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mythicpopularculture · 5 years ago

Audio

Okay, as I (threatened/promised), here’s my silly drabble. Feel free to play the song while reading it, it kind of gives it the necessary ambience to hear the song along with reading the action. Enjoy!

High Enough

Or, How Two Lovestruck Musicians Throw a Wedding To Remember

“… brings us together today, this celebration of love and devotion.”

The words, spoken with a smooth voice like dark velvet on a cloud, reinforced for everyone present on the beach this brilliant August day what the purpose of their gathering was. The young lovers stood at the head of the makeshift aisle, a crowd of human citizens of Beach City and gem residents of Little Homeworld centering their attention on two of their own, who they had witnessed grow up, grow away, and then return. Smiles broke across the faces of all of the attendees.

On the Beach City side of the group, at the head of the aisle, stood the resplendent and smiling visage of Connie Maheswaran, almost glowing in her bridal regalia, the custom armor Bismuth had fitted her with allowing her both comfort and motion. She breathed deeply but with excitement, as this day’s plans had gone off without a hitch. She hoped that her extracurricular plans for the ceremony would as well. She shot a quick, thankful look back toward her bridesmaids, Pearl and Bismuth. Of course, she wouldn’t have had her wedding without Pearl, her favorite teacher and matron of honor, and of course she wouldn’t ask her to do it without her own spouse.

Standing on the side of Little Homeworld, slightly constrained by the formal wear he insisted he wear for the occasion, was the diamond son Steven Universe, nearly vibrating with his own excitement over the event … he had always loved weddings, and this being his own made it all the more thrilling. A gentle purple hand patted his arm to calm him down, a big reason he had picked Amethyst to be his best gem. On the other side of her, Steven caught a glimpse of his father Greg, who simply beamed. Greg had always liked Connie, and after Steven’s breakdown he had come to love her like a daughter.

At the head of the aisle, the smiling visage of Garnet warmly looked over her friends and family, her eyes visible for a change since Steven and Connie had asked her to leave her visor off for the ceremony. Not for any particular reason, just because they wanted to see her eyes. Those three eyes shone with great warmth, for Steven and Connie, for everyone present. She looked over to the assembled crowd, as Steven and Connie turned toward each other to join hands.

“And so it is now, today, we have come to witness the fusion of two hearts, the marriage of Connie Maheswaran and Steven Universe.” Garnet spread her hands widely, encompassing the two young celebrants in a visual hug. “We have known them for so long, known their friendship, known their highs and lows, and now share the highest of their highs.”

“So far!” a high pitched voice rang from the front of the Little Homeworld side. Steven chuckled as he recognized Peridot’s enthusiasm.

Garnet smiled and returned to her solemn duty. “May we have the rings, please?”

Both Steven and Connie turned to their respective parties. Amethyst extracted a small gold ring out of an inner pocket of her jacket, planting it in Steven’s hand. Meanwhile, Pearl teleported a red anodized ring out of her gem into her hand, delicately landing it in her own hand before handing it to Connie. Turning back toward each other, they deftly slipped the jewelry onto each other’s fingers. When it was done, Garnet re-established their attention.

“These rings represent your devotion and love. They are a reminder that you will always be together, even when you are apart.” She turned toward Steven. “Steven Quartz Cutiepie DeMayo Diamond Universe, do you take this woman, Connie Maheswaran, as your wife and partner, to love, honor, and cherish forever?”

Steven grinned widely. He caught a glimpse in Connie’s eyes, reflecting that same love right back at him. His voice quivered. “I do.”

Garnet nodded. “Good choice.” This brough a chuckle from the assembled witnesses as the fused gem turned toward Connie. “Connie Maheswaran, do you take this man, Steven Quartz Cutiepie DeMayo Diamond Universe, as your husband and partner, to love, honor, and cherish forever?”

Connie’s heart felt like it would burst, both with her love and with her anticipation of what she was planning. “With all my heart, I do.”

Garnet nodded reverently. “Then it shall be so.” She lifted up her hands. “Let everyone here be witness to the love we confirm here today. There’s just one more thing.” She cued Connie with her eyes, smiling.

Connie took her cue, turning back to Pearl. She was already taking action, as her gem was teleporting items out again. Two items in particular, her bass guitar and the royal blue electric violin Steven had given Connie as an engagement present.

Connie smiled. “Thank you. And Steven …” she turned to face her husband-to-be and spoke sweetly, placing the instrument on her shoulder, the bow in her other hand gently touching the strings. “Steven, this is for you.”

She began playing a gentle, sweet melody on the violin. Instantly Greg’s ears perked up, as he recognized that string line. His recognition was confirmed as Connie began singing.

“I don’t wanna hear about it anymore/It’s a shame I gotta live/Without you any more …”

Steven recognized the song too. His heart jumped into his throat, then back down, and felt like it had swelled to the size of his entire body. He turned around toward Amethyst, who stood there grinning, holding up two guitars: the striped older six string Greg had used on stage back in the day, and the streamlined pink newer axe Steven had picked up on his travels. Both men assumed control of their instruments from the gem, strapping them on as Connie reached the next lines of the verse.

“There’s a fire in my heart/A pounding in my brain/Driving me crazy …”

Steven found himself unconsciously weeping, even through his grin at the surprise. “I love you, Connie,” he whispered before jumping in and harmonizing with his bride. “We don’t need to talk about it anymore/Yesterday’s just a memory/Can we close the door …”

The sweetness of Connie’s voice created a slight contrast to the baritone Steven’s voice had developed over the years. She dropped out briefly to hear his voice take the lead.

“I just made one mistake/I didn’t know what to say …”

Okay, long enough! “When you called me baby!” Connie’s voice meshed with Steven’s like they were two strings on the same piano. She dipped her shoulder to create emphasis for a long arpeggio, leading into the next lines of the song. Steven’s guitar became more heavy, emphasizing the rock groove. He came nearly nose-to-nose with Connie as they launched into the next lyrics.

“Don’t say goodnight/Say you’re gonna stay forever/Whoa oh all the way!”

Steven answered Connie’s arpeggio with one of his own, his fingers scrambling up and down the neck of the guitar in a flash. Both Steven and Connie launched themselves into the refrain, the joy evident in their voices and their playing, the crescendo of the music matching the swelling of their hearts.

“Can you take me high enough/To fly me over yesterday?/Can you take me high enough/It’s never over/Yesterday’s just a memory …”

Steven’s eyes shone, bright and loving to his love and best friend. He brought the music back to a sweeter, more wistful level to start the next verse. “I don’t want to live without you anymore/Can’t you see I’m in misery/And you know for sure …”

Now it was Connie’s turn for heart pangs, albeit joyous ones. Tears formed in her own eyes. She had practiced the song away from Steven for weeks now, to keep this a surprise until today, and even after studying the lyric sheet repeatedly and practicing the song even more repeatedly, the next line always affected her and made her feel even more emotional toward him. “I would live and die for you/And I’d know just what to do/When you call me baby …”

Another guitar sting. This time, the rest of the wedding party joined the happy couple going into the next refrain. Greg, keeping pace with his son’s ample playing, and Amethyst, simply having the time of her life, jumped behind Steven. “Don’t say goodbye …”

Pearl and Bismuth, behind Connie, shared a loving look between themselves. Bismuth placed an arm around her partner. “Say you’re gonna stay forever …”

And then the entire group collected on the beach, Beach City and Little Homeworld together, joined in. “Whoa oh, all the way …”

The group deferred to Steven and Connie and their friends at the head of the aisle, launching into the refrain again. All except Garnet, however … she was strangely silent, though at this point in the song Steven and Connie were oblivious to anyone but themselves. “Can you take me high enough/To fly me over yesterday?”

Behind the happy couple, the party was starting to rock harder. Greg and Amethyst stood back-to-back, as Amethyst air-riffed along with Greg’s actual playing. Bismuth clung tighter to Pearl, who was getting lost in the bassline, turning from time to time to share a gentle stroke of the face. “Can you take me high enough/It’s never over/Yesterday’s just a memory …”

“I’m running …” Steven’s guitar got more insistent, his voice more intense. It was clear how much the song was affecting both himself and Connie, as she locked her eyes on her groom. “I was running for the door/The next thing I remember …”

Connie finished the line for Steven with a sly grin and publicly-acceptable bedroom eyes. “I was running back for more, yeah …”

Connie stepped back slightly, allowing the Universe men to come together on a power guitar riff that they passed back and forth, perfect harmony between the two. Greg had always waxed admiringly about this particular guitar solo, marveling at how the chord progressions were in a major key but the riff itself was in the relative minor. Both he and Steven asserted their own styles on the solo: Greg’s guitar had more of the earthy tones, lower in pitch and wider in timbre; whereas Steven expressed technicality in his fingerings, notes chirping off the strings like quick absent thoughts, absent any meaning but that which Connie gave to Steven’s life, and vice versa.

For her part, Connie held herself back, her strings maintaining the momentum of the song, backing her husband-to-be and the man she saw now as a second father figure. The solo wound down, coming back to the verse. Connie stepped back up, with more artful play on her instrument, until she was shoulder-to-shoulder with Steven once more, catching the verse.

“Don’t say goodbye/Say you’re gonna stay forever/Whoa oh all the way …”

Steven grinned, launching into another dramatic arpeggio. “All the way …”

Connie raised her voice into a rocker wail no one had ever known her to be able to achieve. “All the way, yeah!” Her own fingers joined in Steven’s arpeggio, creating a harmonic run to match the intensity of the love between them, climaxing into a shattering power chord.

“Can you take me high enough/Can you fly me over yesterday?”

Their merged voices, joined in happiness and love, caused an emotional shockwave throughout the assembled parties. Everyone present was in tears, their eyes locked on the lovers’ duet they were witnessing.

“Can you take me high enough/It’s never over/Whoa oh oh oh …”

Greg, wiping tears away, smiled at his son and gracefully backed away, bringing his guitar silent once more. Pearl took her cue from Greg and silenced her bass, though she did not automatically return it to her gem as she might have normally.

“Can you take me high enough/Can you fly me over yesterday?”

Everyone was now completely focused on Steven and Connie. They were close to each other, facing each other once again, closing the miniscule gap between them quickly as the song began winding down, the only instruments now present being Steven’s guitar and Connie’s violin.

“Can you take me high enough/It’s never over/Whoa oh oh ohhhh …”

Steven too, finally, dropped out, his guitar’s strings ringing with their last note. All that was left in the crisp sea air was the sound of Connie’s violin, concluding the song with her own soft, sweet style. Both hers and Steven’s cheeks shone with their happy tears, as the two longtime jam buds touched their foreheads together.

At this point, Garnet chose to break her own silence. Tears streamed from all three of her eyes, even as a wide smile decorated the rest of her face. “I think that will do.” She placed her hands on Steven and Connie’s shoulders, continuing quietly. “By the power vested in me by the state of Delmarva, I now pronounce you husband and wife, partners for life.” Her eyes got intense as she looked between the two young newlyweds. “Remember you two, your love is always the true experience.” Her smile turned into a grin. “You may kiss.”

They looked breathlessly at each other, still rocking the performer’s high. Instruments were cast aside as they clutched to each other and kissed, the energy built up from the song spilling out into their lips. After what felt like a pleasurable eternity, they disengaged, smoldering emotions making them both weep.

“I love you,” Connie breathlessly whispered.

“I love you too,” Steven’s voice barely squeaked back.

Garnet wiped the tears from all of her eyes, turning her attention to the witnesses. “Ladies, gentlemen, gems of Little Homeworld, please allow me to introduce to you, Mr. and Mrs. Steven and Connie Maheswaran-Universe!”

The energy of the song was built up in the crowd as well, as they erupted in joyous cheering for the happy couple, a sound that belonged more in a mosh pit than a chapel setting. After exuberant hugging from their families, Steven and Connie raced back up the aisle, to begin their new life.

Okay, please be brutal in your feedback. This is literally my first real attempt at fanfiction in nearly 20 years, so I can take the criticism.

#steven universe future #connverse #steven x connie #wedding rock #yeah I actually wrote this thing

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calliecat93 · 5 years ago

Text

(Part Two)

Another volume, done. God, I feel like I just survived a whirlwind. To say that this has been a very eventful volume of RWBY would be a /huge/ understatement. We had so, so much happen. New characters, uncovered truths, political battles, murder and chaos at every turn, just… a lot. But we once again made it to this point folks. We made it to the end and we can take it easy as we await Volume 8. But with the volume now over, how did it fare? Was it a success? A failure? Or somewhere in between? And how does it measure compared to the previous six?

We have a lot to go over folks. So much that I had no choice but to make this a two-parter. Yeah, that long folks. The last two-parter I did was twelve pages long, so… yeah. In this section, we will cover Animation/Visuals, Audio, and the first half of the Character section (mainly the Atlas characters and villains). Part Two will cover the rest of the Characters (RWBYJNRQO), Story, Volume Stats, and my Final Thoughts. Everyone got all that? Good! With that said, let’s conclude this year’s RWBY Reviews with the biggest one of all: the full Volume Seven Review.

Animation/Visuals

Perfect as always. The design work once again proves perfect. CRWBY described Mantle and Atlas as based on different industrial ages, and it shows. Mantle is a big, but worn down city. It has some major New York vibes. Heck, maybe even some Gotham City with how bleak it is. The people are down-trodden and the place just looks dirty. It is a relic of the past, while Atlas represents the future. Clean, shades of blue and white to show how pristine it is, fancy locations like Atlas Academy or the Schnee Manor. Atlas is the future. A representation of the greatness that humanity can achieve… at least it looks that way. The two cities contrast so much, and it’s just so well done. When you compare to how we sadly saw so little of Mistral in comparison seeing this much with Atlas was a real treat.

Character stuff continues to be great. All of the new outfits of the heroes look fantastic. Even Jaune’s dumb hair ended up better in actual animation than it did in the still they showed at NYCC. Every character looks fantastic. Expressions are once more on point. One of the best cases is Ironwood. You can see how worn down the man is at every single turn, but also the steely determination. You can just look at him and you get the sense of strong authority, yet plain exhaustion all at the same time. In Chapter 11 when he goes from exhausted relief to full-blown horror, you feel it. Oh God do you feel it. You feel what all of these characters are feeling. Ruby’s despair in Chapter 11, Blake and Yang’s confliction in Chapter 7, Nora’s growing rage about Mantle all throughout the volume. How broken Ren feels in Chapter 13. The pure coldness from James form the same chapter when he shoots Oscar. The character animation was just on point.

The effects are also well done. I mean the Salem apparition in Chapter 11? Horrifying. Fria’s Maiden-charged blizzard was the best though. Powerful, yet somehow haunting beautiful. There have been some updates as well, like Neon’s rainbow trail and Neo’s Semblance look a lot better. Some new Grimm designs like the Saybers and the pterodactyl thing. There’s kind of a dinosaur/Ice Age theme with the Grimm, which fits with the Antarctica-esque environment of Solitas. The fight scenes were very well done, especially in the final chapters. The Ironwood vs Watts fight was freakin’ excellent and we finally got to see the Anti-Gravity biome! RWBY vs Ace-Ops was amazing on all fronts, both with the choreography and on a symbolic level. The best fight imo though is Cinder vs Penny and Winter, especially when it gets taken out into the open air. Pure epicness. Seriously, every fight was freakin’ fantastic, even minor ones like JNRO vs FNKI or the Bees vs Robyn. Even some that I wasn’t into, like Tyrian vs Qrow, CLover, and Robyn were fun to watch~

Overall, the animation and visuals were excellent~ Five starts!

Audio

If I went over every voice acting performance, we’d be here all day. Every actor was excellent. The regulars were excellent. The newbies were excellent. Everyone was excellent. We get people that we haven’t heard in a long while, like Taylor McNee (Penny), Elizabeth Maxwell (Winter), and Jason Rose (Ironwood). None of them have lost their touch. Taylor still captures Penny’s innocent charm beautifully, and her performance when Penny is just broken after being framed was heartbreaking. Jason was /especially/ good. He still carries the General’s strong authority while adding more weight, but when he becomes utterly unhinged? He did a masterful job with the performance. We also let Chris Sabat and Josh Grelle do more with their characters and it’s wonderful. Josh as Tyrian has always been great, but getting to hear Chris do more Watts? Excellent. I’m so used to him being the brute guy, like Vegeta in DBZ or Zoro in One Piece. But he does the calculated egomaniac very well and you can tell that he’s enjoying every single scene. Excellent job sir~ Jessica Nigri ended up stealing the show though, giving by far her most insane performance as Cinder yet and she 100% killed it.

We got some new people as well, and they were all great. I was so happy to see Cristina Vee getting cast and she does such a good job as Robyn. Playful but also determined. The Ace-Ops cast was good with Chris Wehkamp (Clover), Anaris Quinones (Harriet), and Mick Lauer (Marrow) being the stand-outs. Caitlin Glass got one episode as Willow, but she did an excellent job portraying how broken she is but also has just a spark of fight in her. She only got like… three minutes, and she did it perfectly. David Fennoy was a surprise to hear considering he was already in Grimm Eclipse, but it was a wonderful surprise. He perfectly portrays Pietro as this Gepetto-esque father figure who I fell in love with immediately. Then, of course, we have Jason Liebrecht as Qrow. To say that the guy was put into the not so flattering task of taking over due to the circumstances with Vic’s firing is putting it mildly. But he pulled it off. By the second chapter alone, I was already sold. He did an excellent job portraying Qrow and imo, already surpassed Vic. Like everything in Chapter 12? Jason /nailed/ every single emotion right on the head. I’m greatly looking forward to hearing more of him in the future~

The main cast as I said, were excellent. Some got it a bit easier this year, like Miles, Arryn, and Barbara. They still did great, but they took a bit more of a back seat and we’ll go more into that in Character. Neath and Aaron, while their characters stuff is more subdued, did an excellent job with their respective character’s viewpoints. Sam Ireland /finally/ got to do more with Nora outside ‘bubble and energetic’ with Nora’s anger about Mantle and her conflictions about Ren. She did it beautifully. Kara got much more with Weiss compared to last year, and she portrays all of Weiss’ worries and conflict perfectly. Especially in Chapter 4 when she tells her father off. I cheered so much. Lindsay with Ruby was perfect. She got a lot more serious moments with hr compared to the past, but she handled them all excellently. She goes through so many emotions in Chapter 11 alone and she hits every single one right in the head. She and Sam are tied for the standout among the mains, but all of them did an excellent job as always.

Then what’s RWBY without its soundtrack? Once more, perfect work. The scores were all excellent. Penny’s letimotif, instrumentals of songs like The Path to Isolation and Trust Love, the haunting violins at the end of Chapter 9, even the three-second bit of Indomitable in Chapter 10. Alex Abraham once more does an amazing job. I still remember the kickass guitar during the first fight in Chapter 1 and I was immediately pumped. Every score added to every scene and added so much more to them. But they also knew when to just let scenes be quiet, and it added so much weight. Once more, quality sound work.

But then we have Jeff Williams. What do you want me to say that I haven’t been saying since Volume 1? The man is a genius. He did amazing. Casey did amazing. I got nothing new to add. The songs this volume were freakin’ excellent. The opening, while kind of a tone contrast to the volume, was an excellent song and perfectly expresses the themes of the volume. Then we have things like the uplifting rock ballad Brand New Day, the badassness of Hero featuring Caleb Hyles, and the credits song as per usual. Speaking of Caleb though, it was nice to hear some new vocalists with him, Santi C, and the quartet in War, though of course, Casey remains flawless as ever. I loved all of the songs. IDK if it tops V6’s soundtrack yet, but it’s up there. Now, of course, my favorites will likely change when the full tracks are out, but here is the current ranking:

War (Chapter 12)

Hero (Chapter 11)

Fear (Chapter 13 Credits)

Trust Love (Opening Theme)

Brand New Day (Chapter 5)

Until the End (Chapter 13)

Touch the Sky (Chapter 3)

Let’s Get Real (Chapter 6)

Celebrate (Chapter 6)

Audio-wise, the volume was great. Great voice acting. Great sound effects. Great music. Just great all around~

Characters, Part One (Villains and Atlas)

There are… so many characters this volume. So, so many. Hence why I had to divide it up. We’ll cover the villains and Atlas characters here, and we’ll focus on the mains in Part 2 of the review. Since the villains won’t take too long we’ll start with them and go from there.

Not too much to say about Tyrian. He’s as terrifying and crazy as ever, and even moreso after Chapter 12, but it was nice to get some more details on his history before Salem. Him being a serial killer makes sense, as is his undying worship of Salem since she both saved him and she’s the manifestation of every twisted thing that he believes in. I think Chapter 12 also helped re-ignite his threat level with his brutal murder of Qrow, which reminded me even more than Chapter 6 of how terrifying the man is. Still, he was just there to be cray and murderous, and he did so. Watts thought was more interesting. We got some more background, like how he was a former Atlesian scientist who created Mantle’s security network and he joined Salem essentially because he felt like Ironwood put him down and he got jealous that Pietro’s project was chosen over his. It’s petty, but all the villains are petty. It helps him stand out though and he’s certainly one of the more interesting of Salem’s cult due to it. We also see that he does have some combat still, which is nice. No idea what happens with him now, but he served his role in this volume very well.

But then we have Cinder and Neo. Neither of which I was expecting anything major from this volume. Well, guess I was wrong. Cinder as of late has attracted a lot of hate… I mean yeah we /are/ supposed to hate her, but people just hate her as a character. The main thing seems to be how we don’t know Cinder’s motivations, and I get that. But really? I think that she was excellent here. Unlike in Mistral, she is once more in control and thus her smug personality is back in full. She’s only in four episodes, and she uses that time masterfully to turn everything on its head. The way she broke Ironwood alone with just a glass chess piece. She clearly learned from Salem well. I mean the way that Salem broke Ruby by just mentioning Summer’s fate? That is some master class psychological warfare. Something that Cinder has clearly mastered and when she isn’t running off rage she can pull it off excellently. But of course, at the end, she again failed to get the Maiden powers. With how she became more and more insane throughout the fight, I fear that she’s going to become even more callous than ever before.

I’m also really starting to grow fond of Neo. She started off as an overhyped character (imo) that was brought back for mere fanservice, but they are clearly trying to use her as best as possible. And I think that they’re doing a great job. Neo has an agenda against Ruby and knows that Cinder can easily obliterate her, which is the only reason why Neo is dealing with this. You can tell that unlike Emerald and Mercury, she is not happy following Cinder’s orders. She’s only following her to both get at her target and to live, not out of gratitude or feeling like it’s all that she has due to her upbringing. It’s nice to see someone who Cinder has no control over, yet Cinder can still over-power her so she has to go with it for now. But it helps give Neo a character and compared to before where I just didn’t get why she existed, I’m legit excited to see what happens with her next.

Now we can cover the Atlesian Military. They are… a complex bunch. Fitting, considering who their general is. James Ironwood has always been a very complicated character. On the one hand, we’ve seen through volumes 2-4 that he is genuinely a good person who wants to protect the people and do what’s right. But the problem with him has always been that he makes all the wrong choices. He didn’t heed Ozpin warnings in Beacon about showing off his military might, and it leads to the Fall and Atlas being made out as the villains. He hasn’t gotten any better. If anything, he’s gotten worse. He’s still well-intentioned, but as the old saying goes “The pathway to Hell is paved with good intentions.”, and Jame is the living embodiment of it.

We see that James did genuinely want to trust the heroes. He gives them the Lamp back, he gives them their license, he has them train with his best. He was sincere and he just wants to protect people. But his own paranoia and flaws as a person have overwhelmed him. His TSD has deteriorated his mind and since he isn’t getting proper help, it’s making him lose it. He’s terrified of Salem, so much that once he saw that Black Queen chess piece and doubt was placed into his mind, he snapped. He went from taking RWBY’s secret-keeping well and keeping focused on what was important, to turning on them and leaving a city that he is just as responsible for as Atlas to die. It’s a truly tragic tale. You /want/ James to do the right thing. He’s not a bad person, and you can see the logic with all of his decisions. But they are the wrong decisions not just on a logical level when you really think about it, but especially on a moral level. You can see that he knows what he’s doing is wrong and that he isn’t happy about it, but he still does it and now hundreds will die because of it. He has gone from a flawed but heroic man, to no better than Salem herself which he seals by shooting Oscar with no hesitation. It is a sad tale, but it is a well-done arc and just shows how excellent of a character James is. I am very pleased with his character here.

The Ace-Ops are decent additions. We don’t know a lot about them, but they have personality. Clover is the nice guy leader, Harriet is the confident and competitive second-in-command, Marrow is the out-going rookie, Elm is the out-going bruiser, and VIne is the calm, logical one. On the surface, they are heroic people… but like with James, it’s more complex. None of them are bad people, Marrow especially considering his Faunus status and he is fully aware of Atlas’ bigotry/messed up class system. But they were trained to not care about emotions or relationships. Priority Number One is obeying the general’s orders without question, and if they do, to go against those urges. It’s harsh because you can see that the five are good and friendly people, but once Ironwood lost it, that conditioning came into full effect.

You can tell that RWBY’s ‘betrayal’ hurt them. Harriet, despite saying that none of them are friends, clearly felt hurt and enraged. Same with Elm, though unlike Harriet who was practically going for the kill, Elm seemed to be trying to force herself to do so. Vine tried to solve it peacefully, clearly not wanting to fight, but no one else was willing to follow. Marrow was the biggest example. His heart was not in the fight, and I think he honestly did agree with RWBY. He tried to push himself otherwise, but it failed. Then Clover, who has stood by James’ side throughout even if he seemed unhappy with it, tried to arrest Qrow on the spot even when Tyrian re-entered the fray. That blind devotion sadly cost him his life… and I wonder how this is going to affect Ace-Ops. Despite what Harriet said, they were still all allies and I can see this messing them up. It either makes them want payback or see the light. Regardless, they were a good bunch of side-characters and I look forward to seeing what happens next.

A bigger, and much sadder, example of this Atlas conditioning is Winter. She is loyal to James because due to him and the military, she got out of her abusive home and a shot at a better life. But the sad reality is that she's really in no better position than she would have been otherwise. She’s been groomed to become the Winter Maiden and despite her choosing it to make it her own, it's still pretty much someone deciding her life for her. She internalizes her feelings and continues to obey James, despite knowing and feeling that it is wrong. Just like she was trained to do. The only person that she makes an exception for is Weiss, which seeing how much she cares and is proud of her sister and even taking her to the Winter Maiden facility was super sweet. But even then not only does she still keep a composed demeanor around Weiss, but she still stood by James even after Weiss became wanted. But hopefully, with the Maiden destiny not off the table and Weiss a fugitive, this will give Winter the chance to accept her own emotions and begin to carve her own destiny. One not chosen by anyone but herself.

But of course, the one we can blame for Winter’s state, along with James, is Jaques Schnee. I didn’t think I could hate him anymore than I already did, but I got proven wrong. The man is ambitious, willing to do anything to keep his business (well… the business he stole) running and himself in power. He runs for Council pretty much just to get rid of the embargo and takedown James. He’s despicable and I hate him and I hope he rots behind jail. Whitley doesn't really have anything new, just a bit more hammering down that he is the way he is due to the abuse and his sister’s leaving him behind. Willow though? She gets one episode, and I feel horrible for this woman. While her shutting down pretty much ruined her kids' lives, you can see why and feel sympathy for her. His is a woman worn down, and while the smallest spark of fight is in her as she gives Weiss the key to burying her father, it’s so clear that she’s broken. It’s going to take a very long time for her to recover if she does. As for Whitley, his father may be gone. But the control he had over his son is likely still firm. Which can only mean bad things for Weiss.

Opposing Atlas is Robyn Hill, Mantle’s Hometown Hero. She is very much the anti-Ironwood. She’s devoted to Mantle and wants to do what’s best for them, even if it means breaking the law. But she’s not unreasonable either. She was very friendly to Clover and Marrow, only becoming antagonistic after Penny got framed for murdering her supporters. And even then, she listened to Blake and Yang and was willing to give Ironwood a chance. One that he blew sky high. But Robyn comes off as a good person who sees the injustices with Mantle and once making a change the legal way became impossible, she resorted to the illegal route. And even then, she and her Happy Huntresses never hurt anyone and were trying to help the people that James was making suffer. Just as her inspiration of Robin Hood. She’s a very likable, inspiring character though I do wish we got some more backstory for her. But hey, she’s a good person who didn’t fall into Atlas’ conditioning trying to help those who need it, and you don’t need a motivation to do the right thing.

This brings us to Penny Polendina and her father Pietro. I’m so, soooo happy to have Penny back. I have some issues with her return, mainly in that she and Ruby never talk about what happened, But that’s more for when I get to Ruby. But aside from that, Penny was excellent. She’s still the same quirky, sweet girl that we met back early on, but we get much more of her this time. She’s been made Mante’s protector, and it is a duty that he is full-heartedly devoted to. She wants to understand feelings more, like how to balance the things she wants to do with her duties and is confused about how Winter can shove her emotions aside to do what is clearly wrong. Penny may be a robot, but she is by far the most human of the Atlesian cast. It made how broken she was when framed by Tyrian and Watts hurt so much, as well as Ironwood’s comments about how she’s under his control. He talks as though she’s just another robot soldier, and you can see how much that hurts her. But at the very end, she proved how goodhearted she is when she calms/comforts Fria in her final moments, and due to it, Fria chooses her to be the next Winter Maiden. A title that she absolutely deserves.

We can probably thank Pietro for Penny being a good person. He’s just as lively as she is and clearly loves her with all of his heart. I mean he’s given up chunks of his Aura in order to bring her back. That is love, people. While I wish he had more of him (and Maria for that matter), Pietro was so much fun and a welcome addition to the supporting cast. He’s a genius responsible for much of Atlas’ technological achievements, but he also takes time to help those in Mantle. He wanted to create a savior with a soul, which I think says a lot about him as a person. While I wish he and Penny had more interaction, that loving father/daughter bond is there and it helps them both stand out among a cast slowly losing their humanity. I worry for them, especially with Salem having Grimm Monstro on her side, but doesn’t change how happy I was with them here.

Then we, of course, have our main cast… but that is something that we shall cover in Part Two. Stay tuned~

#rwby #rwby7 #rwby reviews #callie reviews

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kingofthewilderwest · 5 years ago

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thevegetablewhichnoonedaresname replied to your post “Back from Abominable! Here’s my non-spoiler perfunctory review: My...”

Thanks for posting this, it's good to know. It's what I was expecting, but man, I was hoping it would surprise me. Still probably gonna watch it. XD Is the music/violin stuff positive or negative?

So it’s nothing terrible! All in all, the music stuff is presented a LOT better than most media presents music.

When Yi plays violin, her fingers and arms move in correlation to the notes we’re hearing. When we hear a new note articulated, the bow changes and her finger moves to a new note on the strings. If there’s a slur, the bow doesn’t change. If she’s playing a set of heavy attacks, she’ll be playing repeated down bows. She moves out of first position on the left hand! Her left hand displays vibrato technique as you actually move the hand, and I remember her having good bowing posture and technique throughout the movie. I loved that the first time Yi opened up her violin case, she tuned the instrument, working with both the pegs and fine tuners.

All of these things are accurate to violin playing.

That’s miles ahead of how musicians typically get presented in mainstream movies. Having the bow change with the note? [gaaaasp] That is done painfully... not often enough. All the other stuff on top of that? Glorious.

At the same time, you can tell not all the storyboard artists or animators were violinists or cared about minor instrument accuracies, because Yi does lots of things a violinist would never do. Every once in a while there would be something musiciany - for instance, one time she’s in danger, the first thing she does is try to save the violin, and curls up to protect the violin against her chest. Yes. That’s what I would do. But other things made me twitch. She tried to pick up her violin by putting her bow beneath the strings near the bridge. YIKES, NO. She brandishes her bow like a weapon at one point, which is fine, but she puts her hand on the tightened bow hairs. No. She also always had her bow hairs tightened. Even overnight. Even when she takes it in and out of the case. Those are abuses against the instrument that a talented, mature violinist (like Yi) would never do. Amateurs are told not to do these things.

I know most people wouldn’t care whether or not you animated a person tightening bow hairs every time they took the bow out of the case. You could argue that it’s unnecessary to animate, it’s better to simplify, and through that, you can streamline the visuals and storytelling buuuuut the movie did not have time constraints, it was very loose and slow-paced, and adding in extra musician details would have given more flavor and emotion. But I’m just saying, as a violist, I notice these things immediately. And because music is my soul, even though this is fiction and fiction isn’t accurate representation of everything, the inside of me still cries at the inaccuracies.

I also was trying to follow along with Yi’s fingers and see if they were the actual notes being played in the soundtrack. I would have to watch again, but I don’t think so? There were times where she was on a low string while the audio was playing a high note, and even in fourth position, the pitch was too high for the note she was fingering. Some moments seemed more believable and attuned to pitch than others.

The physics of the movie were sort of soft physics. Not majorly so, but a little. Things didn’t have the raw grit and heaviness in the real world. It also translated to Yi’s violin playing. She was moving a little too smoothly and lightly for what a musician would actually be doing. But that’s just a minor detail; I can live with that.

So I’m EXTREMELY HAPPY that Abominable shows WAY higher than normal accuracy for musical playing. YAY! Major progress! Thanks for paying attention to those details when your protagonist is a musician!!! I’m not going to be ungrateful for that. But it’s still an automatic musician reaction of mine to be like “Noooooooo don’t leave the bow tightened!!!!” whenever they did show some things that weren’t proper violin care.

Last: I think that they made the wrong choice when it came to mixing the solo violin’s audio. They took the timid route. They went very heavy on reverb - a sound that no violin will ever sound like being played in person. It means that it’s hard for me to listen to the music and correlate that with the motions Yi’s making on screen; it’s an unrealistic sound, it can’t be coming from her violin! And they didn’t have the violin play solo-solo a lot. It would start solo. But they were quick to insert in background instrumentation to accompany the violin.

They didn’t let the violin... be.

What would have been most effective for the emotions and scenes would have been to be as raw as possible. Record nothing but the violin. Stay away from reverb effects or anything else that would make it sound unnatural. Add in only enough wet mix to make the instrument sound vibrant. Don’t add background instrumentation. Give us the raw sound of the strings and bow, to correlate with the raw emotions of what it would be like to lose a father, and remember him through the instrument. Let us experience a private moment between Yi and her violin. A private moment, raw, real, true. Take the time to breathe, to exist, not be theatrical, but be real. That would have been SO EFFECTIVE.

And it would have sounded very musical and awesome, too!

So I fundamentally disagree with the mixing choices. Also on the broader soundtrack pallet - for a story about a violinist, maybe not pick so many pop songs for the background?

Oh well. XD

There’s ONE plot moment [which would be spoilers to mention] where they did EXACTLY what I hoped they’d do with a musician protagonist. And that was RATHER satisfactory.

All in all: Yi’s violin playing is probably the best attention to detail the movie has for everyday life events. It’s more realistic than how Jin interacts with his cell phone and social media, for instance, or how Dr. Zara studies animal life. It could always be better but it’s by no means bad!

#thevegetablewhichnoonedaresname #analysis #Abominable #reply #my analysis #DreamWorks #Yi #music #non-dragons

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rruffian · 5 years ago

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I Have Experienced Cornucopia

It Was Not For the Faint of Sensory Processing

I Will Attempt to Write About It Now

*_*

First time seeing Bjork live, and what a self-defeatingly high point to start on. I don’t love or even like this very abstract and cumbersome record much, I’ve only given it two or three listens, but the show seemed to be designed to compensate for the more egregious weaknesses of the album, and I loved. every. second. of it. It gave me no choice. It was too much, definitionally, and there was some room to breathe but mostly it felt relentless. Opting to sit worked well, I only wished I was down in the crowd for Isobel, Pagan Poetry and Notget. It wasn’t deafening, but I was close enough to be physically slammed by the wall of sound, and to feel dwarfed by the visuals. Fuck. Just, all of it, how deft and knowing and overpowering it was as a stage production. All I ever politely ask of shows these days is to fuck me up, and she did, she literally envisioned this as “I will fuck them up and I will wear Iris van Herpen as I do it, all of their senses will get fucked all to hell by Tobias Gremmler’s visuals, a painstakingly choreographed flute septet that will unravel into a techno rave at some point, Lucretia Martel’s glowing mushroom-volcanoes, bespoke fucken instruments ur mom has never even dreamed of (REVERBERATION CHAMBER. CIRCLE FLUTE. ALUPHONE. SEGULHARPA. XYLOSYNTH. PIEZOELECTRIC VIOLIN. UNDERWATER DRUM. YOUR MOM), and I may be 53 and I may have been belting since I was like 5 but I will belt like a motherfucker tonight also and will pierce you right through your solar plexus, with my voice. Oh and I brought along this deceptively cute but actually scary formidable opening act of a small Icelandic choir that I used to sing in when I was a teenager, and my darling art witch conductor Þorgerður Ingólfsdóttir will stun this whole damn 20,000-person arena into a primal dazed silence, show you what’s what while I put on my gold face mask and platforms and get ready to fuck shit up.”

It was also...unexpectedly funny? Like good funny. Like the announcement they ran before the show endearingly began with “Bjork asks that you refrain from taking photos or recording videos during the concert. This is distracting to Bjork.” And I kept thinking about how the whole thing looked like my dream version of Cirque du Soleil that only exists in my head and boasts some actual substance and cohesion. Or how this was Lemonade: but Bjork, complete with the most loyal waifish fanboys in the front rows looking up at her cute Balmain-wrapped form during Sue Me like, queen do you want us to beat up Matthew Barney for you because we will! Or how the very few fan favorites she did include in the setlist were either truncated or rearranged almost beyond recognition and thus impossible to get into. The sostenuto alone, lol. The coy invitation to dance a little before they launched into the closing song, too. “Flutes rrrock!!!1”

So, quite possibly last time seeing Bjork live? No way to top this.

#bjork #utopia #cornucopia #org

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ask-these-fantrolls · 5 years ago

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Hunger, or something more?

Summary: Perigees before Quaver and Grrist officially become matesprits, a peaceful evening’s lunch date doesn’t go quite as planned.

Rating: T

Warnings: Violence, blood, idiot concussion talk, idiots to lovers, organized crime mention

Words: 10,821

It was a pleasant night out, crisp and fresh after a rain, with only a few small clouds here and there. A perfect night to be out and about, and after contacting Quaver on his phone, Grrist and his new friend had picked it as their next meeting date. The purpleblood was content, bordering on excited as he stepped out of his hive with his guitar in hand. He was dressed a little nicer than he'd been the day he'd run into Quaver; purple stained jeans with polka dots, a baggy, long-sleeved grey and black striped shirt with his symbol on the front, and the usual clownish neck ruffle. His fluffy, wavy hair was tied back into a loose ponytail.

There was a small park he knew of near the market that he'd suggested as a meeting spot. It was a nice place if one wanted a little quiet, and if they felt like grabbing a snack (which Grrist always did), then they would easily be able to. The big juggalo ambled into the area close to the designated time, strumming softly on his guitar, and humming a little tune.

Grrist found Quaver sitting on a bench, happily plucking away at their kalimba. It had become a certain favorite of theirs to play while their arm was still healing. A small… disagreement between themselves and a certain member of their gang over plans that had been made and set into motion- nothing too serious, just a few stitches necessary after putting him in his place. It was difficult having to be their own muscle for the time being… but there was no helping it! Their previous bodyguard bless her heart had been harmed beyond repair. A stupid wall of purple that was willing to give her life for them… She was useless to them now. Though, the Purple neither new of this happening nor needed to at the present. After all, it was far easier to bring the small instrument along rather than their favorite violin which couldn’t even play at the moment.

The bard offered a wide smile as they stood to meet their friend. This night, they wore a pair of boots and puffy shorts over violet tights, a long sleeved shirt, gloves, and a comically over sized hat which resembled that of a wizard. In most cases, this would probably be seen as especially dressed up... but for Quaver, it was just another outfit.

It had not been too terribly long since they'd last seen the juggalo, but a lot certainly had happened. Conflicts between themself and a certain moirail to their kismesis were riding high, but it was nothing a little manipulation couldn’t handle. Obelus had always been far too soft and naïve- but that’s what made him a perfect match for them! Inciting a fight between him and his pale wasn’t hard in the slightest... things would have been almost totally positive in the tealblood's life if not for a small stirring happening within their group. Small disagreements here and there- ostracized and belittled members who had questioned their motives were nothing to be too worried over... hopefully. But, that was a topic for thought on another night! This outing with Grrist was just what they needed to ease their troubled mind.

"Well eve, my good friend I hope you are well!" They greeted in their usual cheery sing-song tone, "To see you again does make my pusher swell,"

A smile lit up Grrist’s painted face as he hurried to greet his new friend, uneven fangs on display. As before, he was delighted by Quaver's clothing choice, visually ridiculous and pleasing to his juggalo sensibilities. And what a sweet hat.

"Hello Quaver!" He rumbled in reply, shuffling up to the tealblood's bench. He was entirely unaware of the happenings in Quaver's life, though by a strange twist, one was closely linked with Grrist's current worries. "Happy to see you, too." He moved to sit down on the opposite side of the bench. "Good night for playing. Nice fresh air. Thanks for meeting up." He bit back a sigh. It was nice to be out, instead of back at hive, sulking.

"How are you tonight?"

"Quite well I would say among other things," They responded happily and scooted a little closer to the larger troll. Their size difference wasn't all that great, but it still amused them to have to look up at the other troll. They could probably stand before the other and be at eye height! "Yes, truly a night perfect for picking our strings,"

They punctuated their sentence with a small tune, "Well- strings for you would be just fine. For me, however, I'll make due with tine," A laugh escaped them. A stupid joke, yes, but still amusing to them. It was nice to be around someone whom they didn't have to keep up appearances with. Someone they could have fun around and not be ridiculed or expected to act in a more proper way. Heading their Merry Men was growing irritating to their patience.

"Good to hear." Grrist nodded. Simple as he was, he still had no idea of Quaver's vicious doings, and viewed them as little more than a friendly songwriter. He still loved Quaver's rhyming, endlessly endeared by the tealblood's creativity and dedication. "Especially in such rocky times." He finally let his sigh go, but instead of focusing on dark thoughts, he was immediately distracted by Quaver's instrument, which he somehow hadn't noticed before.

"Oh! What is that?" He asked, cocking his head and scooting a little closer. "I've never seen an instrument like that before..." His purple eyes seemed to glimmer as he watched Quaver play. It was such a funny looking object, almost like a little xylophone, but Quaver was still plucking the pieces that made sound. How fun!

The bard offered the small instrument to their friend, allowing him to try playing it if he wished, "It's called a Kalimba, though 'Mbira' is another name," they smiled and looked Grrist over. He seemed slightly... off, as compared to the last time they met, "they come in many styles, though the sound's quite the same," Their brow furrowed slightly. Whatever could be troubling their bearish friend?

"Sorry to ask, please tell me if I'm off in my sense," They leaned closer, looking to Grrist through their always lidded eyes, "But is something on your mind? You seem quite tense," These times would seem rather nice for those not keeping up with what happened in the shadows. Unless something was directly affecting the juggalo, they could hardly imagine what had the jovial clown down!

Grrist gasped a little as Quaver offered it to him. He set down his little guitar, carefully, and accepted it, seeming amazed. It was so small, so good...made nice little sounds. It didn't take him long to figure out the key and pluck out a quick, clumsy little song. It wasn't exactly a perfect fit for his big chunky hands, but neither was his guitar, really. He made do. "This is good. Good sound. Thank you!" he nodded, and gently offered it back, before a look of anxious surprise crossed his face.

"O-oh. Mmmm..." Grrist looked away guiltily. "I don't mean to bring the mood down." He murmured, and reached to rub the back of his neck. He also didn’t want to lay his troubles out willy nilly, especially not with someone who he was unsure may have a moirail or not. Grrist didn't have one, but that didn't mean the same for Quaver, "Just some...stuff, happened in church, and it's distracting. Someone got hurt and we don't know if she'll be okay." He explains it as simply as possible. "But the Messiahs will surely work a miracle for her. Somethin'." He huffed a little sigh.

Their smile twitched very slightly. Oh, no, it couldn't be, right? His poor juggalo bodyguard who was put out of commission in their last spat? It wasn’t Obelus’ fault, really! He was delightful, but an idiot when it came to Quaver’s efforts. His brain was just too small to understand… but, in the end, Quaver supposed they had been the one to agree to meeting his friend who was curious about their Anti-Church scrawlings! Who would have guessed the troll would make himself their enemy… and further who would have guessed he would decide to try and take their life. It was a selfish act- one that no doubt left their poor kismesis in shambles.

Quaver took the instrument back and plucked out a little sting, "How dreadful a thing to have happen to your equivalent kin! But, with time and faith, I'm sure she'll pull through and win,” it was honestly good to hear that she was not dead - if it even was the same girl. What had her name been? Cereal? Cecile? Whatever the case, her being "hurt" meant that she was most likely still living!

The bard leaned against Grrist slightly, a small sigh escaping their lips, "A grave thing it is when a friend comes to harm," Cercie? No... that wasn't it... She never really spoke up much- how were they supposed to memorize her name if she never made an impression? It wasn't even as though they felt guilt over her coming to harm... but... Seeing Grrist torn up over it did make them feel a little displeased, "I do hope she'll be alright and this happening isn't cause for alarm!"

"I hope so too." Grrist moped quietly for a moment. "I heard she was shot, in the back no less. How does that even happen? She was really nice." He inhaled a calming breath, and then let it go. He'd prayed for her plenty, and she was strong besides that. He had to believe in her strength and the mercy of the Messiahs. Quaver's sympathy, and the way the bard leaned against him, is really nice, too. He fell for it entirely.

"Thank you Quaver. I won't let it cloud up our fun tonight, though. Juggalos are strong. I have faith." He did want to relax a little, and get to know Quaver better too. No sense in being sad when this was supposed to be a much more mirthful occasion. Quaver's well wishes warmed his pusher though, and he was incredibly nice to even be willing to listen.

"Mmm. What have you been up to since we last met?" Grrist launched a new and hopefully less sad topic.

Quaver thought for a moment in silence. Okay, yeah, he was definitely talking about Celine. OH- That was her name! They would have to agree- she was very nice. Gullible, quiet, but nice. Though... her life did pose a possible issue to the safety of their group... they'd have to look into the possibility of her being a tattle tale at a later date, though.

This date was slightly more important to their pusher, "Not terribly much I am afraid to say," the bard hummed as they played a small looping tune a few times, "I've been working on songs and sleeping through the day," Quaver chuckled lightly at their own half-truth, "Taking things easy and spending time with some friends. Although..." they settled further against the larger troll, "it would be a lie to say it's all been smiles on my end,"

They felt strange around him. Certainly not like they could tell him their every life's woe, but they felt compelled to comfort Grrist. Strange. Quaver smiled, starting to play a gentle song and humming lightly along with it, "Though one thing that I have to admit: I've been looking forward to meeting with you quite a bit!"

Grrist allowed a tired little grin to cross his face. "Mmm, that sounds nice. Rest is always good. Naps make everything better." The juggalo quickly took to matching Quaver, easily following along and switching his key in order to harmonize. It was a little clumsy, since they were just riffing, but he seemed happy to experiment with a little matching bass line to Quaver's looping tune.

Quaver's comment had Grrist's face heating up bashfully. Thank goodness for face paint! Had the bard really anticipated their meeting? Being a humble sort, Grrist had elevated Quaver in his mind after learning about their status as a professional musician. He was just a simple church helper. He didn't even have a proper vocation lined up yet.......

"Ohh? I hope nothing too bad?" Grrist left his inquiry open. If Quaver wanted to elaborate, they could, but the purpleblood didn't want to pry.

It was strange how at ease Quaver felt with him. Even out in the open in the middle of the night, while most other trolls were working or off doing their own necessary activities... they felt strangely at home beside Grrist. Wow, that was a stupid thought! They made a strange face at their own pan, glad that they were facing more away from him than toward, "Oh, it's nothing I'd want to worry you about. Suffice it to say that we've both had our share of associate clout"

"Mmm." Grrist rumbled in agreement, trying not to look too somber. "May mirth return to our lives again soon." He said, missing out on Quaver's funny little expression. He had no idea how the tealblood was feeling, but ironically, he was experiencing something similar. Except??? He could not remember the last time he had felt this way himself. It was something of a problem for the juggalo, that he simply could not seem to hold onto a quad. Many trolls, even those in his own caste, found his lack of direction a bit pathetic, even though he was content enough for himself. He liked his simple responsibilities in maintaining the church and contributing to song and praise. For a while, he'd stopped trying altogether.

The tunes they were creating already were serving to soothe Grrist’s previously frazzled nerves, and he took a deep breath, relaxing against Quaver. This was...really nice. "I've really been looking forward to this too. I...wrote something new. For our trade." He admitted, blushing worse than before. "Probably not as good as what you can do, but I tried."

They sat up strait, whipping around to look up at him as best they could, "You wrote me a song?? For really and true?" Their genuine excitement was evident in their voice, masking the twang of pain which shot through their shoulder at the sudden movement. Damn stitches- they needed to be more careful. Any more excitement and they may find themselves bleeding through their shirt. Moreover... they hadn't expected him to take them SERIOUSLY about trading music! Their pusher beat just a little faster, "I'm sure it's wonderful! Please, share! After, I'll do the same for you,"

Perhaps it was the fact that he was the first other musician they' been able to befriend in a long time. After all, nobody else from their old troupe really wanted to associate with them after the... incident. They wouldn't blame them- who would want to risk also incurring the anger of a highblood that would publicly tear someone's eye out over a silly little ditty? They certainly wouldn't if in a similar position... The humiliation of being bumped down to a mere street performer really lost its sting after the sweeps began to pass. And, even so... with their professional career over at such a young age... They somehow felt complete sitting here with Grisst- the troll who managed to fill the other half of their absent tune.

Quaver absolutely captivated him. They were the very image of whimsy, and incredibly kind when many in their position might act very snobbily. And they were also pretty cute. It had just...taken Grrist a while to realize he felt that way. And then he'd written a song. "Yes, I did." He was blushing under his make up again, and cleared his throat. It certainly wasn't a love song of any sorts, but something cute and simple.

"Okay. I hope you'll like it." He hadn't really written very many songs in his life, or ones with lyrics at least. A lot of his music outside church hymns and religious raps was improvised, and he found he fretted too much when planning a whole song out start to finish. Grrist cleared his throat and began to play, a playful, upbeat tune about meeting new friends and holding onto hope during hardship. It didn't go too much longer than a couple of minutes, but he strummed a little flourish once his was done.

Even the tips of his ears were flushed at that point, giving him away. The notes weren't flawless, as always because of the size of the instrument juxtaposed with his massive hands and claws, but he managed. He looked up to Quaver shyly as he finished, almost afraid that he might disapprove.

When he looked, Grrist would find them bouncing excitedly , hands clasped together in front of their mouth and the faintest flush over their cheeks. That was adorable??? A dopey grin spread over their mouth, "Oh Grrist my dear, that was simply superb!!" They scooted closer to him, hanging off his arm slightly. Sure, it was a little rough around the edges, and it was relatively juvenile in terms of lyrics, but they adored it. He wrote this song specifically for them.

"O-oh??" Grrist was pleasantly surprised as Quaver proceeded to shower him with praise, suddenly getting a very fluttery feeling in his stomach at the little grin that flashed across the tealblood's face, and the way they cozied up to him. His pusher pounded at the fact that Quaver, a practiced and professional musician themselves, would be kind enough to give such praise for his simple offering. But he'd put a lot of effort into it...so this felt very nice indeed. "Thank you...that means a lot. I'm so glad you enjoyed it..."

Wow- why did that make their bloodpusher beat so fast? Why did they feel like they might cry from elation if they were a slightly weaker troll? Suddenly, they realized how close they'd gotten to the purpleblood, gasping ever so slightly. What had gotten into them? "Ah- my apologies- I didn't mean to disturb," They bit their lip lightly before sitting back, now facing sideways on the bench with crossed legs. They smiled to him, "Such a kind tune... I'll cherish it always," They picked up their kalimba, holding a hand over their heart, "It reminds me of nicer times- Sweeter and more gentle days,"

Deep, delighted laughter bubbled from his chest shortly after Quaver scooted away. "That's alright." He'd barely noticed at first...but the sudden proximity hadn't bothered him. Unfortunately, while Grrist had great respect for the tealblood, he held no fear of them whatsoever, as a threat. Too small, too cute. An unwise outlook. "Yeah. Maybe those will return to us someday. That would be nice. Gotta be optimistic."

Grrist hummed a short, happy hum, and watched Quaver expectantly. Now it was his turn to wiggle in anticipation and excitement, because he would get to hear the bard play a song now. He was absolutely ecstatic to hear Quaver play, honored they'd even consider such a thing. He'd been half tempted to watch out for them on days he went out to the market, to see if they might be out playing, but he'd waited until their meeting instead.

Quaver chuckled lightly. What an embarrassing display. However, it was not nearly as embarrassing as their following realization: They hadn't actually prepared a song for him in return. They never thought he would take the offer to swap songs seriously!! How could they?

This was silly. He was the same as any other troll that the bard had ever met! And stupider than the average one, too... Why did there seem to be a haze over their mind right now? It worried them and made them feel sick... but sick in a way that didn't upset them. Fuck- what was wrong with them? Oh, well. They would have to figure that out a little later. It was their turn to sing. Unfortunately, though, they did not keep many songs that they hadn't already played in public! He'd never been to one of their shows- why were they worried about it actually being one that nobody else had heard? Oblivious.

There was... one song that they had just finished a while ago. There had been no reason to play it for anyone until now! After all, who would play such a forlorn love song to a crowd on the street? The bard began playing a small tune before piping up with their voice. The song was, if anything, definitely one of romance. Just as short as his own, certainly less upbeat and a little pessimistic, but with a hopeful ending. It was personal to them... and they were honestly very worried about what he might think of it. Why were they so worried... Why had their face flushed completely while singing it? Eugh- these feelings swimming around inside them were foreign and confusing and GROSS. Anything that hindered their performance was a nuisance.

They finished out the song- much less of a flourish as just an abrupt end, hesitating before looking back to him through closed eyes. Why did it feel like it meant so much for him to like it?

He was enraptured as Quaver began, sitting completely still as the tealblood started. The sound of the kalimba was so soothing and charming, it fit the song perfectly...and he started to blush a little at the theme of the song. Oh. He hadn't expected a song that touched on romance, and like before, he could feel little butterflies fluttering around in his stomach. Now that he didn't have to focus on playing and remembering words, the way he was feeling and reacting was much more noticeable to him....and it almost made him a little panicky.

No! He wasn’t willing to let his gay thoughts interrupt his enjoyment of Quaver's gorgeous work. When the song came to an end, the purpleblood beamed down at Quaver, and then set his guitar down to clap a little, and clutch his chest. It was a sad sounding song, but sweet all the same. "Oh, Quaver. That was wonderful." He hugged himself a little, unable to stop smiling. In truth, he was a little speechless. "I loved it...what a lovely song, and performance." Welp. He wanted to gush, and felt tongue tied at the same time. What the fuck? "Thank you so much..."

The bard's face grew hotter as he complimented them so earnestly. What was happening??? Why did they feel so happy about him liking the song??? They'd received praise for their work plenty of times in the past- they'd gotten standing ovations in theaters, roaring applause at the town square from dozens of trolls more simpleminded than even Grrist! This should be no different. "Thank you, my friend! Your applause warm my chest," They chuckled. What the fuck?? "Seeing you so elated makes me feel as though I've done my best," Hey? Quaver? Why was this feeling of their bloodpumper pounding in their ears so wonderful?

They leaned forward again, patting him on the arm gently, "Sometime soon we simply must together write a song. With our shared love of music, what could go wrong?" Oh- touching him had been a mistake. They felt the urge to keep doing it. To keep in contact with his arm- to move their hand to his hand and hold it.

He sighed a dreamy sigh, and then swallowed a little as the bard leaned forward to pat his arm. The gentle contact, and especially the suggestion, made the juggalo's pusher skip a beat.

"R-really??" He couldn't even be bothered to feel dumb as he stammered, his purple eyes widening with excitement. "We could do that? I'd love to write a song with you! Wow..." He peered down at Quaver, falling into the same little awkward pause, even though it was mostly just him, once again, trying to process confusing feelings. He didn't even know Quaver all that well yet...but that wasn't always the case when crushes struck. Quaver's company was so kind, so refreshing. He had his circle of church friends, and other juggalos, but none of them had ever made him feel this way. But ugh...what would the bard think if he knew? Grrist gulped. He was not experienced with this sort of stuff...

Quaver absently leaned forward slightly more. Why did they want to be close like this? Why did they want to run their nimble fingers through his hair- to take off his silly face paint and look at him... To press their lips to his and-

OH sHIT. They suddenly shot up from the bench, turning away from the juggalo with a laugh, "This night is QUITE pleasant, wouldn't you agree?" Wow- did their voice just crack?? That wasn't a good sign. "I think there are food stalls just down the way if you're hungry?" So, that's what was wrong with them. They couldn't say they'd ever experienced it before- they'd written countless songs by commission, written poems and made art of it... They'd always been possessive over their prospective Quad mates before, but this? This was a new feeling.

The fluttering in their chest, the warmth of their face that they were now forcing away, the reason his words meant so much to them... They had a crush. Why for this buffoon of all people?? Why would they feel the need to like someone like him? Someone big and dumb and dopey and muscular and soft and gentle with a nice voice and a wonderful smile wAIT- No, bad. They shook the thought from their pan. Disgusting. Juggalos were big and gross and they absolutely did NOT need to like one- especially not one so close to the church. "I myself am famished- I could just eat a bunch!" They turned back to him with a warm smile. These feelings weren't real. They were just fake chemicals made in their pan because he was a musician like themselves!

He meant nothing to them.

"Shall we go find one and grab some lunch?"

The juggalo nearly startled as Quaver suddenly hopped up from the bench. "Oh, yes," he hardly even noticed Quaver's quavering, "Sounds good!" He took a deep breath, and picked up his guitar, offering an easy going smile. No need to make things weird, he repeated to himself in his head. Grrist had only limited experience with quadrants, in his past. A couple of red crushes that hadn't gone anywhere; puppy love. A violent kismesissitude that had ended badly. Feelings like this were scary...he almost felt shallow for it. Was it just because Quaver was nice? They were good company? Come to think of it...

Grrist squinted as his pea brain worked over why Quaver would want to spend their time with an amateur like himself. Ulterior motives? He had smarter, more cunning juggalo friends who were always harping on that kind of bullshit. But what use could he possibly be to someone like them? No...no. They just wanted music friends! Trolls can be friends, Grrist reminded himself.

"You oughta choose, this time." He grinned, looking down at the tealblood. "What do you feel like having? I like just about everything...I'm not picky."

That fact didn't surprise them in the slightest. Grrist really did seem like the kind of guy that would go along with whatever happened around him- be it the meal choice, or something more serious. Quaver's initial motives weren't all bad; someone to play music with and hash out tunes against was a luxury they were mostly unable to come by at this point! But the appeal of replacing their old, now hospitalized, juggalo with a new one was appealing in it's own right. Now the only real obstacle was to get their weird feelings under control!

Quaver hummed in thought, walking a few steps ahead of Grrist, "As far as food goes, I too am not horribly picky," a lie, but a white one. They continued playing that little looping tune from earlier, occasionally pausing at it's end to try a different note or two. Were they writing a new song? "As long as it tastes good it can't be too tricky!" They chuckled, leading him down the still rain-dampened road. The rain... it was such a perfect muse for lyrical scribing! Picking out patterns in the pitter-pattering of droplets and listening to notes against the roaring sound of a storm... the scent plants gave off after the rain had stopped and the cold humidity it left behind! They twirled around effortlessly on the balls of their feet as they walked, reveling in the delightful atmosphere.

Just because they were the head of an ever growing band of anarchists didn't mean they had to give up their whimsical delight, after all! If anything, it seemed to make the relationship they had with their subordinates stronger! They were approachable, but still entirely dangerous. How many people were capable of laying out a troll two castes higher than themselves and twice their size with such simple acrobatics? On-lookers in their meeting place were astonished by how easily they squelched the navyblood who dared to question their leadership, and that's how it should be. Terrify with a smile, and none shall question! Or, at least, that's what they thought.

Entirely unaware of Quaver's wicked intentions, he smiled lopsidedly as the tealblood replied, trying not to become too distracted by the pleasant sound of their kalimba-playing. "True! Mmmmm...what's your favorite kinda food?" He grinned as he asked, figuring he would allow that to help make their decision. The market had so many nice choices to pick from that he knew he wouldn't mind what it was, one way or another.

Grrist was certainly enjoying the night himself. There was nothing nicer than the fresh air after a good rain, and though he was glad it had let up for a while so that they could be out and about, he felt similarly to Quaver. The emotions one could draw from the world around them were vast, and the rain always served to put him in a relaxed, soothed state of mind. Even if thunder could be a little scary, who could deny the excitement of a thundershower? Thankfully, the recent rain hadn't become that intense. Before he knew it though, the atmosphere of the peaceful park had vanished, giving way to something new...

The sound of the bard's kalimba helped to fill the otherwise silent street with noise. It all had a sort of eerie feeling to it with dim and flickering lamp posts and the light of the moon being the only thing to guide the pair. Quaver followed the same route they they'd become familiar with using- dank back alleys provided security from most prying eyes and listening ears, after all, "I am quite serious though, about what I said before," The bard finally spoke up, words echoing slightly in the tight corridor as they walked backwards in order to face Grrist properly. Their face was no longer flushed finally, "To make a song with you is something I'd truly ado--"

The juggalo chuckled softly as he followed after Quaver, watching their fanciful spins and steps, ever charmed by the bard. Grrist was undaunted by the emptiness of the street; rather, he was captivated by Quaver instead, and set to plucking his own instrument every so often, to harmonize a little, or provide a bass line. Even though he was far from the perfect example of his caste, or a juggalo, Grrist still possessed that deep seated notion that he was Strong and Untouchable as a highblood out on the streets. Nevermind that he was following a near stranger into the alleyways of town. He was confident...and quite dumb to boot. What could possibly go wrong?

Everything, it seemed. His face had begun to light up as Quaver brought up their previous suggestion again, their words were cut short as something came in contact with their body, sending Quaver's lithe form careening into a nearby brick wall with a sickening crunch. Teal blood splattered to the ground as they coughed, opening their dazed eye to see what had done the damage. To see who had done it. Three trolls stood in the alley after revealing themselves from various corners and branching paths- a Jade, another Teal, and the Blueblood who they had put in his place just earlie that dayr. Quaver tried to speak, but found they could not from the lack of air in their lungs. They tried to get up or move forward, but found their body too pained to move any further.

The Navyblood's laughter filled the space as he taunted them, "You thought you could just get away with it? Thought you could just FUCKING humiliate someone better than you and not have to pay?" He flipped the large club in his hands a couple times, not seeming to have really taken much notice of Grrist just yet, "You're pathetic. How's it feel, being the one treated like you're nothing for a change?"

Grrist could feel a fit of rage coming on. Tears pricked the corners of his eyes at the sight of his hurt friend, and he charged forward, uncaptchaloguing the thick branch of a club that served as his weapon. He roared at the three trolls, and stepped between them and Quaver. All too quickly, his eyes were beginning to fill with red.

"GET AWAY!!" Grrist warned loudly, and slammed the club against the bricks with a menacing thunk, his chest heaving as he showed them his uneven fangs. He was angrier than a whole nest of hornets, but inwardly, his confidence flagged for the briefest of moments. Could he take three trolls if it came to it? What did they even want with Quaver? It didn't matter. He couldn't stand by idley and risk them getting hurt any worse. Barely able to control himself, he only waited a split second before advancing on the three.

Because fuck it. That navyblood was going to pay for what he'd done.

A pained, groaning, whine came from the teal as they watched Grrist charge at the group of assailants. Their mind was foggy from the way their horns impacted the brick wall- like a tuning fork that lead directly into their pan. God- fuck, they definitely had a concussion and a few fucked up ribs... the corners of their vision darkened as they struggled to sit up from their place slumped against the wall. This was... this was too much. Grrist was a wall of meat that was very nicely doing his job to keep their attackers away- he was doing exactly what they wanted him to do! So... why did they feel such a disgusting weight in their chest? Why did their pan scream for them to have him leave them behind and abandon this unbalanced strife?? The bard tried to vocalize their worries, but all that managed to come from their mouth was the juggalo's name groaned pitifully as a small trickle of blood came from the corner of their mouth. Maybe they'd bitten their tongue...

The Navy lunged back as his partners scattered out of the way. They, at least, didn't seem to have weapons, "Oh braaaavo," He mocked in the semi-conscious Teal's direction, almost as if ignoring Grrist's actual presence save for dodging his charges, "you've already replaced your body guard, huh?! Should've expected nothing less from out brave and fearless leader!"

The other two trolls seemed much less gung-ho about attacking Grrist or even Quaver. They kept off to the side, watching the fight and waiting for their time to strike. A juggalo with a club was dangerous... especially one as enraged as this one seemed! "Our beef isn't with you, choir boy~" the enemy Teal called from the sidelines. The Jade hopped up on a nearby dumpster as she watched her Navy leader barely evade the Juggalo's swing, "Just leave the little shit with us and walk away! There's no need for more blood to spill tonight than needed,"

Grrist was quickly becoming too enraged to comprehend much of what the opposing trolls were even saying, the image of his crumpled friend stuck in his mind, gasoline on the fire of his rage. The tidbit about a replaced bodyguard sort of went in through one ear and out the other, and he read it as some kind of weird taunt. He loosed another fearsome roar, and even though the navy's two helpers scattered to the sidelines, he'd already made a decision about what he wanted to do next.

Wrought with inward desperation, the juggalo had started to activate his chucklevoodoos. The atmosphere of the alleyway began to simmer with the terror he was trying to project outwardly, enhanced by his raw minded state. His powers might not have been as effective on the navyblood, but his accomplices, and even Quaver, would no doubt feel the abject fear begin to seep into their thinkpans as it radiated off the juggalo.

"FUCK OFF!!!" Grrist took another angry swing at the navyblood as he lingered in one spot...he wanted to charge, but was afraid of leaving Quaver unprotected. He stomped a booted foot, challenging the navyblood to come close enough again.

The fear did indeed begin to take hold of the lowerbloods, first starting with the Jade. She became visibly on edge with the whole situation- she already seemed to be the least sure of the current event, and now it was even more severe. What were they thinking? They couldn't survive against a juggalo! She was going to die- oh hell she was going to die and have to watch her friends perish all the same!

The atmosphere of the already creepy alleyway shifted and seemed to roil under with Grrist's rage. The cocky tealblood was taken aback by the feeling of dread welling up inside of them. Maybe attacking like this had been a bad idea. Quaver, similarly, was absolutely terrified. Why the fuck were they so scared? Were they scared that Grrist would be hurt, or were they frightened of the enraged juggalo himself? They couldn't actually tell... but nevertheless they found themselves recoiling away from the fight, pushing back further against the wall as tears formed in their eyes.

Grrist panted heavily as his eyes darted between the three, never once backing down from his battle stance in front of the bard. They'd picked a bad spot, because even if they did try to tag-team, the tight quarters of the alleyway would make it hard for anyone to get around behind Grrist. They would all have to attack from his front, and even if he hadn't had a weapon, Grrist was still a force to be reckoned with. He wasn't about to let his new friend be pummeled by some fuckfaced highblood.

Finally, the Navy was affected by the chucklevoodoos. He still felt a terror in his chest, but he could still fight! He uh.. he could still... his legs shook and he was seemingly frozen in place in fear for the shortest of seconds. He watched Grrist taunt him, anger welling alongside the tingle of fear. The navyblood took a hesitant step forward, biting his lip in thought for a hot minute. You know what? FUCK this.

The highblood raised a hand to his mouth, sending a shrill whistle through the alley that signaled his companions to retreat. The Jade was the first to abscond, followed quickly thereafter by the other Teal.

"FUCK!" the Navy snarled, stepping backwards from the massive juggalo, "You won't always have that GODSDAMNED DOG with you! You better fucking pray we never cross paths when he's gone." He boasted and tried to sound assertive, but that's just a little hard to follow through when you're retreating, huh? "And YOU." the blue finally acknowledged Grrist, his same snarl on his lips, "You better watch your back for the day they put a bullet through it."

Grrist finally started to descend from his wrathful state of being as the navyblood began to bark empty threats. He still saw fit to snarl in response, largely confused by what the other troll was saying, and uninterested in trying to puzzle anything out. By this time, he'd stopped trying to use his chucklevoodoos, allowing the fear to vanish once he saw that the bluff had worked.

"IF YOU EVEN TRY TO HURT THEM I'LL BASH YOUR SKULL IN!!!" Grrist roared after him, still panting as he waited for his opponent to fully retreat. He snarled and growled and kicked a trashcan after the blueblood, his adrenaline still going, pusher still pounding. Had to get some of that energy out, until the bastard rounded a corner and left Grrist's sight. Shaking, he captchaloged his club and turned to Quaver, terrified of what he'd see...yeah, wow, it was even worse than he thought.

Teal soaked through their shirt, the stitches from their own wound having been torn open from the impact.

"Q-quaver?!" The tears that had formed in his eyes began to flow now, and he hated himself for it. Of course Quaver was going to find out that he was a gigantic cry baby the very first time they hung out. Very uncool. Very unjuggalo. But, fuck, where was all the blood coming from? The purpleblood nearly stumbled as he knelt down at the tealblood's side, panic gripping him as he reached down to set a shaky hand on them. "F-fuck, fuck, gods, are you-- oh fuck, please be alive..." He babbled, "Did you get cut, w-what the fuck is this..." The shirt had no holes, there was no wound, so why was Quaver bleeding there???

"Gotta get you to the medicullers..." He shifted to start to lift the tealblood into his arms. No time to waste.....

They groaned in pain as he took then into his arms. It felt nice and relatively secure, even if the lingering fear from their agitated nerves was making it impossible for them to actually settle against him. Why was he crying? What a big idiot... shameful, really! ... they reached a hand up to cup his cheek, tears from pain and the sudden shock falling from their own eyes, "N-no medicullers nghhh-no need, I'm fine and alive," the bard kept their voice steady, making their pain behind a strained sing-song tone. Why did they care about him worrying anyway?

"J-just old wounds- medicullers... ask too much... just t-take me hive," thinking of rhymes was growing difficult with their hazed over pan. There wasn't much a hospital could be able to do for them- they could stitch their own wound up again... you can't set broken ribs without surgery, and a concussion just needs to be observed... They would be fine if they could just climb into their recooperacoon for a few hours.

The Teal cringed in his arms, gripping at the sides of their shirt out of pain. Goddamn something was NOT right in their abdomen, though... they grit their teeth, the large knick in their tongue causing more blood to seep from their mouth. Okay- okay... maybe they should call someone- one of their lackies that could be trusted... but for now, being vocal hurt too much. Quaver buried their face into his chest, a small whine escaping their throat. At least they weren't alone when this all happened... they... they would be dead if Grrist hadn't been here.

Grrist, in true idiot fashion, had not even considered that Quaver might have been affected by his powers; only that he'd been desperate to get those other trolls to fuck off without a prolonged struggle or a fight that ended up injuring him as well. He was surprisingly gentle as he gathered the tealblood up, sniffling and trying to staunch his stupid tears. Gods, Quaver looked horrible, so fragile and sad and hurt -- and still rhyming. If he weren't so upset, he might have laughed, but he was frightened as they argued.

"You gotta. The hospital's not far....it'll be okay." Grrist swallowed at the nervous lump rising in his throat, not sure if that would be the truth or not. They had hit that wall so hard, he could still hear the sound it had made, threatening to bring on more tears to his eyes. No, he told himself. Gotta focus. Gotta get help. He moved surprisingly quick for such a big troll, doing his best not to jostle Quaver as he held them close to his body.

Now that Grrist was somewhat calmer than before, the questions had begun to surface in his small pan. Who had those trolls been, anyway? What had they meant by some of those things they had said? The thoughts swirled in with the rest of his panic. He couldn't ask now, not with Quaver in the state he was. The purpleblood forced himself to focus on the way to the hospital, turning onto a more populated street (worried they might be followed), and hauling down the walkway as quickly as he could. They were only a few minutes away from the clinic he visited infrequently...

"Nonono no no noo don't- please," they pleaded with him. Rhymes were impossible by this point. The IDIOT didn't know what he was doing- the questions that professional medicullers would ask, the lengthy treatments that would keep them from doing what was needed... it was too much! But... they weren't really in a position to easily protest, now were they? Quaver moved a shaking hand to grip into the front of his shirt, opening their good eye to look pleadingly up to him.

"N...no hospitals...Grrist, please..." it sounded like they might cry. He just needed to listen to them- he didn't need to think for himself here. Wait... what about thinking for himself? Strange, their past trail of thought seemed to be completely deteriorating. Their head was getting foggy and foggier... where exactly were they going tonight? Their vision seemed to be in a long, deep tunnel... Why were they suddenly so tired? The bard's hand fell from Grrist's chest and back on to their own battered torso. They felt warm and safe here... surely it would be okay to close their eye for a while... right?

"It'll be okay, the medicullers are good where we're goin'. Promise." Grrist panted softly, determination overriding grief as he managed to staunch his tears and focus on getting there. The blood dribbling from the tealblood's mouth had Grrist's stomach sinking sickly. Did they have a cut...or was it something worse? Sweeps spent scrapping and fighting during his younger days had leant him some knowledge about injuries. Mostly from getting them himself.

They sounded so scared. Grrist hated it, hated this had happened, but what else was there to do??? He had almost no medicull experience himself, so he couldn't just take them hive like they wanted. He blinked after a moment, and glanced down. "H-hey....hey!" He shook Quaver gently, his voice low but insistent. "Uhhh...where is your hive, anyway?" He tried to get Quaver to stay awake, to keep talking. They were so damn close...

Quaver let out a pained groan as they were jostled. Medicullers... They didn't need any stupid medicullers! Why was he being so insistent? Why was their pan so fogged up again? nothing was making sense... They just wanted to sleep. "Your arms feel... nice," The tealblood spoke weakly, looking up to him with a wavering smile. It looked like they might pass out at any second- Oh, they definitely needed a hospital.

They chuckled lightly at his question, sounding in the twilight between awake and asleep.. Why was he asking for where their hive was again? They didn't care. The pain in their chest was growing more and more distant as they fell farther and farther from consciousness, "How scaaaandalous~" They crooned up to him with now fully closed eyes, "We barely know eachother and you want an invitation to my hive?" Their words were slow and slurred. Not thought out, certainly not rhyming. "You're lucky... that... you'..re...cute," The bard's voice grew quieter, before words stopped coming altogether. Grrist was taking care of them. They were safe... sleep was calling to them, and they were giving in to that call.

Grrist had always been told you weren't supposed to let people with potential head injuries go to sleep. Was that a real thing, or just some silly rumor? He couldn't remember now, and it scared him worse. Quaver's babbling was scaring him too, cluing him off to the fact that someone was definitely wrong. Yeah, they were going whether the tealblood wanted it or not. Maybe they were scared of hospitals? Grrist would stick around...make sure they would be okay.

Now he was being called cute?! He found himself blushing at his new friend's delirious babbling. Yeah...definitely delirious. How anyone could find himself cute was beyond Grrist. "You asked me to take you hive." He tried to respond teasingly, even though his voice was tense and still choked with leftover emotion. He was never going to forgive himself if the bard fell asleep and never ended up waking again. Grrist trashed the thought. They would be fine...

Finally he turned onto the right road...and there it was, all lit up. There were only a few trolls drifting up and down the sidewalks, and Grrist couldn't care less that they'd caught a few looks along the way. "Almost there, hold on!!" He sped up toward the mediculler office, and practically exploded in through the front doors.

"MY FRIEND IS DYING, PLEASE HELP!"

Various mediculler nurses looked to the door as Grrist stormed in, carrying the battered and bloodied body of the small bard. He was rushed in an instant, helpful trolls here to ask what had happened, why they were unconscious, and how they had been hurt. They assured him that they would do everything they could for his small friend as they had Grrist place Quaver on a stretcher so that they could be properly seen to.

The ocean of noise was muddled in the Teal's pan. Why was everything so noisy? Why were people prodding at them and bothering them so much? Was is so much to ask just to have a nap?? They snarled at the nurse who shook their shoulder whenever they seemed to get too comfortable. Bitch. A small bit of fear welled within them- where were they right now? What was going on? The sound of Grrist's voice was the only real assurance as their surroundings began to fade away...

It would be a few hours at the very least, the nurses had told him after a while. Grrist was crestfallen but hopeful. It had been hard to quell the awful emotions that roiled in his chest, and finally he was starting to care more about the why. Why had that all happened? Quaver had enemies? Enemies willing to kill them. It was a hard concept to handle, given that Quaver was so outwardly sweet. Grrist spent the rest of the evening lurking in a waiting room, eating vending machine snacks and letting his thoughts chase themselves in circles. He'd ended up trying to remember what the navyblood had said. Something about bodyguards? Something about being shot in the back? He wished he hadn't been so riled up. The harder he tried to remember, the more confused he became. Eventually...he gave in and napped.

And then… Quaver woke up. Their eye fluttered open and they looked around, taking in the scenery. White curtains, the sterile scent of medicine, and the unmistakable hushed murmur of other patients and doctors that lie just beyond their currently secluded bed. Ah, the hospital. They tried to sit up, but sucked in a hiss of pain as their muscles moved, "ffffuck-!" It wasn't often that they cursed, but this was certainly the time to.

The nurses had taken him up to Quaver's room once the bard had been stabilized and admitted to a bed. He'd taken a spot in a chair in the corner, and had promptly dozed off again, even though he'd meant to 'guard' the room. Would the bad trolls come looking for them here? Grrist certainly hoped not. He'd been slumped over in his chair, until the sound of the tealblood's voice woke him with just the slightest jump. Shifting to stand, he peered behind Quaver's curtain. "H-hey...you're awake..." He grinned weakly. Hi. "I uhh, stuck around...wanted to make sure you were gonna be okay."

"How long have I been here?" They grimaced, but were happy all the same. He'd stayed with them, at least... Quaver wasn't sure whether or not they should be furious with him for ignoring their wishes, or if they should be thankful that he'd gotten them seen to anyway. In any case, they couldn't bare to spare a glance in the juggalo's direction, instead turning to unbutton the night shirt they'd been put in to survey the damage. Their shoulder was stitched back up and covered, and there looked to be compression bandages on their ribs. fuck... They sighed, letting their head fall back on to the pillows.

"Almost all night." Grrist replied. It was nearly morning now, though it was hard to tell with the heavy curtains pulled. He looked away for a moment out of politeness as Quaver opened their shirt to look at themselves, before scooting the chair just a bit closer so they could speak properly.

"Sorry for all the trouble, dear," The bard's usual melodic tone was replaced with one of seriousness. They were still too tired to try rhyming, "We'll have to have our date another time," it was difficult to speak- not from their injuries, but from the thoughts racing in their pan. What exactly had happened after they were knocked silly? They barely could remember the exact sequence of events... they were hit, they felt terrified, and then they were somewhere warm... They'd been carried here, right? Oh goodness- did that mean Grrist had carried them all this way?? Their arm moved to cover their face as a small flush formed over their cheeks, ears drooping. This was embarrassing. So fucking embarrassing.

"Not your fault....I'm sorry too." Grrist drooped. "You begged me not to bring you here, but I didn't know what else to do. I'm sorry if it was scary."

Grrist sniffled. The juggalo was something of a sight himself. His face paint was smudged in spots, and his clothes had splatters of dried teal blood here and there. "I'm really sorry if it's weird to even still be here. Those bastards mighta followed or something...I didn't want to risk them, uhh. Getting you again." His ears drooped apologetically, though when Quaver mentioned a do-over for the date, he was inwardly elated. "I wanted to play some and say a few prayers but the nurses said it would be too noisy for the other patients." He wrinkled his nose. "Are you okay?" He tilted his head as Quaver covered their flushed face.

They looked over him from under their lidded eyes, slightly skeptical. Why... why did he care so much? It was weird. They barely knew him, and yet they distinctly remembered him standing between them and their attackers! What kind of idiot even does that?? It was... it made their cheeks warm.

"I'm glad you stayed... waking up here alone would have been worse," they chuckled, taking the arm from their face in order to gently touch his cheek. It was fine. They still had the excuse of being on pain medication if he thought it was weird, "Thank you for watching over me. I'm sure your prayers would have been lovely," the bard chuckled, immediately regretting it as pain shot through their abdomen. Goddamn they hated broken ribs. They tended and squirmed slightly, having to take a moment before they were able to talk again.

Grrist was thinking along the same lines...here he was, having stuck around for some troll he was only meeting for the second time. Part of him was terrified Quaver was going to think he was weird. But, how could he have lived with himself if he'd left them in the alleyway to be bludgeoned to death? It just wasn't something he could do. Especially not after they'd traded songs...made plans to write music together. Even if they didn't end up being friends, Grrist felt it would not be very mirthful to let someone with such talent perish so horribly. It was a good deed in the eyes of the Messiahs, and something he'd have done anyway. The navyblood and his lackeys were filthy cowards for going three against one, regardless of the reasons they had for attacking.

"I'll be fine once I have time to heal... you, on the other hand..." they smiled, smudging his already ruined paint with their thumb, "look like you could use a good meal. Tell me, Grrist dear, you stayed with me all night? I'm so terribly sorry... that must all have been quite the sight," There we go, they were back to their rhyming self again! ...sort of. They found that they couldn't stop the teal hue that was spread over their cheeks and at the tips of their ears any more. Maybe he wouldn't notice... damn, why was their pumper being so fucking stupid? He only saved their life- that wasn't something to be set aflutter about! ... right...

Quaver's touch pulled the juggalo right out of his thoughts, and he looked startled for a moment, trying desperately to stop himself from blushing. "It was nothin'. Figured it woulda been rough, not knowin' what happened. I can't believe those motherfuckers cheap shotted you like that." His lip curled slightly in disgust, before he melted back into worry as Quaver squirmed. "Careful..." he murmured, encouraging the bard not to strain himself.

"Yeah, you gotta rest and take it easy." The juggalo reached up to take Quaver's hand and squeeze it gently. "N-no worries, I got some hospital food. The nurses here are real nice." He managed a toothy grin, and realized that oh no, Quaver was blushing again. Cute? Or maybe he was hurting...Grrist couldn't quite tell. "You okay? I should probably get goin' and let you rest some. I could come back later, if you wanted..." Grrist wasn't sure how long they'd actually be in the hospital.

"No!" They squeezed his hand, recoiling at the force of their own words. They grimaced, "You should stay here... I mean to say," They shifted painfully onto their side. It was selfish to keep him here- if he wanted to go, they should- Wait, since when did they care about being selfish? God, whatever medication they were on was fucking with their pan more than they thought! Still, though... They smiled at him, winking open a glassy blue eye to see him properly. Was this the first time he'd really seen their eye open? Oh, well... They didn't exactly care about hiding them... though, they would keep their empty socket shut and hidden, "I like having you near. Having a friend around would really brighten my day?"

They were in pain. Their chest hurt from the blow they'd taken, but their goddamn pumper hurt for some other reason. They didn't like this crush they'd developed, and it'd only gotten worse with Grrist stepping in to rescue them... just like some knight in a fantasy novel or something, only bigger and more lumbering with stronger hands to hold theirs with nO STOP. They sighed, screwing their eyes closed tight. They needed to get a hold of themselves... this was stupid.

"Please, If you would stay with me while I sleep..." The bard's flush lessened as they spoke earnestly- straight from their pusher, and not through any attempts to suppress how they felt, "It would make me feel... good. safe. to be under your watch's keep," They anxiously clutched the starchy bed sheets. God, he was going to see how desperate they were acting and laugh in their face. Pathetic.

A little startled look crossed the juggalo's face as Quaver protested suddenly, arguing with him over leaving. He was even more surprised as the bard opened their eye, and Grrist realized; had they been squinting all this time? The little details one failed to notice at times were strange, but Grrist didn't call attention to it, not wanting to sound impolite. As the bard went on, Grrist began to blush again. They liked having him around. That, combined with Quaver's anxious tone...how could he even think of leaving?

"If you want me to," Grrist offered an anxious grin, "I can stay. I just didn't wanna intrude, or be a bother or whatever." The heat was rising to his face again. He couldn't help but think about how Quaver had called him cute last night, too....but no no, they'd been delirious with the pain of their injuries. Surely they hadn't meant it?? The juggalo squeezed the tealblood's hand in return. "You don't got anyone else comin' to see you?"

Grrist tilted his head some, obviously referring to possible quadmates. Did Quaver have any? Surely they had to have a moirail at least...the juggalo hated to be nosy in that way, but it was so sad to see the little bard in such a state. They needed all the support they could get.

"Not ...anyone that I would trust," they shifted uncomfortably. Maybe if Obe was off work... no nono, they couldn’t let their kismesis see them like this! Quaver always taunted him for being so weak- inviting him to their hospital room was just a recipe for disaster! "Besides, with you at my side, to this bed I don't feel trussed,” They didn't need anyone else watching over them. On any other day, the bard would detest the idea of anyone seeing them in such a weakened state! But... the thought of Grrist keeping watch over them... it didn't make them as nervous.

Their face felt hot as they turned away from him slightly. They were acting like such a fool. Needy, desperate, desiring any and all attention that he would give them- this crush having thing was disgusting. They should be encouraging him to leave! They should push him away so that they could focus on what was important in this moment! ...But, what was important? This was a lot to take in. They... they almost died Last night. Was all this- this "cause" and this idea of theirs really worth that? Was it worth putting the people that they actually did feel something for in danger... The tealblood's hand hesitantly shifted to lace their fingers together with his, still with their gaze averted, "Call someone else if you feel that you must- healing is better in company, they say... but there are very few people I trust. Right now, it's just you where that faith lay..."

Grrist listened intently, his head tilting a little as they declined. What a shock. Was the charming little bard really without anyone else? The juggalo found this revelation surprising, to say the least. Then again...he didn't know Quaver. There could be plenty of explanations for why they had no one else to come see them, right?

"O-oh, no, I meant more...your quadrants. But, I'm sorry, I didn't mean--" The juggalo stammered a little, and trailed off. He felt impolite, to be saying it out loud, but really, he'd only meant well. He chided himself inwardly after a moment, because if Quaver had anyone, they'd probably have found a way to call them by now anyway. Or the hospital would have contacted them. Something. This realization made Grrist's pusher twist sadly for the bard. He couldn't imagine being all alone, beat up and hurting and stuck in a hospital bed...even he had a few stupid church pals who would come cheer him up. But since when had he felt this protective of anyone? He found himself blushing as well, and it only got worse as Quaver laced their fingers with his. He squeezed softly.

"Of course I'll stay. Make sure nobody bothers you." He gave Quaver a big, dopey grin. "It's no fun to be stuck in a place like this. I could even play for you a little, maybe."

“I’d like that a lot, if your playing is allowed,” they smiled, their eyes closed once more. It was strange how at ease they felt… They were in a great deal of pain, and they could barely stand to keep awake, but having Grrist by their side like this? “I want to keep you to myself, so try not to be loud,”

#narrative #quaver #this is an edited version of an old RP between me and Grrist's mun!#i got permission to post so here we are #long post #this is 10000+ words so be warned

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windsorgirllove · 6 years ago

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An Analysis of the Hargreeves Sibling’s Introduction Montage

The sequence that introduces us to the Hargreeves siblings is fantastic and worthy of in depth analysis. Am I in any way qualified to give that analysis? No! Am I going to do it anyway? Absolutely.

I. Vanya

First of all, let’s talk about our lovely accompaniment for this scene: Vanya. First to appear, last to be introduced, and doesn’t that just say it all. Even as we see her throughout this scene, the focus is on her violin, not on her. We can’t get a good look at her - either she’s in extreme close ups or in wide shots which, combined with the dramatic lighting, make it hard to make her out. The focus on her violin makes sense. Her music is what makes her extraordinary (both before and after she finds out about her powers), so of course her music would be the focal point of her intro, not to mention the fact that she is, as I said, the accompaniment for this sequence. This mirrors her position in the family as well: as the accompaniment, she is setting the tempo for the scene, controlling it in a way, which makes her the most important character in this sequence. But at the same time, most people don’t pay that much attention to the score, usually they are more focused on the visuals (her more ‘interesting’ siblings, in this case), so we also see how she is marginalized by her family. My first time watching it, I didn’t even realize that she was one of the siblings until the end when her title card comes up.

And while we’re talking about Vanya let’s skip to the end real quick and talk about that shot:

Her position is stiff, shoulders tense, which we soon learn is pretty much her default, and she looks almost guilty for playing this beautiful medley. While the lights were out her movements were fluid and graceful, but as soon as they come back on she is back to her unremarkable self. This one shot does a lot to establish her character.

One last Vanya note before we move on: her choice of music. Of course, she doesn’t know that she’s playing along to her and her siblings’ establishing character moments, but let’s pretend for a moment that she does. She’s playing a medley from Phantom of the Opera, which is famous enough that I’m sure no one needs a plot summary, but just incase: a controlling male figure in a young woman’s life tries to make her extraordinary because from his perspective it’s what’s best for her, but really he just ends up traumatizing her. Sound familiar? There’s parallels to both what Reginald did to the children and later what Leonard did to her. (Also I like to imagine if Lindsey Sterling doesn’t exist in this universe that Vanya arranged it herself like. She’s creative! She likes musicals! I’m love her!)

II. Luther

Next up, as Vanya starts to play, we see Luther waking up on the moon (at like 11 pm - like, I’ve had my fair share of depression naps but jesus, buddy). As he’s getting ready, the shot focuses on his back, not showing us his face. These face concealing shots are gonna come up again, so remember that. Focusing on his back also emphasises Luther’s back, sticking it in our mind. His hugeness is emphasised as the most important thing about him - in the rest of the show, his body is the thing that Luther is most self conscious about. Also the shots of him getting ready are mirrored in ep 2, which I think is pretty cool.

Going back to the back shots, most of the siblings are introduced this way - either with the camera to their back or with their face otherwise obscured. This shows how closed off they all are at the beginning of the show. For Luther specifically, he has the shots I’ve previously mentioned, and then in the shot with his name plate, it’s a wide shot:

Even though we can see his face now, it’s still partially obscured by the distance and by his space helmet. We don’t get a good close up shot of his face until later. Also, one more note about the back shots, but in the very first couple of seconds of Luther’s part, what do we see?

Yep, one of the moon reports that is going to cause so much trouble for him in the future. And the most prominent thing we see is the last name - Hargreeves. The first thing we see of Luther is his father’s last name.

And finally, the music. The part of the medley that’s playing during this section is the melody line of the title song “Phantom of the Opera”. There’s only Vanya playing the violin, a single sound, that really emphasises the loneliness of the moon. It also could serve as a connection between Vanya and Luther - they’re both isolated but for different reasons. Plus, Luther gets probably the most recognizable section of the music. It is the title track, and one could argue that that makes it the most important song (one could argue, but I’m sure no one who actually knows the show would, kind of like how Luther thinks he’s more important than the rest of the family).

Also one last thing, I really like the fact that Luther has a little plant in space. It shows his hidden caring nature, and also is just really cute.

III. Diego

As the music kicks in we are introduced to our resident bad boy Diego, breaking bones, cracking skulls, and saving lives, baby B). Diego’s section starts with the part in the song where the electric guitar kicks in in the original show (and the drums and other instruments in the medley start here too). In the original musical, this was a big shift in the genre of opera - it made it more modern. And that fits well with Diego as well, who’s a modern sort of superhero.

Back to the shot composition, we don’t see Diego at first, only the robbers and their victims. The first shot of him is through the window, where he is cloaked in shadows. And even when we see him with his name plate his face is still concealed by his mask (which doesn’t actually cover much but it’s the thought that counts). Again, remember, we’ll come back to this.

Besides that this is the first time we see one of the siblings fighting, which is cool, and also the first use of their powers when Diego pins one of the robbers to the wall with a knife. The last thing that I want to note is the fact that the family Diego is saving is interracial:

It makes me wonder if Diego feels more strongly for interracial families because of his own family. If so, we could also see this intro as symbolic of his desire to save his own family, even though he doesn’t show it. And if not, hey, it’s always cool to see more interracial families on tv.

IV. Allison

Next we see our star Allison walking the red carpet of one of her movie premieres. The music still has the high energy that Diego’s part had, which shows that Allison is a modern woman. It also makes me want more Allison and Diego interactions, we don’t see a lot of them. And again, Allison is first shown from the back:

We see her face pretty quickly after this, though, and it is clear she is loving her life. Or at least she seems like it, since we find out all about her trauma later in the show. She is and actress, and she is acting for the cameras - even here. She’s acting well though, especially considering how overwhelming the paparazzi are.

Allison is also the first and only sibling who’s tattoo you can see in the opening scene, because of her dress. There isn’t much attention drawn to it with the shot composition but it is pretty easy to notice since not a lot of people have tattoos, and it’s the only thing on her arm. Also, her dress with the long train looks kind of like a cape in shots from the back:

And I just think that’s really cool.

V. Klaus

And finally we get to Klaus, and here’s the payoff for all the back shots - throughout his introduction, we never see his back, not once (well, once later on when he does the little heel click after buying drugs, but he started facing the camera, so I’m counting it). The camera is focused on his face from the moment he jumps into frame, and follows it through his whole time checking out of rehab. This sequence is a oner, a shot done in one take, or at least made to look like it was, so the only time we’re not on his face is when we’re in his perspective of the rehab worker. As I said before, the rest of the siblings are introduced with their back to the camera or otherwise obscured because they are hiding their true feelings under a facade. Luther, Diego, and Allison are all trying to pretend everything’s fine. Klaus isn’t trying to pretend, though. He is an open book. And while the fact that he’s given up on even trying to pretend everything is fine is uhhh concerning, the fact that he is so open is a good thing. He’s also the first sibling to speak:

(”Alright? I believe in you.”)

He really isn’t hiding anything from the audience. Right away we get to see his face, hear his voice, and get a sense of what he’s like: Incredibly sarcastic but also kind of sweet.

Klaus’s section also marks the first change in music, from “Phantom of the Opera” to “Angel of Music” (cause he’s an angel). This song is much sweeter and softer than the previous one, and lets us calm down a bit during this sequence.

One last thing to note is that Klaus has his headphones with him in rehab:

Even though they confiscated his capri sun or whatever it was. First of all is that allowed? I thought that rehabs were supposed to confiscate everything, especially things with cords. But second of all the only other time we see him with his headphones is in ep 3 in the bath after his flashback. He uses them to block out the ghosts, so since he has them with him now we can infer that rehab went great and not at all tramatically :)

VI. Reginald’s Death

The last part of the sequence is all the children finding out about Reginald’s death. First is Luther receiving his transmission up on the moon. Luther’s the only one who is told deliberately, most of the others find out by the news. He also has a little chair up there, possibly to watch the sunrise over the Earth like he was talking to Allison about in ep 3. “Angel of Music” is still playing over this bit. Also we finally get a good close up shot of Luther’s face, and judging by the huge beard that’s gone by the funeral he is not taking very good care of himself up there.

Next up Diego learns about it from the tv in the house of the family he’s saving. The music switches to “Think of Me”, a song about longing, and a pretty decent one to learn about your dad’s death to. Also he just leaves the family tied up like Diego. Diego they need help.

Next is Allison, who finds out through probably the worst possible way, by a bunch of paparazzi shouting questions at her about it. I don’t have much to say here expect that that sucks. Poor girl.

After that is Klaus, barely an hour out of rehab and already buying drugs and overdosing. As he walks off with the drugs and it cuts to the ambulance, the music cuts almost abruptly to “Music of the Night”, which kind of matches hilariously with Klaus coming back from the dead. With the way he looks at the tv in confusion and the amount of drugs pumping through him it makes me wonder if he even understood what was going on at that moment.

(Also Klaus kisses his dealer on the cheek and then kisses the drugs and he does something similar the second time we see him getting drugs and there is probably a whole ‘nother post about Klaus and kisses which I am not writing now… yet.)

And last but not least, Vanya. She learns from seeing the newscast through a shop window, in a shot that mirrors her seeing the comics and typewriter in ep 3 when she decided to write her book. Someone else also pointed out that as soon as she learns the news it starts raining, the same way it starts raining when she’s angry in ep 6 and 7, so this could be a latent use of her powers.

And that’s it! I don’t really know how to end this but wow this is really long and also I’d die for these kids. Thank you!

#the umbrella academy #vanya hargreeves #luther hargreeves #diego hargreeves #allison hargreeves #klaus hargreeves #tua #umbella academy #ua #my meta #i saw that batmanisagatewaydrug posted her meta on the opening and rushed to finish mine before reading hers so I wouldn't be influenced #and now i can go read hers! yay!#this thing is like 4 and a half pages long in googledocs not counting pictures #ive done less work for classes im in

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sinceileftyoublog · 6 years ago

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Big Ears Festival 2019: 3/21-3/24

BY JORDAN MAINZER

While it’s easy every year to spot patterns among the Big Ears Festival lineup, the fest is one equally unconcerned with trends/scenes or purism and instead fascinated with rediscovering and redefining canon. Across the worlds of experimental/ambient music, jazz, and folk, the curators aim to spotlight both those with impressive CVs and ones taking advantage of their newly acquired musical platform. As I wrote last year, you can become as much of a festival curator, too, something that wouldn’t be possible if all of the performing artists didn’t have an equal seat at the table.

But it’s not just that the festival is diverse in terms of genre, gender, and race. It’s that the sets--diverse within themselves--are born of organic collaboration. You could camp out to see various performances celebrating 50 years of ECM Records, about as established in the world of music as you can get; minutes away, you could catch someone like Lonnie Holley (who has been releasing music only for this decade) perform a one-time collaborative set with half of Fugazi. Perhaps a Big Ears Festival isn’t what it is for you without witnessing the artistic marvels of seemingly perennial participants like folk heroes Rhiannon Giddens, Abigail Washburn, Bela Fleck, and Rachel Grimes, or Knoxville music organization Nief-Norf. If that’s the case for you, they’re thankfully hard to avoid, unless for some reason you’re averse to simultaneously seeing them play with legends like Richard Thompson, Bill Frisell, and Harold Budd or contemporary genre defying masters like Mary Lattimore.

Rhiannon Giddens and friends busk in Market Square

As for this year, most sets had some elements of drone, if not deep listening, some more explicit than others. Alvin Lucier performed twice throughout the fest, joined both times by Stephen O’Malley and Oren Ambarchi and once by Joan La Barbara. Budd was featured three times--I caught his set with Nief-Norf and Lattimore, which started with minutes of ambient gong playing and eventually seeped its way into the crevices of the cathedral. Vijay Iyer and Craig Taborn, who just released an album together called The Transitory Poems, dueled on piano in the dark Tennessee Theatre, fast-paced, anxious, and monotone with some occasional typical flowery playing from Iyer. Rafiq Bhatia’s performance of his Broken English album combined his drone guitar picking with rolling drums and bass/synth and visuals, its peaks and valleys exuding the most exciting elements of post rock. This Is Not This Heat perhaps provided the most exhausting, exhilarating performance of the entire weekend. Multiple drummers, three-part chanted, breathy harmonies, woodwind shoved right into the microphone--it was the type of set that transformed you physically as much as mentally, probably the most at the festival since Swans in 2015.

Rafiq Bhatia performs Broken English

Charles Hayward of This Is Not This Heat

Experimental elements delved into even the ECM sets. Frisell and upright bassist Thomas Morgan toed the line between minimal and sterile, succeeding most when their songs felt like short sonic experiments. (The two have a great album out on ECM next month, Epistrophy, recorded at the Village Vanguard in NYC.) One of the surprise standouts of the entire weekend was the Mathias Eick Quintet. The Norwegian trumpeter created tones that were soft, somber, evocative, and weepy, a refuge from the rest of the band’s noise, and his rarely used singing voice was truly haunting, especially when harmonizing with violin. (It didn’t hurt that Eick was beaming on stage, grateful to be there and follow up Frisell, one of his idols.)

Mathias Eick Quintet

Mercury Rev

Normally, this experimental spirit pervades the entire lineup, so I was a bit surprised to see that two of the festivals headliners were full-on rock bands, even if ones pushing the boundaries of pop with their grand ambitions. You can’t deny that Mercury Rev and Spiritualized are gloriously uncool and maybe even a little corny, but their strict adherence to their artistic visions made their sets highlights of the weekend. To call Mercury Rev singer Jonathan Donahue “theatrical” is the understatement of the century; his Wayne Coyne-meets-Daniel Rossen coo is bested only by his miming of conducting an orchestra. The band provides instrumental fodder--half Wonka-esque chamber pop, half psychedelic glory--for Donahue’s sense of wonderment. Of course, the set was heavy on Deserter’s Songs, their opus that permanently shifted their aesthetic for the dreamier, and probably a good thing considering their more Big Ears-y album was their underwhelming latest, a Bobbie Gentry covers record.

Jason Pierce of Spiritualized

As for Spiritualized, they’re touring off of a great new record, And Nothing Hurt, and they presented it in full during the latter half of the set. Jason Pierce sat perched on a chair for the entire set, donning sunglasses and reading off of a lyrics sheet. The hope that pervades the new record was actually bested by the song choices for the set’s older songs: “Hold On”, the glorious “Come Together”, early 90′s gem “Shine A Light”, the yearning “Stay With Me”, “Soul on Fire”, and the happiest version of Ladies and Gentlemen weeper “Broken Heart” you’ve ever heard, saddled with doo wop harmonies from the backup singers. Sure, the band delved into some noisy interludes and a strobe freakout during “On the Sunshine”, but for the most part, this was the new Spiritualized, pleasant slumbers and all.

Sons of Kemet

But to call Big Ears a festival for the mind and for the sheer listener is reductive; mobile music reigned supreme just as much as still vibrations. Perhaps this was perplexing to a crowd that tends to be older and very, very patient. A jazz fan I spoke to was perplexed by the currently thriving South London jazz scene, two of its brightest, Shabaka Hutchings-containing stars, Sons of Kemet and The Comet Is Coming, providing two of the most stimulating sets of the festival. The former’s combination of saxophone, tuba, and drums times two yielded a set that slows down only when the audience--not even the band--physically needed to do so, their latest album Your Queen Is A Reptile one of the most vital jazz records in recent memory. Yes, it’s also that neither Kemet nor Comet are jazz purists (more like rock-adjacent and jazz-inspired) that might have otherwise overwhelmed the ECM crowd, but by the end of both sets, even casual onlookers were hooked. The latter’s combination of King Shabaka’s saxophone, sort of hype man Dan Leavers (Danalogue) on Roland keyboards, and Max Hallett (Betamax) on drums was more primal despite their sound more electronic and space-themed, incorporating aspects of ambient techno into their funk jazz. Their latest record Trust in the Lifeforce of the Deep Mystery has established them and especially Hutchings as major players in the global scene, if they weren’t already.

Junius Paul (left) plays bass for Makaya McCraven’s (right) set

The Chicago area brought a couple scene-specific acts to the festival, though one was certainly more niche: Jlin’s pseudo-footwork was an admirable retrospective of her now untouchable three-album discography (though I’d love to see Big Ears book a collection of footwork producers). And Makaya McCraven, whose Universal Beings was a relatively global album (despite what he says) offered a blissful, nimble set of slow-burning grooves from that record and Highly Rare, with a band that included bassist Junius Paul and guitarist Jeff Parker of Tortoise.

Overall, what made Big Ears Festival special this year is what makes it special every year: that any one person can come away with an experience 180 degrees from another person. But that’s increasingly happening because the festival refuses to be pigeonholed into one realm of experimental music, sometimes acknowledging that you don’t have to be experimental at all.

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justreviewingokay · 6 years ago

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D.C. Beetlejuice Review

Let me cut to the chase. I know what you’re gonna ask, is Beetlejuice “good”? Now I have a very complicated answer, but I will say this: if a Tim Burton styled stage show is what you’ve always wanted, then should probably be off to see it as soon as you can. Hold your sandworms, I’m not done yet. Beetlejuice may be a visual masterpiece, but it is also a work in progress. If you’re looking for more than high caliber Broadway comedy actors and half-baked humor, it may be better to wait and see what the move to the Winter Garden Theatre has in store for us.

Now for the complicated answer. If spoilers aren’t your thing, turn back now, for the surprises of Beetlejuice are extremely rewarding.

Making it Beetlejuice’s given job to usher the dead into the netherworld is an excellent addition to the character, except there isn’t very much character to begin with. The opening makes the blind mistake of relying on the audience already knowing who Beetlejuice is. A newcomer to the show might find him confusing or vague. “The Whole Being Dead Thing” is an explosively entertaining number where BJ bashes some funeral goers. Cutting in half way is Lydia mourning with “Invisible”. Although the long arm gag is good and the bus driver costume from the film is much appreciated, the big B is introduced all too soon. The buildup is killed rather quickly and consequently, the anticipation. Alternatively, since the scene starts off with a dirge, Lydia could plunge right into “Invisible” with Beetlejuice popping out of the casket and delivering the brilliant line “a ballad already?” The audience cheers as he climbs out and begins “The Whole Being Dead Thing”, uninterrupted. Act One’s pacing is quite tangled, so this jumpy establishing song is important. Alex Brightman is an absolute tour de force and does his best with the often immature dialogue. It’s obvious that Brightman is doing a good job of balancing the voice, but it’s still a bit much when he’s singing. His vocal talents are betrayed in this respect and some of the lyrics are hard to understand because of it.

The Maitlands are brilliantly portrayed by green clad Rob McClure and Kerry Butler, known for Something Rotten! and Little Shop of Horrors, respectively. “Ready, Set, Not Yet” is funny, but far too frantic to be endearing. Contrary to the writers’ belief, Adam and Barbara can be thoroughly lame and likeable simultaneously. In the following scenes one could argue that too many pelvic thrusts are performed. The scene progression is quite choppy, with so many reprises that one wonders if the song ever ended in the first place. “Fright of their Lights” has a weird 1980’s sound and it has a great joke where Adam informs BJ that they can still hear him, with BJ responding “Well that was a soliloquy, so you’re the one being rude.” BJ’s interactions with them are typically crass, but not in a clever adult way, an almost childish mentality instead. Many of the jokes end with an unnecessary “F You,” which often feels like it’s only there to keep children out of the theatre.

The show really begins to pick up when the Deetz family begin to move in and Lydia sings “Dead Mom,” easily one of the best numbers. Sophia Anne Caruso plays the iconic goth girl in a way that doesn’t leave you cringing at all. As the show progresses, Lydia upstages everyone. An odd thing to note though, Lydia comes downstairs to dinner wearing a yellow dress to confuse her dad, which is exactly what Wednesday Addams does in the Addams Family Musical.

Slapstick is the name of the game, considering BJ himself isn’t given many witty lines in the first act. The sight gags are what work best, so you’d assume that the iconic Day-O scene would be the hit. Instead of ascending to a new level of ridiculousness, it stays at relatively the same length. A puppet roasted pig is added to the song which is funny by itself, but they didn’t stop there. The pig’s male organ begins to invade Delia’s personal space. Leslie Kritzer (a delightful scene stealer) appeared to be having troubles realistically interacting with it, awkwardly thrusting herself into the pig’s appendage for the remainder of the song. Even though it garnered some laughs, initially it was a distraction from more clever effects such as the shrimp hand. This is a perfect example for most jokes in the show; something clever is undermined by something vulgar. They say a funny person can make a good joke, but a comedian can take it to the next level.

Act Two is significantly better than the first, giving the ghost with the most just the right edge. “That Beautiful Sound” is my personal favorite, showing off the comedic prowess of Beetlejuice and Lydia as a pair, only seen before during “Say My Name.” Casting actual teenagers as the girl-scout and Lydia was a great move, considering the big concern among fans after the misfires in Charlie and the Chocolate Factory.

“Children We Didn’t Have” is a wonderfully somber piece, (beautifully sung I might add) but would have made a larger impact if the audience had learned to see the Maitlands in a more positive view throughout the first act. If any song is to be removed, I hope that this one survives instead.

Otho’s lines aren’t too brilliant, but luckily for them, they’ve got Kelvin Moon Loh to deliver. Brief as the character is in this version, Kelvin’s comedic talents make the scenes memorable. His days on SpongeBob SquarePants especially prove that he deserves a bigger spotlight.

“Everything is Meh” by Boy Inferno is quite brilliant considering… well… boy bands are dead. The netherworld has a well-designed look and the characters are quite faithful to the film, including Mrs. Juno Shoggoth exhaling smoke through her neck, Miss Argentina, a shrunken headed hunter, (the effect works surprisingly well) and that one guy who appears to have been run over. “Running Away” has a nice tune to it and its enjoyable right up until the “woah-oh’s” start off. This trope feels almost anachronistic and quickly evokes the desire to attempt Miss Argentina’s “little accident” on yourself. It does end up being a good moment though, with character development for Lydia and Charles.

The ending is hilarious and pretty unexpected. Beetlejuice’s exit is somewhat delayed though; every time you think he’s done, he turns around and delivers another cheesy one-liner. BJ being carried off into the netherworld was quite enough. Even though it doesn’t really make sense, (does Lydia somehow have a karaoke record?) it is indeed surprisingly pleasing to hear the cast sing “Jump in the Line”… and the levitation effect is flawless.

In fact, probably the best aspect of the show is special effects and scenic design. David Korins has done an absolutely astounding job of fulfilling Tim Burton’s vision, all while presenting his own take. Michael Curry’s puppet design is not to be missed, with smooth movement and grand scale. Enough cannot be said about the visual aptitude of Beetlejuice.

The music by Eddie Perfect is ironically not… perfect. Sorry. Rock and Roll style ballads may be a good choice for the musical, but a few things it still lacks. Remnants of Danny Elfman’s original score are always welcome and can be heard during some cues. After all, the music is half of what makes Beetlejuice feel like Beetlejuice. Thankfully, the keys and trumpets are pretty prominent in Perfect’s score, which helps greatly to set the tone. It’s important to mention that one thing is missing… strings. Violins are either utilized very little or are nonexistent. Sound design should be looked in to, most of the time the music overpowers the voices or the voices hide the music. Even though I have no hearing problems whatsoever, the lyrics were frequently hard to understand. (I do realize that this could entirely be the National Theatre sound system’s fault) When you come down to it, the music needs beefing up. Giving it a fuller, more orchestral sound to complement the rock instruments is the exact way to accomplish this. (See Hans Zimmer, Trans-Siberian Orchestra, Kansas, or Foreigner with the David Eggar Orchestra)

Overall, Beetlejuice is a spectacular show with immense potential. That fact is, frankly, quite enough to satisfy considering it could have been a huge misstep, similar to the fate of Moulin Rouge. With the fabulous cast and crew carrying it through, Beetlejuice could be an absolute Broadway hit in the making.

We’ll see at the Winter Garden Theatre on April 25th, 2019.

#Beetlejuice #Lydia #betelgeuse #TimBurton #Broadway #Theater #Theatre #Musicals #Netherworld #Spoopy #BeetlejuiceMusical #StrangeAndUnusual #AlexBrightman #RobMcClure #kerry butler #KelvinMoonLoh #TheBox

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ukfinearts · 6 years ago

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UK Symphony Orchestra: A Family Business

By: Michaela Bowman

Pictured Above: (From Left to Right) Chandler, Isabelle, and Miranda Martin

Photo Credit: Cindy Martin

Siblings can be a built in best friend, but how about a built in ensemble member? In this Q&A, the Martin Sisters discuss how they grew up playing music together and continued their education at the University of Kentucky where they had the opportunity to play in the UK Symphony Orchestra. Isabelle, Chandler, and Miranda reminisce about their college experience and what it was like to perform together at the Prague Summer Nights Young Artist Music Festival!

All three of you are string players, how did you get involved with the instrument? What was it like growing up as musicians? Did you ever want to play a different instrument?

Pictured Above: Isabelle Martin

Photo Credit: Olivia Obineme

Isabelle: We got involved with music because our mom has always been a supporter of the arts, so we grew up doing lots of arts extracurriculars (we were all dancers for awhile too, and I took a lot of after-school art classes). I started out as a violinist and switched to the cello when I was in middle school. Growing up, I never wanted to focus long enough to practice! When we were really young, our mom would beg us just to practice for fifteen minutes straight, and for a little kid, that was like a lifetime.

Chandler: As Isabelle said, our mom has always had a passion for music. It was actually after she watched the movie Music of the Heart when she was inspired for us to start learning to play the violin. I’m pretty sure I didn’t even know what a violin was when I started my first lesson at 5 years old! Nonetheless, we all stuck with it and our home was full of music from that moment forward. I think we all wish our mom would have introduced us to piano as well, but we were busy enough with our other activities like ballet and swimming. Being involved in music from a very young age truly impacted who I am today. I am a huge supporter of arts education because I experienced firsthand how music can build confidence, patience, and commitment.

Miranda: I would definitely agree that our early childhood involvement with music has shaped who we are today. I was eight years old when I started playing; Chandler was five, and Isabelle was three. Even if we hadn’t landed in these artistic paths now, though different from each other, it was really starting together at such early ages as a musical family that made it so important to us. Even though we were all involved in a variety of sports and other activities growing up, eventually I made the choice for myself that continuing music was the most important; it was the one that I couldn’t imagine my life without, and Chandler and Isabelle felt the same way. My sisters and I have now been playing for 18 years of our lives. As far as wanting to play other instruments, it’s funny to think about how I was influenced by those around me. In elementary school, there were a lot of flute players, and in middle school I wasn’t feeling challenged in my orchestral group at first, so I thought of playing other instruments in the orchestra. Now, I can’t imagine not being a violinist, it is who I am.

What was it like playing in the UKSO together and spending so much time with your sisters in college? Do you have any favorite memories from your time together?

Isabelle: Like Miranda mentioned, having sister dinners after rehearsal is definitely a favorite memory for me. Chandler is such a good cook that those dinners weren’t just for the three of us. A lot of our friends joined in, and that was really special for me. It often felt like because my friends knew my sisters and hung out with them, they were part of my family, too.

Chandler: The three of us have always been very close, so I was beyond excited when I found out Miranda would be transferring to UK my freshman year. Also, I knew I had at least one built-in friend when leaving for college and that was a huge relief. Miranda and I had so much fun together my freshman year. She still owes me for giving her 50% of my meal swipes! It was exciting when Isabelle decided to attend UK a year later. It felt like our presence as a family at UK was finally complete.We grew up attending performing arts schools and playing in youth orchestras together, so we were pretty used to performing together by the time we entered college. The best part about playing in the UKSO together was all of the amazing memories we got to share. The UKSO truly became our second family, and I still think about how much I loved playing in that orchestra.

Miranda: It was a great experience having all my sisters with me at UK. Because of our age difference, Isabelle and I wouldn’t have ordinarily crossed paths technically, but it made the experience so much better. Isabelle and I even lived together her sophomore year, before I graduated. And in orchestra, Chandler and I were even able to be stand partners on occasion. Chandler is also the chef of the family, and could always be relied on to take care of Isabelle and me for dinner after orchestra rehearsals. My sisters are the most important people in my life, along with our parents, and I can’t imagine not having spent our time together in UKSO.

Did you ever go abroad? If so, please explain your experience.

Pictured Above: Miranda Martin

Photo Credit: Connor Shafran, University of Kentucky Graduate

Isabelle: The summer after my freshman year at UK, we traveled abroad with Maestro Nardolillo to play in the orchestra for Prague Summer Nights. It was the first year of the festival. Participating in PSN with my sisters, playing all of that spectacular music, was so special. It was the first time traveling to Europe for all of us, and it was really wonderful to get to be exposed to some Czech culture together. We learned a lot, I think. And one of my favorite memories happened on the last day of the festival. We were running around trying to get our mom a souvenir before our last performance of Don Giovanni, and she collects houses, so we ran to Old Town Square and got her this beautiful little ceramic house that sits on our dining table at home. Whenever we’re home in Louisville and having dinner, seeing that little house reminds me of that summer and how unforgettable it was.

Chandler: My first time out of the country was as an orchestra member of the Prague Summer Nights Young Artist Music Festival. I couldn’t have been happier that my first international experience was in one of the most beautiful cities in the world. Throughout the festival, we had the amazing opportunity to perform works by Mozart, Beethoven, Mendelssohn and Dvořák in renowned music halls. My favorite part of the entire festival was getting to perform in the pit for Mozart’s Don Giovanni at the Estates Theatre, the only standing theater where Mozart conducted. It was a spectacular experience full of delicious food, beautiful music and stunning sights.

Miranda: Traveling with my sisters for Prague Summer Nights was an experience I will forever cherish; it’s incredible to think that because we were all involved in music, this wonderful opportunity presented itself. Not only were we immersed in the local culture, we also had the opportunity to travel to Vienna on a day off, we visited Beethoven’s memorial, walked the streets where some of our favorite composers both lived and died, and where they created some of the amazing works of music we treasure today. Had it not been for our involvement in UKSO, this trip would never have occurred, and we wouldn’t have been able to make all of those memories.

Why did you all choose UK?

Pictured Above: Chandler Martin

Photo Credit: Haakan Magnuson

Isabelle: I started out as an architecture major, so it was important for me to be at a school where I could study architecture, but also double-major in music and play in the orchestra. A lot of the universities I applied to wouldn’t allow a student to do both of those majors, because they’re both very demanding, but UK did. And then, of course, I was also excited to go to the same university as my sisters.

Chandler: I knew from my first tour of UK that it was the perfect school for me. Everyone I interacted with was so passionate and welcoming that I felt like I had already become a member of the UK family. I got the chance to sit in on a UKSO rehearsal during one of my visits and I had an absolute blast. The sheer number of musicians on stage was mesmerizing. Like Isabelle, UK was one of the only schools I applied for that allowed me to pursue my pre-med track while studying music. I knew that through this flexibility the school was dedicated to my personal growth and would allow me to follow my passions.

Miranda: As a performance major transfer, UK, to me, was the only place where I could continue those studies while adding an arts administration degree with the degree of flexibility it offers to its students. I would also say knowing that my sister would be attending in the fall had a major impact on my decision. There were vast opportunities to take advantage of at the School of Fine Arts, and I was prepared and excited to experience as much as possible.

Chandler and Miranda, you majored in Arts Administration, while Isabelle, you majored in Art History. Why did you pursue these majors and how were you able to stay connected to your passion for music while you pursue your respective areas of study? How do you think playing a musical instrument will help you in your chosen careers?

Isabelle: I’ve always felt drawn to works of visual art, and I’ve also always really enjoyed writing. Studying art history gives me the opportunity to marry those two interests, as well as equipping me with the skills to understand and interpret art in interdisciplinary ways. Because I remained a music minor, I still played in UKSO and took private lessons, so I still felt very much a part of that world, and that was really important to me because I loved being a member of the orchestra. I really value thinking about the ways the arts intersect and converse with one another, and I think that it’s incredibly enriching to study as many fields of the arts as one can. It makes you a more sensitive person. In Chicago right now I have the opportunity to intern with a nonprofit organization that honors artists of numerous fields--architecture and design, craft, dance, media, music, theatre and performance, traditional arts, visual art, and writing. It’s amazing to be involved with an organization that doesn’t value one arts field over another, but rather acknowledges the unique importance of each of them to our society.

Chandler: I guess you can say I followed in Miranda’s footsteps on this one. I started my freshman year with a Bachelor of Arts in Music with a pre-med track, but started to realize this wasn’t my passion. I heard about the Arts Administration program from Miranda and a few of my friends in the Fine Arts LLP and quickly realized it was the right path for me. I wanted to pursue my passion for the arts without necessarily becoming a professional musician and arts administration was the perfect fit. I chose to pursue a violin performance degree in addition to arts administration at UK to ensure that I could keep making music for as long as possible. I still hold my music background dear to my heart. I use my music background in all of my arts admin endeavors.

Miranda: When I joined Chandler at UK, I had my first advisor meeting with Jane Johnson. I kept talking about my elective options, and was essentially told that I was outlining the arts administration curriculum. Though I wasn’t ready to give up my performance degree, I realized that I was well-suited for a job that wasn’t onstage. I can’t imagine being torn away from the performing arts world and now in my current job, I work towards expanding opportunities for the next generation of orchestral musicians. My background is the reason I am where I am; I find myself constantly referring to myself as an orchestral musician, a participant of youth orchestras, a violinist--these are the reasons why I am in my current career.

What are you doing now?

Isabelle: I’m currently getting my master’s in Art History at the University of Illinois at Chicago, and interning with United States Artists.

Chandler: I am finishing my second year of the dual Arts Administration and MBA program at the University of Cincinnati, College-Conservatory of Music, the same program Miranda graduated from. After serving as the Donor Relations Assistant at the Aspen Music Festival and School over the summer, I started a new position as the Development Intern for the CCM Preparatory and Community Engagement department. I will be graduating in the spring and beginning my career in the arts administration field.

Miranda: I am the General Manager at the American Youth Philharmonic Orchestras.

Do you still play music together?

Isabelle: We actually haven’t played together in a few years, unfortunately.

Chandler: I wish we could play music together more. Now that we are all living in different cities, it is challenging to even find time to visit each other! I do hope we can continue to share our passion for music for the rest of our lives, even if we are getting a little rusty at this point.

Miranda: We don’t perform together anymore, but now that I am more settled in my career, I hope to join a community orchestra soon. Working for a performing arts organization makes me miss the days when I could play in an ensemble, especially those with my sisters, like our time at UK.

Do you have any advice for other siblings in the same field?

Pictured Above: (From Left to Right) Miranda, Chandler, and Isabelle Martin

Photo Credit: Isabelle Martin

Isabelle: My advice would be to talk to each other about your work and interests. Even though I spend a lot of time researching and writing, almost all of my internship experience has veered into my sisters’ territory with arts admin, so I’ve frequently gone to them for advice and help. Not only do they try to help and guide me as much as possible, but every time I talk to them, I’m reminded of how brilliant and hardworking they are, which is the coolest thing.

Chandler: Support each other in all of your endeavors. There is no greater support system than your family and they can help through every step of your journey, especially through the difficult decisions and setbacks.

Miranda: Cherish your time spent together. As we are each gaining a foothold in our respective careers, it has taken us physically away from each other, but it is because of our family support that we are confident to pursue our roles within the arts world, no matter where they take us.

#creativetype #universityofkentcuky #uky #collegeoffinearts #cfa #ukso #schoolofmusicat100

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rosalind-stein · 3 years ago

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rain stasis | orson + rosalind

bear-little-loss:

[It’s actually a relief when she asks him about tips for things to do—not because he’s a particularly interesting or exciting person, but because that’s still something he can actually answer, whether he’s interesting or not. When you’ve been here long enough, you know the ins and outs of what the Colony has (and doesn’t have) to offer in terms of entertainment.]

Oh, uh, yeah! There’s a fair amount of down time. Well, some, anyway. Especially if you aren’t a class 3. [He means it as a sort-of joke, even though it’s not a terribly funny one, but then it occurs to him he doesn’t actually know her security class. He glances down at her wrist, and is relieved to see only 2 stripes on her PDD. He averts his gaze quickly, not wanting her to notice his little blunder—even though he was probably less than subtle.

He clears his throat briefly.] Anyway—uh. So there’s a like, communal lounge thing that has games and a pool table, stuff like that. There’s also a music room, if you play any instruments. They aren’t always tuned, or in the best of shape but… they’ve actually gotten better of the years because some people have started trying to fix them up and take better care of them. I’m no expert, I guess—I don’t really play anything, but. Anyway.

There’s also an auditorium where they play movies a couple nights a week. It’s not always the best movies, and sometimes it gets repetitive if some Elite is getting lazy, but it’s definitely better than nothing. And good ones pop up from time to time. Then there’s the Hub that’s sort of fun to wander during the day, if you have some credits to spend. Or even if you don’t, really. It’s just usually got some activity and things to see, so… it’s one way to pass some time, anyway. Uh,

There’s also Catch 22, which is a… pub. But don’t get too excited about that because it’s… a bit of a dive. And the term ‘pub’ is a pretty generous description.

[[ The wrist check didn’t escape Rosalind’s notice. She didn’t mind. She’d checked his shortly after they’d met. In her old colony it had become a habit. Everyone needed to know who and what everyone else was. It was practically a safety measure. You would stick to your own “kind” for fear of retribution from others. Luckily for her, Rosalind was a fairly easy person to like. She’d managed to make herself a floater between the unofficial factions. Not having to look over her shoulder as much as others did was highly beneficial when she needed it to be. The only group she’d never penetrated was the Elites, and that was mainly out of choice rather than ability. ]]

Don’t worry, I already checked yours, too. I’m not offended. I’ve quickly learned that it isn’t common practice here, like it was back at 16. I’m trying to be more discreet about it, but old habits die hard.

[[ The amenities here seemed pretty standard, but the way he listed them was more casual and inviting than she knew. It continued to make her feel just a bit better every time someone showed their comfort in this place. ]] I’m more of a visual artist, anyways, so you’re in good company on that front. The violin always seemed like something I’d like to learn, but the time was never there. Then the world ended. [[ She shrugged, not particularly upset about it one way or the other. She couldn’t change the world alone, but she was doing her best to find people who would help her. The mention of movies practically caused her ears to perk up. ]]

Movie night? What kinds of movies? I suppose the Hub would be the best place to meet people, then, h’uh? A pub sounds fantastic, especially a dive. The atmosphere makes a good dive pub, not so much the alcohol. I think that’s somewhere I might wind up.

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austencello · 8 years ago

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Second Chances - Arrow Music Notes 5x11

Second chances is an over-arching theme for Arrow especially in regards to Oliver Queen. Is it possible to redeem oneself? To overcome being a murderer, a vigilante, or thirsty for vengeance? Should others give you a second chance to do good? How do you live with yourself and the choices you made? Should you be alone or do you need others to help you?

Oliver and Tina Bolman/Dinah Drake

Oliver decides to make good on his promise to train a new Black Canary and yet becomes reticent in actually choosing one to the frustration of the team. When Curtis mentions an urban legend (Tina) and that she has a cry, the music changes from fun lair electronics to sixteenths in the strings (adding excitement) and a higher piano melody begins splitting in the middle of a scale and alternating between the low and high notes leaving a slightly unsettled feeling reflecting Oliver’s emotions. He talks to Diggle who made an excellent point (as he always does) that they are not replacing Laurel but someone to take over her role while a horn plays Laurel’s Canary Theme.

Oliver, Rene and Curtis meet Tina and then fail to convince her to join their team. Oliver calls Captain Singh (police captain in The Flash) as they discover Tina worked for SCPD and then texts Barry to convince Singh that he is legit as the Green Arrow. This leads to a fun musical cameo of Barry’s Flash music as well as a Central City tone with harp mixed with Arrow-like strings and chords.

The music that accompanies Tina (outside of her Canary theme that changes the last note from Laurel’s BC theme) and the teams interactions is on the darker side. It resembles music back in earlier moments with the recruits (5x02 - “On the Line”, 5x03 - fight with Stardust) as well as Season 1 Oliver and the Huntress. Tina is not trusting of the Arrow or his team and is hellbent on revenge. In fact, her story (not to mention music) reminds me a lot of Helena Bertinelli, darker and slightly more electronic (”Damn Vigilantes” - 2x17). The final fight scene’s music was reminiscent of “Damaged” in Season 1. Oliver tries to stop Tina from killing Sonus and his electric guitar harmonics play(also present when he revealed his identity earlier in the episode). He tries to convince Tina that she is better than he is. He recognizes it might be too late for him for a second chance but tries to prevent her from walking down that dark path. This is Oliver again trying to help guide towards justice. Tina (like Helena) chooses revenge and yet feels empty once her object of hate is dead.

While Oliver believes that he failed both Tina and Laurel’s legacy, Tina shows up to his mayoral office seeking a second chance. She wants to know how he lives with the dark choices he has made and the pain. Oliver does not have all the answers but one thing he has learned over the past 5 years (especially the past year) is that he could not do it alone. Which is what he offers to Tina: a home and a team to help walk alongside her. The musical theme playing is “Because of Me” from 2x21 minus the Moira themes. The original version happens when Diggle and Felicity find Oliver in his surprise back-up lair after missing Moira’s funeral. Oliver felt tremendous pain and guilt over Moira’s death and is convinced that the only way for it to end is hand himself over to Slade. He knew he could have prevented it by curing Slade years ago and now is reaping the results. He is completely without hope (although Felicity and Diggle are not). Here, Tina is dealing with the guilt of the man she loved being killed. Oliver is now the one offering hope. Oliver believes he failed Laurel but here he can have a second chance with her legacy: Tina or Dinah as she reveals her true name at the end.

Felicity Smoak aka Ghost Fox Goddess

Adrian Chase discovers a file had existed that would clear Diggle but has since disappeared. This gives Felicity a chance to hack into the NSA (something she had missed) in order to save Diggle. In trying to find it, she entered the dark web and was contacted by someone via her old college hacker name to meet in person. As soon as Felicity meets this Kojo Sledgehammer (who turns out to be a girl very similar in personality and glasses), fun Felicity strings begin. This used to be present in humor moments for Felicity especially at Palmer Tech throughout the past few seasons but last heard in 5x02. This shows Felicity’s relief that she is not meeting someone dangerous, brings out the humor in two very similar ladies, but also fits with the numerous mentions of working at Palmer Tech as does the clarinet (often present in Palmer Tech as well). As Felicity explains her reason for returning to the dark net, harp (Felicity’s instrument) begins to play. Then the music takes a darker tone as Felicity is handed the flash-drive “Pandora” with many government secrets. An organ begins playing as Kojo tells Felicity she intends to inspire her to become a hacktivist again in the same way she was inspired. Organ is not an instrument used in Arrow’s soundscape. In soundtracks, organ is usually used for three purposes in music: epic moments (think Interstellar or coronations), church (especially in period dramas), or warning of bad things coming. This moment definitely fits into the latter.

Felicity tells Oliver the good news that they can exonerate John but visibly hesitates (which he notices) and decides not to share how she got the file. An electric guitar repeats the same note lending unease as Felicity keeps a secret. Goth Felicity’s music (3x05, 4x11) was a repeated single rhythmic note but a different kind of electronic timbre (similar to the organ). It hints back to Felicity’s darker background as string patterns (a variation on the organ motif above) begin while she downloads Pandora (in addition to wooden percussion). The final motif begins with a tri-tone (known as the Devil’s interval in the medieval ages and the most dissonant). Felicity is heading down a dark path.

Talia/Flashbacks

It has been awhile since I have been excited about meeting a new character in the Flashbacks but Talia is fantastic. As Oliver wakes up from his experience/beating from last week, he sees Shado’s hood and his past out on display to the melody “See it, remember” on crutales (Season 3). These 4ths on the crutales (tuned little gongs or bells) were present primarily for Tatsu both in the present and flashbacks as well as Thea’s training under Malcolm in 3x03 and Roy using meditation to remember his mirakiru actions. Here, the motif begins as a mystery Asian woman visually reminds him of his past. As Talia pulls Oliver’s arm back and knocks him over, her theme (used each time she appears for the rest of the episode) begins. It has a mysterious and exotic quality (it is as if the electric guitar was melded with the duduk or ney flute). Her theme is also very similar to Oliver’s hero 1 theme in horns. Perhaps because she helps inspire him to become the Hood?

The cimbalom (Russia) makes another appearance as Oliver sees his Russian target (provided by Talia) before fighting and killing him and his men. Oliver hated that his monster came out but Talia wanted to remind him that he could use and channel this anger/monster inside. As she challenges him and accuses him of being afraid of who he has become, Oliver’s electric guitar harmonics begin (a motif in hammered dulcimer and violins in the pilot as he pulls out the bow when setting up the lair and trains/shoots tennis balls “Setting Up the Lair”). These theme also occurred in this form in 4x01 as Oliver shares with Felicity his concerns that he only brought darkness with him (since Lian Yu) which is why he was reticent to return as the Arrow and embrace darkness once again. In these flashbacks, Oliver is beginning his journey into the Hood. Talia tells him to essentially divide that darkness and monster from Oliver Queen so that he could honor his father’s wish and return to Starling City. Horn takes over the motif as she gives him the “become something else” speech. As Oliver puts on the Hood outfit for the first time and receives the bow from Talia, the Arrow/Hood themes return reminiscent of Season 1 and pilot scoring. However, there are subtle differences as this is the beginning of this hero and vigilante persona. A few chords and a slightly different melody in the violin (a few dissonances) to add a new color to a familiar scene. I enjoy how each time Oliver suits up for the first time as the Hood, the Arrow, or the Green Arrow, there are small variations on the motives and instruments that define Arrow and it’s hero.

Extra Notes

- When Diggle is informed that he is being released from jail, his piano (Andy) theme plays. This motif may be turning into a Diggle theme without reference to the brothers or it is a reminder of why John joined the army (and got into the whole debacle) in the first place. His Diggle theme 2 in brass plays as Oliver tells him he can go home.

A big thank you to @jorahandal for tweeting out different music cues for this episode (especially “Because of Me“). Your memory for Arrow’s soundtrack is truly impressive as well as your detective work for the Canary themes.

@herskirtsarentthatshort @mel-loves-all @academyofshipping @ah-maa-zing @smoakmonster @marniforolicity @pulpklatura @lovejesusarrowavengersblog

#arrow 5x11 #arrow music notes #arrow music meta #oliver queen #felicity smoak #talia al ghul #tina boland #blake neely #arrow soundtrack

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recentanimenews · 7 years ago

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10 Classical Compositions that Anime Loves

For anime soundtracks, Western classical music can be a useful tool. One fewer cue to compose, for starters, and you don’t have to navigate the same rights issues that crop up when licensing contemporary music. Especially for more well-known pieces, there might be dozens of different recordings to choose from for just the right interpretation. Audience recognition helps too - there’s something special about hearing a familiar tune played over a pivotal scene. It’s not always used well (I can think of some very, very bad examples), but when smartly inserted, Western music can make for some truly iconic moments. Let’s take a look at some pieces that show up often in anime.

10. Polovtsian Dances from Prince Igor (Alexander Borodin)

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[Pittsburgh Symphony Orchestra]

Although Borodin never finished the opera Prince Igor before his death in 1887, the Polovtsian Dances from the end of Act II survive in concert halls worldwide, as well as in pop culture. No. 17, “Gliding Dance of the Maidens,” appears in Kare Kano: His and Her Circumstances, as well as in the second season of Sound! Euphonium arranged for concert band. The piece itself comes from the scene in Prince Igor where the invading Turkic tribe celebrates the khan Konchak. It was intended to sound exotic when contrasted with the Russian folk music associated with the opera’s protagonists. The piece suggests another land, different and unknowable - appropriate for the finale of Blood Blockade Battlefront, when the supernatural world threatens to collide with the real one. It’s also frequently used in RahXephon to represent the Mulians, a mysterious race that controls music-powered clay mechs. Yoko Kanno even quotes its melody in “Garden of Everything,” the B-side of the movie’s ending theme. In both BBB and RahXephon, the Polovtsian Dances’ ‘foreignness’ emphasizes the long history behind their respective supernatural beings. It’s nice when soundtracks are thematically relevant like that!

9. Symphony No. 8 “Symphony of a Thousand” (Gustav Mahler)

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While not as pervasive in anime as some of the other entries on this list, Mahler 8 (dubbed “Symphony of a Thousand” for its enormous orchestra and chorus) is still pretty iconic, figuring heavily in the broadcast order finale of The Melancholy of Haruhi Suzumiya (chronologically episode 6). The text of the piece itself revolves around redemption through love and confidence in humanity, making the symphony possibly one of the most uplifting pieces of late Romanticism. It’s fitting for a grand finale that [spoilers?] hinges on Haruhi and Kyon’s faith in humanity to keep reality from collapsing. No matter how unusual or interesting Haruhi’s alternate world may be, it’s solitary and miserable. To keep Haruhi from remaking reality according to her own whims, Kyon reminds her of the relationships she’d lose in hopes of grounding her enough to return them to reality. Who cares about a fun fantasy world without people to enjoy it with? Why reject everyone you love in favor of danger and uncertainty? Symphony of a Thousand is ultimately about embracing the human attachments we form, perfectly in line with the anime’s themes.

8. Nocturne Op. 9 No. 2 (Frederic Chopin)

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[official? rubinstein]

A mainstay in film and TV, this nocturne is probably one of the first pieces people associate with Romantic keyboard music. It’s a go-to cue to telegraph that a character is sophisticated: Austria in Hetalia, one of the antagonists in Parasyte -the maxim-; Glasslip, Legend of Galactic Heroes, Momoiro Sisters, the list goes on. So it’s a nice change of pace when it’s used differently, like in the penultimate episode of Hybrid x Heart Magias Academy Ataraxia. The pairing of sweet evening music with a scene of busty, half-naked anime girls fighting to keep Tokyo from blowing up is hilariously jarring - just the way I like my fanservice anime. It’s totally in character for Hybrid x Heart to shoot for drama and blow straight into camp, and the scene is perhaps the best example of that tonal mismatch in the show’s entire run. I’m not sure how the impossibly shy Chopin would feel about his music being used this way, but hey, it’s not like he’s around to complain.

7. Prelude No. 1 from Well-Tempered Clavier (J.S. Bach) / “Ave Maria” (Charles Gounod)

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The Well-Tempered Clavier, composed around 1722 to show off the latest advances in proto-piano technology, is today regarded as one of the Baroque period’s most important works, such that the dozens of preludes and fugues collected in two volumes are the bane of every piano student ever. But while most of WTC is unknown to people outside the music world, the first prelude remains Bach’s most well-known solo keyboard piece (the famous Minuet in G being the work of one of his colleagues). Over a century later, French operatist Charles Gounod superimposed a melody on it, eventually pairing it with the text of a Catholic prayer. The resulting song is about as famous as the original prelude, showing up all over popular culture. Puella Magi Madoka Magica, for an easy anime example. Yurikuma Arashi uses the piece as well, associating it with the bear deity Kumaria (the Virgin Beary, if you will). Yes, you read that right. “Ave Maria” for Kumaria. On the nose? Absolutely. Dead on the fuzzy little bear-girl nose. To be fair, none of the visual metaphors in Yurikuma are any more subtle, so it totally fits. Bless this show.

6. Sonata for Two Pianos in D major, K.448 (W.A. Mozart)

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How do you depict a relationship between two musicians? In a duet, of course! It happens plenty in Your Lie in April in both four-hand piano and violin/piano combinations. But why restrict yourself to one piano when you can have two? That’s where Mozart’s K.448 comes in. When he was 25, he composed the two-piano sonata for a joint performance with his 23-year-old student Josepha Auernhammer, who was purportedly in love with him. Although nothing came of that relationship, the circumstances surrounding the piece’s composition perhaps make it tempting to assign romantic connotations to any performance of it. Certain anime take advantage of that: in Ouran High School Host Club (after Tamaki’s bizarre solo demonstration of both parts at once), a duo of middle schoolers learns the two-piano sonata to kick off their blossoming romance. In all versions of Nodame Cantabile, it’s the first collaboration the uptight Chiaki and carefree Nodame undertake together. Handing off the melody between them, Nodame and Chiaki must learn to respect and accomodate their conflicting personalities. It’s important that neither part is simply accompaniment to the other; unlike in a four-hand duet, where one person plays in the lower range and the other in the higher, the two players in a duo must be equally skilled, complementing each other rather than dominating. Chiaki and Nodame’s successful performance of the piece signals their mutual understanding of each other, the start of a complicated but enduring romance/friendship that carries through the rest of the series.

5. “Vocalise,” Op. 34 No. 14 (Sergei Rachmaninoff)

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(unknown, but official upload)

“Vocalise,” as its title suggests, is one of 14 songs that Rachmaninoff originally composed for voice with piano accompaniment. These days, it’s often performed by an orchestra or a solo instrument. I have a particular fondness for Rach’s own orchestral arrangement, but the melody on its own is lovely as well. Melancholic and gorgeous, it suggests a profound loneliness. No wonder it tends to show up in heartwrenching anime scenes. In Puella Magi Madoka Magica, a recording of Kyousuke’s violin solo is yet another contributor to Sayaka’s despair. In Night Raid 1931, the piece is a running motif in spy Aoi Miyoshi’s troubled life, first as a joke about his poor violin skills, and then later as a prominent element in his backstory. His attachment to the piece turns out to be in remembrance of a lost love. It’s an expression of nostalgia to a time when his life was simpler, before Japan’s growing militarism erupted full force in Nanking and Korea, complicating his espionage work. The piece’s presence throughout the series in stilted, off-key form is so essential in making the final revelation land, music reaching clarity just as Miyoshi’s motivations do. It’s one of the best creative choices in a politically controversial but otherwise unremarkable anime, and Miyoshi’s story wouldn’t work nearly as well without it.

4. Piano Concerto No. 2 Op. 18 (Sergei Rachmaninoff)

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I just mentioned a Rachmaninoff piece, but this one is too good to skip. One of the most notoriously difficult and exhausting pieces in the piano repertoire, Rachmaninoff’s second concerto (affectionately nicknamed “Rach 2”) is a perennial concert favorite. The technical skill and strength required to play the entire thing make it a survival challenge in itself. As such, it’s the highlight of the debuts of both Eugenie Danglars in Gankutsuou and Shinichi Chiaki in Nodame Cantabile. It also shows up in Fairy Tail underscoring the climactic fight between Erza and Azuma in episode 114. Throughout the development, Jellal reassures Erza that he’s supporting her in spirit. The music is well-matched to the action onscreen, reaching the virtuosic climax of the first movement at the decisive moment of the battle. As the final chords land, Erza regains her drive. The show does cut some of the tense buildup that I love Rach 2 for, but nonetheless, the payoff is still damn satisfying.

(On the subject of Rachmaninoff, his third piano concerto - my favorite piece of his - shows up markedly less often; the only anime example I can think of is in Legend of the Galactic Heroes. Maybe someday people will understand the glory of Rach 3. In the meantime, try humming the James Bond theme over Rach 2. It’s a lot of fun, I promise.)

3. Etude Op. 10 No. 3, “Tristesse” (Frederic Chopin)

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Today, Chopin’s etudes (Op. 10 and 25) are staples of piano repertoire. Each is a study in a specific keyboard technique. The third etude “Tristesse” (sometimes “L’Adieu”), as it’s now known, emphasizes balance and smooth voicing. The melody - Chopin’s most beautiful, by his own judgment - is still beloved today. It can be heard in the Baccano! finale, as well as in Fullmetal Alchemist (2003) under the title “Tune of Separation,” arranged for string orchestra by Michiru Oshima. My favorite use of it is in the Genius Party short Baby Blue, directed by Shinichiro Watanabe. In the 15-minute film, the melody first appears when Shou sketches out an aimless tune on the piano. It comes back in full force in the dreamlike emotional climax, expressing the bittersweet nostalgia of youth as his childhood friend Hazuki bids him a final farewell. The piece may not have been composed with a narrative in mind, but its reputation as a piece about goodbyes serves it well here in one truly memorable scene.

2. “Clair de lune” from Suite bergamasque (Claude Debussy)

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The third movement of Debussy’s Suite bergamasque, “Clair de lune” is one of the most iconic keyboard pieces in French Impressionism, a late 19th-/early 20th-century artistic movement that prioritized conveying a mood over presenting a detailed picture. That focus on atmosphere over a defined melody might be what makes the piece so appealing as a soundtrack. Its sentimental A-section appears in Kids on the Slope, Wandering Son, 18if, and even an inconsequential bath scene in Thermae Romae. Rarely, however, does anything use the entire piece - which means it stands out all the more in Your Lie in April. In episode 15, the piece perfectly underscores Tsubaki’s nighttime heart-to-heart with Kousei. Her lines are timed to match the piece’s phrasing, and as the music becomes more intense, so does her monologue. The flowing B-section expresses her desperation as she realizes that Kousei’s musical career is taking him out of her reach. By the time Kousei reaches the piece’s recap, we get the sense that something has changed. Tsubaki might be the same person she’s always been, but her relationships have been forever altered. Likewise, the last section of the piece sounds similar to the beginning, but elements of the B-section still linger as a reminder that things can’t stay the same. The scene is a pitch-perfect marriage of story and soundtrack, and my favorite use of “Clair de lune” in anything, full stop.

1. Symphony No. 9, “Choral” (Ludwig van Beethoven)

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Generally agreed to be Beethoven’s greatest work, Beethoven 9 was unique for Classical-era music in that it introduced a chorus layered over the orchestra - hence the nickname. The symphony is an easy go-to for a grandiose and triumphant score, since the “Ode to Joy” melody from the last movement is immediately recognizable. No wonder it’s popular worldwide - especially so in Japan. The piece appears in Gunslinger Girl, the Nodame Cantabile J-drama, and a number of other shows. Thanks to Kaworu Nagisa in Neon Genesis Evangelion, it’s now also the “sophisticated, vaguely menacing white-haired anime boy” leitmotif - think Shogo Makishima in Pyscho-Pass, for instance. And for good reason! The last scene in episode 24 of EVA is easily one of the most iconic, disturbing moments in anime. The minutes-long still shot and delicious irony of a piece about joy played over Shinji’s worst emotional low leave a real impression. Plus, Alexander Rahbari’s interpretation of the piece is one of my favorites, capturing a fierce rawness that’s often missing in more technically polished recordings.

But because Beethoven 9 is such a seminal work of music, I can’t limit this entry to just EVA. In Yuri!!! on ICE, Otabek Altin’s free skate music is a unique arrangement of the symphony’s second movement. While the original piece was already groundbreaking, composer Taku Matsushiba takes it some really interesting places. Beefing up the chorus and brass sections to make the overall sound even bigger, Matsushiba re-orchestrates the piece to sound decidedly more modern in places. The end result is simultaneously traditional and transgressive, but most importantly, A Lot. EVA may have used the symphony to devastating effect, but this wonderfully cheesy reinterpretation is more special to me for capturing the blend of silly and serious that I love about anime.

These aren’t all of them, not even close. I didn’t even get to Michiru Oshima’s string arrangement of Beethoven’s Tempest Sonata in Blast of Tempest, the infamous Hallelujah scene in Evangelion, or the sheer variety of music used in Princess Tutu, Legend of the Galactic Heroes, and ClassicaLoid. And that’s to say nothing of Yoshihisa Hirano’s habit of quoting other works in his soundtracks: Prokofiev’s Romeo and Juliet in Hunter x Hunter, Bizet/Sarasate in Ouran some vaguely Orffian strains in Death Note. Meanwhile, Yuri!!! on ICE uses both real pieces (Tchaik’s Sleeping Beauty, Mendelssohn’s Violin Concerto Op. 64, Mussorgsky’s Pictures at an Exhibition) and sound-alikes (Taku Matsushiba’s “Rapsodie Espagnole” resembles Ravel’s Bolero, “Stammi vicino, non te ne andare,” Puccini with a hint of Wagner; and “Allego Appassionato,” Rachmaninoff, what with the absurdly difficult techniques in its latter half). You can find Western art music all over the place in anime if you just look.

On that note (heh), what’s your favorite classical piece in anime?

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Micchy is an enormous dweeb who tries and fails to hide her anime obsession behind a skating otaku facade. Follow her on Twitter @Liuwdere for more vaguely anime-related content.

By: [email protected]

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