this first step along the road to the ‘new Chicago’ was well received.

Ann Reinking with her choreography was making her first return to the Fosse universe since her turn in the 1986 Sweet Charity revival. Diametrically, Rob Marshall was staring his first association with Fosse material in providing the show’s direction – many years before he would go on to direct the subsequent film adaptation also. Together, they created a “lively, snappy, smarmy” show that garnered more attention than had been seen since the original closed.

“Bob Fosse would love [this production],” it was commended at the time, “Especially the song-and-dance performance of Bebe Neuwirth who knocks everyone’s socks off.” High praise.

Bebe was also singled out for her “unending energy”, but Juliet too received praise in being “sultry and funny”. Together, the pair were called “separate but equal knockouts” and an “excellent combination”.

Juliet was 56 at the time, and sadly died just four years later. Just one year after the production though, Juliet was recorded as saying, “In fact, we’re thinking of doing it next year and taking it out on the road.”

Evidently that plan never materialised. But it is interesting to note the varied and many comments that were made as to the possibility of the show having a further life.

Bebe at the time had no recollection that the show might be taken further, saying “I didn’t know anything about that.” Ann Reinking years later would remark “no one seemed to think that the time was necessarily ripe for a full-blown Broadway revival.” While the aforementioned LA Times review stated in 1992 there were “unfortunately, no current plans” for movement, it also expressed desire and a call to action for such an event. “Someone out there with taste, money and shrewdness should grab it.”

The expression that a show SHOULD move to Broadway is by no means an indication that a show WILL move. But this review clearly was of enough significance for it to be remembered and referenced by name by someone who was there when it came out at the time, Caitlin Carter, nearly 30 years later. Caitlin was one of the six Merry Murderesses, principally playing Mona (or Lipschitz), at each of this run, Encores!, and on Broadway. She recalled, “Within two days, we got this rave review from the LA Times, saying ‘You need to take the show to Broadway now!’” The press and surrounding discussions clearly created an environment in which “there was a lot of good buzz”, enough for her to reason, “I feel like it planted seeds… People started to think ‘Oh we need to revive this show!’”

The seeds might have taken a few years to germinate, but they did indeed produce some very successful and beautiful flowers when they ultimately did.

In contrast with one of the main talking points of the ‘new Chicago’ being its long performance span, one of the first things I mentioned about this 1992 iteration was the rather short length of its run. It is stated that previews started on April 30th, for an opening on May 2nd, with the show disappearing in its final performance on May 17th. Less than a fleeting 3 weeks in total.

Caitlin Carter discussed the 1992 opening on Stars in the House recently. It’s a topic of note given that their opening night was pushed back from the intended date by two days, meaning Ann Reinking and Rob Marshall had already left and never even saw the production. “The night we were supposed to open in Long Beach was the Rodney King riots.”

Local newspapers at the time when covering the show referenced this large and significant event, by noting the additional two performances added in compensation “because of recent interruptions in area social life.”

It sounds rather quaint put like that. In comparison, the horror and violence of what was actually going on can be statistically summated as ultimately leaving 63 people dead, over 2300 injured, and more than 12,000 having been arrested, in light of the aftermath of the treatment faced by Rodney King. Or more explicitly, the use of excessive violence against a black man at police hands with videotaped footage.

A slightly later published review wrote of how this staging was thus “timely” – in reference to an observed state of “the nation’s moral collapse”.

‘Timeliness’ is a matter often referenced when discussing why the 1996 revival too was of such success. The connection is frequently made as to how this time, the revival resonated with public sentiment so strongly – far more than in 1975 when the original appeared – in part because of the “exploding headlines surrounding the OJ Simpson murder case”. The resulting legal and public furore around this trial directly correlates with the backbone and heart of the musical itself.

I'm writing this piece now at the time of the ongoing trial to determine the verdict of George Floyd’s murder, another black man suffering excessive and ultimately fatal violence at police hands with videotaped footage.

I think the point is that this is never untimely. And that the nation is seldom not in some form of ‘moral collapse’, or facing events that have ramifications to do with the legal system and are emotionally incendiary on a highly public level.

Which perhaps is why Chicago worked so well not just in 1996, but also right up to the present day.

Undoubtedly, we live in a climate where the impact of events is determined not just by the events themselves, but also the manner in which they are reported in the media. Events involving some turmoil and public outrage at the state and outcome of the legal system are not getting any fewer or further between. But the emphasis on the media in an increasingly and unceasingly digital age is certainty only growing.

[hopetofantasy]

Culture, parallels & meta - S3 E1

Previous season Prologue: Vlogs (1) - Vlogs (2)

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Zaterdag 21:43

The time lapse already showing us a string of places that will be important later, like the dark alley, the Meir with Noor’s workplace, the university neighborhood, the Scheldt river where the boys hang out, ...

Perfect parallel: 

The second season starts Zoë’s POV with a (washing machine) door, whilst the third opens with a door to a party that Robbe attends.

Robbe glances back at Noor passing through the shot this episode, an action he repeats when he spots Sander in the second episode. - A very subtle hint to where his love life may lead.

The first one starts with two unknown LGBT+ girls kissing at a party, the last episode shows two known LGBT+ boys (Sobbe) kissing at their own party.

The aerial shot through the floor to introduce us to Robbe’s POV here and the aerial shot through the roof to say goodbye to him in the last episode.

Moyo saying “No one would do you” to Aaron in this episode, Aaron realizing “No one here wants to do me!” in the last.

Where’s Wally? Noor greeting Marie, accompanied by Jana and Britt. Max dancing with Keisha in the crowd.

How ‘meta’ of you: Newsflash, yes you are!

Nod to the OG: 

The deliberate messy POV: following everyone that we know already and then slowly settling on the Isak version in a tub.

Robbe saying Noor looks like ‘Natalie Portman’, which is what people said to the OG Emma when they flirted with her. Everyone, except Isak, that is.

Oop, there it is, the homophobia / heteronormativity: Moyo keeps pressuring Robbe into explaining what type of girl he likes. The boys laugh it off when he answers that ‘he doesn’t have a type’.

Lost in translation: Moyo mocks Noor’s Dutch accent, making his ‘g’ and ‘st’ sound harsher, while also adding ‘hoor’ at the end - a typical word used by the Dutch to emphasize a point.

Blink-and-y’ll-miss-it: Jens is playing with the weed bag. Keisha is one of the girls that Moyo mentions as Jens’ ex-girlfriend or ex-fling. Not only did Noor nót flush the toilet, but she didn’t used any toilet paper either!

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Zaterdag 22:44

C is for culture: 

Noor rescuing Robbe on her scooter - In Belgium, you’re allowed to drive a moped or scooter once you’ve reached the age of 16. Nothing is needed if the vehicle doesn’t go above 25 km/h. If it stays between the range of 25-45 km/h and max. 50 cc, you need to pass a theoretical exam, 4 hours of driver’s ed and a practical exam to get the license. Anything other than that, has a whole new set of restrictions, types of driver’s licenses and minimum ages.  Noor and Robbe are, however, still breaking the law. As long as you’re not 18, you’re not allowed to have an extra passenger with you. Especially if they’re not wearing a helmet. (Plus they ignored a red light. Those rebels!)

“You do know that you always have to have it with you?” - The Belgian law states that everyone above age twelve, has to get an ID to identify themselves. Some might have had a Kids-ID already - for travel purposes - but that’s not mandatory. However, once you're fifteen years old, you’re obligated to carry your ID with you at all times.

Perfect parallel:

Luca being all jealous whilst staring at Noor and Robbe making out in S3, her glaring at Maud and Robbe every chance she got in the last season.

Robbe and Noor having fun on the scooter while screaming and Robbe filming their adventure in this episode. Robbe and Sander doing a similar thing, but on their bikes in a later episode.

Wink to other remakes: Robbe sporting a brown jacket. (Eliott, anyone?)

Surprise bitch, guess who: It’s Willem Chanterie, the on-set costume designer and social media production assistant!

Blink-and-y’ll-miss-it: Noor has a ‘Fuck Trump’ sticker on her helmet. Robbe says “Hey, it’s red” in a very clear Antwerp accent. 

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Zaterdag 23:11

Hello from the outside: The garbage truck they sprayed, still drove around the city regularly. The art piece itself is named ‘#Genoeg mama' (= ‘#Enough mommy’). It blames the consumer society as toxic, making young people its victim.

Oopsie: Inside the graffiti den, Noor suddenly sports a tote bag with supplies, even though we never saw her wearing that in the previous shots.

Blink-and-y’ll-miss-it: Noor has black combat boots. The photographer is obviously Sander, in case you have missed that subtle clue.

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Zondag 13:41

Lost in translation/Oop, there it is, the homophobia / heteronormativity: 

“Check die pekie’s”. The word ‘pekie’ is actually Amsterdam slang for ‘beautiful girl, girlfriend’. In recent years, more and more Dutch slang are making their way into the Flemish dialect, because of the Dutch rap songs gaining popularity with the youngsters.

“Vamos, flikkers”. The word ‘flikkers’ can mean ‘wussie’ as well as a derogatory term for ‘homosexual’. Again establishing the fact that the boys use a lot of homophobic or toxic words for each other.

Robbe’s clumsiness meter: +1, him tossing the bag behind Jens instead of into his hands.

Blink-and-y’ll-miss-it: There is a football right next to the skateboards.

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Maandag 16:04

C is for culture: “The whole art school was talking about it” - 

Secondary school is divided in four sections: general, technical, art and vocational. Which section you choose can have effect on further education. In one of these sections, you pick what you want to study from your first to last year (‘directions’). That means that you have some courses purely focused on the direction and others that are obligated for everyone, regardless.

Art high schoolers can choose to go to work or study a specialization afterwards. Their coursework isn’t solely art based, there are general required courses too. That’s why some foreigners - including the Dutch - come to Belgium, since they’ll get a more rounded and higher level of art education than in their countries. ‘de!KUNSTHUMANIORA’ is the high school in Antwerp Noor goes to and is known for having students with unique styles.

Perfect parallel: 

Noor waiting outside the school for Robbe and him reacting somewhat confused here, Sander doing the same and having an instantly happy Robbe in a later episode.

Robbe having no problem kissing a girl ‘as a straight guy’ in front of the gates in this episode and scared for what might happen if he kissed a boy ‘as a gay guy’ later on. 

Blink-and-y’ll-miss-it: The insta caption underneath the art work says ‘An inspirational message on a Sunday! Just discovered this in Antwerp city today. Artist unknown... Can you remember when you last called on your mother?’ (That last sentence, oooofff, the symbolism!)

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Dinsdag 14:57

C is for culture: 

“Yes, mini enterprises are so chill.” - Mini enterprises are often used as a tool for Economics in the fifth/sixth year. The goal of these is to ‘learn whilst doing it’. Like the name specifies, mini enterprises are actual miniature companies set up by a group of students. During the school year, they’ll try to work together on commercializing a product. All aspects of entrepreneurship are at play here: writing a business plan, holding meetings, doing bookkeeping, marketing the product, produce and sell it, ... If the enterprise idea is good or well executed, it might even win a national prize by the company making this education formula.

“What if he contacts child protection services” - Actually, those services doesn’t really exist in Belgium. There are, however, other youth organizations for these types of things, like JAC - Youth Advice Centre, CLB - Centre for Student Guidance and the Centre for��Mental Healthcare.

Perfect parallel: The boys hyping Aaron up to walk over to Amber and talk to her - yet he fails in this episode, them doing the same and he succeeds (after some fails) in the last episode. 

Oop, there it is, the homophobia / heteronormativity: Jens saying “Damn, seems like someone is on his fucking period”, after Robbe snaps at him due to the difficult telephone call with his dad.

Lost in translation: Jens saying “Mijn kop staat er niet naar” (= “My head’s not standing there”) can actually mean different things: I’m not in the mood, it’s not the right time, I don't want to do it, my head’s all over the place, ... It depends on the context, on which interpretation would suit the situation the best. 

Blink-and-y’ll-miss-it: The girls are all fawning all over Britt’s cellphone, so there is a good chance that they’re discussing (pictures of) her boyfriend, Sander. Also, Jana’s braces are gone! 

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Donderdag 17:13

Perfect parallel: Robbe stating that he can’t talk to his dad or he’ll fight and Zoë getting that, as she said a similar thing to an understanding Senne about her parents in S2. 

How ‘meta’ of you: Ah, yes, fandom ship names in SKAM. We applaud!

Oopsie: If you look really hard, you see that the body type and hair of Robbe’s dad, doesn’t correspond with the version waiting at the restaurant later on.

Wink to other remakes: This shot reminding you of a certain S3 trailer?  👀

Blink-and-y’ll-miss-it: The numerous references to Zoënne’s relationship in their room (relationship pics, Senne’s guitar). The paper Milan gifts to Robbe is the written permission by his parent to live with them, as is obligated by law.

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Vrijdag 20:04

Perfect parallel: 

Senne pulling Zoë up after a kiss here, just like with their first kiss in S2.

Robbe pushing Milan away after thinking he wanted to kiss him at the party in S2, them hugging it out in after talking about it in S3.

Blink-and-y’ll-miss-it: Zoë and Milan making some healthy party snacks like cauliflower and cocktail sauce, cheese with tomatoes and salami squares. She pulls back the bottle of gin that Milan wants to steal. Senne also bought paprika and tortilla chips from Colruyt (a discount store).

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Vrijdag 20:54

C is for culture: “Noor, Robbe’s girlfriend” - (Teen) dating culture is different in Belgium. Usually, if you have kissed, hung out, texted or just said/did something to show your mutual interest, you’d pretty much consider yourself in a relationship. It can go from 0 to 100 very quick. Unless there is, of course, an agreement that what you’re doing is no such thing. Also, nobody really ask you to be their gf/bf. It just implied or stated to their family or friends. 

Perfect parallel: 

A reluctant Robbe pushing himself to do stuff to Noor (playful dancing, kissing, riling her up) as far as putting his hands on her bra here. A totally different, excited Robbe not even thinking twice about doing these things to Sander, even licking his nipple during their reunion.

Noor pushing Robbe on the bed and climbing over him, whilst Robbe looks all sad in this episode. Him pushing Sander on the bed and being happy as Sander crawls over him during their reunion.

Oop, there it is, the homophobia / heteronormativity: Robbe tries to convince himself into liking heterosexual sex with Noor and fake laughs with his friends about having it.

Where’s Wally? Keisha laughing with Amber and later dancing with Marie.

Blink-and-y’ll-miss-it: Jens is talking to Senne. The decorations behind Milan saying ‘Welkom Robbe’ (= ‘Welcome Robbe’). Noor has a beautiful tattoo of a pin-up girl covered with butterflies on her lower arm.

[jaesqueso]

What if Johnny debuted in EXO?

If you didn’t already know when Johnny joined SM Entertainment he trained with the EXO members and he was actually part of some initial line-ups but ultimately not debuting until years later with NCT instead. As EXO are one of my favourite groups and Johnny happens to be my NCT bias wrecker sometimes I wonder what would happen if he had actually debuted with EXO so if you’re interested in it to, do join me on this ride!

✰

Position, Unit, Symbols and first Teasers

For position I think he would have the same as he currently has in NCT: Lead dancer, sub-rapper and vocalist. These positions really fit him and I think he would specially be a good addition do the dance line. He would also be replacing Sehun as the maknae as he is the youngest of the EXO final debut line-up.

Since EXO initially debuted with the Korean and Chinese sub-units concept I think he would fit more with the members of EXO-K than EXO-M so I believe he would be placed there until eventually the units are blend.

From the existing powers I think the most fitting one for Johnny would be Fire (because let’s face it, he does light a fire within us, right? No? Just me? Ok). But if he was an addition to the line-up instead of a replacement they would give him a new power so I think it could be something like speed, that would be a good addition to the existing ones. As for his number, since most numbers are based on their birthdays or favourite numbers he could either be 09 or 02.

EXO was announced in December 2011 but only officially debuted in April 2012, in the meantime we were presented by several teasers introducing the members. I believe Johnny could have easily slayed the “Lightsaber” teaser (originally by Kai), be part of one of the teasers that feat several members or even having a brand new teaser with another demo that SM teased but never released (the fact that we never got a full version of Metal still doesn’t sit right with me…).

Mama (EP)

“What is love” was the first pre-released track sang by D.O and Baekhyun (Korean version), and being the vocal song it is Johnny wouldn’t be part of it much like the rest of the members.

“History” was the second pre-release single and all the members are included in the vocals and dance so he would too. Johnny would probably get Chanyeol ad-lib’s in the beginning of the first and second parts of the song, as for dance he would probably be centre at least in one of the chorus and mostly in the front line of the formations. Out of the 3 singles for this EP I think this is the one that would fit him best.

“Mama” was the last single promoted for this album. I don’t think Johnny would have a lot of lines here because most of the song they all sing together. Honestly I do believe this choreography could’ve looked better with 7 members instead of 6 as some parts look a bit strange, and I think Johnny could have quite a few centre parts instead of Kai (don’t get me wrong, I love Kai but we gotta admit SM was way to biased in the beginning).

As for the other songs: “Angel” is sang by the vocal line and “Two Moons” by the rap line, I think Johnny would fit “Two Moons” better. “Machine” would also be a song he would fit in well.

XOXO (Studio Album)

“Wolf” is the title track for this album and there are a lot of parts for Johnny to slay, from the beginning divided by the rap line to the last section of the second part before the chorus. I would love to see him being another branch on the EXO tree (I love this choreography so much) and since all the members come together on this song he could have a lot of time in the front line.

As for the other songs: I don’t think he would participate in “Baby Don’t Cry” like Kai and Sehun because I think it’s really well split between the other 4 members. The songs that would most fist him in my option are “Let Out the Beast” as it has some good parts that would fit his voice, “Heart Attack” (I might be a bit biased on this one as it’s my favourite track on this album) and “My Lady” as I think the all vibe of the song would be very interesting to see him in.

XOXO (Repackage)

“Growl” is a very fitting song for Johnny in my option, he would absolutely kill this choreography and the whole school concept would look so good on him.

As for the other songs: he would be freaking adorable singing “XOXO”.

Bonus note: I would love to see his acting skills in the little drama they did for this album. SM could’ve done so much more with it if that concept had been more developed.

Miracles in December (EP)

“Miracles in December” this track is only sang by the main vocal line so again I don’t think Johnny would be part of it, although he would look gorgeous in that music video (the acting scenes).

As for the other songs: the most fitting one in my option would be “The Star” as I think it has the best vibe for him. Also can you imagine him in the elf costume? A-D-O-R-A-B-L-E!

Overdose (EP)

“Overdose” would also be a good tittle track for Johnny from styling to the choreography. In this one the rap line barely has any lines but I think he could’ve blend in with the vocal line instead.

As for the other songs: he wouldn’t participate in “Moonlight” as it’s only sang by D.O and Baekhyun but I would love to hear him in “Thunder”.

EXODUS (Studio Album)

“Call Me Baby” has a very nice vibe for Johnny, again styling and choreography wise he would absolutely slay this and I feel like he could also get quite a few lines (but last face it, this would be the perfect song for EXO if they stuck with the original tittle “Call Me Daddy”).

As for the other songs: he would participate in “My Answer” as again is focused on the main vocal tine but I would love to hear his voice in “What if…”, “El Dorado” and obviously “Playboy”.

Love Me Right (Exodus Repackage)

“Love Me Right” has such a beautiful aesthetic we would get so many cool Johnny shots. And even thought the stylist screwed up making them wear American football uniforms with baseball hats (logic where are you?) I would love to see him with that. For this one I don’t think he would have many lines but there are a lot of parts in the choreography where he could easily be centre.

As for the other songs: “Tender Love” would suit him so well.

Sing for You (EP)

“Sing for You” is a slower track pretty much sang by D.O, Chen and Baekhyun so I wouldn’t see him having a lot of lines, but also it wouldn’t be the most suited concept for him.

As for the other songs: obviously I think he would fit “Lightsaber” as I previously mentioned he could’ve been in the initial teaser, but also “Girl x Friend” has some good lines for him.

Ex’Act (Studio Album)

“Monster” has a very cool choreography for Johnny to slay and there are a lot of good lines for him too. Visually we’ve seen dark Johnny a few times so he would fit right in.

“Lucky One” would have me go crazy with Johnny in those white suits. Also if his power was speed, like I mentioned in the beginning, it would be cool seeing him use it in the music video to trick those women who are keep EXO locked down.

As for the other songs: in terms of side tracks this would be a very good album for him as most songs would fit his vibe, except “Stronger” that is sang by the main vocal line and I don’t really feel like there would be space for someone else as the original distribution is really good.

Lotto (Ex’Act Repackage)

“Lotto” is my favourite EXO tittle track (I don’t even understand why some many people hate it) and I would love to see Johnny there. The whole concept just screams his name, even if they didn’t gave him a lot of lines he would still stand out here.

As for the other tracks: “Can’t Bring Me Down” would also be a great track for his voice and I think he could’ve also joined the line-up for “She’s Dreaming” even though it’s not sang by the whole group.

For Life (EP)

“For Life”, just like “Sing for You” would also be a track where Johnny wouldn’t have many lines.

As for the other tracks: like in their first EP we have two songs one for the vocal line “What I Want for Christmas” and one for the rap line “Twenty Four” and although I would love to hear him on the first one he would’ve definitely be in the second one instead because it’s so much his vibe.

The War (Studio Album)

“Ko Ko Bop” is the tropical vibe I crave to see Johnny in. Ever since I saw him in that floral shirt for the “Resonance” teaser pictures I knew he would’ve slayed this. Also it would be amazing to see him dance this choreography.

As for the other tracks: let’s just cut to the case and admit we just want to see him do the choreography for “The Eve”. Now that we got that out of the way I can also say that this would be a very good album for him in terms of side tracks as I could see him fit any of them.

The War: The Power of Music (Repackage)

“Power” is my least favourite EXO tittle track but honestly I could see Johnny in this music video with the other members fitting that weird spaceship with Doctor Octopus arms and they could’ve even used his speed power to defeat the villain. This would be a great opportunity to show case his bright and corky personality. It would also be amazing to have his ‘superhero’ cards and have him included in the comic that you get from the physical albums.

As for the other songs: “Sweet Lies” would be an amazing song for him.

Universe (EP)

“Universe” is another slow song so it would pretty much be like “Sing for You” and “For Life”.

As for the other songs: this album has my favourite side tracks so I’ll be biased and say he would sound amazing in all of them. Well, except for “Lights Out” which I think is the same situation as “Stronger”.

Don’t Mess Up My Tempo (Studio Album)

“Tempo” would make all our biker Johnny dreams come through. There are some pretty good line options for him and he could also have some killer parts in the choreography. Overall another great tittle track for him.

As for the other songs: this would be another great album for his vibe, specially “Sign” and “Oh La La La”. Also I would die hearing him sing “Smile On My Face”.

Love Shot (Don’t Mess Up My Tempo Repackage)

(There are no individual pictures for this shoot)

“Love Shot” is another tittle track with a great choreography for Johnny to slay, can you imagine him dancing that chorus? Anyway, when I saw the editorial NCT 127 did for Elle Japan I just knew his yellow suit would have looked so good next to EXO’s suits for this era.

As for the other songs: I would’ve loved to know how his voice would complement “Wait”.

Obsession (Studio Album)

“Obsession” has such an amazing duality concept, I would love to see Johnny against x-Johnny. Styling wise it would be something very interesting for him to try. In terms of line I think this would be the hardest one to fit him in as I think this is probably the best EXO distribution of their discography but anything is possible.

As for the other songs: the best ones for him in this album would definitely be “Trouble”, “Jekyll” and “Ya Ya Ya.”

✰

Wow, this took me so long to put together but it was worthy to walkthrough the EXO memory lane with Johnny. In my honest option I think it was the right decision to not debut him with them as I feel like he fits the whole NCT vibe way better but it’s always fun to wonder!

Do let me know your thoughts on this and also if this is something you’d like to see again maybe with other groups or members.

Thanks for reading ❤︎

[crushzone]

Haikyuu!! Characters As A Film Crew (Pt. 1: Pharmacy Commercial for Gardening Tools

NO ONE asked for this, but I felt a strong urge to bring it to existence. 😂

Will probably be a multi-series because I breath, eat, and sleep on film sets, and even if they are the same crew positions, they all got different styles and reactions based off the premises.

Also, not all positions will be included. I’m only typing the specific ones where Haikyuu!! characters occupy.

So consider each of these headcanons as one film shoot. And the next part as a different shoot. Some characters might get called back to be on future shoots, so expect some reappearances.

And if you have a goofy idea for our next premise, we might be able to open a lil brainstorm pool.

———————

Premise:

The crew gathers, bright and early, on a commercial shoot for a pharmacy store. They’re trying to promote their newly stocked Spring gardening products where a shopper browses through the aisles, then a group of dancers and a leaf mascot emerges and begins dancing.

———————

1st Assistant Director - Sugawara Koshi

He’s so happy to be here. When he hears that there will be dancing involved, he gets SO excited.

When the shot is rolling and people are dancing, he will be right by the director, swaying happily to the songs that they are dancing to. By the end of the first day of filming, he’s already remembered all the dance moves.

Because he enjoyed the fun dancing so much, he gets too distracted to...you know....actually do his job.

Is the main reason why the film shoot goes overtime; because he forgets to keep the director’s and cinematographer’s time in check.

He’s also not very harsh when it comes to putting his foot down and telling the cinematographer that this HAS to be the last shot before they  move on.

When the cinematographer kinda brushes him off, he will pout a lil, and mentally settle on allowing them 2 mores shots just cuz the dance is so fun in this. And same goes for the other shot, then the other...holy crap we have to be out in 15 minutes?! Where did the time go.

If they need more extras to dance, he low key wishes that he could hop in and help out. And when they let him, he is freaking happy.

Is very kind to any production assistants who may be new to the gig.

Makes every instruction sound like a very polite request.

All production assistant interns have a crush on him, and they keep trying to bring him fruit snacks from crafty.

Cinematographer - Tsukishima Kei

The wrong man for this particular shoot

He’s low-key a little embarrassed that he is going to be filming a bunch of people dancing and being happy.

While everyone is happily dancing along, he just glowers by the camera when some dancers can’t seem to hit their mark right. They’re not going to get the perfect spotlight he’s designed for them, dammit!

Gets a little annoyed by how Suga is so excited about the dance.

Also hates the fact that there are so many actors, it’s making him a little anxious about any background actors knocking on his lighting or camera equipments. 

Needs to sip on some Caprisun to calm his nerves, asap.

Will never tell his brother, Akiteru, how his shoot went when he gets home. That, or he’ll make it up, that he actually shot a horror film or something less “lame”.

Will eat the catering meals that are provided, but will silently judge how stiff the chicken is, or how overcooked the pastas are.

The kind of cinematographer who always remains by the camera, and doesn’t really help lighting and grips much when they need it. (It’s a very small crew, so some people are doubling duties.)

Will also leave most of the work to his camera assistants, treats this commercial shoot with the standards of a feature film, and will get kind of annoyed when his expectations are not met. However, if someone asks him if he’s okay, he’ll just smile and say that it is all dandy.

Wouldn’t even accept fruit snacks that his assistant camera brought for him, in an attempt to lighten his mood.

Sodium levels are very high.

Lighting - Wakatoshi Ushijima

Just general really quiet and stoic

No one really notices him, but even before the cinematographer can figure out how to describe the way they want the shot lit, he’s already had a massive light set up on stand by and is ready to go.

Also freaking strong, while the other electrics are figuring out a way to carry this lighting contraption across the pharmacy, and up the stairs wit no elevator, he’ll just say “Let me try”, picks it up, then walks out there alone like he’s holding a feather.

Him and his big lights lol

Somehow, his hands are heat resistant? He tends to lose his leather gloves when he lends it out to someone who needs it. So he just uses those cheap, thin gloves from expendables to adjust some hot lights, and he never flinches. We will never know if it actually hurts him or if he just doesn’t react, even when we can clearly see the smoke coming from his melting gloves.

Doesn’t know anything about voltages though, if there is an outlet, he will plug. Keeps blowing the fuse, and while some people are afraid to mess with the pharmacy’s breaker, it doesn’t bother him. Flips EVERY switch till it works, without reading the labels. definitely gave locations a heart attack.

Never complains about poor catering, but he will bring his own healthy lunch and breakfast.

Though he’ll occasionally snack on fruit snacks from crafty. However, if he got the last packet of fruit snacks available on crafty and someone wants it, he will give it to them in a heartbeat.

Makeup - Satori Tendou

There will be people dressed as leaves and trees? Some farmer-themed costume? DANCING?! He’s DOWN.

He probably had no makeup experience, but he found a way to fake his resume, so that he can put in all of his acrylic finger painting “experiments” as his experience.

When he gets there, his eyes sparkles at ALLLL of the people who are waiting for him to turn them into something.

Doesn’t really listen to what he was instructed to do, so some of the customers who were suppose to have some natural makeup, got turned into a tree as well. Fortunately, the director was able to work around this error, but now they are very short on human-looking actors.

Surprisingly not as awful with his body painting as he could’ve been? Not the best, but he’s not too shabby.

Started off doing the actor’s makeup with one of his original random humming, but when he steps outside to see some of the dancers practicing their moves, the song instantly got stuck in his head, and he CANNOT stop singing it. It’s beginning to drive some people insane.

He will be by the monitor, wiggling his lil hips and humming to the song. He had to be hushed by the Assistant Director Suga a few times, but he can’t help it, music just kind of rumbles out of him like breathing. Also, it’s not like Suga is so harsh about his hushing to begin with, but it did annoy Tendou for a hot sec, before he disregards him since he also notices him dancing next to the director.

Terrible at sanitizing his brushes. Will use the same brushes on different actors (gross). When an actor complains about sanitization, he just pretends like it had JUST occurred to him that they are right. Then he would set the brushes down and go at it with his freaking fingers.

Tilts his head like an owl and steps 10 steps back to study how his makeup job looks, before coming back to examine up close. Just really not subtle about it.

Grip - Keiji Akaashi

This man is a grip i would HIRE in a heartbeat.

Just like Ushijima, people don’t really notice him, per say, but in a way, you also can’t help but notice how he’s always shadowing the cinematographer so he can get a head start on instructions and problem solving.

However, he is very methodical though. Never just asks his team to grab a gear until he is sure it will be used. He just understands that most equipments are freaking heavy, and he never wants to overwork his crew.

Always hella crafty; need a dolly shot, but you couldn’t rent one? Here’s a shopping cart lol. Sound department misplaced their dead cat? (It’s a fluffy thing that you put over the microphone to prevent wind sounds), just let me buy a teddy bear from the kids section and make one for you. His rigs definitely makes it to shittyrigs Instagram page often.

But you have to admit that his shittyrigs are pretty impressive AND actually secure.

Ended up getting pulled into the commercial to be one of the costumers, since they were short on actors (Since Makeup Artist Tendou kept turning actors into trees). He barely reacts to anything so they had to pull him back out.

Because his roommate, Bokuto, is taking the role of the main leaf mascot, he cannot wander off to rest between takes because Bokuto keeps looking to him for approval haha.

Really quiet, but when anybody comes up to him for some advice, he never hesitates to share what he’s learnt from his experience.

Lead Actor (Mascot) - Kotaro Bokuto

Is Akaashi’s roommate.

One day when Bokuto returns home, all pouty, because he decided to quit his job, Akaashi tries to think of a way to get this man a job that he would enjoy.

Then when he tells Bokuto that he’s hired for a commercial shoot as a Grip, Bokuto basically threw him a little ice cream party (he probably throws Akaashi a little celebratory party every time he gets a gig, and he is an experienced regular who gets gigs ALL the time.) but he did sensed something wrong: As happy as Bo is for one of his many grip gigs, there’s an underlying atmosphere of sadness that he can’t brush off.

“How do you feel about potentially dancing in a leaf mascot costume for a commercial shoot?” And at that question, Bo’s eyes sparkle ✨

Seeing as Akaashi had worked with this advertising company as a freelancer for a while, he put in a good word for his friend.

When Bokuto shows up for audition, the casting directors LOVE him. Gets the role right away, and from that day on, this company keeps re-hiring him as their different mascots.

The crew loves him, the client loves him, and the casts love him. This man is THRIVING.

Not the best dancer, but he’s energetic enough that it’s just endearing in his own way.

When he gets handed the leaf costume, he’ll accepts it as if someone’s handing him a sword.

Just stomps around the pharmacy as a lil leaf, the heat of the suit doesn’t even bother him when he could look this cool. However, he’ll trip on his costume A LOT, but he’s fine because it’s actually pretty cushiony.

In one of the shots, he tripped on his costume, and simply stands back up to continue dancing like nothing’s happened, cuz the show must go on. That was the shot that made it to the final commercial.

The choreographer actually tried to teach him a dance, but because he’s pretty bad at learning dances, they just let him do his thing.

Boom Operator - Lev Haiba

This tall boi is BORN to be a boom operator.

Due to his naturally friendly demeanor, a lot of background and dancers thought that he is flirting with them. However they later realize that he’s just friendly when they figured out they were all swooning over the same person.

Can hold boom poles very high, like he can hold it over the aisles without a ladder sometimes.

This is his first gig, so he doesn’t really know tricks to hold the boom pole for an extended amount of time.

So his arms will probably tire out real fast. And sometimes you can turn around mid dance to see that he has his eyes closed and his arms are TREMBLING. (Poor boi, but please keep your eyes open when the camera is rolling lol.)

And when the shot is cut, he will bring his arms back down and smile SO big cuz he gets to relax. But will cry when they have to go again.When will this shot cut omg. The dance sequence is so long.

Because he keeps his eyes closed, he always accidentally dips the microphone in frame. I can assure you that you will hear “BOOM IN FRAME” about a 100 times on this shoot.

When the director views their favorite shot, they realize the microphone is in frame, Lev would smile VERY innocently when the director groans.

Trips on his own microphone cable. Akaashi had to come up with a contraption to save him from tripping.

No idea how to coil cables, so it’s always just a big spaghetti mess.

Always eats SO much during lunch.

Always bumping into shelves, counters, fridges. If you hear the sound of 30 cans falling from a distant aisle, it’s probably Lev and his boom pole. Will also give locations a heart attack.

Same goes for if you hear “OW!!” it’s probably him too, but this time he is tripping on his cable, before the pole lands on someone’s head.

Just overall a very chaotic and dangerous boom operator.

Transportation - Hinata Shoyo

Honestly has no idea what he is doing. JUST learnt how to drive recently, so he figured, he’d make some money.

Can’t even follow the GPS so well. GPS: turn left at Baker St. Hinata: BUT WHEN?! Is it this street? Whoa, this car is coming out of the street...oh...that was Baker St. uhh, I’ll do another loop. Actor: this is your 4th loop!!

Gets kind of overwhelmed by how many actors he had to pick up. This is a pharmacy commercial shoot right? Why are there so many actors?!

Just gets really awkward when there is no one to transport though. Like what else is he suppose to do now?

Would just hang out around crafty and stress snack. Then he’d have to run to the bathroom often cuz he ate too much.

Because of that, you can’t really find him when you need him, sometimes. He’ll have to keep responding to his radio while in the restroom.

Totally thinks that the distortion of the radio will mask his flushing. But he is WRONG.

Dancer - Terushima Yuuji

Is actually a pretty great dancer. He gets to be one of the dancers who get the most screen time.

The choreographer loves him, he even asked if he can please add his own flair to it, and when he attempts some free styling, the whole team is impressed, some even swooned.

Found a way to convince the director to have him wink at the camera, and that may or may not be why the pharmacy’s gardening products were nearly all sold out the moment the commercial aired. Never knew gardening could be this sexy, did’cha? *winks*

Playboy af. At the end of the shoot, he’s got 10 new numbers from cuties on set, can’t even decide who he should hit up first. Some of these numbers, he got them from crew/cast members who genuinely thought his cocky behavior’s pretty hot, but a good half of it also came from his persistence.

Demands some fancy snacks for crafty, but when the crafty person leaves to go find that snack for him, he quickly shoves a handful of some junky candy and cheetos in his pockets. 

And those snacks will probably be his dinner tonight.

Is a little bit of a jerk to “newer” actors. Like bruh, this is not even a film shoot for a movie, it’s just a commercial. 🤷🏻‍♀️

REFUSES to be turned into a tree. He will maintain his sexy human form, please, and thank you. But sexy farmer is fine, I guess.

Background Actor (who dances too) - Kageyama Tobio

Shows up thinking that all he has do is to just push shopping carts around in the background.

Wrong

He didn’t know he had to dance too. And suddenly all blood drains from him.

What is he going to do?! He was already in 2 of the shots, he can’t back out now.

When it comes to the dancing part, he is as stiff about it as you can expect.

Why are there no yogurt or milk at crafty? :( He needs it now more than ever, to calm his nerves.

But when he did get it, and drank it, it didn’t seem to sit too well in his tummy when he dances. He’s confused.

Freaking transportation guy keeps occupying the bathroom. His name is Hinata? He knows because he can hear Hinata’s name being called through the walkie while he is in the restroom.

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

A/N This is my first headcanon, so please let me know if there are things I can improve on! 🥰

——————

Taglist (open): @shhhlikeme @ceo-of-daichi @karasu-hoes @super-noya @nonexistent-social-life

[cbspams]

The Boyz - Checkmate (Other version I watched)

Aight. Y'all knew this was coming and we are here now. We are HERE. NOW.

God okay let's start first with the literal opening shot. Remember Danger? Round one? Swinging pocket watch, the hat?? The flashy costumes, the confidence?? YEAH DUDES BRING IT BACK!! And not only that but they connected it to Reveal and Quasi una fantastia. Once again guys, we stan continuity. Literal story arc.

The conscious decision to start with Younghoon who ended Quasi. The conscious decision to have the barren tree burst into full bloom, only to melt into the fiery background of Reveal. Juyeon's entrance with the crown that he took back at the end of Reveal. Continuing on to Q who had the crown stolen from him at the beginning of Reveal, having him take it back and open the performance with a small solo dance as he did in Danger. (Side note, that ripple stop effect with the backup dancers? Beautiful.) I know Q did the jump off in Sword of Victory but Sunwoo did the major stunt in Danger and just that pass off, including all the elements. I'm screaming!!

Climbing up the staircase to the shadow screen throne was a beautiful touch. I've complained about this before with other groups and I've praised TBZ time and time again for this but their story building and concept execution is probably the best I've ever seen. I think a lot of 4th gen groups tend to struggle with creating cohesive story lines but TBZ does it really well. I wouldn't say flawlessly but as performances, excellent job.

I'm a tiny bit puzzled as to why Sunwoo fell from there but (theory time) I could see it as a fall from grace and then Checkmate being a struggle to reclaim the crown again. Kind of like how they fell from 1st place in round 3 and now this live round is their stake in clawing their way back up to Kingdom again.

The backup dancers were on! point! I know in the other performance I watched (linked above), TBZ did everything themselves but in this case they obviously couldn't do that. So having the backup dancers create that tension with the stop and go choreo was a good decision. I loved their costumes as well! All black but still fitting with the theme, the hats particularly got me to think like ah, this is royalty.

Sunwoo is such a performer holy shiiiiit. Facial expressions on point! I loved the kind of gothic hallways the LED screen had on. Checkmate is a darker song than any of the ones they did before. Danger and Reveal are both exciting, energetic songs whereas Quasi was really beautiful and not gentle necessary but passionate? But anyways Checkmate starts in a minor piano progression and the LED screen change just served to bolster that feeling.

Three-way chess hehe. I wonder how you play that? Did y'all know there's like a 5 dimension time travelling chess game on Steam? Physics folks are scary.

Juyeon's complete freeze when Hyunjae has his line is incredible. Same with Hyunjae when Juyeon starts singing again! The discipline!

YOOOO okay I had to rewatch the performance for this part but if you look carefully on the chessboard, it looks like none of the three sides have their king piece!! I was drawn to that when Younghoon says Check your king, like okay!! Go off!! They just know for a fact that people like me exist who scrutinize every detail dhjkf

Sunwoo looks so clean in his lines and his dance. Kevin being pushed around is both hilarious and also impactful because his line is I ain't never satisfied, and the image + vocal cue brings up the image of both a spoiled royal and also an ambitious one. They just flipped the table for Hyunjae to stand on so I'm like. What happened to the pieces?? Lmao, they probably just shoved them off to some backup dancers or smth but that was funny to me.

I like their continued use of swords as well. TBZ used a katana for their 90 sec performance but obviously with this performance being more medieval, makes total sense to have more European style long swords.

Since Checkmate is obviously a chess term, they did a complete chess royalty concept and I adored it. The costumes are everything, I love the detailing in the beading and chains! The split between black and white! Silver accents!!

Their chorus dance was so good, aughghghgh.

Once again, the backup dancer army. Just. Wonderful additions to creating the world of the performance. And again, similarly to Kevin on the chair, Sunwoo on the chair being lifted like a palanquin just continues to reinforce the idea that they're the best, above everyone else. Sunwoo commands the soldiers (dancers), tells them to go this way or that. He is the king and there's no question about it.

Sangyeon, Q, Jacob and Eric. Please. My heart. One thing about this section, I love that they really used the full extent of the stage. They didn't hesitate to use the audience stands too, which I think most groups would be too scared to consider. (I also wonder if it's an intimidation tactic lol. Did you see ONF's E-Tion and Wyatt?? Jaw: dropped) When Jacob and Eric are doing the sword fight, the lights flipping was really interesting because it reminded me of how you can see light reflected off metal when it clashes but also it gave me a vague illusion of fighting while darting between shadows, half blind, chasing each other??

YES PLEASE LIFT NEW UP HES IS BEST BOI. Continued appreciation of backup dancers. I know they did this so everyone could move into the next position which is why I think it's fine. But overall, even though I appreciate the dancers and think they're amazing, I always feel a little questionable when it's just the backup dancers doing something on stage. Personal nitpick though.

THE BOX. THE FUCKING BOX. DUDE MINATURE SCALE IT AND HAVING THE BLACK AND WHITE KINGS INSIDE?? AND THEN!! ON STAGE!! THE BIG BOX!! TRAPPING JUYEON AND HYUNJAE!! BITCH PLEASE!! WHAT THE FUCK HOW DO YOU THINK OF THIS!! I loved that they included a ribbon to "force" the two together in a struggle, and just artistically from a dance perspective it's pretty bomb. It restricts the kind of movements you can make so they did a beautiful job of going back and forth in a literal confined space, tied together. The perspective of the walls of the box also gave a really neat illusion of endless hallways on all sides, like they're in an infinite space. I loved it. So much.

Small thing but the confetti being the same dark color as the walls. Good shit.

Facial expressions ON POINT while walking through the salute. The aggression, the glower. Jacob especially looked really cool and intimidating and sexy?

Yeets chess piece. Jokes aside, that's a good impactful ending, and the continued messages on screen behind them just. Ugh. Literally so good. So. Good. Continued emphasis on the moon, on being kings. Having the army in front in formation like a crown. TBZ standing so tall.

I don't even think I really have any complaints about this performance. It's just that good. Everything was amazing.

Score: 10/10

[meibemeibelline]

highlights from that 32k word doc i wrote when i marathoned gazette’s songs (2002-2007)

PART 2 | PART 3

Some quick notes:

This is a combo of thoughts on music, lyrics and sometimes just funny things I found while I was hurriedly typing at 11pm listening to these songs. Not every song will be featured in these, sorry

At times I directly quote translations and when I do I’ll specify who I’m quoting, but just so you know first they are all either Defective Tragedy, Heresiarchy or Trauma Radio

Also, I’m planning on writing some longer essay-type things with these notes so there might be some things I skip over (such as a recurring theme in their songs) bc I want to use them elsewhere

CONTENT WARNING FOR LYRIC DISCUSSIONS: suicide (Ganges ni Akai Bara). i will bold the title so you can skip it if you want. it’s one paragraph long

HHHH this is already 2k words but anyway hope u enjoy my ramblings

 “I’d have to take a break from feminism to appreciate [Akai One Piece]”

“His delivery is still highly emotional and [Okuribi] overall is really emotional. Like the fact you can still hear and FEEL the sheer bittersweet feelings (mostly sadness) of someone you love passing away is like...really telling of 2002 gazette’s potential”

(Doro Darake no Seishun) “Bitch Aoi and Uruha are serving LOOKS like the red tartan blazer with the black shorts???? And Uruha with the red tank top and the pleather skirt with the garters THE OTHER GIRLS WISH THEY WERE HIM”

(Haru ni Chirikeri, Mi wa Kareru de Gozaimasu) “it’s about a flower that’s in love with a one-winged butterfly, and i imagine the point is that even though they sing songs for each other, they’re just so different that they don’t understand each other and they can’t be together. and they’re just...fated to end, and maybe try again next spring. and you can see that in human relationships too.”

“Akuyuukai i think is such a significant turning point musically like i just FELT a significant shift where they were really painting with their music and having it be more closely connected with the lyrics”

“[Linda Candydive Pinky Heaven] is a happy and fun song!! it’s doro darake no seishun’s cuter and cooler older sister. this also gave me a lot of serotonin and i’m glad this is a classic. it’s also this band’s first fan song (or closest to a fan song) and i think it’s quite meaningful because they were picking up as a band and were starting to really connect with people which is always so so great. and i think it’s cool that many songs before this were fun songs to jam out to but linda is specially DEDICATED to that. it’s so carefree and i think like...this is the exact thing many musicians love about performing and what fans love about concerts. it’s the escapism and just the SPACE to be yourself and have fun. it’s so freeing.”

(Black Spangle Gang) “I can’t believe GazettE were doing 2005 Miyavi before Miyavi did 2005 Miyavi”

(The Murder’s TV) “I think it’s cool how playful they make it sound -> like a creepy show that kids might see and the last chorus is pretty good. it’s a bop AND THE BASS AND GUITAR SOLOS SLAP. The lyrics are really interesting too and I LOVE the way Ruki embodies them with his voice”

“BITCHHH MAD MARBLE HELL VISION SLAPS. THIS IS WHAT I CALL NOISE MUSIC!!!!!!!”

“The composition on Kawareta Haru, Kawaneru Haru is actually SO good (and the costumes are fucking ICONIC). And Ruki is STILL getting better at singing. The chorus is melodic and the effects on the guitar just go so well like I think the others (probably since Akuyuukai actually) have been really getting to play with all sorts of effects on their instruments to make this new variety of sounds which is super rad. AOI SOLO SUPERIORITY BTW.”

“Indie gazette really love their key changes in the bittersweet songs in the last choruses.”

“Comparing the lyrics of [Sumire] to many of the last ‘goodbye’ songs, there’s a lot more imagery and scene-painting as opposed to like, just direct thoughts and feelings. And that’s really Ruki developing as a writer, I think, as his lyrics are becoming more subtle and open to different interpretations which is super cool! Like this is really him finding his voice and I know he’s going to be doing more of this over the years.”

“ANATA NO TAME NO KONO INOCHI SLAPS BUT THE LYRICS ARE FUCKED. LIKE, I KNEW THIS FROM THE BEGINNING BUT I REALLY WISH I WAS JARED, 19.”

“I LOVE MISEINEN SO FUCKING MUCHHHHH. I can only begin to imagine just HOW significant this song is for Ruki. This is him acknowledging his weaknesses and his flaws, looking around him and seeing the people he has, he writes about what he’s afraid of, he writes about how he’s going to change and move forward, what is MOST VALUABLE to him. This is A LOT. This is A LOT for anyone. It is a song about GROWTH – how he wants to grow yet is terrified of change, but even so is going to do it with the help of his support system. This is EVERYTHING. It’s raw and brave and so very beautiful. It has Wakaremichi and BEST FRIENDS energy. These three songs are best friends. And also like, for the last couple of releases Ruki’s been doing lots of wordplay and metaphors and using euphemisms, but this set of lyrics is just completely honest and STRAIGHT FROM THE HEART. Like, there ARE metaphors and symbols but he’s talking COMPLETELY about himself and his FEELINGS. I get emo whenever I listen to this song.”

(Carry?) “Apparently it’s about Frankenstein’s monster, so I guess this is another Concept Song. So this explains the flat vocals – the monster is undead but also…very sad and confused about what it is and its place in the world. ISN’T THAT ALL OF US ON SOME LEVEL…HAHA…”

“Zakurogata no Yuutsu is that 2010 fb meme where someone sees their partner right before going into a heart surgery only to wake up to find they’re gone and the doctor is like ‘omg who do you think gave you the heart😔’”

“WHAT THE FUCK WHY DID I SLEEP ON HANAKOTOBA. THIS IS AOI SONG SUPERIORITY. THE GUITAR SOLO IS ALSO GORGEOUS. Also love what he did with the melody getting higher in the end when the narrator questions the existence of the love they lost. AND THEY DIDN’T RESOLVE THE FUCKING CHORD PROGRESSION OHHH MY GODDDD BECAUSE “I’LL WITHER AWAY, NEVER KNOWING THE ANSWER” //THROWS. THESE GENIUSES. THIS IS THE BEST SONG ON THE ALBUM SO FAR AND THAT’S👏ON👏AOI👏SUPERIORITY👏Also I know that, literally, Hanakotoba is a flower on the side of the road but LISTEN. This is a soul that just wants love...This is the anthem for us lonely invisible bitches <3 This song has the MOST yearning. Thank u Aoi for my life. Like he is TRULY the composer with the most emotionality.”

(Tokyo Shinjuu) “I LOVEEEE THE BASS. This has a very old, classic Japanese style and it’s just…so good. You can really hear it in the melody. Also there’s just something SO feminine about it and I KNOW it’s that classic Japanese sound and like…god I love this gender bending with music. I adore the guitars too I think there’s such a good balance between them.”

(Shichigatsu no Youka) “I love how the lyrics are between sections too – the most emotional parts are in the big, emotional chorus, and the verses are more mellow when the narrator is sort of…more detached and Not Crying… The guitar melodies are really pretty and the solo is just GORGEOUS. It’s such a bittersweet song as well (god GazettE just do bittersweet EXTREMELY WELL) like bruh…already being sad over a breakup and OH DOUBLE WHAMMY THEY’VE MOVED ON like. Ruki sweetie I’m so sorry.”

[a rant about how I know Saraba is well-meaning and is about the peace and unity of a nation and is EXPLICITLY anti-war which I can definitely appreciate but my Chinese ass was just NOT having the whole painting the Japanese army as heroes deal]

(Reila) “Ruki’s vocals are SO GOOD here. ALSO YELLING AT THE BASS AND KICK DRUM BEFORE THE SECOND VERSE WITH THE PIANO. THE WAY THE KICK DRUM PANS THRU THE EARS. MOTHERFUCKER. AND THEN TO COME IN WITH THE GUITAR SOLO HOW DARE!!!!! YOU PLAY WITH MY EMOTIONS LIKE THIS!!!!!”

“COCKROACH SLAPS. Love that he reframes being compared to a cockroach as like, resilient (I’ll never break through -> I want to believe I’ll break through), and he’s embracing his crudeness and taking a huge dose of PHUCEMOL.” (Cr: Defective Tragedy)

(Sugar Pain) “God Aoi’s intro though………..I HATE THE BREATHING SO MUCH. No I’m actually really angry right now why is it actually good. YOU’RE NOT ALLOWED TO BE GOOD.” (I then had to stop after the first chorus for obvious reasons)

“Idk why the first thing I thought of when Bite to All started was ‘yeehaw’…[Also] I hate how I know exactly who is screaming at the end and when.”

“BTS 🤝 GazettE Gunshots in songs”

[My personal interpretation of Nausea & Shudder is not that it’s about the pressure of being true to oneself in the face of success, but rather that success itself is not what Ruki expected it to be and he’s figuring out how to navigate that and move forward. It is also just a really good set of lyrics.]

“There’s just a hopelessness that’s so profound in [Bath Room]. Like if depression was a song IT WOULD SOUND A LOT LIKE THIS… Up until this point this is the Darkest song AND WE’RE ONLY GONNA GET DARKER FROM HERE *sweats in DIM*”

“I love these unsaid words Ruki leaves in the booklets. Adds layers and messages for the listener (usually of hope)”

(Silly God Disco) “After reading the lyrics I love this song soo much more. Like it’s actually really nice to think about dancing and living life because you have rock music and it makes you happy. Also the FUNK. The flavour. Not only that, but the way Ruki SWEARS he will live happily, without fear, and always moving past pain and towards freedom and glory. And he INVITES the listener with him. This is just SO nice.”

“I think it’s interesting that like…for an album that is sort of Known to be depressing as hell, there are quite a lot of songs about resilience and just…living and moving forward. Depending on what the rest of the albums are about, NIL might actually be, weirdly, the one with the most hope in it.”

(Worthless War) ““Do you shoot first so you won’t get hurt? / Do you call that sort of thing ‘justice’” damn Worthless War spilled. This sounds like a whole lot of anxiety surrounding war, and a very strong criticism against the government for caring more about power than people. Even though violence is despair, he also says that this age of political tension and FEAR is also despair. And he is correct. Ruki: ALSO THE EARTH IS DYING???” (Cr: Defective Tragedy)

(Rich Excrement) ““Lyric killer is erectile dysfunction” + “Biters should check it out too” -> you’re a limp dick who rips off other people’s work I AM SCREAMINGGGGGG.”” (Cr: Defective Tragedy)

(Crucify Sorrow) “The main metaphor here is someone who is an insect with a broken shell – an empty person. With depression, probably…And I cannot help but think about Utsusemi, in which he uses this EXACT metaphor to describe himself and his own depression, his loneliness and his desire to disappear. Was this a coincidence??🤔”

(GANGES NI AKAI BARA) “I really like this song – music and lyrics both. Like even though it’s sad that the girl was in a lot of pain, kills herself and is condemned by her church, the narrator bringing her to Ganges and doing a sacred ritual for her so that she can find salvation is actually really really kind and meaningful??? Not only because it’s an act of kindness but also because the pain she was experiencing was emotional/mental (with the constant tsu-tsu-tsura-tsura-tsurai), salvation could relieve her soul from exactly that.” (Apparently Ruki said the narrator is Buddhist but in the context of the song Hindu makes more sense, so I’m just going with that)

(Calm Envy) ““If you could love even these words I’ve thrown your way / I could keep trusting only you as you stand in front of me / It hurts every time you bring up the past you’ve suddenly shown me / I want to love even that empty space where I don’t exist / I’ll wipe away my tears so you wouldn’t notice them / So don’t smile in front of me anymore than this” – SHUT UP THIS SHIT IS REALLY UNCONDITIONAL BUT THEY’RE TIRED OF BEING HURT. GOODBYE. GOODBYEEEEE.” (Cr: Heresiarchy)

(Circle of Swindler) “Ruki writing "how much do you buy us for? let's negotiate [the] value of pain" in circle of swindler to demand respect and acknowledgement of his worth from the higher ups of the music industry because it's the music born from his pain that's making their money is Quite sexy” (Cr: Defective Tragedy)

“[Stacked Rubbish] is about the baggage we have, the baggage we give each other, the Errors we make precisely because we are People who have souls. I think the point (of this album being like an anthology) is that everyone could find something in this album that speaks to them.”

[redcameleon]

Superstar Series

Chapter 03: The Heart’s Cry

Summary: Sakura tries to deal with her feelings as she seeks advice from a friend.

Rating: K

Today is a slow day, at least for someone with a schedule like them. With the upcoming concert–their first ever concert since their debut–K4 is making sure they prepare everything to perfection.

Practice after practice of singing and dancing, tireless might be the best word to describe them. They’ve been practicing for about five hours now and Sakura has a feeling they’re going to continue until late at night.

Sakura, along with her friends Ino, Hinata, and Karin, have always stayed in the production company even when the boys don’t have any schedule. 

“Guys! Have you heard of this new song from Flow? I heard it’s in the top 10 billboard!” Ino holds out her phone for the others to see.

“Never heard of it.” Sakura comments.

“Oh wait I’ve heard of them! Loveee their new album!” Karin beams up from her seat and scoots closer to Ino and puts on a one side of her of earphones as Ino takes the other. When the two women have occupied themselves with some music, Sakura turns to the other one next to her.

“Hey, Hinata?”

“Hm?” The shy girl replies.

“Can I talk to you for a moment?” Hinata’s expression turns serious. They don’t usually say those things to each other, and when they do, they mean business. But through the past few weeks, they’ve been rather close and Sakura feels she needs some advice from a fellow friend.

They move to the farthest section of the room and settle themselves on a couch.

“Here’s the thing...” Sakura doesn’t even know where to start. “I... I-“ She grows restless. She’s never told anyone about this and the thought of having a celebrity slash singer as a crush terrifies her, especially when she’s working close with that certain someone.

“I think I know where this is going.” Hinata suddenly comments. Sakura can’t fight the blush that creeps to her cheeks.

“You do?”

“Is it about Sasuke-kun?” The blush grows a shade darker.

“How did you...“

“I can see it in your eyes. Especially when you’re with him.” Is it really that obvious? Sakura wonders. If Hinata can see it, will Sasuke be able to see it too? Knowing how perceptive he is, she sighs in defeat.

“I don’t know why I feel this way. I mean... It’s just a crush but... I do find him attractive, and kind, and caring.” Even when her mouth says compliments coated with sugar and honey, her face portrays something of sadness and defeat. She sighs again.

“But he’s a superstar. Everyone loves and adores him. I’m just a girl who does make up and hair style, wipes his sweat and arranges his costumes.”

“And that’s exactly why.” Hinata says. Sakura whips her head to look at her and questions her statement.

“You’ve been a great help to him, I’m sure he knows that. And you’ve shown that you’re a kind person.”

“Yeah but I doubt that this crush will turn into something more. Besides, there’s the whole issue where we’re not allowed to date coworkers, especially the superstars..” Hinata places her hand on her shoulder to reassure her.

“I know it seems like something impossible. But don’t give up yet. And don’t ever think you’re less than everyone else and that he won’t notice you.” Sakura sighs again.

“Thanks, Hinata.” She smiles back at her and her heart feels a tad bit lighter.  

Nonetheless the thought will never leave her mind. What’s going to happen if she lets her emotions run loose and take over? Will she have any control left? And what will happen then? 

If and a big major if, things do work out between her and Sasuke, what happens then? If people catch them, there are bound to be consequences. And how will she face them? Eventually, she’ll have to quit. Not to mention the attention that will be brought upon Sasuke will only bring calamity to the group.

Now that’s something she can’t, won’t let happen. 

Then is she supposed to just bury her feelings and pretend they don’t exist? Will she ever be able to live with it? Sakura feels there will never be a right answer to her problem.

If only Sasuke were a regular person. Of all people why did it have to be a celebrity?... 

.

.

.

to be continued.

<--Chapter 2         Chapter 4-->

[ashtonlane01]

https://youtu.be/rvL2jq1eOVg

Dance Legacies

KDB123

Assessment 2: Reflective Journal

Ashton Lane

N10723790

Word Count: 1765 (excluding reference list)

1)    Romanticism

Romanticism also referred to as the Romantic era was the attitude/ intellectual orientation that defined pieces of painting, literature, music, architecture, historiography, critism and of course dance. This period of time stemmed from the late eighteenth to mid nineteenth century in Western civilisation. During this time period, romantism focused on the irrational, imagination, emotion, visionary and transcendence (Britannica, 2020). Romantic Ballet was a highlight of the era. Being the age of reason, this gave way to imagination throughout the use of Romantic movement.  

Romantic Ballet was considered the birth of story ballet, following the classical ballet time period, Romantic Ballet focused on themes such as: good vs evil, supernatural vs society, man vs nature and was a time of fantasy and the supernaturalism. Women featured in the ballets were considered the lead and were also commonly portrayed as wholesome figures who would always prevail over evil. Whilst the women were performing centre stage, the male dancers were there for assistance. The addition of pointe work was introduced to complement female dancers, giving them the perception of floating. During pointe work dancers would start off rising gradually growing taller onto the tips of the toes (this can be seen demonstrated within my video). The ballet technique of the time adopted the idea of rounded arms and soft movements to give the appearance of weightless/effortlessness. While implementing the now basic foundations such as: turn out, posture, midline. Along with the classic feet/leg and arm positions: first, second, third, fourth and fifth. These positions/foundations of romantic ballet and the light and airy dancing can be seen throughout my video. Portraying spirits, dancers were required to float and fly, this could be seen through lifts. Leading ballerinas of the time included: Mare Tagioni, Lucille Grahn, Fanny Ceritto and Carlotta Grisi. During lectures videos of these dancers were shown to represent the Romantic ballet time period. Within these videos I could clearly identify the observations listed above. This was very helpful for me to observe when exploring movement for my Romantic Ballet demonstration video.

While during my demonstration video I can be seen wearing modern day clothing during the Romantic period the “romantic tutu” was a great invention. The tutu featured long elegant skirts. This choice of costuming allowed the dancers to become the focal point of the performance. The floating tutu worked for much more graceful movement, giving the fantasy of a fairy-tale like character (Cennarium, 2020).  Pointe shoes were beginning to be used for pointe work wear dancers would effortlessly move across the stage. However, it wasn’t the same as current day pointe shoes they were but normal ballet slippers that had been stiffened by rows of darning (CaliforniaBallet, 2020). In my video I wore my demi pointe shoes, which are similar to the shoes of the Romantic time period as they also don’t have a block. Stages were also set as a dream like atmosphere, this captured the aspect of supernatural characters.      

References

Britannica (2020) “Romanticism “

https://www.britannica.com/art/Romanticism

CaliforniaBallet (2020) “ Ballet in the Romantic Era “

https://californiaballet.wordpress.com/2010/06/04/ballet-in-the-romantic-era/

Cennarium (2020) “ The Distinct Periods of Ballet History”

https://www.cennarium.com/blog/distinct-ballet-periods/

2)    Classicism

The classical era of ballet began due to two major changes in the dance world. During the classical ballet period the pointe shoe evolved from the romantic ballet period. This included a sturdy box around the toes and a supported strong sole (This shoe is used in the second section of my classical dance video). The advanced adaption of the pointe shoe allowed dancers to become higher in skill and perform faster movements. Choreographers were also encouraged by current music that was more complex and narrative. Classical Ballet became an art form that was then considered much more technical in skill. Musicians and choreographers would collaborate to create pieces, with choreographers setting the story line and the musicians who matched the story line with classical music. Classical music can be heard throughout my classical ballet clip. Classical ballets were even often set into four sections: adage, female variation, male variation and he grand allegro that finished each performance (DanceAppreciation,2015). These different sections were recognized during lecture videos. Very famous ballets created during the classical period were viewed during practicals these included: Swan Lake, The Nutcracker, Cinderella and Sleeping Beauty. The most famous classical ballet choreographer of the time was Marius Petipa who was considered “the father of classical ballet”, he was too studied during lectures. His creation of realistic performances with an alluring story caught the audience’s attention. His complex sequences displayed: leaps, turns and complex steps. Studying the father of classical ballet assisted me in creating my classical ballet sequence. Leaps and turns can be observed in this video.    

Transitioning from Romantic ballet women were still featured as the lead, many classical ballets even often focused solely on the female dancer and her pointe work. Classical ballet flowed and used movements that were much stronger in flexibility (exceeding higher than 90 degrees). The legs moved faster/higher and the footwork was far more advanced (DanceApreciation, 2015). The advancement in flexibility can clearly be observed within the demonstration video by performing grand battements. Footwork such as: glissades, shoutmons, sautes and entrechat quatre can also be seen during the video. Strict adherences were in turn were made, dancers were now expected to have flat perfect turn out, perfect technique, as well as long flowing lines (Housh, Eric, 2016). Turn out and elongating my lines is incorporated throughout all the movements within my video.  

Classical Ballet dancers were required to be long, lean, flexible and have fast footwork. Therefore, the costuming was changed to allow more movement and display the dancer’s skill. The Romantic ballet tutu was shortened into a “pancake” shaped classical tutu. Classical ballet stage wise required large casts, numerous scene changes and extravagant sets (Yetter, Eric, 2020).  

References

DanceAppreication (2015) “Dance Through The Ages“

https://danceappreciation4.wordpress.com/classical-ballet/

Housh, Eric (2016) “What Is Classical Ballet? “

https://www.tututix.com/what-is-classical-ballet/

Yetter, Eric (2020) “Strategies for Staging Classical Ballet Repertoire”

https://www.tandfonline.com/doi/abs/10.1080/23734833.2020.1711671?scroll=top&needAccess=true&journalCode=udep20

Modernism

Modern Dance developed in the beginning of the 20th century. The dance style advanced as a result of a series of reactions against what people saw as the limited style of ballet and its impractical story lines. Isadora Duncan was considered as the pioneer of Modern Dance. Her development of Modern Dance was based on her belief that the technique of ballet prevented natural movement of the body. Duncan incorporated simple movements into Modern Dance this included natural rhythms stemming her works off of movements from nature such as: the sea and its waves and the wind (Britannica, 2020).

During lectures Isadora Duncan was studied along with her methods. When watching a documentary on Duncan it became apparent that there were particular elements that were used to characterise her dancing. These included: dancing with lifted, far-flung arm positions, unconstrained leaps, skips, freely lifted head, flowing rhythms that one movement moved into the next (Britannica, 2020). This style of dancing can be seen within the Modern Dance video when I perform leaps and skips. My movements flow into one another and to the music, my body is relaxed, unconstrained and able to move freely.

The costuming was also unconstrained and typically no shoes were worn, dancers would instead perform movements bare foot (I can be too be seen dancing barefoot in the video).  Flowing tunics were worn to allow dancers to attain freedom in movement. Props were integrated into the dancing occasionally, however when they were used, they were very minimalistic as Modern Dance focused on natural movement therefore, props couldn’t be too grand as they could detract focus from the dancing. In an effort to focus on the dance style of Modern Dance I decided to not include the use of props within my video. Stage lighting during Modern Dance pieces was directed on the dancer to frame their movements. Staging was also very simplistic much like the dancing. (Britannica, 2020). The most famous Modern Dance artists when looking back were Isadora Duncan (the pioneer), Martha Graham, Doris Humphrey, Mary Wigman and Loie Fuller (Hanson, Rachael, 2020). These artists were also studied within lectures by observing their frame of movement it assisted me greatly in the production of my Modern Dance video.

References

Britannica (2020) “Modern Dance”

https://www.britannica.com/art/dance/Modern-dance

Hanson, Rachael (2020) “Famous Modern Dancers”

https://dance.lovetoknow.com/Famous_Modern_Dancers

Post Modernism

Post Modern Dance is a very unique style of dance it tends to value movement for itself rather than a vehicle for storytelling. Post Modern Dance isn’t made for the audience however instead Post-Modern Dance wishes to give the impression that the audience just happens to stumble upon the dancing. Post Modern Dance creators state that the dancing existed before the audience’s arrival and will continue long after they leave. Choreographers also believe that the world travels long past the borders of the stage and that we are only witness to its action. Post-modern choreography attempts to create a complex relationship between the music and the movement. The dance’s choreography is not reliant on the music, it just so happens to occur at the same place and time. In certain Post-Modern pieces, no music can even be featured (HuffPost, 2020). The art of no music and instead environmental music can be seen in famous Post-Modern dance creator John Cage’s creation “4’33” (Mentalfloss, 2019). This piece has no music for the period of the title and then continues to only use environment sounds for the remainder of the performance. For my Post Modern dance video I decided to use no music as well.  

Post Modern dance movements dismiss the use of virtuosic, concentrating rather on the use of pedestrian movements like walking, flailing, falling, crouching. (Nytimes, 2019). These types of movements can clearly be seen within my Post-Modern dance video as I use pedestrian walks to change directions, incorporate falling, crouching and flailing with floorwork (the use of floorwork was also commonly used during Post Modern pieces). Many Modern Dance choreographers such as Merce Cunningham would also select dancers who weren’t technically trained to leave a greater impression on the audience (MerceCunningham, 2019). The study of reading: No Fixed points : dance in the twentieth century elaborates, on the subject of dancing that appeared untrained/ unrestricted. The pictures within the reading also assisted my visual learning.  My dance piece accordingly used simple and naturalistic movements that didn’t require technique to focus on human movements/meaning.  

The costuming for Modern Dance productions was typically loose fitting and plain in colour, this allowed the dancing to be the focal point (an idea that is very important to Post Modern Dance creators). Film techniques were also another non movement technique that was assimilated as many Post-Modern Dance productions used technology. Close up and long shots was a film technique, different angles were too used that would give a unique perspective to the choreography. The performance group “The Judson Dancers” were a strong example of these film techniques. Film techniques are fused into my Post-Modern video such as long and short shots at different angles.

References

HuffPost (2020) “What the Heck Is Postmodern Dance?”

https://www.huffpost.com/entry/what-the-heck-is-postmode_b_8253322

MentalFloss (2017) “ The Story Behind John Cage’s ‘4’33” “

https://www.mentalfloss.com/article/59902/101- masterpieces-john-cages-433

MerceCunningham (2019) “Merce Cunningham Past, Present, Future”

https://www.mercecunningham.org

Nytimes (2019) “The Pioneers of Postmodern Dance, 60 Years Later”

https://www.nytimes.com/2019/03/20/t-magazine/postmodern-dance.html

[tarry-a-lot]

French Musical Recommendations?/review (Part 3)

This is a mix between recommendations and shows I don’t like and shows I just know exist but don't know a lot about. Even if I’m not too much a fan of some of the show I would still check these shows out for the fun of it, maybe its not my cup of tea but it is for someone else. Again my French is lacking so if the lyrics aren’t great I wouldn’t really know unless I sat down and read them which I didn’t do.

Robin des Bois (2013): 

what to say about this show... I’ll start with the summary: Robin Hood and Marianne break up pre-show and have their own groups going on. Marianne also has a son with robin but robin has no idea about him. Sheriff of Nottingham starts attacking so Marianne asks robin for help. Also the sheriff figures out about robin’s son and so he imprisons the kid and surprise! there a romance between Nottingham’s daughter and Robin Hood’s son. 

Yep, haven’t seen the show, really don’t mind the plot sounds interesting enough. I’ve only listened to the soundtrack once and all I got to say is that it’s not great. The cast is lovely and look really sweet and friendly with each other, but all the songs really just sound like basic pop. To be clear without understanding the lyrics and just listening to it with not visuals, I found the soundtrack quite boring, so maybe I’m just missing something. My favourite songs are “Le flèche et la cible,” (the piano makes it sound like an anime opening or something, liked the drums too, and the vocals are nice) and “On est là” (it’s a really weird one, I couldn’t put my finger on it but after playing it for someone I got the decisive answer of it is very 80′s, the instrumentals really threw me off but hey it’s catchy). Also some songs had a bass line that also threw me off, just wasn’t expecting it. like the one in “la Providence,” maybe it’s just me. And one last thing about the songs, what the hell is ”Notting hill Nottingham” like that title is also the chorus and I’m just?? maybe if I understood the rest of the lyrics it would make sense? aside from the debatable chorus line, the drums are a blast in this song. Clips and music videos available on YouTube along with a behind the scenes two part video on the official musical’s channel.

Non-Music: well the costumes are ok, don’t love them but don’t hate them either, though friar tuck’s is debatable, from the bits I’ve seen most of the background is done with a screen which is fine, it’s more of a concert style show anyway, I’m a big fan of the ladder trees though, the dancing and acrobatics is probably the highlight of the show (again only saw bits but it looks good)

Dracula l'amour plus fort que la mort (2012): This is different from the Frank Wildhorn Dracula musical, Dracula: A chamber Musical and the Swedish Dracula musical. Unsurprisingly this musical is based on Stoker Dracula telling which I never read so I don’t know how much it follows that text. It was also inspired by the 1992 Coppola film (which again I have never watched). I won’t be too helpful about plot summary but it follows the general novel plot with Jonathan Harker engaged with Mina Murray goes off to Dracula’s castle for work. Things happen, the issue with Lucy occurs then Mina is targeted by Dracula and Harker with the Dr. Seward and Helsing go to kill Dracula to save Mina. There also seems to be a subplot where Mina was Dracula’s lover in a past life, which is shown through dance sequences throughout the show.Music wise it’s mainly rock pop which is up my alley. Personally, just based on music and not lyrics I like “Encore”, “Elles”, “ Le Ciel et l'Enfer” “ La Dernière danse” and maybe “L'Amour et son Contraire”.  The full show is available on YouTube.

Non-music: This show goes hard on edgy imagery. I personally quite liked the general over the top modernish gothic vibe. The dancers are great and quite liked some of the limited palette scene. The opening shadow puppet scene was cool. The only part I really had issue with is maybe the CGI 3d video scene. It was cool at times but the CGI is not great which is not their fault, but kind of distracted me. Also if you watch it there is this scene where Harker is laying in a large Pieta statue (minus the Jesus) and it’s just great. Like edgy church imagery with vampires? sign me up. There’s also this Vampire dream sequence in a bed because of course every vampire musical needs one (Tanz der Vampire if you know what I mean). Harker is in bed and vampire women come out from the bed (the bed itself is a hollow prop where dancers are hiding within and pop out from the holes hidden by the puffy bedding), the bed itself could have been more decorative with posts (like tanz) but still a really cool scene, Almost forgot, Mina and Dracula are played by dancers so they don’t really sing, especially Dracula he does not speak at all. Costumes are fun to look at, some are the best but I appreciated the general look of the show so I’m not that bothered. I strangely grew to like the spiney Dracula costumes, I think the fact he didn’t talk and just danced helped me like the costume more.

Overall, fun show so if pop rock is your vibe this show you should check it out.

Cindy Cendrillion (2002): This show is not good, but I had a blast laughing about it as I watched it so I recommend it. Let me clarify, my dislike is not due to the cast, in general I thought singing and dancing and all that were really good, what gets me is how dated it is now (it is really early 2000’s vibes and some of the plot is debatable). Show is available split into two acts on YouTube.

So the plot is pretty much a retelling of the Cinderella story in a modern early 2000′s setting. Cindy (Cinderella) is the daughter of an recently disappeared Irish pilot. and she lives with her step mother and sisters who are mean to her. She has a passion for dancing the jig, I’m assuming they are referencing Irish step to a certain degree. She goes out in night to dance but her step-mother threatens to kick her out if she doesn’t come home before midnight. A super star named Ricky (Prince Charming) has a Birthday ball and sees Cindy and falls in love. Also Ricky had a model Fiancée Judy who he breaks it off with to pursue Cindy. Spoilers now... Ricky writes a song where one can dance “the jig” to so they hold a competition to find a dancer for it, guess who wins? Cindy.. they fall in love... but Judy realises it’s all over for her and Ricky ands faxes him so mean message then commits suicide by overdosing on drugs. Cindy gets scared and leaves Ricky to Ireland. Ricky tracks her down and they fly away in a spaceship?! honestly this plot is just sure something.

Okay.... um if you read the spoiler section of the summary you’ll know how wild this show is. For those who haven’t warning there is an suicide by overdosing on drugs in the show. Music wise it’s alright, I watched the show but all the songs are quite forgettable because I was so distracted by the plot. Again the vocals are nice so perhaps I just need to listen to audio only, though I’m unsure about some of the lyrics. 

Non-Music: I have so much to rant about this show. First off it’s just weird that her Irish pilot dad keeps appearing in like spiritual form. Also Cindy is not spectacular at dancing, which is hilarious during the jig dancing competition you have actual dancer ensemble members doing cool moves and in general good dancing but at the end Cindy comes stepping around and twirling a bit, the same choreography she does every time she danced the jug in the show and then wins the competition. Honestly, they should of just done full Irish step dancing and had the actress trained in it or to be more practical had a double for Cindy that was obscured to trick the audience into thinking this double was Cindy. The actress was lovely and maybe she can dance but “the jig” choreography was so pathetic compared to the ensemble’s part, even the ensemble part was weird.. maybe I just don’t understand what “jig” dancing is. Also the ending was so random to me, maybe it’s because of my lacking French, I get there were references to space throughout the show but WHAT THE HELL WAS THAT ENDING. Well stage wise it was interesting at parts. I like the large center column piece that had platforms on it that moved around the pillar. Cindy’s love song to Ricky with her in front of a large Ricky Magazine and two screens showing zoom ups on Ricky was weird. Finally, costumes, really dated and tacky but I think they were quite fun. The only complaint I really have is Ricky, he wears this half tank top half leather jacket look, and it’s really a single tiddy out look.

Starmania (1979): Let me start by saying I DON’T hate this show I just know little about it. I’ve watched bits a few years ago and only really recall one song. It’s one of THE French musicals, I mean I wouldn’t know for certain but you’ll see it’s quite popular and covered by newer musicals cast member (like Mozart L’Opera Rock). The photo is from a more recent production which is different from the original costumes. As a show it’s set in a futuristic society so there is some surreal techno outfits and set pieces, which are actually quite cool. It’s pretty much about a gang called the Black Stars who are trying to rebel against a billionaire turned politician Zéro Janvier. There is romance plots, the wiki has more info on that. In general, the singing is great and from the parts I’ve seen it looks interesting despite the show aesthetic being really not my thing. Full versions of the show are available on YouTube, the production done in English is also posted on YouTube. I would say if you are trying to get into French Musicals this is a good one to listen to as well as it’s kind of a classic but I hesitate as the visuals look a bit weird due to the futuristic element (kind of remind me if starlight Express when it comes to costume) but if this isn’t you cup of tea there are plenty of other shows as well.

Résiste (2015): It’s a French Jukebox Musical. It’s one of those one artist jukebox musicals, so all the songs were originally sung by France Gall and written by Michel Berger. It’s about five friends (I think they’re friends), two of whom are sisters. The sisters work with their dad at the family bar/night club. The plot revolves around something tragic happening and the five friends trying to deal and grow from it? (probably something to do with the night club)I haven't seen it so I have no idea what the tragic event is. I didn’t know any of the songs before this musical but it’s quite catchy and fun. Clips of the show and songs are available on YouTube.

[sridisha]

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[peterstanslizzie]

Re-watching Lizzie Mcguire: Episode 1.13 (Come Fly With Me)

Lizzie and Miranda are decked out in sixties-inspired fashion

- The episode opens to a 1960′s Rat Pack song playing in the background, courtesy of Gordo. He is starting to get into the whole old-school Las Vegas ‘lounge-style’ culture and this doesn’t seem to really bother his friends because Gordo has always been the kind of person to stay away from current trends. 

- For example, as Lizzie mentioned, when everybody in school was into rollerblading, he opted to unicycle instead. It sounds to me like he is doing all of this for the sake of being different. I think we should just be who we want to be and do the things we like regardless of it being on trend or not. 

- Gordo asks Lizzie if she could pick up a Rat Pack music CD for him after school because he has an appointment with his podiatrist. She reluctantly agrees and before leaving, she advises him to take it easy on the whole Rat Pack thing. 

Getting into Rat Pack

Vince, a one-time character I presume

- After collecting the CD on Gordo’s behalf, a kid named Vince on the school bus snatches it from Lizzie’s hand and makes fun of her and Miranda for absolutely no reason. If you’re going to make fun of someone, you might as well do it right but Vince is just atrocious at it lol. 

- Out of nowhere, Ethan Craft comes to the rescue and intimidates Vince to give the CD back to Lizzie. Because of that, Lizzie crushes on Ethan once again. I thought two episodes ago in Episode 1.11, Ethan was going to leave Miranda during their marriage project presentation because he was being manipulated by Kate. And now she still likes him? I guess they can’t fault Ethan for being an airhead.

Animated Lizzie looks really cute in this sort of Mad Men inspired outfit

- Ethan then starts listening to the Rat Pack CD on his music player (or boom box?) and he actually really enjoys it. Lizzie and Miranda, obviously smitten by Ethan’s liking to Gordo’s CD pretends to act like they actually listen to this style of music and they agree to meet up later to hook Ethan up with more Rat Pack music. 

- At school, Lizzie and Miranda start talking to Gordo in a similar way to how he was talking to them at the beginning of this episode. He feels flattered by them wanting to know more about his interests in Rat Pack and is willing to teach them more about the culture. We also get a funny bit where Miranda points out to Gordo that he blinks his eyes a lot. 

The more you try to not think about blinking, the more you actually blink your eyes. Facts.

Meet Matt’s Best Friend, Lanny

*Please note my review of Matt’s plot-line this episode is compiled into this section.

I’m a little scared of Lanny and so are Sam and Jo

- We cut to the backyard of the Mcguire home where Matt and his silent friend, Lanny are playing netball. They are trying to set the record for the longest netball rally but they are struggling to even be close to beating the current record. So is this all happening when Lizzie’s in school? Shouldn’t Matt and Lanny be in school as well? I shouldn’t think too much about this lol. 

- Lanny telepathically lets Matt know they should try to attempt another world record and Matt starts consulting the World Records book to see what they can do. We then get a montage of them attempting to set a number of different world records and of course, they fail miserably. I don’t even want to get into the specifics of what they were doing in this montage but at least ‘Survivor’ by Destiny’s Child was playing in the background. 

- In the second half of the episode, Matt is about to give up on trying to set his own world record after 38 attempts. Jo, brilliant as always, comes up with an idea to trick Matt and Lanny into believing they set their own record for ‘Most Consecutive Failed Attempts’. Matt is very excited about this and they go out to celebrate by getting some ice cream.

Lanny likes Pumpkin flavored ice cream by the way

Stop Trying to Make Rat Pack Happen!

How can you not fall for that smile?

- At the school cafeteria, Gordo notices that some people are starting to dress similarly to him and he hopes that Lizzie and Miranda doesn’t turn his interests in 1960′s Rat Pack into another fad at school. Ethan then pops up next to them and he compliments Gordo’s shirt. Lizzie uses this opportunity to invite him to shop with them at this store called ‘Anteater’ (weird name for a store but okay) so that he can get the same type of clothes Gordo’s wearing. Gordo isn’t thrilled about all of this. 

- Presumably a day later, it seems like the Rat Pack trend had caught the eye of the entire school because everybody is dressed like they are in the sixties. Even Kate Sanders is embracing this trend and she goes up to Lizzie and Miranda and compliments them both for making Gordo’s interest in ‘lounge-style’ culture a thing at school. 

How tall is Kate? She is so much taller than Lizzie, Gordo and Miranda. 

- She’s being awfully nice to them and that’s because she needs their help to organize this month’s dance and make it Rat Pack themed. Lizzie and Miranda are very excited about the prospect of being able to help plan their school dance and they both agree to help Kate out. 

- As Kate leaves, Lizzie asks Gordo if they could use his Las Vegas posters as decorations but he doesn’t want to help them because he just doesn’t like the fact that his Rat Pack interests are becoming popular in school. I mean, I do get where Gordo is coming from; I think nobody would actually really like Rat Pack music unless it’s considered trendy. But he needs to not take everything so seriously. Trends do come and go. 

Gordo is having a mini Crisis

Lizzie’s expressions are gold here when Gordo is talking to her about his World War II plane model given to him by his aunt.

- At Gordo’s house (I think this is the first time Lizzie is shown to be in his house), Lizzie mentions to Gordo how everyone at school is excited about the upcoming Rat Pack themed dance. Gordo reveals to her his interest in Rat Pack is gone and he is now into WW2 style airplanes.

- He also lets her know that he doesn’t like it that everybody is now into Rat Pack and that Kate Sanders has turned this whole thing into a “mindless fad” because she doesn’t know the difference between a ‘ding dong’ and a ‘Ring-A-Ding-Ding’. Lizzie feels bad about ruining his hobby. Don’t feel bad Lizzie; Gordo just needs to wait it out.

Planning the ‘Lounging Around’ School Dance

- Kate is holding a meeting with her fellow school dance committee members to plan out Friday’s dance. She entrusts Lizzie to get a list of songs to be played by the DJ and she entrusts Miranda to prepare a list of criteria for the judges to look out for when assessing outfits for the costume contest. And she wants all of this by the next day. 

- Lizzie and Miranda panic and are desperate to ask Gordo for help. Can’t they consult the school computers and library or something? Didn’t they also exist back in 2001 as well?

I’m sure the wardrobe department had a fun time dressing the girls up back then

- They find Gordo playing with his WW2 plane outside and ask him for help but he just isn’t willing to help them this time around because as we all know, he doesn’t like how Lizzie and Miranda played a part in making his Rat Pack hobby a major fad. 

- I touched on this earlier; Gordo has a point in saying that everyone in school now likes Rat Pack only because it is the biggest thing currently. But Lizzie and Miranda also made a good point in saying people are allowed to like whatever they want, regardless of how they came to know about Rat Pack and Frank Sinatra and the sort. 

Time for the School Dance

“Let’s like dance, Ethan”. Kate is just too funny

- We are then taken to their school dance and I have to say, Kate and company did a really good job organising the event. The venue is well decorated and everybody looks amazing in their sixties-inspired outfits. However, Lizzie and Miranda doesn’t seem to be enjoying themselves because Gordo isn’t there with them. 

Best friends gotta stick together

- Luckily for them, Gordo pops up and makes a grand entry into the auditorium, complete with an amazing suit and a suave attitude to match. Gordo admits to them that he shouldn’t force himself to do things just to be different and Lizzie tells him they’re lucky to have someone like Gordo who doesn’t care about what people think about his hobbies. 

- In the end, everything is resolved and the episode ends with a cute trio dance:

That’s all folks

Overall Thoughts

- What I got most out of watching this episode is the idea of seasonal trends and how easy it is for people to catch onto them just because everyone else is. And that’s not necessarily a bad thing, as long as you actually like those trends. And being different for the sake of being different is something we shouldn’t really hold on to either. 

- Gordo definitely shone in this episode. I really felt his frustration towards everyone who suddenly jumped on his hobby bandwagon and made it a ‘mindless fad’ as he puts it. Good job on the actor’s (Adam Lamberg) part. Miranda and Lizzie also have very identical plot-lines this episode, although Lizzie did more in this episode than Miranda. I think it’s hard for the character of Miranda to really shine in an episode unless she’s one of the main focuses, you know? But that’s just me.

- After having an impressive plot-line last episode, Matt’s plot-line with his parents this time around has gone back to being weightless and goofy. At least we get to see Lanny in person for the first time.