#with happy by danny elfman playing in the background

[ohbutwheresyourheart]

why am I cursed get my best writing ideas when I'm busy as fuck at work

[dubsteplevi]

Okay so I've gotten a new hyperfixation of the BEAUTIFUL Broadway performance of Ride The Cyclone. I've yet to finish listening to the album however I want to talk about the opener and how it opens and the meaning cause I don't see anyone talking about it and NEEDS to be talked about cause it's so good and unlike no other I've heard. It's not happy like many other musical openers it's tragic while comedic at the same time. Into the analysis!!

Let's start with the very first song you hear when you open the playlist: Karnak's Dream Of Life: this song sets a perfect tone to what we'll be hearing and the vibe we should expect of the show itself, the first half of it starts with an organ playing music you'd expect from a funeral or some other sad event because the play starts with the children already being dead from the roller coaster accident, my guess is that it's music from the children's funeral(s) (the S being in parentheses because the children could've had their own separate funerals or one big one it's never clarified as far as I've heard) anyway then it goes into a music box kind of tune that's more hopeful and classical in a way with some sort of string instrument, if you know please tell me, this gives it Danny Elfman vibes (if you don't know who that is he is most commonly known for writing the music of Nightmare Before Christmas, Beetlejuice, Corpse Bride, along with many other movies). Then we here a women's voice singing saying:

"I know this dream of life is never-ending

It goes around and round and round again

You know the sun is rising while descending

It goes on and on and never ends~"

This could be possible foreshadowing (again this is a guess since I've yet to finish listening to the full show) to how the kids all had dreams but could never fulfill those dreams ("I know this dream of life is never-ending, it goes around and round and round again") to then saying that they all will never be able to fulfill those dreams, hence the metaphor of the sun rising while descending, saying that they all have hope (sun rising) but at the same time feel they can never get those dreams because of them being trapped in Uranium (the sun descending, I'll get more on that in a bit) and the last line meaning the kids feel like it'll take forever to get their dreams but they want them now

OKAY NEXT "SONG" (song in quotations because it's more of a monologue than a song) Welcome...

We get introduced to the Karnak, this is more comedic than really lore-based but worth mentioning because it makes me laugh every time because it's brutally honest in a really funny way. Seriously, if you've yet to listen to this on Spotify, do because it's worth it every time I hear it.

Now for the point of this post, the song "The Uranium Suite"

It starts with our main 5 singing about their town as a tribute. For a hot second I want to talk about how the lead sings individually, she sings very brightly. If you're not in choir this means singing like you would hear in very modern pop, that children's choir sound. This fits her character because she's very happy go-lucky, looking on the bright side and it's amazing how they showed that through this song alone. Apart from that the line of "we will never leave this town at all" is very important in this analysis.

After they do their bit the Karnak comes back, telling us that he saw how the children die, how they died, when and what time, they're dreams, etc. I saw a few clips of the show. I found that as he says this, the main 5 do some background acting of riding The Cyclone and as he talks about how they die, they do exactly as he says and show it. Like when he gets to the part of the coaster falling, the main 5 crescendo through their "ah's" and spread apart like they're falling off the ride, which story-wise is exactly what they're doing.

Then we get to my favourite part of this opener. Them singing:

"and then you're sailing through space

You don't know up from down

And you feel a little strange

The moment spinning round

And everything you loved

And everything you dreamed

And everything you feared

And everything that seems so

Oh so terrifying

It's far behind on the ground

Like I fall from this silly little itty bitty pretty hometown

Just a teeny tiny dot

On a wee blue ball

And we've all been spinning

All been spinning..."

Stopping there for a second to talk about the characters and why they sing this. Clearly it's because they're falling and their describing it. Along with that it shows that they're hopeless, desperate, and overall scared, kind of an eerie vibe to it before getting into their individual parts. Honestly I don't think there's more to that, the real part I want to talk about is when the trial song their part and the boys sing theirs. It goes like this:

"girls: empty space of empty shops

Shattered walls of mom and pops

Welcome to the Mega shopping mall (no idea if that's what they say, it's hard to hear over the guys)"

The girls sing this while the boys in the back sing "Uranium" about 4 times, each time being stretched like "uraaaaaaaaaanium" anyway this shows the children character of being hopeful and kind of more right-brained. They're looking over the town as they soar above it while falling. It shows they're character more and adds to them being more optimistic than the rest. This could also represent them all putting up a front on how much they love their town, to which as I type this I believe that's what it is. Then the guys sing this while girl switch to the uranium part:

"Boys: smart ones all packed up and went

Why stay if you can't pay the rent?

We will never leave this town at all"

This shows them all to be a little more pessimistic, only noticing the flaws of their town and how run down the town is and how they never truly liked it. The line "we will never leave this town at all" shows how they feel they will never amount to anything outside Uranium. then they go back to their front of loving the town:

"drink some brew, join the choir

Build yourself a funeral fire

Uranium our dead and dive

We'll never leave this town alive

No, we will never leave

This

Town

At

All

Genie: greeting children, it's time to play

Children: earth is sky, the sky is ground

Did we finally leave our town?"

Woo boy just a little more to unpack in that last part. The first 2 lines are that front of them loving their town before they emphasize them never leaving their town. The Karnak appears and the children meet him before they sing, "did we finally leave our town" that last line is whispered to each other and the word finally just adds to them wanting to leave otherwise the word finally wouldn't be put in. I think I've emphasized that enough

Anyways those are my thoughts on it all. It's a very wonderful way to introduce the show and very different and it's very beautiful. It's slowly becoming one of my favourite musicals lmao.

[papenniesandbentoboxes]

The Music in Midnight in Salem and Why It’s Actually Good

Say what you want about the game, it’s not that great. The graphics suck, the puzzles were few and far between, and the mechanics awful. However, there was one part of the game that really stood out to me, and it was the music. 

I am a huge music nerd. I first started listening and analyzing film soundtracks and scores when I was eleven years old. The first that I listened to was How To Train Your Dragon, which has one of the best film scores in my opinion (and I’d love to talk about it more but this is Nancy Drew, not Hiccup). Ever since then, I’ve always paid special attention to background music. I’ve been studying opera for about 7 years now, jazz for 5, and I am a music minor in college right now. I’d like to do individual analyses for each Nancy Drew game and pick them apart with what I know. But, before I do any of those, I’d like to do Midnight In Salem.

Keep in mind that I am not a professional in musical scores, this is just a hobby I have and something I enjoy.

One thing I appreciated in this score was the way all the soundtracks are linked together. For example, “Townsquare” and “Friendly” have the same theme woven in, same with “Feelings” and “Main Theme”, and that may be the first time I’ve seen interwoven themes in the Nancy Drew games. You’ll hear a lot of soundtrack themes and motifs throughout the game, a lot of repetition, but repetition doesn’t mean it’s bad or lazy. It isn’t done as often in video games as it is in movies, but it’s still done. I think it happens in games such as Skyrim and The Legend of Zelda. It’s a sign of “maybe these things are connected” and in certain parts, they really are. It kind of holds the story together, since MID is more linear than other games. 

The game goes along with the creepy vibe, which to me sounds a lot like many Danny Elfman scores, such as the Batman theme, Nightmare Before Christmas, Edward Scissorhands, and Alice in Wonderland. They all have a creepy, dark, yet mystical feel to them, much like this score. Just listen to the MID main theme and then listen to the main title of Edward Scissorhands. You’ll notice the similar sounds. 

Now, I’m going to break down the main theme. (This is a long part of this essay so if you want to skip it, go ahead.) When it begins, the first notes you hear are the little bell sounds. From my knowledge, that’s an instrument called the celesta (pronounced with a “ch” sound). You’ll recognize it from classics like “Dance of the Sugar Plum Fairy” from it’s fantasy bell-like notes. I was so happy when I listened to it again and noticed that little detail. It’s such a good thing to use for more creepy or fantasy-like settings (*cough* Harry Potter *cough*). Next, you hear a cymbal (very suspenseful), and it brings in a bit of harp and the woodwinds, mainly the flute. The strings section plays the melody and the brass section. I will point out a very good use of dynamics (volume, essentially) with the trombones-- it adds to the suspense with every measure starting piano and going to mezzo forte, and then when they switch notes the dynamics repeat. 

About halfway through the main theme, it completely switches tones, going from light and mysterious to dark and suspenseful. The percussion comes in along with higher brass and lower strings. After a few measures, it goes back to a slower, less suspenseful theme, but it keeps the darkness and becomes a bit more mysterious again. The only instruments used are the mystical celesta, the mysterious harp, and a little the suspense is kept by a tense strings section. It slows down and kind of fades out on its own. Overall, it’s a wonderful main theme for the game, setting the tone and the mood while having very familiar themes woven inside it. 

Sorry, I know that was a bit much but I really loved the use of tone and all those different instruments. 

Throughout the game, one sound you’ll hear a lot is strings, woodwinds, and the celesta bell sounds. I also noticed some chimes in “Townsquare” and a few others. I also loved the subtle brass in the background. I love the orchestration of these tracks and the use of all these wonderful instruments.

In the track “Friendly”, it has a light, playful feel using plucked notes on strings and staccato notes with the woodwinds and piano (I could be wrong but it sounds like a piano with the woodwinds to me). Under the woodwinds and the strings, there’s a very subtle brass section, keeping the playfulness of it all (and I know it’s a tuba because I watched a lot of VeggieTales growing up) (so I guess yeah the tuba has a playful, childlike feel to it every since VeggieTales, at least for me). 

Another part of the music I want to talk about it the pop music we hear in Luminous Infusions and in the car and the party aftermath. I’m going to focus more on the pop music since Luminous Infusions isn’t really my favorite of the pop music. My favorite is the music they play at the end of the game. The bass line is amazing and it just is a bop and a groove all in one. Pretty good use of synth as well, which is a very popular pop noise that gain much of its popularity in the 1980s (sometimes too much synth back in those days). The guitar is also good and for some reason if makes me feel nostalgic, probably because it sounds like mid-2010s pop. Which makes sense for Deirdre to listen to in the game. She also says the band isn’t as good since the bassist left, suggesting that she had been following the band for a while and I’m convinced she prefers early to mid-2010s pop to more modern music. 

The addition of pop music to this soundtrack was well done and fit in well with the characters. Especially with Mei also loving this music. Deirdre mentioned that she used to babysit Mei, so she probably introduced Mei to the band when they were younger and she latched onto it. It fits in with the family theme in the plot of the game.

Alright. That was a lot. But, you know, it’s some good music. it isn’t my favorite in the games, but it is very good. It complimented the game, going along with the mood and themes of the plot, and fit the setting very well. That’s a running theme I see in the games, the music always fits well with the game. If you have any requests for more music analyses, put them in my ask box! I’d love to do more. 

[quipxotic]

Rules: tag nine people who you want to know better/catch up with and then answer those questions. I was tagged by @sanguinarysanguinity. Since I never tag people, feel free to answer these questions if you feel inspired to do so.

Last song: I’ve been listening the soundtrack to Star Wars Jedi: Fallen Order by Stephen Barton & Gordy Haab quite a lot, particularly when I’m doing things that require concentration. I’ve been especially short on that quality since March, so I’m using a trick from my grad school days (i.e. headphones and loud music) to try to limit distractions. If you want a taste of the Fallen Order soundtrack, try “Memories of Days Past,” which is what I’m listening to while writing this post.

Other songs in heavy rotation right now:

“Feed Me” - Fulton Lee

“Every Single Time” - Katie Schecter

“Love It” - Ashleigh Ball

“Automatic” - Houses & Dawn Golden

“Keep the Faith (Strings Version)” - Overcoats

“After All (I Must Be Wrong)” - Son Little

“Whatcha Say” - Wargirl

“Chaos” - Miki Kiki

“Summer Rise” - Hansom Eli & Mikey J. Blige

“Gion” - Uki

“decide to be happy” - MisterWives

“Forever Nevermore” - Sea Wolf

“Balenciaga” - New West

“September” - Ayoni

“Trust” - Gracie and Rachel

“Upside Down” - Mondo Cozmo

Last movie: I had to think about this a bit, because I honestly couldn’t remember at first. I’ve watched very few movies over the last few months, but I did watch Midnight Run with my family when I visited them recently. Let’s just say the movie wasn’t my choice. To me the most enjoyable part of the film was the music by Danny Elfman. For a sample of that try “Walsh Gets the Duke” or “Main Titles (Midnight Run).”

Currently reading: I’m working my way through the second volume of the Star Wars: Darth Vader comics. I’m only really interested in the series because the Imperial Inquisitors are in it and any little details I can learn about them are helpful for fic purposed. That said, the art is fantastic and some of the stories are pretty decent. I’m still in the midst of listening to the audio drama version of The Sandman by Neil Gaiman, although I’ve kind of stalled on that for the last month or so (see above about my lack of focus lately). I’m listening to a couple of Big Finish audios including: “Short Trips: Out of the Deep” (a First Doctor and Steven story which I wrote some drabbles for), “Torchwood: Save Our Souls,” “Short Trips: These Stolen Hours” (Sixth Doctor and Charley Pollard), “Out of Time 1″ (Tenth Doctor and Fourth Doctor), “Short Trips: Downward Spiral” (Fifth Doctor and Nyssa), “Short Trips: Regeneration Impossible” (Eleventh Doctor and Twelfth Doctor), and “Poison of the Daleks” (a Third Doctor and UNIT story).

Currently watching: I just finished Midsomer Murders. Man, were the early seasons rough, which is why I did a lot of skipping around on those, but from Season 9 on I marathoned every episode. It’s something that I can have playing in the background while I work because it’s interesting but it’s not too interesting, if you take my meaning. I’m also watching Gardener’s World because I’ve spent a lot of time gardening during quarantine and it’s just so very relaxing. Another show I’ve had on in the background while I’ve worked is All Aboard! It’s not only a good de-stressing option, but it also helps to alleviate the twitchiness from being mostly confined to my house for going on seven months. I’ve also watched a bit of American football and Premiere League soccer for my sports fix.

Currently craving: I’m both craving and dreading the end of election season - craving for a whole host of reasons while dreading the possible outcomes. As bad as things are now, we’ve already proven there’s always the chance we can make them even worse. That said, we can also make them better and I’m really hoping we do.

Also, I’m craving Halloween. Give me all the scary, campy movies please.

[scorrigan]

Ten Movies

@distanceanddragons tagged me in this trend so lets get too it.  These are gonna be my Most Watched movies

Time Bandits 1982 was on my parents premium cable channel of choice A LOT.  My favorite scene is the bandits, hanging in a cage over a bottomless pit, CUT PARTS OF THE ROPE holding them up to make a swingline out of danger. 

Pretty in Pink 1986.  If you dont get it, youre probably a major appliance. 

Nightmare Before Christmas 1994 When this came out it was honestly very exciting- this and toy story came out in the same year (?) and both were really great non-drawn animated movies.  Also yes I am a secret goth.

The Forbidden Zone 1980. When my friend told me about this movie I was like nah nah nah (The midget from fantasty island, black and white, weird  Cab Calloway songs with changed lyrics) till he got to the lynchpin: Danny Elfman plays satan in a white tuxedo.  Truly a weird and offensive film.

Raising Arizona 1987. A perfectly made film.  used this one as background on repeat when I was doing a labor intensive/ thought minimal section of an art project. Possibly my most watched.

Dead Man 1995. To rep Jim Jarmusch and his strange body of work, put on Dead Man and experience a non-american’s lyrical interpretation of the american west. 

Amelie, or Le Fabuleux Destin D'Amélie Poulain 2001. Jean-Pierre Jeunet and Marc Caro had already made some amazing films, but this one was a blockbuster that made everyone happy that one summer... right before 9/11. One day I will have learned enough french to know if there are some great puns in the script that Americans Will Never Get. 

The Great Escape 1963. This movie is great-  until they actually escape, then its kind of a downer.  Spoilers I guess.  Also, this movie has NO WOMEN CHARACTERS.  There may be a woman extra, but can you imagine trying to get away with that TODAY?

Grand Budapest Hotel 2014. I was kind of down on the last few films of Anderson. I thought he was devolving into just dressing his films up without much of a meaning, but this one hit me.  Something about a personal drama within a country sliding into fascism seems Very Familiar....

Into The Spiderverse 2018.Everytime I see this playing I want to sit down for the whole thing.  And its really innovative in putting comics elements into a movie! Ok I nominate @yariem-alkahen​ @hippyexd​ and @wubbelwubbwubb​

[elizas-writing]

Animated August, Day 12: Corpse Bride

Touching back on stop motion animation, this time with one of the most creative visionaries of my time: Tim Burton. Usually his name is associated with films like The Nightmare Before Christmas and James and the Giant Peach, despite just being the producer and not the director of those two. Well, this is the first of his stop motion animated films where he’s actually the director, bringing his own flavor of quirkiness to the production. Here is Corpse Bride!

In a Victorian era village, Victor Van Dort is in an arranged marriage with Victoria Everglot, so both of their families will finally be well-to-do and avoid poverty. However, Victor is too socially awkward for his own good, especially at the idea of marrying someone he’s never met. After screwing up his vows during a wedding rehearsal, Victor runs off embarrassed into the woods to practice. Yet he accidentally marries, no duh, a corpse bride, who rises from her grave and takes him to the Land of the Dead as her new husband. Despite the otherwise horrifying circumstances, the bride, Emily, is a sweet young woman who just longed to have someone to love after being murdered on her wedding night. Unfortunately, Victor just doesn’t feel the same, and there’s still the fact that he’s alive and she’s dead. Meanwhile, Victoria’s parents grow antsy of the groom’s disappearance and plan to wed her off to some mysterious newcomer who may have more dastardly intentions. And it’s up to Victor to figure out where his new home will be, and where his true love lies.

The animation and designs carry through Burton’s creepy artistic style with exaggerated features to make the characters distinct. Most of the sets are in shadows and grays, but whenever color comes in, it just pops. There’s also a fun contrast between the Lands of the Living and the Dead as the former is more drab and glum-- like everyone’s ready for a funeral-- while the latter is more energetic. It plays a lot with assumption of the undead being evil, but when you get to know them, they’re actually pretty cool people who aren’t bummed out about where they’re at; they have nothing else to lose, so might as well party it up and have some fun, celebrating the creepy and macabre.

This contrast is best highlighted when we first meet Emily, voiced Helena Bonham Carter. We see her through Victor’s initial shock of a dead woman rising from her grave, complete with eerie whispering and Danny Elfman’s wonderful music. But in the next scene, she’s cracking jokes and is nothing more than a young, hopeless romantic trying to love again. There’s a sweet, childlike innocence about her which makes you feel sorry for her tragic situation and understand why she acts the way she does.

And being a Tim Burton film, we also have Johnny Depp as Victor. I’m used to seeing Depp in super-eccentric roles, so it’s a bit unusual to see him play the every-man. He’s incredibly shy, soft-spoken, and kind-hearted, but he’s a work in progress in figuring out what he wants in a relationship and how to communicate, which works well in a Victorian setting given the ultra-conservative mindset around romance and marriage at the time. In any other film like a rom-com, this miscommunication would seem like an annoying cliche, but these two characters come from understandable backgrounds on why one can’t commit and why the other will throw herself to anyone asking for her hand. They hurt each other, but they eventually come to realize what they did wrong and want to set everything right so they’ll both be happy, even if what they need isn’t what they want. It’s a bittersweet and hard-hitting take on what love is and exploring the little ways a relationship can be unhealthy. And Victor and Emily are a wonderful pair to take that journey and overcome their own problems.

Despite the themes and macabre imagery, the tone is a lot more subdued than Burton’s usual work. There’s still plenty of eccentric side characters and their unique designs, a hell of a voice cast, and of course, the stop motion animation is amazing. Most of the humor is very dry, and it doesn’t shove a whole lot of plot details in your face. It keeps to very simple points, but has enough character and imagery to allot for audience speculation and interpretation. And even though there’s kinda a goofy villain who’s obviously evil from the get go (like who shows up at a wedding rehearsal he wasn’t invited to where no one knows his name), the focus of the story isn’t on good versus evil. You’re mostly with Victor and Emily as they figure their shit out, and that’s all you need.

Corpse Bride is a beautifully grim tale of romance and the boundaries of life and death. It’s everything you love from Tim Burton with an excellent cast, stylized macabre elements, an always wonderful soundtrack by Danny Elfman, and an odd, bittersweet dive into romance on what it means to be happy in a relationship. If you’re a fan of his work, this is one you won’t want to miss.

Day 11 >> Day 12 >> Day 13

If you enjoyed this review and what I do here, consider buying me a ko-fi to show your support!

[johnsencummingssound]

Activate the Collection - Week 4

Misha Ketchell’s article was an interesting read that led me to reassess my own ideas about creativity and motivation. Having my own mental health take a marginal decline this week due to self induced irrational stresses, I’ve ironically seen the effects of the happiness/creativity concept. Whilst typically I’ve found a ‘less than ideal’ head space to be beneficial in producing creative works in the past — partially due to tapping into a level of emotional authenticity — recently I’ve discovered it very much limits one’s range of creative ideas to pursue. For example, Bobo and I have decided to explore the concept of loneliness and isolation for our ATC collaboration. There has been considerably less resistance in trying to write for this idea this week due to being able to tap into those emotions that I’m sure most people are feeling in some capacity at this point of time. However in trying to come up with other concepts (Theatre Makers sketches for example) I found myself struggling to write anything that wasn’t (after reassessment) melancholic, sad etc. — very much reflecting my own thoughts. Ketchell’s quoting of the corporate world concept that “anxiety focuses the mind” may be true but I feel that in order for this ‘focussing’ to take place there needs to be a clear vision or objective, hence when the goal is more obscure such as being creative and generating ideas then this focus is actually counterproductive as the tunnel vision effect constricts the flow and creation of new ideas. Hence I don’t know if happiness actually promotes creativity or rather provides a level of emotional neutrality that allows creative ideas to come freely. I agree with Ketchell’s take that motivation or purpose is necessary for a sustained creative output and perhaps due to the current projects being unclear and still very much in early stages, it has been harder to feel a sense of purpose or meaning in regards to most projects just yet (aside from the obvious “this is an assessment you must do to get your degree”). I’m hopeful that as the works develop and I start to see things come together, it will give me the necessary sense of meaning and purpose and thus facilitate my creativity.

Interesting that Shaun should bring up Bladerunner 2049 and the cinematic feel involved, naturally I decided to do a bit of digging about on the processes and concepts surrounding the score. An interesting thing I came across was co-composer for the film Benjamin Wallfisch discussing the collaboration and relationship between sound design and score in the film. He describes the sound design and score as interchanging roles, specifically, sound design informing emotion through mood and tone similarly to what music does traditionally. Within my collaboration with Bobo this week I’ve toyed a little more with using more sound design-esk things to try to convey emotion— nothing too extreme just yet, but definitely playing with a few more musically obscure textures and such. Continuing on with my Trent Reznor binge this week, I came across a composer’s round table segment in which he addresses how he gets creatively inspired. Instead of starting an idea with a chord progression or melody — as he states is typical within his background of songwriting — he instead usually starts a composition with a sound or noise. Although I’ve been able to add stuff to already existing ideas, as far as coming up with new ones I’ve had a bit of a creative slump this week. Having found this little nugget too late into the week, I really want to try this in next week’s pursuits in an attempt to get out of my comfort zone, which is very much starting with a melody or chord progression as Reznor describes — likely due to my background playing in bands and writing songs. I’m hoping even if this ends up being a disaster, disrupting my typical approach will at least cause some level of inspiration that allows me to get out of this creative rut and back on track.

References: How a sense of purpose can link creativity to happiness (resource from canvas) https://theconversation.com/how-a-sense-of-purpose-can-link-creativity-to-happiness-115335

Benjamin Wallfisch ('Blade Runner 2049' composer) pays respect to original Vangelis score https://www.youtube.com/watch?v=ApHkgJQOSL4

Trent Reznor, Hans Zimmer, Danny Elfman and more Composers for THR's Roundtable | Oscars 2015 https://www.youtube.com/watch?v=n-oUeuMRKIU

[theinquisitivej]

‘Spider-Man: Homecoming’ - A Movie Review

Despite their imperfections becoming more apparent over time, the Sam Raimi ‘Spiderman’ films are still special to me. The main characters can make questionable decisions, and Raimi’s New York is populated with over-the-top eccentric people, but the cast commits to the material and has fun with it, with the best example being J.K. Simmons’ perfectly executed performance as the cartoonish and enjoyable J. Jonah Jameson. The action is stiffer than I remember and it has a bit too much dated CGI, but Danny Elfman’s score gives us a soaring theme that I will always associate with bold heroics and Spider-Man swinging through the city. The first film gave an emotional origin story of a young man losing a father figure and striving to be the best possible version of himself that this father figure believed he could be (a theme that particularly resonates with me now), while the second film shows the struggle and sacrifices required of him to maintain this. They were formative films for me as a child, and while its rough seams have become more visible in the intervening years, they remain dear to my heart.

          It is unfair to bring these films up before I even mention ‘Spiderman: Homecoming’ and its merits, but it is a necessary context to understand when considering this movie. ‘Homecoming’ not only has all the background weight of the MCU resting on its shoulders, but is tasked with distinguishing itself from the acclaimed Raimi films, as well as assuring audiences that it is moving away from the recent and more negatively received ‘Amazing Spider-Man’ films. However, much like how ‘Wonder Woman’ ignored its seemingly insurmountable expectations and got on with business delivering a solid movie, ‘Homecoming’ works because it strides forward with charismatic confidence.

          ‘Homecoming’ is a laid-back snapshot of a teenage Peter Parker’s life in a world where he isn’t THE superhero, but an inexperienced one dealing with the small crimes here and there. He does some good work for his community, but makes his share of mistakes, as any kid, and many adults, end up making when getting used to a job. After rubbing shoulders with the Avengers, Peter impatiently awaits his next call to action for some big, fate-of-the-world task. While he waits, he catches wind of a criminal group with dangerous technology who are staying beneath the Avengers’ notice, but could nevertheless do some harm if left unchecked. Together with his encouraging best friend Ned, he will go after them and prove he’s got what it takes to hang with the Avengers.

          My favourite aspect of ‘Homecoming’ is how much it reminds me of ‘Community’ in its prime. Yes, I know that if any Marvel series should feel like ‘Community’ it should be the Russo Brothers helmed second and third ‘Captain America’ movies. However, ‘Homecoming’ features the same excellent, naturally flowing humour which is evenly distributed among the cast, and creates an environment where some people can be sceptical and jaded, but they nevertheless contribute to a generally positive atmosphere. Zendaya’s character was a particular source of delight every time she showed up and delivered an off-beat line in a playfully dismissive way. Plus, ‘Homecoming’ finally gives us a ‘Spider-Man’ movie with a high school that feels like an actual school! You know, with kids and stuff! Yes, some of the main cast look a few years over 14 or 15, which Peter mentions is his age at one point, but when we first see the school, the establishing shot fills it with a diverse range of kids from all age-groups. That goes a long way to keeping you in the headspace that you are watching a story about kids which actually stars kids. This delivers on the basic premise of Spider-Man in a way few films or tv series have manged in the past, and when the cast is as likeable, engaging, and as on point with the humour as this, it results in an infectious energy that puts you in a happy mood and makes you glad to spend time with these characters.

          Holland already sold me last year in ‘Civil War’, but I was so happy to see his genuine enthusiasm, rather than annoying snarkyness, make a return here. Spider-Man has traditionally been associated with making quips during his fights, but neither Maguire nor Garfield managed this aspect especially well. I’ve always seen the quips as a defensive mechanism, a way to throw off bad guys when they try to use intimidation, only to be met with upbeat playfulness. Conversely, Maguire and Garfield both made jokes at the bad guy’s expense before their enemies even had a chance to verbally antagonise them. As a result, we take no joy in their snarky behaviour because it’s not presented as a way to flip negativity on its head, but rather as a technique used to belittle and undermine a person in a manner akin to, well, bullying. Holland doesn’t make witty jabs at the bad guys, however. Instead, he’s throwing them off by being sincerely positive. He asks questions, tries to actually engage them in conversation, and is a nuisance without ever being mean. It makes me warm to his Spider-Man immensely.

          ‘Homecoming’ hits its intended tone with very few missteps along the way. It is a film that tries to have fun and deliver an optimistic feeling of young people doing likeable, and occasionally heroic things, while still being allowed to be kids. The film successfully pulls this off, and I think this style, as well as its arguable status as the best technically produced film to date, will make ‘Homecoming’ a favourite Spider-Man movie for many people. And yet I find it doesn’t emotionally resonate with me as much as the first two Raimi ‘Spider-Man’ films. ‘Homecoming’ avoids any and all mention of Uncle Ben, aside from one brief allusion to what Aunt May has gone through. Even Aunt May isn’t called ‘Aunt May’, but simply ‘May’ by the majority of the cast, including Peter, throughout the film. That’s absolutely fine, and I think it suits the tone of ‘Homecoming’ better that it doesn’t dwell on Ben and instead focuses on Tony Stark as the paternal figure who Peter is trying to impress. As an aside, kudos to Robert Downey Jr. for continuing to commit to this character even after 9 years and 6 movies playing Iron Man. Seeing Tony be his usual self, but also forced out of his comfort zone when he must take responsibility for a young man he shares a connection with is fascinating, especially when you see how seriously he takes it in one or two key moments in the story.

          However, to return to my point, Uncle Ben feels like a big aspect of the character, and to see a version of Spider-Man that hasn’t really addressed this significant element of his past is… well, not disappointing, because they’re clearly capable of giving us a satisfying Spider-Man without Uncle Ben. But it is strange, nonetheless. I don’t want Peter to grow up fixated on this loss like Batman is with the death of his parents, Christ no. I just feel that, without a discussion of why he wanted to be Spider-Man, or, for that matter, what personal reason he has that drives him to so desperately want to be an Avenger, there is something missing which prevents me from being 100% on board with this Spider-Man.

          ‘Homecoming’ is a ton of fun. Even if its score lacks the memorable oomph that I associate with Spidey, aside from an AWESOME tune set over the opening Marvel Studios credits, the movie still delights with a bright aesthetic, excellent casting, and consistently laugh-out-loud dialogue. I may not have as much of an emotional connection with it as I do with the Raimi films, but I admit to some personal bias on that count. Most importantly, there was a member of my audience who was a little kid in a Spider-Man onesie. He laughed at the jokes, was excitedly telling his dad about the references to other Spidey villains and characters, and seemed to really like it. I’m not saying the film only appeals to kids, because I think it’s great; I’m saying that it’s important that this film is enjoyed and taken to heart by kids, just like I took my Spider-Man films to heart when I was younger. Seeing exactly that take place made me smile, and I’m very thankful ‘Homecoming’ had this effect.

8/10. 

Funny, optimistic, and a good time, even if the stakes are a little smaller than usual. One of the better Spider-Man movies.

[djzena]

11 Spooky, Obscure Halloween Songs For Your Retro Costume Get together

Unlike the winter holidays of Christmas, Hannukkah, Kwanzaa, and the Solstice, which seem to abound with music both sacred and secular, the musical traditions of Halloween fall flat. I will admit to simply skimming the preious entries, so please forgive me if somebody already talked about Mike Smith's Panther in Michigan. Completely adorable assortment of amazing comic interpretations of traditional nursery rhymes. Frankly, Carpenter's iconic theme for the basic horror movie could also be confirmation that a tune is definitely more horrifying when there's nothing but a plinking piano melody in the background. When youngsters dance they are more prone to making mates and constructing their socialization skills. Depending on the variety of kids you could have and the area you will have this can be accomplished in numerous ways. The final will consist of six entries that, through 50/50 public televoting and jury voting, can be shortened to a top 2, successful entry will probably be determined by the ‘gold closing' through which the highest two entries in the last will battle it out for the title of Iceland's 2017 Eurovision entry, determined by public tele-voting. Please be happy to incorporate some other Halloween celebration tunes within the feedback section below that you will have in your playlist this year! Howdytoons brings you one of the best music videos and cartoons for youths together with Dinostory, Halloween Songs and Rock'n'Rainbow. The Unique Nursery Rhymes - Learn aloud to family and friends well-known nursery rhymes and songs, reminiscent of Peter Peter Pumpkin Eater, Jack and Jill, and Outdated King Cole. Use the songs to teach Halloween based mostly classes and other ideas such as counting, sharing, feelings, elements of the physique, and extra! EFL/ESL Songs And Actions - This resource presents lyrics (and in some instances sound clips) so as to use music and games to show English as second language. Characters from nursery rhymes, like Old King Cole, Humpty Dumpty, or Mom Goose herself are Public Domain Characters that may function in all types of works.

We have followed Mother Goose's lead, including riddle rhymes as part of our weekly instruction. Opening with ominous bells, the mushy falling of rain and, finally, a bloodcurdling scream, Concrete Blonde's Bloodletting” instantly units the temper for an uneasy Halloween night time, kicked into excessive gear with the relentless pummeling of the drums, an ominous, gothic bass line, and haunting vocals courtesy of chief Johnette Napolitano. There has been some debate in regards to the racial message on the heart of this nursery rhyme (a couple elementary schools in 2011 changed the lyrics with Baa, Baa Rainbow Sheep”), however most students agree that the rhyme has to do with the Great Custom tax on wool from 1275. To begin this listing, I selected one in every of Rihanna's songs from Good Woman Gone Bad: Reloaded album. To preview and buy music from Halloween Songs & Sounds by Various Artists, obtain iTunes now. The video is a horror film in short, with zombies, corpses, and an extreme quantity of near bare ladies. I can safely say that before a couple of days ago, I had by no means really listened to the tune in its entirety or given the lyrics any thought in any way. A dancey little quantity that tells the tale of the narrator changing into undead to be together with his lady for a Halloween get together in contrast to any one before. That includes Nicki Minaj, Jay-Z and Rick Ross in addition to Bon Iver's Justin Vernon, it is a beast of a Halloween music lauded by critics and placed at number 53 in NME's Finest Tracks of the past 15 years. Advised in clean-as-silk rhyming textual content, a witch and various pals prepare for a party on Halloween night time, readying their haunted house for the trick-or-treaters who, as soon as they get a glimpse, flee in fright! There are eight different versions of this cute Halloween bingo card that you may get free of charge over at Crazy Little Tasks. Halloween songs for kids must be more upbeat, like Monster Mash” by Bobby Boris” Picket. Hardly a bone-chilling Halloween ditty, but it could turn your costume party into an all-out sing-alongside. Where to Find It: José-Luis Orozco's version (proven above) is great, though there are numerous videos on YouTube with Spanish lyrics and pictures to assist children follow alongside. To see all of the songs on the Halloween Songs for Circle Time Playlist click on the playlist button within the upper left-hand corner. IS THE TUNE ABOUT SOMETHING SCARY?: It is about being a nonconformist, which is only scary for conformists. Like Alice Cooper, this had some rock royalty guesting on it - Mick Fleetwood and John McVie of Fleetwood Mac carried out drums and bass duties respectively. As soon as they do, although, his lyrics rapidly fire up pictures of bats, undead souls, witches with capes and, after all, murder that fit perfectly alongside any Halloween-like setting. Instead, the rhymes were steeped with political and satirical messages, created in such a way to confuse the authorities listening; thus, preventing legal or different backlash. It is Halloween is a picture book written by Jack Prelutsky and illustrated by Marylin Hafner, revealed in 1977. So this track is finished by the rock group The Blue Oyster Cult and it made its debut in 1976. This track was created by the well-known composer Danny Elfman and it is safe to say that it is perfect for Halloween. For those seeking to have fun this Halloween weekend without getting all dressed up have a look beneath on the upcoming occasions that may entertain households and associates. One other tune that includes some oldschool dance strikes and definitely one to be performed is the Monster Mash. Halloween was apparently influenced by the Celts in England, or by the Irish and Scots in the United States. The songs, poems, quotes and greetings are only a reflection of that, what your children feel and think about the holiday. Maybe more despairing and disillusioned than creepy, but still certain to make any celebration really feel like a horror movie. Even inexperienced persons can play this free Halloween music by watching the intervals carefully. The poster boys for Submit-Punk existentialism, Pleasure Division virtually invented the goth subculture thanks to their gloomy lyrics and disconnected, often otherworldly melodies. A few months in the past i attempted to get the Heffalumps and Woozles track and itunes didnt have it on right here. Encourage them to do the identical, i.e. repeat the rhymes after you in a fun and rhythmic tone. Whereas he by no means goes full bore wailer like he would on different 50s horror movie impressed songs , there's enough edge in his voice to know he is not messing round. The Antrobus Soulcakers Track is sung at first of the Greenman Mummers Souling Play on YouTube. This piece has a haunting ingredient to it. Nonetheless, it's a wonderful addition to Halloween musical accompaniment that's been utilized in countless films, TELEVISION reveals, commercials, and different media.