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autumnwhistles · 7 months

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Last Life: The Musical – Audition Masterpost and Song Info (1/2)

Part 2 – please check this out too!

Lots of people have been asking me about auditions for this, so I've decided to make a masterpost. Auditions will be opening sometime within the next week – the specific end date will be specified on the audition form, since it depends when it's sent. It'll likely be three weeks from when the form is sent out.

The Process

There'll be a form posted on my blog. Follow the instructions, answer the questions and fill it in.

You don't have to audition for both speaking and singing roles – there will be opportunities to audition for both, and the same character may not have the same person playing both parts. Likewise, you an audition for vocals for one character and speaking roles for another.

For vocalists: There are no set audition songs. This stage is all about me seeing the different qualities of people's voices, and matching them to characters that fit what I hear. You can specify any preferences, but you may not get them – however, if there are characters you really don't want to play, I will honour that. Because of that, please just sing a song or an extract of a song in a style you're comfortable with (if auditioning for vocals). This should be minimum one minute long, and though there is no maximum, it would be nice for it to be around 2 minutes (though you can very much go over). Try to keep it to one form.

If I think you would fit, I may contact you to be involved in the Watcher Chorus as well – there are no auditions for this, however, and you can turn it down (there's a lot of singing).

For those auditioning for speaking roles: this will take preferences into account more, though I will contact you if I'd like you to try out for somebody else. Please find an extract of the role you want speaking – this can be in a video or in a highly in-character fan work, since those provide good material, and record it. You can submit multiple forms if you're auditioning for multiple speaking roles, due to the higher specificity of audition material.

Note that generally, speaking roles are much more minor than singing roles!

If you're auditioning for both, do both – this is pretty self-explanatory.

You must have a good quality mic, or access to one, to audition. Please have access to discord as well, since everything will be done there.

If you need further information, DM me either on here or on discord (songofthesky_)!

This is all for Stage 1 of auditions – to those who I'm considering for parts, I'll contact you a few weeks after the submissions have ended to describe the next steps.

To help people get an idea of what each part entails, a list of songs, their descriptions, and who sings them is under the cut. I've tried to arrange it so the people who are mentioned first are the people that get more lines. Bear in mind not all of them have names yet!

(There will also be a part 2 coming sometime this week with general atmospheres for each character's songs (only those with solos or duets, as this doesn't apply to those in only group numbers). This should also help you get an idea of what each part entails. However please note these are only getting across the atmospheres, not anything more specific – it's generally to help decide if there's someone you don't want to sing than someone you do.)

Finally, the three characters with the most singing and plot relevance are Martyn, Scott and Grian (in that order) – consider this when auditioning!

Act 1:

Overture/Middle of Nowhere: We’re introduced to the Last Life world by the Chorus as players spawn in. Martyn seems to hear something, but brushes it off. [N/A – finished]

Corners of the World: Through Martyn’s perspective we’re introduced to players and their alliances. He meets Scott and Pearl and chats to them for a while, before heading with them to spawn. Martyn, Lizzie, Bdubs, Etho, Joel [sung]; Martyn, Scott, Pearl [spoken]

“Tales: Down In The Mines″/”The Boogeyman”: At spawn, Bdubs narrates his experience with the boogeyman curse. Grian then shows up, narrates his own experience as the victim, and all around the map the players express what they’ve heard about the Boogeyman curse themselves. Bdubs, Grian [sung – solo parts]; Martyn, Scott, Pearl, Jimmy, Scar, Mumbo, Impulse, Tango, Skizz, Etho [sung – make up a player chorus]; Etho, Grian [spoken].

“A(ha)lliances”: The Southlands ally, making a-ha jokes. Meanwhile, Pearl and Scott solidify their alliance via Pearl gifting Scott a life. Martyn, Grian, Jimmy, Impulse, Mumbo, Scott, Pearl [sung]

“You Bet Your Life”: Tango introduces his game, the different attitudes to it showing us different traits of the characters. Tango [sung].

“The Table Song 1″: Now some time into the series, the Chorus updates us on the alliances that have formed: the Fairy Fort, Team BEST, Magical Mountain, Scott and Pearl, and the Southlands. It also chronicles the journey of the Enchanting Table, now in Magical Mountain, and the Southlands’ trip to enchant which ends with Scar’s Boogeyman kill. Chorus [sung]; all players [spoken, very brief]

“Our Will Be Done (Precursor 1)”: Martyn hears a mysterious voice speaking to him for the first time, telling him to give Ren some Nether Wart. He does so. Martyn’s voice, Martyn [spoken]

“Tales: The Three Skulls”: Seeing Martyn a little distracted (and probably sensing some Watcher influence but shh), Grian offers a bit of excitement to him and the rest of the Southlands: he’s come across news that it is possible to raise a Wither, a mystical being of destruction – which they could use to get the upper hand on others should they need it – and that they only need to gather 3 Wither skulls to do so. Martyn is distrustful of his intentions. Grian, Martyn, Jimmy, Impulse, Mumbo. Grian has the vast majority of lines.

“Debts (instrumental with dialogue)”: Martyn extinguishes Ren’s burning tower and Ren tells him of his alliance and pledge to Lizzie, reminding him of his time in 3rd Life. Martyn, Ren [spoken]

“In Spring We Met”: After returning to the Southlands, Martyn thinks about the conflicting loyalties he feels between the Southlands and the remaining ties he feels to Ren, despite it being a new life. As he falls asleep, the voice whispers to him about betraying the Southlands and forming an alliance with Ren to suit its own goals. Martyn [sung]

“The Table Song 2″*: The journey of the Enchanting Table is further chronicled, coming into Scott and Pearl’s possession, who then sell it to Lizzie for a life each, putting Scott up to the same number of lives as Martyn, 4. Chorus [sung]; Scott, Pearl, Lizzie [spoken]

“Green, Crimson, Gold”: The Chorus informs the viewers about more of Joel’s situation – loosing four lives in a single session after rolling Boogey, chronicling each one. News of a Red name is spread throughout the server, as is the mantra of staying away from and severing ties with all Reds, as they can’t be trusted. Chorus, all players but Scott and Joel (singing); Joel, Scott, Pearl [spoken]

“Their Dubious Game”: Scott – now on 4 lives after trading the enchanting table to Lizzie – hears the words being said about Joel, and is also reminded of 3rd Life, recalling how despite his partner turning Red early on, this didn’t seem to lead to a change in loyalties, only capabilities. He begins to realise that this was the case for all Reds back then, and begins to doubt the rules all the players somehow ‘know’. Scott [sung]

“A(ha)lliances (Reprise)”: Time passes, and Martyn grows closer to the Southlands. However, he’s still meeting up with Ren who offers to introduce him to Lizzie and the rest of the Fairy Fort, potentially considering a betrayal. The Voice prompts him to accept this, as they can be useful in its plan. Martyn, Grian, Jimmy, Impulse, Mumbo, Ren [sung]; Martyn's voice [spoken]

“Their Delicate Game/His Dubious Game”: Martyn comes back from a meeting with Ren just in time for a Southlands meeting, in which Grian informs him and the rest of the Southlands that he has two things to tell them – the first of which is that he’s discovered a way to go beyond the borders of the world. They do so, Grian expressing how it is possible (and enjoyable) to break the rules set out for them – Martyn thinks about this. Grian then informs them of his second piece of news, that Scott and Pearl are in possession of a Wither Skull, and expresses his desire to retrieve it, giving the task to Martyn, Impulse and Mumbo go. They do so – however, Martyn secretly intends to destroy it because of how unprepared everyone is for a Wither fight, and possibly because he’s not entirely on the side of the Southlands, either. Grian, Martyn, Jimmy, Impulse, Mumbo [sung]

“[Unnamed Song]”: The three are found out by Scott, and Impulse and Mumbo flee. Scott informs Martyn that Grian also has a Wither Skull, and Martyn immediately gives the skull back, not knowing Grian already had one. The two talk about their distrust of Grian and his desire to bring complete chaos to the server. However, that night (post-song) the Voice informs him that its goal is to watch the server burn. Martyn, Scott [sung]

“Northern Lament”: Joel, still the only Red, is getting progressively angrier about being treated the way he is simply because he’s a Red name. At the bottom of the mountain, he pledges to get some more allies soon. Meanwhile, Scar, at the top of the mountain, is musing about the same things – he’s also alone because of distrust, but part of the isolation is also because he has the highest life count of anyone, at 7. Joel, Scar [sung]

“The Table Song 3″: The Chorus further chronicles the Enchanting Table’s journey, now in the Fairy Fort, where two members – Ren and BigB – are chosen as the Boogeyman. Team BEST visits and Bdubs gives a life to Lizzie in exchange, giving enchanting to everyone free of charge. Ren manages to kill a member of Team BEST, Skizz, but BigB has not gotten a kill yet, and the session is nearly over. He catches sight of his closest ally Cleo by the side of Ren’s pit trap. Chorus [sung]; Lizzie, Ren, BigB, Cleo, Skizz, Bdubs, Etho, Tango [spoken]

“Green, Crimson, Gold (Reprise)”: Cleo, now Yellow, arrives at Scott and Pearl’s base informing them of BigB’s Boogeyman kill on her, wanting to cut ties. Scott and Pearl accept (song intro). Meanwhile, Joel is getting desperate for allies, now hunting for Yellows to convert to Red with him. Hearing about Grian’s wither skull, he goes to the Nether, where Grian and Mumbo are building a Ghost farm, and shoots Grian off the edge, turning him Red. BDubs, fighting in the Nether, falls and turns Red too. When heading to Scott and Pearl’s base, a Yellow Cleo is killed by Joel’s trap. Chorus, Cleo, Scott, Pearl, Joel [sung]; Grian, Mumbo, Bdubs, Cleo, Joel [spoken]

20. “Friends”: The Southlands are informed of Grian’s death, and, now Red, Grian is to be exiled from the Southlands. He desperately tries to kill Mumbo as Impulse and Jimmy arrive, asking if they can still be friends, while Scott and Pearl mourn the loss of a friendship with Cleo, and Martyn is introduced to the rest of the Shadow Alliance under the gaze of the Moon, giving Ren a life. Grian, Mumbo, Jimmy, Impulse, Martyn, Scott, Pearl, Ren, Lizzie, BigB, Chorus [all sung]

Act 2:

“Walls”: Grian has been exiled from the Southlands, the stone wall he built separating them. In the Snow Fort, Etho and BDubs build a wall to keep them separate until he can gain a life again. Cleo, wanting vengeance on BigB, meets Scott on the other side of his wall, Scott giving her some sugarcane. Post-song, Grian, Joel and Cleo express their desire to gain lives back from Scar. Chorus, Grian, Bdubs, Etho, Cleo, Scott, Joel [sung]; Grian [spoken]

“Their Will”: Martyn relays the aims of the Voice, which he now interprets as the Moon, to the rest of the Shadow Alliance, who agree with it. Martyn, Ren, Lizzie, BigB [sung]

“Die For Me”: In that Shadow Alliance meeting, Martyn asks if there’s anything recent he should know about the Fairy Fort. They tell him the Fairy Fort has burned down at the hands of Cleo, relaying the tale as a flashback (with mainly Cleo singing). Cleo [sung, major part], BigB, Lizzie, Ren [sung, not many lines]; Martyn [spoken]. Functions as a Cleo solo.

“Promises”/“Coal Mine”*: During a Southlands meeting, Jimmy runs away with Martyn’s life. Martyn chases him, spurred on by the Voice. He lies to Jimmy, telling him they can run away from the Southlands together if he gives him back his life. Jimmy expresses his worry about potentially being the first out again in the process, as this has happened before and he is very vulnerable as a Yellow, and agrees. Martyn runs back with his life straight after. Jimmy, Martyn [sung]; Jimmy, Martyn [spoken]. Jimmy has most of the lines – functionally this is a Jimmy solo.

“[Unnamed Wither Theme (Song: Precursor)]*”: During the day, the Southlanders meet Scott, Martyn bringing up the danger of Grian’s Wither Skull as he’s now Red, and they decide to look for it. As Martyn is called away to a Shadow Alliance Meeting, Impulse manages to find it, and entrusts it to Scott. Scott gives it to the Fairy Fort for safekeeping. Martyn, Impulse, Jimmy, Mumbo [sung]; Scott, Impulse [spoken]

“Tales: The Wizard On The Mountain”: a Yellow Grian rejoins the Southlands, telling them (especially Martyn, as he did not know when this happened due to his absences) how he and Joel got a life back from Scar, who’s now Yellow himself, in addition to Cleo getting one too and rejoining Scott. Grian [sung]; Joel, Scar, Cleo [spoken]

“The Trial of Timmy”: The Southlands hold a trial for Jimmy about whether he should be exiled or stay in. They will anonymously vote their verdict in a book, Grian campaigning for Jimmy to leave, while the others, minus Martyn, campaign for him to stay. When it is time for them to vote, Martyn votes him in. Jimmy, Grian, Martyn, Impulse, Mumbo [sung]

“Our Will Be Done (Precursor 2)”: The Voice is angry at Martyn, asking him why he’s still attached to the Southlands when he wishes to join the Shadow, appearing to him and telling him a demonstration is in order... “Lights extinguish/Begin the Slaughter/Our Will Be Done!” Martyn’s voice [spoken]

Unnamed Song: Grian convinces Impulse to help him gather the three Wither Skulls he needs, Impulse musing about how despite the chaos it’ll bring, he wants to stay loyal to his allies. Martyn notices their actions, but doesn’t attempt to stop them, and distracts Bdubs and Etho while the other two take it. Impulse, Grian, Martyn [sung]; Grian, Martyn, Bdubs, Etho [spoken].

“Red, Crimson, Gold (Reprise 2)/The Boogeyman (Reprise)”: As Grian is distracted by this aim, the other members of the South fall to boogeymen, of which there are six of this session, due to the Voice’s promise. Impulse falls to Yellow at Scott’s hands, and Mumbo and Jimmy both become Red, along with many other players on the server, including Lizzie and once more, Joel. Chorus [sung]; Grian, Impulse, Scott, Mumbo, Jimmy, Lizzie, Joel [spoken]

“You Bet Your Life (Reprise)” – Needing a Boogeyman kill, Bdubs kills Tango at Team BEST’s base, leading Tango to rage and Team BEST to fall apart. Bdubs, Tango, Skizz, Etho [sung]; Bdubs, Tango [spoken]

“Friends (Reprise)”: Returning to the Southlands after their mission, Grian, Martyn and Impulse find the South blown up by Mumbo: mourning the loss of the alliance, they mournfully burn the walls in commemoration, while the trust and alliance between Scott, Pearl and Cleo strengthens. Far away, Etho, with Bdubs once again on the other side of the wall, discovers the missing Wither Skull, suspecting the Southlands. Grian, Martyn, Impulse, Scott, Pearl, Cleo [sung]; Etho, Bdubs [spoken]

“[Unnamed Song]”: Martyn and Grian, now the last two Southland members after Impulse is shot by Mumbo in the Nether and becomes Red, mentally comment about their distrust of the other person and about there being something off about them, Martyn due to the Voice’s seeming hatred of Grian and Grian’s apparent apathy to everything apart from causing bloodshed, Grian because he senses something around Martyn (Watcher powers heh) and his relative absence from the Southlands when they were still around, though he does express a wish to protect their last remaining threads of alliance. They express none of this aloud. Martyn, Grian [sung]

“When Will You Learn?”: Heading back to the Southlands, Grian and Martyn meet Jimmy and Mumbo, who attack them. Grian kills them both, to Martyn’s shock, and shocked himself, tries to defend these actions. All of a sudden, the Voice appears again and a Boogeyman curse strikes Martyn. Prompted by the Voice (seeming to have a specific hatred of Grian) and by vengeance for Mumbo and Jimmy, Martyn immediately moves to kill Grian. They confront each other about their various actions against the Southlands, and their apparent detachment from it, and talk about their suspicions that the other person knows more than they seem about the nature of the games – as the Voice tries to stop Martyn from inquiring further. Grian says he experiences this alongside his friends as a decision when prompted by Martyn stating he never cared in the first place. He wonders if Martyn would understand the situation due to his position; however, he does not know what Grian is talking about and distrusts him. Angry, Grian tries to leave, calling Martyn nothing but a follower, but after a pause Martyn manages to boogeyman kill him, though the kill is attributed to a nearby Joel. Angry, the voices swell around Martyn and he falls asleep. Martyn, Grian [sung]; Martyn’s voice [spoken]

“[Unnamed Wither Song]”/“When Will You Learn (Reprise)”: The Wither is raised by a Red Grian and Impulse in Team BEST’s base. Etho wants to run, but Bdubs attacks it, giving him the courage to attack too – however, Bdubs loses a life to it, turning Red once more. The remaining Greens and Yellows flock to fight it, Scott among the first, as the Reds join in, trying to kill the other players. The Wither is defeated by Etho; Impulse falls to Scott’s hand, dying permanently. Bdubs expresses his faith that Etho will give him another chance to come back, at which Grian laughs at and declines – loyalty gets you nowhere. Bdubs takes Lizzie’s final life as he was promised a life in exchange for killing a Red; he is shot by Grian as he runs to Etho to inform him of this. Etho reacts etc. Full cast apart from Jimmy, Mumbo, Skizz and Martyn [sung]; Etho, Bdubs [spoken].

16. “Our Will Be Done”: Waking up all alone, Martyn hallucinates his friends, before they are revealed as fake, the Voice in their places. He finally snaps at it, asking why they’re doing this. Why are they speaking to him? Why are they hell-bent on killing Grian? What did he mean? Why does he have to follow it when he wants to do the opposite of what they tell him? Who are they – why should he do anything they say? However, they pacify him, promising that if he does what they say, they will bring Impulse, Mumbo and Jimmy back. Martyn concedes. Martyn [sung]; Martyn, Martyn’s voice [spoken]

17. “Scott’s Elegy”: The Boogeyman curse falls on Scott, and though he’s complied with it once before, he makes a pledge not to succumb to it, as he doesn’t want to kill any more allies with so few lives left in the game. He lets himself turn Red. Scott [sung]

18. “[Unnamed Depressed c!Martyn Song]”: Martyn thinks on Scott’s decision, thinking about how he had the willpower to choose what he wanted to despite the consequences and the will of the world, and about his inability to do the same – he’s pushed around by the Voices without enough willpower to say no, and though he wishes to make choices, he cannot. He thinks about Grian’s words. Martyn [sung]

19. “Our Will Be Done (Reprise)*”: In a meeting of the Greens and Yellows, the Voice tells Martyn to place an End Crystal in the centre as a test for Scott: if he blows it up, he passes, if he doesn’t, he fails. Scott chooses not to, and as Scott turns Red, the voices talking to Martyn become loud and angry, commanding him to kill Scott for disobeying them, yet again promising him the Southlands back if he does. While walking around, Martyn loses his first life to a trap at Grian’s hands. Martyn’s voice, Scott, Martyn, Grian [spoken]

20. “Boogie Boogie Boogie (On The Dance Floor)”: The Chorus informs us that it is the last day. Pearl is chosen as the Boogeyman, rigging a TNT trap on a disco floor, turning Ren’s red. The others quickly fall to the Reds, including Cleo. Pearl, Chorus [sung]. Functions as a Pearl solo.

21. “Martyn’s Stand”: Now left as the last Yellow, Martyn decides he is tired of hiding, deciding make a last stand against everyone. At first humming the start of “In Spring We Met” as a comfort, he heads to a mountain and pouring lava down the sides as a beacon for the Reds. However, though he puts up a good fight, he doesn’t manage to take any of them down before dying himself, marking the server entirely Red. Chorus, Martyn, Pearl, Scott, Ren, Joel, Etho, Cleo, Grian [sung]. Every player apart from Martyn only has one or two lines as a solo – the rest is singing as a group.

22. “Battle Royale”: With the Reds having turned on each other, the four survivors – Pearl, Scott, Ren and Martyn – agree to a Battle Royale to decide the victor. Pearl dies early on, prompting Scott to grieve and resolve to win this fight, no matter what it takes. Martyn eventually falls to his own End Crystal. Only Scott and Ren are left, and they fight to the voices of dead players telling them to play the game. After a long fight, Scott manages to kill Ren, partially due to a zombie which he interprets as the world maybe doing something after all for his defiance. He is crowned the winner. However, the Voice does not like this, the Chorus supporting this, and Scott is stricken dead with heavenly lightning. Chorus (now combined with all dead players), Scott, Martyn, Ren, Pearl [sung]

23. “Plainly Spoken [Epilogue]”: All is silence, and yet Martyn opens his eyes once more, to the Voice and the Chorus, now joined as they are the same entity, informing him how disappointed they are in him, and that he is heading closer and closer to the light. As he asks questions, he is cut off, and they say he will forget all that has happened with them as he and everyone else moves into the next game. Up above, the land is now in the state it was at the start of the first verse of “Middle of Nowhere”, and they are revealed to be those that run the death loop. Chorus/Martyn’s voice (as one) [sung in a spoken way/vice versa]; Martyn (spoken)

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kxvbzs · 1 month

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Inazuma Eleven Bad Boy Band AU (both OG and AresOri)

So I wanted to make a rock boy band (technically we do have one B4 from OG) BUT I WANTED TO INCLUDE Haizaki, Hiroto and Atsuya into the band so, I was like, ok, what if I mix both B4 and the three of them?

Now that's a lot of members for a band but like, hear me out. It CAN work out okay?

This would be their roles:

Tsunami as their main singer! The reason why I made Tsunami as their main singer is probably due to personality wise, I think he just suits it. Also voice wise, I think he can go absolutely crazy with it.

Next, Fudou as a guitarist and back-up vocals! He's definitely a guitarist, I can't see him play any other instruments but guitar. He likely started out with acoustic guitar then later on switched to electric guitar. He sometimes plays as the rhythm guitarist but other times would be lead depending on the song.

Haizaki is also a guitarist and back-up vocals! So, both Fudou and Haizaki will take turns who play rhythm and who plays lead. Whoever from the two plays rhythm will be the back-up vocal for Tsunami! (This makes it fair because rhythm is easier than lead.)

Okay, next up, Someoka as the drummer! I think he would go balls on drums, I dunno. He looks like the type to go unhinged with the drums especially if the song goes really hardcore.

Tobitaka as the keyboardist and very occassionally back-up vocals! I have a headcanon that he used to play piano at some point (has a keyboard than a piano at home because pianos are expensive asf) but got bored of playing classical so he learned other songs and were into that instead.

Hiroto as the bassist! Okay, you might think that he's probably a guitarist, yeah, I did too. But look, imagine first year middle school Hiroto wanting to get an electric guitar but saw a video of someone absolutely SHREDDING on the bass with crazy pop and slap, he then changed his mind and decided to learn bass so he can slap and pop to his heart content.

Lastly, Atsuya as the synthesizer player and I forgot to mention, sometimes he does back-up vocals! Okay, Kai, what the heck is the difference between keyboard and synthesizer? For that, it is best to watch a video on the difference because they are in fact, very much different. Okay, so, how is Atsuya the synth player here? Similar to Tobitaka, he probably learned the piano when he was younger but hated it because it's boring. So when he found out what a synthesizer was, he decided to get that and learn it, making his own sounds and songs from it. Also recreating some instrumental he likes. (I hc he likes EDM.)

So, with all these information combined, who's the song/lyric-writer? Okay, crazy shit here but it's Nagumo! He's probably a soundcloud rapper or something but enjoys writing songs and lyrics for fun (and can think of it on spot because you know, freestyle rapping.) He definitely helps the band's instrument arrangements and lyrics to an extent so, sometimes in their songs, you can see they credited Nagumo there. (Nagumo and Suzuno definitely are a duo lol but Suzuno is a vocalist instead.)

Okay last, Nishikage as their band manager! I think he suits it the most? Probably the most responsible deliquent from all of them so, it makes sense for them to have him as their manager.

Would this end up as a Idol/Band AU for the whole cast, MAYBE! Will I write a fanfic about this? ALSO MAYBE.

I brainrotted too hard for this lmfao kms. Also, I don't know what their band name would be this time but maybe something like Øverdxse is cool :P

Also, their songs would definitely mainly be metal or punk rock! But occassionally they might do some alternative rock, pop rock and synth or keyboard heavy rock songs (ballad rock even!)

This whole thing is inspired. I took inspiration from a K-rock band, Xdinary Heroes. Please listen to them, their songs suit this band so bad, you don't understand...

Anyways, THANKS FOR READING MY RAMBLING THIS FAR!!!! YOU'RE CRAZY IF YOU DID BUT THANK YOU SO MUCH ^^

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eretzyisrael · 7 months

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by Dion J. Pierre

A professor at Cornell University who received major backlash for saying Hamas’ massacre of Israeli civilians on Oct. 7 “exhilarated” him has taken a leave of absence for the remainder of the semester, according to a new report.

Professor Russell Rickford called the Hamas terror group’s invasion of Israel from neighboring Gaza “exhilarating” and “energizing” at a pro-Palestinian rally last Sunday. He later defended his comments by arguing “the fundamentalism of Hamas mirrors that of Israeli leadership.”

Rickford later apologized for his statements, insisting that he “intended to stress grassroots African American, Jewish, and Palestinian traditions of resistance to oppression.” He apologized to “my family, my students, my colleagues, and many others,” but not to the Jewish community or Israelis — who were the chief targets of Hamas’ terror onslaught.

According to the Cornell Review, a campus newspaper, students taking Rickford’s course on post-Civil War African-American history received on Friday a note from his substitute saying, “Professor Rickford will be taking a leave of absence and I will assume teaching responsibilities for the remainder of the semester.”

The university confirmed to the student newspaper that Rickford “has requested and received approval to take a leave of absence from the university.”

Rickford’s comments, which went viral and became national news, were widely condemned across Cornell’s campus. Last week, Cornell University President Martha Pollack and Board of Trustees chair Kraig Kayser said in a joint statement that his remarks were “reprehensible,” showing “no regard whatsoever for humanity.”

The statement continued: “Any members of our community who have made such statements do not speak for Cornell; in fact, they speak in direct opposition to all we stand for at Cornell.”

Nearly 12,000 people as of this writing have signed a petition calling for Rickford to be fired from the university, whose student population is estimated to be between 20 and 25 percent Jewish.

For nearly twenty years, Rickford’s scholarship has largely focused on Black Nationalist movements, some of which have promoted antisemitic tropes. In the early 2000s, Rickford joined the “Malcolm X Project,” assisting author Manning Marable, who published his own comprehensive work on the controversial figure, in arranging interviews with Malcolm’s acquaintances. Rickford also published a biography of Betty Shabbaz, the late wife of Malcolm X before his assassination in 1965.

Malcolm’s autobiography mentions the Jewish people dozens of times, often pejoratively. “The Jew is hypersensitive” and “I worked downtown for a Jew” are among the ways in which he referred to the Jewish community. “I gave the Jew credit for being among all other whites the most active, and the most vocal financier, ‘leader’ and ‘liberal’ in the Negro civil rights movement,” he wrote. “But … I knew that the Jew played these roles for a very careful strategic reason.” Malcolm also referred to “the Jew” as “Hymie” and “these devils.”

#russell rickford #exhileration #leave of absence

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sage-nebula · 1 month

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💫✨ people I’d like to get to know better ✨💫

thanks for the tag @caffernnn !!

last song i listened to: So I'm actually going to plug three songs that I've been absolutely obsessed with over the past weekend and have been listening on repeat as a result, all by the same artist -- Lydia the Bard, over on YouTube.

Lydia makes villain songs for the Disney princesses (among other Disney female characters). Her first handful were just lower pitched versions of their songs (or songs from their movies), but as she progressed she started changing lyrics, and now she's really grown and is making the songs more and more unique, culminating in finally creating a wholly unique villain song for Tinkerbell, which just came out and is my favorite.

"Fall Little Wendy Bird Fall" recontextualizes Tinkerbell's animosity toward Wendy. In this version, Tinkerbell and the other fairies of Pixie Hollow brought Peter Pan and the other Lost Boys there because, due to the nature of fairies' existence depending on humans believing in them, fairies were dying all around them as humans grew up and stopped believing. So the only way to secure their own lives was to make sure their humans never grew up. But Wendy threatens that by making Peter and the others long for human lives. Therefore, Tinkerbell sees her as a threat who must be taken out to save her own and her friends' lives. Not only does this song make Tinkerbell a far more compelling character, but the vocal performance is stunning, and the animatic that goes with it is amazing as well. Literally obsessed.

The other two I'm obsessed with are Meg's (where Hercules betrayed her as well & she kills Hades & takes his power) and Isabela's (where Mirabel doesn't get to her in time, and her resentment over the arranged marriage drives her to snap). Meg's is a bop and has a killer line in "In time they'll say I was cruel 'cause I cared", and I'm sorely tempted to use her final look at the end of the animatic as my Halloween costume this year. Meanwhile, Isabela's is also killer musically of course, and has equally fire lines like, "What could you possibly expect was gonna happen when you made me? / Tend to a plant with poison and expect a flower, are you crazy?" They're both just so good.

favorite color: Purple! Specifically cool shades, and especially cool shades that are more pastel, mixed with grey. I also like blues and greens that are faded like that, too.

currently watching: A little while ago I had started rewatching Sabrina the Teenage Witch since I hadn't watched it since middle school, but once I got to season four it got . . . bad . . . and it has continued to be bad . . . so I've kind of stopped watching lmao. I've lately been rewatching Jenny Nicholson's videos, but I finished that, so now I've gone back to rewatching Jenna Marbles videos. Oh, and I really love this series on YouTube called Bistro Huddy! It's hilarious, and Drew (the guy who portrays all the characters) is fantastic, he really melts into the roles so you almost forget it's one guy doing all of them. Highly recommend checking it out.

spicy/savory/sweet: Honestly depends on my mood, but I do have a strong sweet tooth, so honestly it's hard to go wrong by offering me ice cream or a cookie or something similar.

relationship status: Currently dating the lovely @skimmingthesurfaces 💜 She's actually going to be here this weekend for my birthday! (My birthday is on Tuesday, so I'm very blessed to have her with me for the whole weekend.)

current obsession(s): Aside from the songs mentioned above, I've been really thinking about one OC in particular of mine, and her story / novel . . . she's a character that I first created when I was about 13 or so, and has gone through a lot of development since then, but I've been fleshing out a lot more of her story and how she fits into this new original world I've created (since she was originally created for a Legend of Zelda role play, albeit even back then she came from a country outside of Hyrule). I really love and cherish her a lot, even though most other characters think she fulfills the "girl who is stupid" role in the adventuring party, and on some level she also believes this about herself, and to be fair she's not academically gifted at all, but to be even more fair the school and in fact overall society she was raised in was extraordinarily fucked up and no one actually tried to teach her in a way that would help her learn and in fact learning disabilities were seen as personal failings and --

Ahem. Anyway. I have long since described her as "pure of heart, dumb of ass," and in many ways she is, but for the second half, she's not in the way most everyone around her growing up assumed she was (including herself), or like, even if she is it wasn't 100% her fault (like yeah she slept in class and that was on her, but also she wasn't going to learn whether she was awake or not because her teachers were not going to be able to teach her the material because it was a One Size Fits All approach to teaching even when it really wasn't -- and that's only scratching the surface of the problems in her school / culture, it's a huge systemic thing). But yeah I've just been thinking about her a lot. Karin's my girl and I love her lots.

#the real way in which she's dumb of ass is that one tiktok that's like #''fool me once? shame on you. fool me twice? what the heck that's so mean. fool me THREE times? ohhh my god . . . fool me FOUR--''#she has the worst judge of character #i mean to be absolutely fair to her she will remember that someone betrayed her trust. but will she give them another chance? yeah probably #her justification is she is watching them VERY HARD OK #(she's watching them fool her AGAIN tho . . . smh)#anyway thanks again for the tag!!!!!#caffernnn

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acourtofthought · 8 months

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do you think elain is conpletely over graysen? do you think that he'll play a big role in her book? god i hope not. he doesn't deserve her tears or sadness😤 she has lucien🧡

I think Elain is over Graysen but not over his rejection. If he returned claiming he'd made a mistake I don't think she'd go back to him and I don't think she'd seek him out again hoping he'd reconsider. But I do think she's still struggling with the loss of what was supposed to have been her happily ever after. Her upbringing was built upon the idea of being in love and finding someone to marry, it's all her mother thought she'd be good for with her looks. And from what we're told, she truly loved Graysen and he truly loved her. She was months away from the life she envisioned with him and when something happened that was completely out of her control he chose to walk away, destroying every idea of the love she believed they shared. That was Elain's foundation and it completely crumbled to the ground. If love and her beauty weren't enough to keep him (the things her mother claimed were all she had to offer), then I imagine Elain is now struggling with who she is (not to mention being a new species) and what her worth is.

And when she dipped her toes back into the idea of dating with someone who could be something casual (since she doesn't share a bond with Az), she was once again rejected. Moving forward, I don't think we're going to see Elain shedding tears over men. I think we're going to see her finally giving them a piece of her mind. Elain "whispered" she was sorry to Az when HE told her they were a mistake. Elain never vocalized that Graysen was a coward for his rejection and she clung to his ring after he did. I am hoping we'll see her throwing that ring back at Graysen's face. I am hoping we'll see her call Az out for the way he handled Solstice (I'm also perversely hoping she finds out the way he's been talking about Lucien so she can call him out for that too). I don't think either of these scenarios will play a huge part in Elain's book but I do hope we'll get a page or two where Elain finds her voice to tell them both what she really thinks of their behaviors. And I hope that Elain decides to enter into an Arranged Marriage with Lucien because it will be beneficial to form an alliance between courts, believing that she's given up on the idea of love so "why not?" only to have Lucien be the one who has never broken her heart, always done right by her since the moment they met and treats her like a Queen.

#pro elain archeron #elain archeron #elucien #elucien headcanon #pro elucien

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jules-has-notes · 2 months

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Cinderswift (Unexpected Musical) — PattyCake Productions music video

youtube

When the PattyCake fellas set out to retell the classic rags-to-riches fairy tale of Cinderella, they turned to the music of Taylor Swift. Her songs' themes of overcoming detractors and self-doubt, learning from painful situations, and striving for a better life were a perfect fit for the story's narrative.

Details:

title: Unexpected Musicals – Cinderswift

performers: Leah Lowman (Cinderella); Matthew "Bucky" Buckner (Prince Charming / additional vocals); Andrea Stack (Lady Tremaine / additional vocals); Olivia Adkins (Anastasia Tremaine); Melanie Stringer (Drizella Tremaine); Rachel Copeland (fairy godmother); Michael Navarro (royal crier / coachman); Hannah Laird, Hannah Juliano, Layne Stein, & Tony Wakim (additional vocals)

original songs / performer: all songs by Taylor Swift — "Mean"; [0:32] "Style"; [0:55] "Shake It Off"; [1:30] "Bad Blood", feat. Kendrick Lamar; [1:50] "22"; [2:47] "Wildest Dreams"; [3:40] "I Knew You Were Trouble"; [3:55] "Love Story"

written by: "Mean" by Taylor Swift; "Style" by Taylor Swift, Max Martin, Karl "Shellback" Schuster, & Ali Payami; "Shake It Off" by Taylor Swift, Max Martin, & Karl "Shellback" Schuster; "Bad Blood" by Taylor Swift, Max Martin, Karl "Shellback" Schuster, & Kendrick Lamar; "22" by Taylor Swift, Max Martin, & Karl "Shellback" Schuster; "Wildest Dreams" by Taylor Swift, Max Martin, & Karl "Shellback" Schuster; "I Knew You Were Trouble" by Taylor Swift, Max Martin, & Karl "Shellback" Schuster; "Love Story" by Taylor Swift

arranged by: Layne Stein & Tony Wakim

release date: 14 January 2017

My favorite bits:

Leah singing ♫ "You can take me do-o-own" ♫ on a descending run as she crouches to reach the tea set

Andrea's absolute poise and stillness as Lady Tremaine

the tiny mouse chorus 🐁 (Ah, so those are the additional vocals.)

all the ladies' 90s-tastic ballgowns

those crunchy minor chords during "Bad Blood"

Rachel's bouncy, trilling vibratto throughout "22"

combining the 1950 animated dance sequence with some of the Regency-era steps from Taylor's "Love Story" video during "Wildest Dreams"

transforming "I Knew You Were Trouble" from a rueful reflection into a sinister threat

Bucky and Leah's lovely harmonies in the final song

Trivia:

The opening dedication "For Dori" refers to Layne's youngest daughter, Doris, who was about six months old at the time of this video's publication.

This video was filmed at the Luxemore Grande Estate in Winter Park, which is primarily used for weddings and other large events. The venue coordination was handled by Jaimz Dillman, who had played Sarah Sanderson in PattyCake's "Hocus Heathens" Halloween video, and has continued to feature in their projects.

Leah has reprised her role as Cinderella in several episodes of PattyCake's "Princess Academy" series, as well as their "Disney Girls Like You" video in 2019, and their original piece "If the Shoe Fits" in 2023.

According to Bucky, there were many outtakes during the dance sequence because "the boots were big on me and that dress was ginormous".

The guys had known Bucky for many years prior to casting him in this project. He'd played the Wolfman opposite Tony's Dracula in the "Beetlejuice Revue" show at Universal Studios, and joined 4:2:Five as their new baritone when Layne switched over to vocal percussion in 2004.

A fan combined the audio from this project with footage from the 1950 Disney animated film to create a fantastic fanvid.

Many of the songs in this video were also later included in PattyCake's villainous Halloween offering for the year, "Look What You Made Me Brew".

Layne and Tony had previously sung a portion of "Bad Blood" in VoicePlay's "Aca Top 10 — Summer Hits 2015" countdown.

"I Knew You Were Trouble" was the foundation for VoicePlay's 2013 "Trouble" mashup music video with Rachel Potter, which led to them competing on The Sing-Off.

The dancers in the original "Shake It Off" music video include several of their fellow reality show veterans from So You Think You Can Dance — Phillip "PacMan" Chbeeb (s.5), Du-Shaunt "Fik-Shun" Stegall (s.10 winner), Jonathan "Legacy" Perez (s.6), & Melissa Sandvig (s.5).

#PattyCake Productions #series: Unexpected Musicals #music video #jukebox musical #music medley #music #video #behind the scenes

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acaplaya-musings · 3 months

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Voiceplay Visuals: We Don't Talk About Bruno

("You're gonna show/talk about That Moment, right?" Yes of course I will be showing/talking about That Moment; who do you take me for? 😝)

This video was uploaded on the 26th of February, 2022, it features Ashley Diane (in her second full-length collaboration with Voiceplay), and it is of course a cover of the ridiculously-popular song We Don't Talk About Bruno, from the very-popular Disney movie Encanto (which I have seen 2 or 3 times, including in cinemas, but I'm also very familiar with the movie soundtrack, because it's amazing). To cover such a popular song (let alone acapella-style) can be a challenging task, because obviously there'll be a lot of people who'll already know the original song quite well and who will be prepared to make comparisons, but this is Voiceplay we're talking about! They're not called "the theatre kids of acapella" for nothing, and Disney covers is one of the things they do best (and the video currently sits at a very impressive 5.6 million views on Youtube! (EDIT: as of the 13th of March, it's now 5.7 million!))

So of course I have a lot to talk about with this one, so let's get into it!

Layne was in charge of the video, arrangement, and direction for this one, and he and Tony worked together on set design and costuming. Needless to say, Layne and Tony did an amazing job (and yes, this was of course filmed at Pattycake Productions Studio, which Layne and Tony own and run together)

As for the costuming/characters: Cesar is playing Felix (is it perfect casting, or is Cesar just amazing at slipping into basically any role he's given? You decide), Ashley plays triple roles of Pepa, Isabela, and Mirabel, Eli is maybe Agustin (Agustin doesn't have a lead singing part in the song but the outfit is close enough), Layne is Dolores, and Geoff is either Camilo, Bruno, or both (Camilo pretending to be Bruno perhaps, like in the original scene in the movie?)

If we don't count Jingle Bell Rock (where Eli was wearing glasses while dressed as "Sandy Claws", then I'm fairly certain this is the last/most recent time that Eli has actually worn glasses for a Voiceplay video? And perhaps the only time he's worn them since growing out his facial hair.

Also I'm pretty sure I heard from someone that Geoff's "ruana" (google it) is in fact just a regular blanket/piece of fabric draped (possibly secured/pinned) over his shoulders (it's kind of a Look though ngl)

Not even 30 seconds in and I already stumbled upon a way-funnier-than-expected screencap 🤣

*pfft* XD

Basically, Cesar 100% understood the assignment as Felix, totally hammed it up, and it's highly entertaining 😁

(Also I swear Geoff did a very miniscule eyeroll here? Amazing, love him)

"Hey where'd you get that?" 😂

I know I'm not meant to be talking about vocals in these posts (per my own rules), but I have to give a big shoutout to Layne, who freaking killed it with Dolores's solo part, and it's always so lovely to hear him actually getting a vocal part in a song, as amazing as he is at vocal percussion 💜

Cesar continuing to do The Most (affectionate), and also it's kinda sweet how Geoff is looking at Layne here imo <3 (and also it kinda fits with how the characters they're playing, Camilo (probably) and Dolores are siblings!)

"Grappling with prophecies they couldn't understand." "Do you understand?"

(If you're rewatching a Voiceplay video, try shifting your focus to someone other than whoever you typically focus on for a certain part of the song! It will probably be worth it!)

Trust Geoff to get a dark/spooky section of the song! Voiceplay is nothing if not consistent 😝 (well, sometimes, in regards to some things 😂)

"When he calls your name, it all-" "-fades to black"

I was trying to get a good screencap of Cesar and Ashley on the "we! don't! talk about Bruno!" line, but eh, couldn't get a decent one.

(Oh btw obligatory kudos to Eli for lighting design!)

"He told me my fish would die, the next day, DEAD!"

(Great face, Ashley 😂👌)

Also pay attention to Geoff during this line (before it cuts to a closeup of Ashley) - I love his little shoulder shimmy to the more-uptempo beat!)

"He said that all of my hair-"

"-would disappear..."

"Now look at my head!"

(Rip Eli, but there was no way anybody else was singing that line - it was practically made for him! 😆) (Also love Ashley touching his head in comfort/sympathy 😄)

"He told me that the life of my dreams would be promised and someday be miiine"

(Yes yes of course Ashley is very pretty and I love the petals and the slow-mo on her, now CUE!)

"He told me that my power would grow, like the grapes that thrive on the viiiine"

Yep, that still continues to be up there as one of the most bonkers-ridiculous moments in a Voiceplay video ever. 🤣 (Also if it weren't hilarious enough, check out Ashley's Offended(tm) face in the first and second pictures above, and Layne's Extremely Concerned face in the second picture! ("uhh, Geoff. something you wanna tell me, dude?"))

I'm a little fuzzy on specifics, but apparently the idea for this moment came about when Voiceplay was acquiring clothing for everyone, and Ashley's outfit arrived in two different sizes (just in case one might fit better than the other). Turns out one of the copies of the outfit was a perfect fit for Geoff, and one thing led to another, and we ended up with Aspiring Disney Princess Geoff that you see in the images above 😄😋)

(When I said "don't just get you a man who can do both, get yourself a man that can do everything" back in my Frozen 2 Medley post, I meant it!!!)

(Oh and this section really was slowed down in post-production in order to make the petals (and hair flips!) look nice, and so both Ashley and Geoff were having to sing/lip-sync to sped up versions of their vocal lines!)

"Hey sis..."

(I don't know why this is so funny but it just is 😂)

Ashley in glasses for Mirabel's part!

"Seven foot frame, rats along his back!" *(goat scream)*

(Genuinely not even joking about the goat scream actually)

Geoff and Cesar were competing this whole video in terms of who could be the Biggest Ham I swear 😂

I somehow didn't pick up on this till a commenter pointed it out, but Layne copies Geoff's "spooky finger wiggles" movement! It's got Younger Sibling vibes ngl (though Dolores is actually older than Camillo iirc, and I'm an only child anyway so idk)

Ashley and Cesar were both great in this video, really seemed to play off each other quite a bit!

Man, what a video. Amazing to watch, and also a really great to watch other people react to, for multiple reasons! 😁

There's not much for me to say that I haven't already said about Voiceplay before, but I will say that if you liked this one, go watch their Mini for Surface Pressure if you haven't already! It was filmed during the same shoot as this one (same set, same clothes), and uploaded a few days prior. It's only a short video, sure, but it's still very much worth a watch.

#voiceplay #acapella #we don't talk about bruno #geoff castellucci #eli jacobson #layne stein #cesar de la rosa #ashley diane #acaplaya analysis #voiceplay visuals

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lordoftheringsmusical · 11 months

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The Watermill Theatre interviewed Peter Dukes and Sioned Saunders about rehearsing an epic musical whilst living on site with two small children, and why they couldn’t turn down the opportunity to be in The Lord of the Rings.

Here are some excerpts:

WT: Tell us about your roles in The Lord of the Rings…

PD: I am playing Boromir. I have been obsessed with this story since I was eleven years old, so this is a dream come true. I love his passion and the grounding he brings especially as he comes into the story from a different place to all the other characters and for me that is really exciting.

SS: I’m the on-stage Musical Director, working alongside Mark Aspinal who is the Musical Supervisor and Orchestrator. My role is to make sure it all runs smoothly musically and sounds great! [...] I am part of the ensemble as well. I play an Elf called Elránien so I get to speak some Elvish and there is also some Welsh in the show, which is amazing. Elvish has really got that sound of Welsh to it, so I find it quite easy to speak. We are all actors and musicians, but this one is a bit different for me, with a lot of my focus on the Musical Direction.

WT: What does being in The Lord of the Rings mean to you both?

SS: When we got married, we had Now and for Always from the show played at the wedding.

PD: We both love the score so much, soI arranged it for Mandolin, Guitar, Violin and Vocals and it still remains one of my favourite moments of our wedding day. We also went to New Zealand on our honeymoon and visited a lot of the sites from the movies.

Read the full interview to find out more about their trip to New Zealand, their history with the Watermill Theatre, and life on site with two small children.

#lord of the rings musical #lotr musical #watermill theatre #interview #peter dukes #sioned saunders

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rickie-the-storyteller · 7 months

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Happy STS!

Your characters and story but it's the middle ages. What roles do they have in the society? Are they royalty or something else? How does your story change?

Hello! Thanks for the ask, @the-stray-storyteller. Sorry I've taken so long to respond... but better late than never, right?

This question is super interesting to me (most of my stories are set in this current time, and my main story is set in 2010), and I needed to take some time to research and plan this one out. There are so many roles that each of these characters could fit nicely into, and it's fun to think about these things and explore them!

Let's go!

For the Steph's Crew gang again:

Stephanie:

Given her strong personality and natural leadership skills, Stephanie could be seen as a potential noble or the daughter of a lord? Or something like that... She might be part of the court, influencing decisions and playing a significant role in her family's domain. This could be an interesting thing for her character-wise, just thinking of all the things she'd have to deal with in her life (a lot of her challenges could revolve around navigating the complexities of medieval court life, dealing with arranged marriages, potentially facing political intrigues, etc. Her rebellious nature would likely clash with the expectations of her position and the societal norms of that time).

However, realistically, considering her background in the story proper (not knowing either of her parents, being raised in the foster care system, etc), her life in a medieval setting probably wouldn't be nearly as glamorous as all that lol. Steph might not have any opportunities to be in a leadership role in society. It might be more realistic to have her be a commoner, or even in a lower social class, perhaps as a commoner or a servant. Her confident leader nature could still come into play, though... it could lead her to become a respected figure among her peers or a vocal advocate for social justice. She might rally for the rights and well-being of the less fortunate! I think she'd like that (her old lawyer dreams lol. Plus her general protectiveness of things/people that are important to her). Maybe she could become a leader among the local villagers or a group of rebels seeking to challenge the ruling aristocracy. A charismatic orator rallying people against injustices.

Bret:

Bret's rebellious and troublemaking nature might place him as a rogue a troublemaker on the fringes of society (as well as a member of the lower class, most likely). With that basic idea, a certain picture comes to mind... a skilled thief, perhaps? Or a mercenary? Or maybe a member of a band of outlaws living on the outside borders of the greater neighbourhood (which is particularly fitting, since he starts a band in book 2 lol)... Idk whether to have him be a smart troublemaker. The thing about him is that he is clever, but not in the traditional sense. He's known for his musical skills and his overall creativity. Maybe he could be some kind of musician or bard who uses his charm and musical talents to entertain and gather information! He might be associated with a group of outlaws, challenging the authority and evading capture.

I see him still having his whole "desire for self-improvement" thing in this alternate universe... he'd likely struggle with it more, here, though, due to his extreme circumstances (he's alone, orphaned, and appears to have nobody in his life except for his merry band of rogues... and you know they won't be the best influences on him lol). His struggles with depression and grief would also likely be more challenging to address without modern mental health resources. He'll need to find some better people to surround himself with, and put his skills and gifts to positive use. Bret's story could focus on his struggles with survival, evading the law, meeting his new friends, cutting toxic people off and potentially seeking redemption or finding a cause to fight for within the societal hierarchy of the middle ages. Maybe it could help if he met and connected with a certain smart girl...

Elise (aka the "certain smart girl" lol):

Elise's love for books and knowledge could make her a brilliant scribe or scholar, valuable to a noble household. She could serve a noble family as a tutor, perhaps (maybe that could be how she meets Steph! If she were in a noble family)? She could also be a scholar residing in/working for a monestary... her studious, principled and introverted nature could lead to her finding a place in an academic or religious setting/community.

If not, she could be a healer's apprentice, contributing to the well-being of her community (training to become a doctor, basically. She'd like that, I think. She loves to help people!). She could be known in the group for her extensive knowledge on science, herbs and remedies, as well as her caring nature. Her role within the story and within the group could involve providing wisdom and counsel when needed, as well as acting as a mediator in disagreements. She'd likely have a really strong influence on everyone in the crew, actually. Not just Bret. I just mentioned her specifically in Bret's part because of their connection in the story proper.

Dylan:

Dylan could perhaps be reimagined as a skilled knight/soldier, a member of the royal guard or a nobleman's son, excelling in jousting and other martial arts. Due to his atleticism (plus his natural protectiveness!). And unlike Bret, I can easily see him as more of a "smart" person at his role, because in the actual story, he is seen as an intelligent person, and he gets good grades frequently despite all of his family drama and stuff. I think his intellect mixed with his athleticism would position him as a natural strategist and planner.

Despite his prowess, he still grapples with the same old home drama and expectations (could take the form of political intrigue, with his parents' divorce and his father's conflict potentially mirroring tensions between different factions or noble houses?), struggling to fit into the traditional chivalric mould, so to speak.

Alice:

Alice, in a medieval context, could be a witty and resourceful lady-in-waiting at a noblewoman's court, known for her clever retorts and sharp intellect. She might use her wit and charm to navigate the complex political intrigues of the court. Her character could navigate the intricate webs of medieval court intrigue, using her intelligence and wit to outmaneuver rival factions and gain influence. It may also lead to her feeling out of place, though... her not completely fitting into that "lady-in-waiting" role and all (or the prescribed societal norms and expectations for a young woman).

Her wit and sarcasm might also lead to her finding her place as a court jester or some kind of entertainer, amusing others with her sharp humor and quick thinking. She could use her humor to navigate the complexities of the medieval social hierarchy, which could all be a part of her finding her place in society.

I could go on... like I didn't even bring in any factors like race into this (Dylan is black, and Steph is half black... so they'd likely face additional challenges in a society where people of color were often marginalised and faced systemic barriers in terms of opportunities, social status, and acceptance. Dylan especially would be seen differently, despite his status. And even Stephanie who is in a relationship with someone who isn't biracial like her, would have to deal with societal scrutiny, potentially leading to social challenges for both her and Ben. Because in my mind, Ben would still be involved in the story lol). I don't think I want to get into little details like that, though.

That's all for now! Hope you enjoyed this.

#rickie-the-storyteller #writerblr #steph's crew #character asks

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rechenzentrum · 4 days

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Right now I'm listening to the "Hot Hits Deutschland" playlist in ascending order (#50-#1) and will be writing down my thoughts to every single hit. accompany me on this adventure . covering 50-40 here

#50: Nemo - The Code ... I do like the little ostinato in "this story is my tru u u u u uuuuuth" that's clearly an homage to Mozart's "Queen of the Night Aria" from the magic flute, and the orchestral blasts in the "Ooohh" parts juxtaposed to the pauses right after in the beginning. Listening back to it I realize I don't mind the instrumental in itself. It does feel like everyone who worked on this track specifically found it a good idea to have the passionate singing that sounds like a beginner actor auditioning for an emotionally loaded role that's household to pop music broken up by fast rapping parts that vaguely reference some form of hardship without explicitly naming it at all. The song works as a standalone single only by showcasing what awaits you on the rest of the album, except that there is no album but rather a Felix Jaehn Remix and an orchestral version of it. A short pivot onto the artist's spotify page reveals that their discography of the past 4-5 years consists exclusively of singles. Hailey is a much more appealing song than The Code thanks to its groovy and fun bouncy drums arrangement and the tasteful play of pronunciations. Ultimately The Code is a high energy song fit to underscore your comeback after a life of listening to prime time radio hits and feeling adventurous. Do note the synth that matches the singing, it's cute! 3/10

#49: Taylor Swift - Fortnight ... She understood the mantra "why do more when you could do less and still achieve the same results?" and attacked the wide open niche of a target group of people who only pay attention to buzz words that are her fans. She has understood long ago that if you keep a couple core elements in your projects you can safely remove all the little things and details that make a song interesting rather than make an effort to pull in new fans who may have higher standards. I've honestly heard much better stuff from both Taylor and Post Malone respectively. 1/10

#48: Tommy Richman - MILLION DOLLAR BABY ... Oh this one I immediately found a liking to. Listen to this, I only wish they had brough in some more sections and variety into this, but at least this track knows what it is and what it's trying to do. 8/10

#46: Sabrina Carpenter - Espresso ... Nice hook, nice groove, nice synth solo, nice details, nice structure, it got me moving, sound of the summer, clearly emulating Dua Lipa. 5/10

#45: Djo - End of Beginning ... I should really listen to Beach House again. Oh but that part toward the end was cool! 3/10

#44: Post Malone ft. Morgan Wallen - I had some Help ... He has really leaned into that pop-country stuff since the last time I listened to anything of Post's. It's mostly the guitar melodies that make me think of Nickelback, but overall I don't have many thoughts for this track. 2/10

#43: Floyymenor, Cris Mj - Gata Only ... A standard dembow rhythm based latin summer track with especially noticeable robot voice and a moody dark reverb, not only on the vocals but also the synth that sets the tone for the entirety of the song. I can really appreciate that even though this track is the one most lacking in instruments, it makes up for that with its longer playtime, standing out among the rest of the hits yet

#42: Peter Fox, reezy - Toast 🍸 ... Good track that plays in the club at the more somber hour of a warm night that's meant to celebrate the friends we've made that are here to enjoy one another's company. It only gets good at the bridge, otherwise the intro is rather rocky with poorly wedged anglicizations, along with the rapped verse in the middle and the key both are played in. The use of emoji in the title is new to me. I'm not against it, but I can't defend its use here since it feels, for a lack of better words, uncalculated. 3/10

#41: Lay Bankz - Tell Ur Girlfriend ... Concise, its chorus really shines through. 7/10

#40: Beyonce - TEXAS HOLD 'EM ... Fun! Got nothing to criticize here really. The last part was reallllyyy good and refreshing. 8/10

That's it for now! maybe more later)

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singlesablog · 8 months

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The New Wave

“Rock with You” (1979) Michael Jackson Epic Records (Written by Rod Temperton) Highest U.S. Billboard Chart Position – No.1

Before I begin this entry a few disclaimers (in the style of the wonderful Andrew Hickey, creator of the absurdly great podcast The History of Rock and Roll in 500 Songs, which I wholeheartedly recommend), there has been so much press, and bad press, about Michael Jackson since his death that it should be acknowledged. Much of the bad news is the accusation that he was a constant, and serial, sexual abuser of young boys. The jury will forever be out on these accusations based solely on his influence and power, which have grown steadily since his death in in 2009. His estate is vastly wealthy, and continues to grow. It does not surprise me that he was disturbed considering the amount of child abuse he suffered, or that the truth was heavily twisted by him (just watching him in old footage deny his physical alterations, plain for the eyes to see, is evidence enough that he was severely distorted in his relationship to truthfulness). However, I cannot deny how powerful and productive his artistry was and is, and his influence is undeniable. His role as a conduit for other artists alone is wildly impressive. He was one of the greatest innovators in many ways. I believe he was in a lot of pain, and perhaps he caused a lot of pain by displacing that. But his musical influence, which is the reason for this entry, is my absolute focus.

I understand that this set of posts have been under the title of The New Wave, which would lead one to associate all entries to New wave music, and in way, they do. And yet stylistically, what exactly is New wave? It is technically a catch-all phrase, a term for the many, many styles emerging post Punk. A big factor for my purposes is the era; here, 1979/1980. All of these records represent a shift forward in musical styles and tastes, and if not (or if you disagree), they did that for me. Perhaps they were just the cleverest and most sophisticated pop songs happening. Although this track is certainly disco, that dirtiest of words, “Rock with You” was one of those musical shifts forward.

It opens with a drum fill— a solid rat-a-tat-a-tat that is an absolute hook to the song, and more wonderful in that it doesn’t appear again. Drum fill to flute sounds, what could be better? Then strings, a chorus of heavenly voices, and a beautiful, perfect vocal. Danceable but midtempo, it is maybe one of the most approachable, perfect radio hits ever. When I first heard it, I felt my teenage life change; it must have been what the Beatles were like in the 60s, just like that drug of newness. It was a song that felt like it belonged entirely to its year and era, but was singular. I rocked and rocked and rocked (the dance move that accompanied the hit). I bought my first album ever in Off the Wall, and played the grooves off of it. But perhaps the real secret to the song was its composer: Rod Temperton.

By all accounts the British-born Rod Temperton was the most modest of supreme talents as a songwriter (he is described as quiet and unassuming); not only did he write “Rock with You”, he arranged it in minute detail (including vocal and rhythm arrangements) just as he had as a bandmember for all of the big hits in the disco funk 70s band Heatwave (“Boogie Nights”, the ballad “Always and Forever”, and the exultant “The Groove Line”). He was an expert songwriter and arranger, and his ability to mainstream soul records was not missed by Quincy Jones, who snapped him up to write new songs for Michael’s record (he also wrote the title track “Off the Wall”, and later the title track for “Thriller”).

Of all of the songs in Jackson’s catalogue, none float over the airwaves as effortlessly. Like the drum fill open, Michael’s first line (“Girl, close your eyes, let the rhythm get in to you”) is masterful: sexy and inviting, a soul record. The song itself is forged in disco, 4/4 time. It invites you to the dance. The bridge of the record is a flute solo, with mellow velvet voices as a cushion, an Adult Contemporary record (think Carpenters). So, in this one song, a sweet romance about coming to the dance, you have a perfect fusion of what in many previous eras the parts of which would have segregated to its own chart, own region, own audience. The magic of the single was that it existed at all, because Michael was the perfect performer to truly bridge these gaps. It was overt, it was executed to perfection, and it was designed to top the charts, and it did, for 4 weeks. And it made my teenage heart burst with joy every time it came on the radio.

The list of musicians on any Jackson record is surely going to be a who’s who: among them Quincy Jones as producer, whose long career was uncanny (or well, extremely canny for winnowing talents), Greg Phillinganes on synths (a prolific career), and John Robinson on drums, to name a few. Robinson, the architect of that famous drum open for “Rock with You”, was so revered as a session musician that his Wikipedia page is dizzying. He appears to have been on every pop single ever post-Michael (Steve Winwood’s “Higher Love” notably has his drums on it). He was famous for perfect technique, and a sure steady hand. I had never really ever considered just how much I love the drum opening for “Rock with You” until now, and that without the drums that begin the song, well, I am not sure my heart would have beat quite as fast.

Coming to the end of this post it is apparent how hilariously un New wave “Rock with You” is. It is not post anything, but obversely it was the full flower of 1979, the apotheosis of 70s pop and disco, and possibly a harbinger of the excesses in studio production that the 80s would bring to recordings, not least in Jackson himself trying to top Off the Wall. If that record sold an astounding 20 million copies, Pink Floyd’s The Wall would sell 33 million in the same year. Michael Jackson would have to do something about that.

Rod Temperton passed away in 2016; John Robinson, Greg Phillinganes, and Quincy Jones are still with us.

#disco #1979 #music history #new wave music #michael jackson #quincy jones #rod temperton

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thesinglesjukebox · 26 days

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HOZIER - "TOO SWEET"

youtube

I believe when that happens you can add something acidic to the dish to balance it out (lemon juice, vinegar, blurbs, etc.)...

[5.15]

Hannah Jocelyn: “Feel It Still” once more, with less feeling! [5]

Leah Isobel: This is not sexy! This is the audio equivalent of that one twig-looking Tumblr daddy dom wearing his uncle's work shirt! This is the most desperate balding guy at the bar hitting on you! He's never taken a sip of straight whiskey without grimacing and his hair grows out in patches! He listens to that first Fleet Foxes record alone in his apartment and cries because he never made it as a cool Brooklyn folkie when that was a viable career path! Get a real job! [2]

Alfred Soto: I have never wanted to smell like a bonfire -- that shit just happens if you're in the woods and the rules allow you to make one -- so I don't know what this purring panderer is on about other than using verbal aikido on his lover. On the other hand, the bass line grooves. That this stew topped the American chart says something about novelty. [5]

Joshua Minsoo Kim: Far too confident in its bassline. It's high in the mix and clearly meant to carry the song, but it's just kind of ugly? At first it's manageable: the arrangement quietly blossoms so that every instrument hangs off it like a flower on a branch. And then it becomes too much: we move from one passage to the next with little care for dynamics, as if all that matters is the dun dun dun, dun dun dun. [3]

Mark Sinker: Pretty grumpy the currently active TayTay energy field is requiring me to pay greater attention than normal to the words in a song (any attention at all): “You treat your mouth as if it’s Heaven’s Gate / The rest of you like you’re the TSA!” Old-times Hozier leant instead into a bunch of the most over-known jazz cuts as a signal-shortcut; better by far to be invoking weirdo space death-cults and oppressive govt security agencies to make yr little point -- you’re hot for a rules-loving gal! proud outlaw that you utterly are! “You can sit in a barrel!’ And OK, the serenely self-absorbed clumsiness is actually the same thing either time, his narcistic unawareness the whole of this vocal, but at least this couplet has the free pass of inadvertent opacity. The Hale-Bopp don’t stop! [4]

Taylor Alatorre: Who wrote these lyrics, the Women's Christian Temperance Union circa 1905? Back then, the narrator of "Too Sweet" would've been a cautionary poster child for the domestic discord caused by excessive drink. But we're in a post-21st Amendment world now, and the more pressing social ill at hand... is that my girl doesn't want to party all the time. It's such a ridiculous premise that it has an unlikely liberatory effect, freeing Hozier from his endemic dourness and letting him play as the lovable asshole, whose assholishness is thankfully of the low-stakes, take-it-or-leave-it kind. The mandatory blues-rock inflections are smoothed out to the point of being rubberized, a snub to purism that proves a suitable match for Hozier's role as the all-too-tamable sort of danger. None of this negates the song's fundamental slightness, but the clever-stupid "TSA" line indicates that slightness might have been what he was aiming for anyway. [6]

Ian Mathers: I mean, obviously it's both fine on its own (if not particularly spectacular) and also weird that this and not "Take Me to Church" is his first #1, but I'm sorry, I just can't get over there being a hit song that finally speaks proudly for those of us that have trouble falling asleep at a so-called "civilized" hour (although honestly even 3 is a bit early, if I really had my druthers). [6]

Harlan Talib Ockey: To be a Hozier fan is to know pain. One set of bonus tracks better than their parent album is a shame. Two is a migraine. Three starts to feel like sabotage, on some level. Is he or his label so averse to rockin’ out that his most interesting, guitar-heavy tracks are almost always relegated to B-sides? Justice for “In the Woods Somewhere”. Whither “Jackboot Jump”, which never even got a studio recording? “Too Sweet” may not have Hozier’s most intricate lyrical storytelling, but it does have a clear narrative, a strong vocal performance, and an infectious bassline. And I feel vindicated seeing one of his lost rock songs succeed, which is the important part. [7]

Nortey Dowuona: Producer Bekon cannot be stopped. He has summoned the power of Sergiu Gherman (Garden (Say It Like Dat)), Peter Gonzales ("Leave") and Chakra, ("Bali"). Now he has notched a number one hit. Bekon is unstoppable right now. Stop playing with his name. [10]

Daniel Monteshenko: "Hell yeah, another smash hit!" - people making playlists for second-rate denim emporiums [3]

Isabel Cole: Is it really so crazy to posit that a song about an unrepentant appreciation for the earthy side of earthly existence should, I don’t know, fuck a little? What’s even the point of a paean to late nights that would slot seamlessly into any coffee shop’s opening hours playlist? Where’s the hunger in this ode to appetites? Where's the life in the call to live? And what in god’s name is that TSA line supposed to mean? I mean, I know, it’s connoting constant vigilance about what’s allowed to enter, but the phrasing calls to mind someone who insists on doing a pat-down before sex. Similarly, the grape line that appears in the final verse suggests that the titular “too sweet” is supposed to convey a certain untouched freshness, or a lack of life experience, but placing it in the chorus right after a line about black coffee sets up an implied contrast that makes the metaphor feel like it’s breaking, because, like, be serious: we all know the my-body-is-a-temple crowd has been off sugar for years. [4]

Katherine St. Asaph: I said last month that this sounded like a Danger Mouse take on "Be My Baby," and I stand by that! You don't have to believe a word of this song to recognize the appeal in that. [6]

Jacob Sujin Kuppermann: Hozier back to doing what he does best: making songs designed to soundtrack fancams of fictional vampires. [6]

[Read, comment and vote on The Singles Jukebox]

#hozier #music #music writing #music reviews #music criticism #the singles jukebox #Youtube

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homomenhommes · 7 months

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THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more …

1885 – The first reported court case under the 1879 Pennsylvania fellatio statute results in a conviction being overturned and a new trial ordered to determine if the "victim" was actually an accomplice.

1900 – Karin Boye (d.1941) was born into an upper-middle-class in Gothenburg, Sweden. In 1909 her family relocated to Stockholm, where she grew up and studied at the city's university college. Further studies followed at Uppsala University, where she graduated in 1928. Her professional activities consisted mainly of teaching, since writing alone could never fully sustain her.

In 1931 Boye, together with Erik Mesterton and Josef Riwkin, founded the poetry magazine Spektrum, introducing T. S. Eliot and the Surrealists to Swedish readers. Together with the critic Erik Mesterton, she translated Eliot's "The Waste Land". She was largely responsible for translating the work of T. S. Eliot into Swedish.

In 1929 she married Leif Björk but they were divorced in 1934. But Boye's life partner was Margot Hanel, a German Jewess. They met in Berlin in 1932 and lived together as a couple in Stockholm. In her novel Kris she openly described lesbian love.

In 1941 Boye committed suicide in Alingsås, due to circustances that are not alttogether clear. Shortly thereafter Hanel also killed herself.

1953 – Keith Strickland, born in Athens, Georgia, is an American multi-instrumentalist, composer, and one of the founding members of the all-gay The B-52s. Originally the band's drummer, Strickland switched to guitar after the death of guitarist Ricky Wilson in 1985.

Strickland also plays keyboards and bass guitar on many of The B-52s recordings, and has occasionally provided backing vocals. Strickland composes the music for The B-52s. "Ricky and I used to write the music together, but now I write the individual instrument parts and arrange the instrumental compositions myself. I'm trying to convey a feeling when I compose," Strickland explains. "I think of my instrumentals as soundscapes - the chord progressions, rhythms, harmonics and musical direction are used to evoke various sonic atmospheres or moods."

Strickland announced that he was homosexual in 1992.

He has said: "Does it really matter if people come out in rock ‘n’ roll? Do people really care? When Melissa Etheridge came out, her next album went through the roof! I think it’s just a good thing to do for your self. I came out publicly, in the press, for myself. Prior to that, I’d never been asked in the press if I was gay or not but I wanted to put it out there, just for myself."

1971 – Born: American actor, writer and singer Anthony Rapp. Born in Joliet, Illinois, as Anthony Dean Rapp, his brother is the playwright Adam Rapp. He's best known for originating the role of Mark Cohen in the Broadway production of Rent in 1996 and later for reprising the role in the film version and The Broadway Tour of Rent in 2009. He also performed the role of Charlie Brown in the 1999 Broadway revival of You're A Good Man, Charlie Brown.

Rapp, a self-identified "queer," is an advocate in show business for LGBT rights, having first come out as Bisexual at the age of 18 to his mother over the phone. In 2006, Rapp released a memoir about his days in Rent, as well as his mother's struggle with cancer and his experiences growing up, entitled Without You: A Memoir of Love, Loss, and the Musical Rent. The memoir was made into a stage production

In 2012, the periodical, Metro Weekly, referred to Rapp as "one of the first openly gay men on Broadway". During a 1997 interview with Oasis Magazine, the actor explained his sexual identity as "queer" rather than "gay": "I don't want to get into labels, but I've never labeled myself except to say I'm queer. The thing that's been most important to me to be out about is that I have been in loving relationships with men…I haven't said 'I am gay.' Because the truth is that I've also been in love with women, although the truth is I do think I'm primarily homosexual…"

He is currently starring as half of a gay couple on Star Trek: Discovery. He is the first openly gay character in a Star Trek series, and the showrunners "wanted to roll out that character's sexuality the way people would roll out their sexuality in life." Rapp noted that Hikaru Sulu was portrayed as gay in the film Star Trek Beyond, calling that "a nice nod. But in this case, we actually get to see me with my partner in conversation, in our living quarters, you get to see our relationship over time, treated as any other relationship would be treated"

In October 2017, Rapp alleged in an interview with BuzzFeed that actor Kevin Spacey made a sexual advance toward him in 1986, when Rapp was 14 years old, and Spacey was 26. Rapp added that he once met with a lawyer to discuss possible legal action, but was told there was no case worth pursuing. In response, Spacey said he did not remember the encounter, given the incident allegedly occurred 31 years ago, but nevertheless said that he was "beyond horrified to hear his story" and offered Rapp the "sincerest apology for what would have been deeply inappropriate drunken behavior."

1990 – A U.S. Army colonel was discharged and sentenced to 90 days in Leavenworth for appearing in drag at an AIDS benefit and kissing another man.

1992 – Portland, Oregon, police chief Tom Potter testified before a state senate committee, saying many victims of anti-gay assaults do not report the crimes because of fear that their identities will be made public.

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