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narniaandplowmen · 4 years

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to say the truth (or lose his love)

Fandom: The Witcher Pairing: Geralt/Jaskier Also on AO3 2898 words.

Part 1 of the to say the truth (or lose his love) series

General Audiences / No Archive Warnings Apply Complete

In order to fulfil his contract, Geralt has to either kiss his true love, or find the Faery Queen's lost son. He assumes the latter will be easiest.

Jaskier had been feeling antsy for almost the entire day now. He didn't exactly know when it started, but as he looked at the apple Geralt had handed him in lieu of lunch, he suddenly realised that his insides were shaking and he was not at all hungry.

“There's a town three hours north.” Geralt announced as Jaskier was contemplating the implications of his ever-growing anxiety.

"Ah! Lovely! An actual bed to sleep in tonight!” He tried to measure his voice, but he knew Geralt could hear the artificiality of it. He had never been a very good actor.

“Hm.”

As they travelled in uncharacteristic silence, Jaskier's antsy feelings only grew and grew. Instead of becoming louder, as he usually did when he was nervous, he turned almost as quiet as the stoic Witcher himself.

“You okay bard?”

“What? Oh! Just looking at these beautiful trees, and all those-” Jaskier’s voice broke as he suddenly realised that alongside the path grew "buttercups." Fuck.

“You sure you're okay?”

“I'm sure!" Jaskier was sure he was not okay, and he did not know who he was trying to get to believe otherwise.

~ ~ ~ ~ ~

“Fae.” Geralt grumbled before the bard could even ask what the new contract was. "Been stealing the grain. Poisoning the cattle. The mayor's wife is about to give birth, they're fearing a changeling.”

“Aha.” Jaskier just replied. “Are you waiting till tomorrow?”

“Sun’s still up for another few hours. Might as well try to find them now.”

“Yes. Right. Well. I'll just. Wait here for you to come back. Don't step in any circles, okay?”

And off the bard went, waving his lute questioningly at the innkeeper. Geralt rose an eyebrow, surprised that Jaskier hadn't insisted on coming along, as he usually did. Not that he minded. When the little town's mayor had told him about the village’s problems, Geralt had dreaded the prospect convincing Jaskier to stay behind almost as much as he was dreading fulfilling the contract. Not that he was going to complain, dealing with those damned Fae would be enough of a bother without the ever-blabbering Jaskier digging himself into holes he would not be able to climb out of. Still, weird. The sharp smell of anxiety hadn’t left the bard since early that morning, and Geralt made a mental note to keep a closer eye on him. Just to make sure he stayed okay. Not because they were friends , but, well, Geralt couldn’t imagine that an anxious bard could earn a lot of coin. And winter was coming up, and Geralt wasn’t so heartless as to leave Jaskier for the winter without any sort of security that the man would be okay. Not that he spent his time in Kaer Morhen worrying about the bard. No, they weren’t even friends.

~ ~ ~ ~ ~

The Fae were not hard to find. Geralt had stumbled upon the first circle less than half an hour after leaving the village, meaning they had been living there for longer than the mayor had insinuated. Which also, Geralt realised, meant it would be more difficult to make them leave. He grunted and grabbed one of the sugar cubes he usually reserved for Roach, tossing it into the grass in the middle of the circle of blooming dandelions. A voice like the softest bells immediately replied.

“Witcher! Our Queen has been expecting you!”

Their Queen. That explained the proximity to the village. If the Court was big enough that it was ruled by a Queen rather than a Lady, it was properly able to defend itself against angry, overconfident villagers.

“What an honour,” Geralt grunted sarcastically.

“She's straight ahead,” the little fairy, a tiny green thing, pointed. “Take a right at the Oak, she's waiting near the buttercups.”

The creature said the final word as if they were supposed to mean something to him. He supposed they did. The bard's clothes always had a buttercup pattern. Not that he had been staring at the bard, no. He had just noticed it whilst repairing one of Jaskier's doubles. Just to stop his whining, not because he cared. He was just a nuisance, making his life more difficult every step of the way.

Ignoring the fairy's pointed look and carefully manoeuvring around the circle, Geralt made his way to the promised Queen.

~ ~ ~ ~ ~

“You're back early! I don't suppose the Fae were incredibly forthcoming and ready to move immediately?” There almost seemed to be hope in the bard's voice.

“No.” He sighed. “They want payment.”

“Of course they do. And surely they weren't as forthcoming as to actually tell you what they want?”

“They were.”

“Wait what?” the surprise in Jaskier's voice was genuine. “Since when does m- a Fae Queen clearly state what she wants? That makes it suspiciously easy.”

“How did you know there was a Queen?”

“What did she want? Honey? Fish? Coin?" Jaskier pointedly ignored the question.

“True love's kiss.”

“What.” Geralt almost wished he could have a painting made of the stunned look on the bard’s face. Just because it looked so funny, not because it made the bright blue eyes stand out gorgeously, not because it emphasised the beautiful curve of the young man’s eyebrows, not because- Geralt quickly shook his head.

“She wants me to kiss my true love. Or, alternatively, she wants me to deliver her son home.”

“Ah. So. Great, I'll- I'll go get my stuff. Leave you to- to find Yennefer.”

“Why would I try to find Yennefer?”

“You just said 'true love'?”

The Witcher rolled his eyes. “Yennefer is not my true anything. Now, did you see any suspicious adult men here during your performance?”

“Did I what now?”

Geralt started humming.

“Geralt! Are you singing?! And not even one of my songs?”

“Sh! I’m trying to remember...” And, to Jaskier’s flabbergasted surprise, the Witcher started to softly sing.

“Twenty years he’s come and gone, in winters lies he here.

But now, my child, the time is come, for him he holds so dear

to say the truth, or lose his love, the lute will let you see

my son, at last, should travel home with him he loves or me,

to him he loves or me. ”

Jaskier stared at him, eyes and mouth wide open. “You can sing.”

“That’s not the point, Jask-”

“You. Can. Sing!” The bard now truly sounded offended. “And you say that’s not the point? Geralt, How many times have I tried to get you to sing along with my songs? My ballads? And not even just in public! You refused to sing when we were sitting next to a campfire gods knows where-”

“Jaskier!”

“I have to say Geralt, if I knew it took a meeting with m- with a Fae to get you to sing I would have-”

“Your lute,” Geralt interrupted. “The lute should reveal the fairy prince. Did you see anyone strange whilst I was gone?”

“You can sing.”

“Anyone in the audience? Jaskier, please.”

“Nobody in the audience looked out of the ordinary, Geralt. And I doubt that the fairy prince would calmly stop to listen to music so near to his mother’s court.”

“The Queen said that she knew her son was in the village. We have to ask around, see if anyone here disappears during winters. That must be something people notice.”

“You’d be surprised,” Jaskier laughed, and Geralt couldn’t help but detect a bit of bitterness in the bard’s voice. “But if you’re so insistent, I’ve been asked to perform again when everyone has put their children to bed. So you can sit there and endlessly wait till your medallion starts vibrating or whatever, but I am pretty sure it won’t. There will be no fairy princes in the audience tonight.”

~ ~ ~ ~ ~

There were no fairy princes in the audience that night. Instead of staying hidden in the shadows, Geralt had wandered through the inn during Jaskier’s performance, carefully observing the guests. He had spoken with the innkeeper, the mayor, a few women who were all too willing to gossip about the ins and outs of everyone in the village, but he had heard nothing that could help. He kept thinking about the words the Queen had sung. The time had come for someone to say the truth? Who? The person the prince held dear? The prince himself? And why would the prince lose that person if the truth wasn’t spoken? He stared blankly as Jaskier carefully wiped the lute down, inspecting it for any potential damages. The lute will let you see.

“Jaskier.”

“Oh, are you done brooding?”

“I need to borrow your lute.”

“Wait, are you telling me you cannot only sing, but also play? Twenty years we have been travelling together, twenty long years and-”

“Not to play. To see.”

“Listen Geralt, if you don’t know the difference between glasses and an instrument I don’t know what to-”

“The song, Jaskier. It says the lute will let me see the prince, so maybe I have to hold the lute.”

The bard looked at him doubtfully.

“I won’t let any harm befall it. I know how important it is for you, Jaskier. I promise I won’t damage it. I will protect it like- Like I protect Roach.”

“Fine. But if you-”

“If something happens to it, I will do everything in my power to repair or replace it. I swear.”

“Good.” Jaskier bit his lip. “And make sure you return it before dinner. This is a well-paying crowd.”

~ ~ ~ ~ ~

Geralt felt like a fool, wandering through the village holding Jaskier’s lute. It didn’t help that the lute wasn’t helping. Nothing seemed out of the ordinary, nobody knew of anyone disappearing during winters, and, as far as he could track, there were no secret lovers either. So he did the only thing he could think of, and, lute in hand, walked back into the forest.

This time it took even less to find the fairy Queen. She seemed to be waiting for him, unsurprised that he came alone.

“You brought the lute.”

Geralt nodded. “I am sorry, your highness, but I have been unable to find your son. If you could but tell me how he looks li-”

“Give it to me.”

“What?”

“The lute. Give it to me.”

“It is not mine to give.”

The Queen smiled and waved her hand. “Don’t worry, Witcher, I know how much it means to the one it belongs to. He will get it back.” Geralt just looked at her. “He will get it back, whole, undamaged, in the exact state as it is now, before sunset.” the Queen specified. “I mean no harm to your bard.”

“He’s not my-”

“The lute, Witcher.”

Geralt sighed and, carefully not to enter the circle, handed the lute to the brown-haired lady.

~ ~ ~ ~ ~

She did not break it. She did not enchant it, or cut its strings, or anything else. Instead, she played. One of Jaskier’s songs, Geralt recognised it. Not that he listened to the bard when he played, he tried to tune it out most of the time, but it wasn’t like he was completely able to avoid hearing the endless stream of music that joined him every place he went. After that song was done she played another, and another, and another. All of them written by Jaskier. She did not sing, though some of her servants would hum the occasional line or dance along.

It was getting late when Geralt spoke again. “You are a talented player, Lady, but I promised I would return this instrument to its owner before dinnertime. I could fetch you another lute from the village, if you want?” He knew from experience that even slightly antagonising a Fae court would make his task of getting them to leave exponentially more difficult.

“Ah, no, I think I like this lute better. It carries memories, you know,” she replied, continuing to play. Geralt was surprised at how suspiciously amiable this entire contract had gone. Any other Fae would have deviously tried to trick him by now, or forcibly dragged him into the circle. “Besides, the lute is not yours. I will return it to him who owns it.”

Fuck.

“You want me to fetch Jaskier.”

“Oh, there is no need for that. He is already on his way. He is pretty pissed, Witcher.”

~ ~ ~ ~ ~

The moment the words left the Queen’s mouth, Geralt heard the distant footsteps of the bard. He indeed sounded angry, but, as Jaskier came closer, Geralt noticed he smelled more of fear than of fury. Geralt frowned. Jaskier was never afraid. Sure, he would be scared of husbands he cuckolded, or the monsters Geralt fought, but never scared like this.

“What the fuck, Geralt. I lend you my lute, you promised you would keep it safe, and you hand it over to someone else? A Fae Queen? Are you mad? Are you short of a few marbles? A few thousand marbles, perhaps?”

“Hello, Julian.” The Queen said, before Geralt could say anything in defence of his actions. “You know I won’t ever let any harm come to your instrument.”

“I know m- I know. But he didn’t!”

“I promised him I would not harm the instrument, and I promised that you would have it back by sunset. He had no reason not to give the lute to me.”

“He still should not have. Give it back.”

“Come and get it.”

“Why now? Why like this?”

“It’s been twenty years, Julian. It’s time. And since you refuse to do it, I am forcing your hand. He has to know. You’re being unfair to him by keeping silent. He will discover someday, anyway. You have to make a choice, either reveal it now, voluntarily, or I will force you.”

“Fine.” And before Geralt could say anything, before he could step forward, grab Jaskier and drag him away, Jaskier stepped headfirst into the fairy circle and grabbed his lute from the Queen's outstretched hand.

~ ~ ~ ~ ~

He didn’t die. Or faint. Or grow old rapidly. Jaskier just stood there, next to the Fae Queen, cradling his lute, and nothing changed. Geralt blinked. That was not true. Something did change. He became a little taller. His ears were a little bit more pointy. His smile a little wider, and everything about him became more regal than any king Geralt had ever seen.

“What. The. Fuck, Jaskier.”

“Geralt,” the bard said, with a mocking bow, “meet my mum. Mum, Geralt. Though you already knew that.” He stepped out of the circle, still firmly clutching his lute, and Jaskier became, well, Jaskier again. Not that he had ever not been Jaskier, but still.

Geralt just stared.

“I am sorry Geralt, I wanted to tell you, I really did, but I didn’t know you, and then Filavandrel gave me this lute, and- and I just sort of started following you, and- You never even admitted I was your friend! The only time we ever talked about Fae you just told me you thought all of them were cheating bastards!” Geralt winced. “Yennefer never told you? I am sure she knew. And- I mean, I never aged! We have been travelling for two decades and I still look as young as when we first met! Do you mean to tell me you never noticed?”

“I thought- Your salves and-”

“Those can’t completely stop someone from ageing! I-” Jaskier’s voice suddenly went from exasperated to really quiet. “I’m sorry. I’ll go grab my stuff from the inn. Don’t worry, I’ll make sure no Fae will ever harm you. I- I’ll see you in a bit, mum.” And with those words, Jaskier turned away and left.

~ ~ ~ ~ ~

“He did want to tell you, you know.” The Queen’s voice sounded from behind him. “He was just afraid of losing you. I hoped this would give you two a push in the right direction, but it seemed like I was wrong.”

“Jaskier’s a faery?”

“Jaskier is my son. He is High Prince of the Summer Court, and will inherit my throne in a couple of centuries.”

“Centuries? He is immortal?”

“As long as he doesn’t get himself into too much trouble, yes, he is.”

“Jaskier’s immortal. He won’t die.” Geralt stared in the direction the bard had disappeared in as his brain and heart rapidly embraced feelings had refused to acknowledge for the past twenty years.

“He has lived for over six hundred years, and he will live at least another ten times that.”

Geralt ran.

~ ~ ~ ~ ~

By the time he arrived at the inn, Jaskier had already packed his belongings and was saying goodbye to Roach. “Jaskier!”

“I’m sorry Geralt.”

“I love you.”

There was a loud twang as Jaskier’s prized lute hit the ground.

“I love you. And I didn’t tell you, and I didn’t tell myself, and- I thought you would die, Jaskier! I thought you would die, and leave me here, and it was easier just to pretend I didn’t like you than to admit it and see you grow old and leave-” Geralt’s words were cut off as the bard’s, his bard’s, lips hit his. The smell of flowers, the taste of honey, the soft touch of Jaskier’s hand on his cheek- It was beautiful and gorgeous and real.

“You don’t hate me? For keeping this secret so long?”

Geralt just shook his head and kissed.

~ ~ ~ ~ ~

The village’s cattle were safe, in the end. So was the harvest, and the mayor’s child, or any other baby born, for that matter. The Witcher had fulfilled his contract and received his coin, and by the time a young Oxenfurt graduate passed through the village singing a song of a white-haired Witcher and his Faery love, the people had long forgotten about their own encounter with the White Wolf of Rivia. It was not like they could know that every winter, Kaer Morhen bloomed wild with tiny, yellow flowers. Or that, every summer solstice, the Fae Queen’s celebrations were attended by a witcher. Or that, for many, many, many years to come, a humble bard and a friend to humanity, with rings on their fingers, would travel the Continent, never leaving the other’s side.

#jaskier #the witcher #geralt of rivia #geraskier #geraskier ff #the witcher ff #q #onceuponadisneyqueue #onceuponadisneypotter

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citoyenneangele · 4 years

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Les Mis in Bernese (Swiss Les Mis part 3)

The most interesting finding I had during my research at the library was a script of Les Mis in Bernese German (Bärndütsch), a Swiss German dialect, my native language kind of.

I found this extremely fascinating, to read a story that means so much to me, in particular a version of it that is very close to the original in many quotes, in my local language. It was without a doubt a very particular experience for me, enriching in many ways.

This script was written by Ueli Bichsel in the occasion of a open air theatre production in the Bernese old town in 2011.

Sadly it was pretty hard to find actual footage of the show after 9 years, since many of the things are no longer available on the internet after such a long time. This sadly also includes the photos that the theatre company uploaded.

Here is a partly reconstructed version of the website, that does include some aspects of it, like the introduction to the play and the cast, but sadly no photos :(

Here is one of the few pictures I found on the internet a few months ago, featuring probably Javert and Gavroche

youtube

here is a little exctact of the play featuring Valjean’s dispair, a fair in Montreuil, the Thenardiers, Cosette and the other 2 kids, possibly Fantine...

The way this video is arranged makes me suspect there would be a whole recording, to which I sadly don’t have access, but this video just focuses on the woman who plays the accordeon.

Besides that the only file I have access too is a a few scenes that were featured in a christian tv show which you can find here. It is a portrait of the woman who did the co-direction of the production. The portrait starts at about 5mins in. It features besides the portait of Nathalie Trachsel also some behind the scenes clips from the rehearsals, also some scenes from the actual play: Javert upon Valjean’s release, Valjean and the Bishop, Fantine dying, Javert confronting; then after a break The Amis shouting “to the barricades!” (in particular Combeferre, Feuilly, and Enjolras (the guy with the red cravat), them building the barricade, the first attack, Gavroche shooting the sergeant and Gavroche dying, Valjean releasing Javert.

Now let me tell you about the particularities of this play and its adaptional choices:

The language: as I already said, this is the first time I hear and read Les Mis in my native dialect. It is a very poetic form of it using many specific Bernese terms of vocabulary, that I would probably not use on everyday basis.

The script is specifically designed for the square in the old town where it was realised in 2011. Multiple references concerning the nearby streets are being made. Also the actual cathedral of Bern, giving the square its name, is being integrated, as the seat of the Bishop of Digne. I think they invested also some part of the introduction to the play by stating that all of this could also have happened right here, in these streets, which is a pretty powerful message.

The play includes multiple dreamlike sequences, that also explain multiple cast of Valjean. The first dream is kind of a nightmare that Valjean has during his first night after prison where he sleeps on the stone bench which resumes the ordeal he experienced since his conviction for stealing bread (featuring various Valjean-actors at different stages of his life). The next one is the one where everyone surrounds Fantine and wants money from her after her dismissal. Another dreamscene is the internal debate that Valjean experiences after learing about the “trial of the applethief”, where multiple actors represent the different voices in Valjean’s head (Madeleine’s self who doesn’t want to give up his freedom and doesn’t want to give his town up and do good there instead, even if this means breaking with the past, Fantine who insists that he has to save her daughter and thus can’t go in prison, the apple thief who doesn’t want to go to prison for life in his place, the Bishop who wants him to stay with the truth...). The last dreamscene is the near-death experience Marius has after the barricade which is very similar to the finale of the 2012 film which it predates, except that they are actually not singing the finale but the regular Do You Hear The People Sing in (standard) German.

Another particularity is the insert of Javert as some sort of narrator that comments basically the entire story from his point of view. This is particularly interesting because this Javert seems to me more omniscient than I expect actual Hugolian Javert to be. And since there is no story without a narrator, this play ends with Javert’s suicide.

Generally the book seems to have been an important source of information, many of the dialogues are directly taken from Hugo

The influence of the musical is there and reaches also to the point of the already anticipated inclusion of a song into the play. But there are some part of influences that also make me think of other versions, in particular some dialogue seems to be directly taken from 2000 Les Mis (conversation about the cause from Marius and Enjolras)

Marius is a Republican (and sadly partially rude to Gavroche)

Javert tries to hire Gavroche to spy on the Musain, and the latter takes the money, but later uses this against Javert

Gavroche kills the artillery sergeant and not Enjolras, and gets killed while rejoicing his success

preparation for the barricade is featured

In general I have to say that I enjoyed reading this very much as it was really a well done adaptation from how I can tell this. Very detailed.

I am gonna keep a copy of this script. So if you have questions or would have to see something more in detail, just ask ;)

Click on read more to see the detailed summary.

Before the actual script several interesting documents are included

So the very first page is a letter that the director wrote to one of the actors in the play (he plays Le Noir, a elderly revolutionary, who gets a few lines of one of the unnamed workers of the Faubourg that Hugo quotes). He makes an excuse that it took so long, but they had to edit some things because there were not enough male actors for all the roles, so they had to change a few male roles into female roles, and they are also considering where someone may take over multiple roles.

Then we have a list of all the roles with the respective actors who played them. Some roles are still open, and marked with a question mark, as this list was made before the rehearsals actually took place

Next up we have a plan of the rehearsals, with days and hours and everything... interestingly enough they took place at a location that I personally know, so that is very meaningful for me.

Then follows the actual script. The title is Les Misérables - fate, death and love. The translation is by Ueli Bichel, last edited by Marlise Oberli-Schoch, in 2010.

Prologue

Valjean enters from one of the side streads, is poorly clothed, unshaved, lies on a stone bench and sleeps.

Valjean has a nightmare. so there is a scene within the scene. Which explains the quantity of Valjeans that are employed. Like the Madeleine's self, they appear to the actual Valjean actor in the dreams. In this particular dream sequence Valjean is sentenced to 5 years galleys. While both Valjean and his sister Jeanne beg for mercy (because he tried to work but that was not enough to feed all 8 of them, and parents are dead and so on...) the judge has none of this because the LAW.

Valjean2 is sentenced to more prison and other... corrective measures

Valjean 3 and 4 are sentenced to more prison and other unhuman treatment. Javert appears and lets the prisoners to be chained together. They go away

Javert has a monologue about Valjean. Basically he knows that we will say that this sentence is inhuman and that arresting people like JVJ causes more misery since he is the breadwinner of his family etc. But the law is clear and shall not be questioned. He is not in the position to judge the law, and he is also not responsible for the existence of criminals. His duty is it to find out about crimes and to fight them and to deliver criminals to their rightful punishment. He also gives Valjean his passport and tells him what he has to do and what happens if he breaks is parole...and then Javert speaks to the public and talks about how Valjean cried after his first conviction, and how he now doesn't show any feelings anymore. Wonders what happened to his soul.

A woman called Delacroix wakes Valjean up and asks him what he is doing here, why he sleeps on a stone bench and why he is not going to a inn. He says he was rejected everywhere. She gives him a tip and indicates... the actual cathedral that is on that square in Bern where the theatre takes place.

Image/Act 1

Valjean knocks at the cathedral door. First Magloire with Baptistine, then the Bishop come out. While the women are scared the Bishop approaches Valjean without fear and calmly. greets him with a blessing. Valjean tells him who he is and that he has nowhere to stay, that they didn't let him in even in the prison and so on.... Bishop invites him. JVJ continues to talk about his yellow passport. and is surprised that he wants to take him in ... more conversation of this kind. Bishop says it is not his home, it is the home of jesus, that the door ask not how the one is called who comes in, that is asks if one has hunger or thirst.... Says Valjean come sfrom a place where lots of sad things exists, a place full of hatred and anger against the peple, you have the right to mercy. When you go from here with a benevolence, and thoughts of freedom, a penitent sinner and a peaceful man, then you are worth more than anyone of us. Lets him sleep there.[

Magloire has a panic attack because the silver is missing and what else terrible could have happened. The gendarmes bring the arrested Valjean back.The entire conversation about how the bishop exonerates Valjean, by saying he gave him the silver and why didn't he take the candlesticks... And tells him to become a honest man, that he no longer belongs to evil...Javert as narrator again comments the whole scenery and does not believe that Valjean can become a good person in such a short time. Because once a prisoner, always a prisoner.

almost to prove Javert's judgement the next scene is Petit Gervais, but with a girl called Odette, Valjean tears his ticket

Image/Act 2

there is some kind of fair with music and dancing and market, and all kinds of shows. Javert is there, Thenardier is in his inn, Mme T. is there too... Thenardier boasts about how he, sergeant Thenardier, saved a General in Waterloo with lots of overdramatic details People in the audience have mixed feelings about his narration. While someone is totally impressed, someone else has heard other things about this "ghoul". The Thenardiers have first names (Justin and Rose) They have a discussion about their newest visitor and how they can rip him off the best. Make some remarks about his job as a innkeeper that remind me distantly of Master of the house in the musical. Javert has a conversation with Mme T. about Cosette. Then a conversation about Javert, who is new in town. and once they know where he wants to go (the police prefecture) they suddenly ask lower prizes.

So apparently the Thenardiers are in the same place here as Javert, and thus probably also Fantine and Valjean..

Javert arrives at the police. there is a captain Bovet, who is currently ridiculously eating a sandwich and is not bothered by Javert's arrival until he says who he is, i.e. the new police inspector, and he keep telling him that he is not behaving the way he is supposed to according to the official instructions. He wants to see the mayor immediately. On the way, Javert has a conversation with Bovet about how much more clean it is here and how much less crimes there will be here than in Paris. Bovet says that is due to the glass manufacture that the life in Montreuil has never been better. He asks him if he wants to see it. He says, first the mayor. Whom does the factory belong to? To the mayor. He first worked as worker, but after the bankruptcy of the former owner he bought the entire factory six years ago. Javert thinks then it is even better if they first go and see the mayor, when he seems to be the driving force in this town. Bovet says, yes, but also that he is kinda extraordinary, eccentric, well very shy. He lives like an eremit, retired and alone. He even did not want to be elected, he had rejected to be mayor at first. The people think he is abit crazy, but Bovet thinks he is sympathetic and yet he has a bit of pity for him because he is so lonely. A very short, very formal visit at Madeleine's house, where for some reason a soldier is watching, and asking the mayor to come. The scene concludes with Javert-narrator wondering from where he knows this man, finds it weird that this man does not show any interest in the prefect of police (excuse me what are you now, Javert, prefect, inspector, officer? I have lost the overview in this play), wonders if he has something to hide, himself, his face, his voice, a movement, his language....

a woman called Ducret approaches Madeleine, and tells her about one of the girls at the factory, that she has not spoken to ehr yet, but everything indicates that she has a child. Madeleine asks if she is a whore. He only does not want that his workers are captured by moral disintegration. Ducret then suggests to dismiss her. Madeleine trust upon her judgement, and says in this case she shall give her 50 francs and send her away. Ducret has a conversation with Fantine which starts with innocent smalltalk and ends with her being dismissed.

basically Fantine is in a state of powerlessness and everyone wants money from her and threatens her. (The Thenardiers, the landlord the renter of furniture, the letter writer...) Fantine breaks down.

a woman called Françoise who offers haircuts, wigs and teeth, buys Fantine's hair.

Whores in front of the Thenardier's inn and apparently Mme T. is there too, singing (apparently not being a whore). and Javert and Bovet are there too, about how they are being more and more... Two guys called Rambone and Savioni are harassing Fantine who looks worse than the other whores, and Fantine defends herself tries to kick one of them in the eggs ^^ When Javert comes the men disappear...

Javert arrests Fantine and as a narrator he makes a comment in which he says very clearly what he thinks about her (I am not gonna repeat that here though), but basically she is very criminal and is treating good and honorful citizens of this town badly and this can not be tolerated. She breaks down and asks him for mercy because Cosette, you know, but of course Javert doesn't care. So she breaks down and coughs even more...

Madeleine intervenes, Fantine attacks Madeleine, who only wants Javert to release her, but Fantine thinks Madeleine is responsable for all her misery and spits at him. Madeleine says he know what happened, the men are at fault and should be punished, not she. But she insulted the mayor. But the mayor says that this is his business and not the justice's. The whole Javert-Valjean argument about Law and who has what competences Fantine is free. Madeleine wants to pay her debts and bring her daughter back and make that she can live a worthy life again. Fantine faints, and Valjean says to the soldiers to bring her to the hospital

Fauchelevent's incident with the cart. Involves various inhabitants of the town called Toutou, Zidane, Josephine, Fabienne, and Rahel Javert is there too, and in the end of the chapter he is sure that Madeleine has to be 24601

Fantine is deadly ill, Madeleine wants to bring Cosette before she dies

Javert demands to be dismissed, featuring detailed description by Javert on the points where he thought to have recognized Valjean (and reading this script in its entirety makes me realise mistakes that they didn't. For instance here he still stole from a boy (i.e. Petit Gervais and not Odette). Equally detailed description of the apple thief, and who recognized him as Valjean. Mention about the trial the next day. Madeleine says he can leave. Javert insists to be dismissed. Madeleine says, rather than dismissed he'd need to be promoted, he appreciates him as the dutifuly man of honor that he is. Javert has another monologue that how each time when he arrested someone and mercilessly judged him, he told himself "help me god that you will never stumble", And now he stumbled and needs to accuse himelf. It is about justice, the law asks for an example. Valjean just says we'll see.

dreamlike sequence. Features different actors that represent the different voices in Valjean's head.

Bishop: tells him to go his way. And stand to his identity, to lie would be very wrong, he promised to do no wrong anymore.

Apple thief: blames him for making him his substitute, the one who needs to suffer in his place

Madeleine's self: is relieved that Javert is no longer going after him. Valjean no longer exists. This was god's will. God wants me to do more good here, to be an example for others, everything else is destiny. And for that I need to stay the mayor who gives food to the ppor and makes that the orphans get good education. He shall break the candlesticks as he shall break with the past. He shall forget about the bishop. And also this apple thief is a criminal, he shall be in prison.

Fantine: asks when she will finally see Cosette, he owes her a lot for all the injustice she has suffered because of him. She doesn't think the apple thief wil be a better person but he will be an example for her child. He shall save Cosette who is suffering because she is mistreated by the Thenardiers

Valjean wakes up and tells Arnaud to leave for Arras.

Image/Act 3

again no trial scene, just a summary of a very angry Javert who wants to go after Valjean NOW, as he humiliated him

Fantine dying. Javert confronting Valjean and making respectless remarks to both Valjean and Fantine. Valjean in turn accuses Javert of having killed Fantine. Valjean attacks Javert with a chair so that he can pay his last respect to the dead Fantine. Then says to Javert that now he is at his command. Javert makes another extremely unnecessary stupid comment. Valjean approaches Javert and stretches out his hands, as Javert wands to bond them, he knocks Javert down and escapes

Valjean sees Cosette and wants to help her carry the bucket of water home to ther mother. Cosette says she has no mother, thinks she never had one, that she brought her and never picked her up again. Valjean asks if she lives alone. She says, almost, Monsieur and Madame are only beating her. Realizes she is Cosette, says he wants to stay in the inn for the night, she shall show her the way. They talk about the two other children, Popine and Zelma, who never have to work and have beautiful dolls, and always are allowed to play, while she has to work all day and is not allowed to play as the two other kids don't let her. Only sometimes she is allowed to play, when she is done. But she has nothing to play with. She once played with one of the dolls but then Madam beat her. But she has a small sabre of tin with which she dissects leaves and rainworms

Usual Thenardier-inn conversations, in particular the one about the missing bread, the lost money, that Valjean miraculously finds, Valjean buying the work she'd have to do, (socks), he buys her a doll in a nearby shop, the whole negotiation about Cosette, including Thenardier insisting to see a passport. Valjean saying he doesn't have any, it is not required here. If he takes Cosette with him they won't know his name or his address, they will break down all the bridges behind them . However he has the letter of Fantine. They leave quickly.

Here the Thenardiers don't go after him, they just regret that they didn't make more money

another Javert-narrator monologue, about the dangerous criminal that escaped him and that now also has an innocent girl in his hands. He searched with 36 men and 6 dogs but he is like disappeared from this world. He felt so bad wehn he told the police minister about this development. But the latter did not seem to be that interested, talked about social misery, about shortcomings in the health system. Told him about the beggars, the neglected, from the small criminals who kill another man for bread, about big criminals who in hordes rob reputable citizens, he shall not chase a phantom. But our dear Javert is obsessed with said phantom and doesn't want him to escape. He wants to follow his trace until he has him on (no, not under) the guillotine. He is coming to Paris, not for the miserables, for whom he does not care that much, but for Valjean!

Image/Act 4

Gavroche singing a song about Paris in the time text, yet missing

a coin falls on the square (no idea from where), an entire bunch of poor children and teenagers fight upon it. Gavroche, the most streetwise/smart/crafty of them takes it, and escapes, the other children behind him, he gets caught by Javert, the other children disappear Javert treats him badly and takes the money away from him. When he asks Gavroche for his name, he asks Javert back, but he doesn't seem to be interested in reavealing his identity. But then Gavroche tells him his name, because he told him that there are many like him. And he insists that he, gavroche is unique. So basically Javert recruits Gavroche to spy on the Café Musain "because there are things happening that are of big significance for the state and the city", and Gavroche says yes, because he gave him money. Javert wants to know who is there, what they speak about and what they intend to do.

The students and workers in the Café Musain discuss the situation and Javert spies on them. The people is agitated, one fears that there will be a revolution, a uprising of the miserables Grantaire (who is absent in an older version of the script) declares that he only wants to drink and forget about life, a stupid invention without purpose. Bahorel and Joly have a conversation about Bahorel's lover Feuilly talks about Roman Gods (apparently we now have a Jehan Feuilly or is that a Feuilly Prouvaire or whatever?) Grantaire has a monologue about what they consume in different cities, and harrasses the waitress. Courfeyrac doesn't want any kings anymore and does not like the charter, thinks she belongs to the fire. Enjolras comes in with Marius, presents the latter as a friend of his who want to join them. Marius is a republican and declares that he wants to fight for the republic with all his force, however he hopes it won't get that far that he'll need to give is life. But he prefers to do so rather than life under a tyran (suspicously similar to 2000 dialogue if you ask me) They sing the Marseillaise until Louison tells them to stop, because she does not want the police to shut down her pub. Yes, apparently she now is an innkeeper too.

Outside the café: chaingang. Valjean with Cosette watching. The conversation between the two that ends with Cosette saying "If one of them would cross my way, I think I would die... Dad, what are galleys?" Valjean wants to leave. Marius sees her and wants to follow her, but loses her in the crowd. Goes after Gavroche instead and handles him pretty rudely (Sorry Marius, but this is not how you do it). Basically he tells him to find an angel. Gavroche then is just like "but does this angel have white wings?" Marius instead gives him a detailed description of Cosette and her goldbrown hair and white dress, and how velvet her look is and how silky smooth her lips ar and everything...

They are back to the Musain Combeferre says all the workers have to swear that they go to the streets at the first alarm and fight Feuilly says he can be sure, they fight. But the students have to pave the way. We workers fight, and even if there are as many enemies, we'll fight Feuilly says they are 300 already (oukei, now I am really impressed) Bahorel is convinced that in 14 days they will be as strong as the government i.e. 25000 Bossuet declares he doesn't go to bed, he makes cartridges. Feuilly wants to fight. now. Enjolras says first they need to have weapons Courfeyrac insists that the soldiers do have weapons. Le Noir has the "either for the people or against the people speech" that is more or less an exact translation of the speech that one of the revolutionaries in the Faubourg has in the preparations chapter. Gavroche comes, announces Lamarque's death Combeferre: what? Lamarque? The courageous freedomfighter, our advocate? Now we have resist on our own! Away with the government! Feuilly: we overturn the government! To the barricades! Enjolras: it is about us! now its about everything! at his funeral - to the barricade!

Valjean and Cosette in the garden. They are considering to move again. Cosette: we are changing houses like we are changing names. Valjean is like "I know that must be weird for you, but one day you will understand". Valjean goes inside. Marius is with Cosette (Gavroche led him here, for money), lots of poetic blablabla, and <3<3<3, and you know, Marius shows her handkerchief and ask if it is hers, she says yes. In the end Valjean calls her. Says he keeps the handkerchief as a pledge

The "Thenardier Gang" (yes that is how they are called nowadays) sets out to rob Valjean's house. Eponine tries everything that they don't. In the end she succeeds.. Claquesous blames not only her but also the sight of 2 fighting sparrows and a black cat during the day. Cosette tells Marius they are leaving for England and probably won't come back. Cosette says Marius he should follow them, but Marius says he has no money. He says e won't come tomorrow, only the day after, and also he dies if she leaves. Marius says they have to renounce on each other for 1 day, but maybe they'll win life. Marius tells her the address. or more precisely he graves it into the wall, says he lives with Courfeyrac. when he is gone, Valjean decides they need to leave immediately, he has seen people that don't please him and Paris is bubbling, they have no choice...

Image/Act 5 (named the revolution)

So basically Lamarque's funeral has already happened. And many of the poor have paid him their last respects. Then the subversive slogans suddenly caused the troops of the king to attack people. People are kinda angry and meet up in front of the Musain. Courfeyrac finds a group of workers who come from the funeral, but luckily have not been among those who were attacked by the dragoons (ah, they are not called dragons, good to know :)), but are very angry, Courfeyrac tells them to go inside they can use people like them. Bossuet speaks with a worker from another group, who has a grazing shot in the arm, but doesn't care, they discuss about their weapons Feuilly asks a working woman what she wants. She says: to fight. Show them up there that they push back against that. Feuilly approves. Another worker has no weapon but would fight if he had one. Bossuet tells him he should provide himself one. Worker sets out to pillage a armorer. Everyone in the crowd shares rumors about what happened, and the Thenardier and Claquesous are awaiting happy times. And Babet also. Extraordinary mention to Combeferre declaring this is the best day of his life. They start building a barricade and undercover Javert has made his appearance.

Eponine tells Marius Cosette has left, apparently without leaving a sign. Marius is heartbroken and wants to die on the barricade at any cost. Which again upsets Eponine because she loves him

Inside Musain. Enjolras wants to know what is happening. Courfeyrac says the rumors are very contradictory and it is hard to tell what is truth and what is a lie. Lots of army, people is building barricades everywhere. Barricade is growing and more people are there. Gavroche comes over the barricade. Asks a worker who has the command. One who's called Enjolras. He wants to know if he is a general. Worker says no, the generals are on the other side. We are only brothers. Gavroche says Enjolras he wants to volunteer. Wants to send him to the ambulance. But Gavroche wants a gun. But Enjolras wants to arm first the men, then the women and only then the children. Gavroche leaves and comes back. Tells Courfeyrac and Enjolras there is a problem and draws their attention on Javert, and tells them how he offered him money to spy on them. For some reason he now knows his name. They arrest Javert and by binding him on the post at the entrance they want to show a warning to anyone who dares to betray them

they are awaiting the 1st attack Combeferre sees someone approaching. Enjolras says don't shoot, we know who it is. Bossuet says it's Gavroche. Gavroche wants his gun. who's there- french revolution. The whole Mabeuf thing except that they really present him as an ancient assemblyman who was "at the convent" (which is here not meant the place where nuns are, but the convention, which is apparently called convent in german for some reason). Javert gets another weird narrator-monologue where he denounces the stupidity of the students who throw their lives away and those of the workers because they always think you can change the world all of a sudden. And how they don't have a chance as badly equipped as they are against so many more well trained soldiers. That has to end badly. Either they die in the hail of bullets or "they are beheaded on the guillotine" (ok apparently this Javert has a guillotine obsession but doesn't know how such a thing works ) Javert goes back into the scenery where Joly reminds him that he will be next... The whole first attack plus Marius wants to blow the barricade up, and thus saves it, and asks for the leader, and Enjolras says its Marius. But all Marius wants is to be alone for a moment

Eponine dies and Marius discovers that Cosette still is in Paris

they sing and women bring food, they reprepare the weapons, basically drink with me mode I guess... Marius writes his letter to Cosette and asks Gavroche to bring it. Gavroche doesn't want to miss the next attack and thinks he shall wait... Marius insists that he has to leave now, that they won't attack until tomorrow. And then it will be too late to go because all the streets are closed. Gavroche goes.

It is night and they are trying to rest. One starts to sing the "Song of the Revolution (Musical)" and then the others join in. Combeferre and Gavroche come back. Gavroche has a bag of cartridges with him. Gavroche asks what is going on with them. Here no one sleeps anymore. The whole army of Paris is around etc. (basically what Enjolras says in the book divided between Gavroche and Combeferre) The whole we'll stay and build the barricade higher, conversation, and the uniform conversation, except it is reduced to the essential and Combeferre doesn't get to say anything, it is all Enjolras, in between Marius asks Gavroche who told him to come back. He says he delivered the letter "to the gatekeeper" Valjean comes with the 5th uniform, the 5 leave. Enjolras cares for Javert. Javert recognizes Valjean and says he's gonna have it easy now. Gavroche announces their arrival. A cannon is being heard, like it being rolled there. Cannon attack. 2 people die. Enjolras says this was a grapeshot, and that they needs to stop this cannon, i.e. that it needs to be "fireworker"'s turn. Gavroche says he takes that over. Before anyone can prevent him from doing so, he is up on the barricade and shooting. he hit his target, and is all excited and rejoicing about how he "blew out his lamp", that he evidently forgot that he is standying on a freaking barricade. This causes him to be also shot, of course, and he falls down dead right into the arms of Combeferre.

Enjolras says to all that the last one alive shall shoot the spy. Valjean asks Enjolras if he can crush this man's skull with his own hands, and since no one has objectsions he lets him. Final attack is announced by both Marius and horns. (yes another Hernani flashback for Autumn ) . Everyone goes to the barricade Valjean and Javert alone. Valjean frees Javert with the mention of the promise he made to the bishop of Digne to never do anything unjust. And killing him because he did his duty as a policman here today, or because he followed him his entire life would be wrong. And if he against the expectance should make it out of here alive he can find him in Rue de l'homme armé. Javert says he hates this kind of games, he shall rather kill him. Valjean tells him to leave. He shoots in the air and goes back to the others where he says he is done. Heavy shooting happens. One after the other the defendants of the barricade die. Valjean does stay at the background and doesn't shoot on the soldiers, yet he supports the defendants of the barricade. he realizes that Marius was hit and falls from the barricade. Valjean goes to him. And whereever he looks there are just dying or dead "revoluzzers" (yes, this is the word he uses in the script, not revolutionaries or something like that). During the very last attack on the barricade he carries Marius away from the barricade and can escape with him to the sewers. The soldiers pull the flags of the revolution out and plant the flag of the monarchy (whatever "the flag of the monarchy" may be)

Image/Act 6

We are in the sewers now. Barely conscious Valjean falls down on a sleeping Thenardier at the gate that leads out of the sewers who thinks he has made the great gain. and of course wants to steal from them. and comments this in a monologue this is observed by Javert. And of course now Thenardier is all about helping these people, if they aren't dead yet etc. Javert says him just to back off, calling him by his name. Thenardier insists to help, but he says he shall just leave. Valjean gets back his conscience and checks if Marius is still alive, wants to lift him up again, then sees Javert and lets him down again. But Javert just asked him if he needs help. Valjean says to Javert he hasn't given him the address , so that je can escape. Javert wants to know who that man is. And reminds Valjean what happened to those who were on the barricade. Valjean says he survives if he gets help quickly. He is a daredevil, an idealist, but a good person and he can do many good things yet for our country. Please let for once in your life reign mercy before law. Javert insists that he is dead Valjean says not yet. Insists that he needs to save Marius and then he says he'll come back They arrange a meeting at the same place at the same hour the next day.

Marius lies in the middle of the open square between Barricade and inn scenery. There is only the bed and Toussaint that cares ffor him and Cosette that is looking over him. Marius has a fever dream and is near death when they sees all the friends including Gavroche and eponing with the revolutionary flags and singing "The song of the barricade" climbing on the barricades. It is the german DYHTPS (Lied des Volkes), arranged kinda like the finale in the movie that came out notabene after this thing here. Basically Marius is convinced that they came to lead him to heaven, but in the end they get fainter again and in the end of the scene Marius is alive and awake and with cosette.

Javert derailed made by Javert-narrator which linguistically resembles the confusion of Javert Valjean comes in in the middle of that and says "here I am" Javert halfway awakens from his trance, makes a step towards Valjean, holds his pistol agains Valjean for 2 seconds, then he turns around makes two steps back and holds it against his head. Light goes out. Shot.

THE END.

#Swiss Les Mis #Les Mis uf Bärndütsch #Bärndütsch #Swiss theatre #les mis #les mis play #les mis script

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fortlauderdalemodel · 6 years

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From left: SZA, Frank Ocean & Childish Gambino

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While hip-hop and dance stayed at pop music’s center in 2017, R&B managed seep its way into the mainstream, in ways both satisfying and unpredictable.

Thanks to a couple too-good-to-ignore crossover hits, and a quasi-reinvention from one of pop’s biggest stars, R&B was an increasingly regular presence on top 40 radio throughout the year. And with several of the genre’s most promising talents percolating just below the surface, the genre’s slow trickle into the 2017 mainstream could lead to a full-on tidal wave in the years to come.

Here are Billboard’s 20 favorite R&B songs of 2017.

20. PARTYNEXTDOOR, “Peace Of Mind”

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OVO Sound’s resident sad-boy R&B songsmith stayed busy in 2017, releasing two EPs of material. “Peace of Mind,” from COLOURS 2, had the most staying power, standing out from the pack for its frank songwriting and straight-to-the-point hook. “I did crazy things and she still waited on me” is the sort of lyric you recognize in your chest. — ROSS SCARANO

19. Jazmine Sullivan & Bryson Tiller, “Insecure”

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Featured on the season two soundtrack of the popular HBO series of the same name, this mid-tempo track showcases two of contemporary R&B’s game-changing players. Sullivan’s soaring-voiced dismay at her significant other’s insecurities provides the perfect counterpoint to Tiller’s crooning tenor. — GAIL MITCHELL

18. Toni Braxton, “Deadwood”

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The voluptuous-voiced singer prefaces her upcoming eighth studio album with this left-of-center, guitar-driven track about a complicated romance. The feel of the melodic cut and its piercing lyrics portend what’s in store on Toni’s forthcoming Sex & Cigarettes LP. As the R&B legend told The Insider in September, “I wanna say what I feel. I don’t wanna be censored.” — G.M.

17. August Alsina, “Don’t Matter”

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Not everything is alt-R&B. Nola’s August Alsina released this perfectly The-Dream-indebted single in June and real ones haven’t let it leave the rotation since. With a chorus anchored by those familiar cries of “Ay!” “Don’t Matter” is like home cooking. You’ve been here before and it’s nice to be back. — R.S.

16. Ty Dolla $ign feat. Damien Marley & Skrillex, “So Am I”

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One of the few Ty Dolla-graced singles this year not to hedge its bets with some sort of ’90s hit interpolation, “So Am I” probably could’ve worked in some Inner Circle or something if the singer-producer was really determined to maintain brand consistency. But it doesn’t need it: The song’s hypnotic beachside bounce (assisted by Skrillex, apparently on permanent dubstep vacation) is warmly evocative of the dancehall crossovers of 20 years ago on its own, while its squawking pseudo-drop keeps it rooted in 2017 without sounding so trendy to risk Airport Reggae drubbing. — ANDREW UNTERBERGER

15. Sevyn Streeter, “Before I Do”

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Is a potential lover for real or not? That’s the question Sevyn Streeter asks on this standout track from her Girl Disrupted debut album. The singer’s sultry vocals glide over a mellow groove that effortlessly recalls Aaliyah’s cover of the Isley Brothers’ classic “At Your Best (You Are Love)” — never a bad thing. — G.M.

14. H.E.R., “Free”

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Long after the last note has sounded on this aching ballad, H.E.R.’s haunting vocals on the confessional chorus still linger: “You don’t ever say forever / Layin’ next to me / But nights like this I wish I never / Said that I was free.” — G.M.

13. Kelela, “Frontline”

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With “Frontline,” Kelela recorded the special opening track that’s so good, so purposeful, it could’ve been the album’s closer too. The song has so many parts, so many musical ideas, it feels like a movie — you’ve gone on a journey by the time it finishes. And yet it never feels overstuffed or scatterbrained; this is a breakup song that leaves you feeling refreshed, like you can do anything. “Why are you testing me?” she asks rhetorically. She’s got the answer spring-loaded: “I’m not the one.” — R.S.

12. Syd, “Got Her Own”

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On this understated highlight from her Fin album, Syd soulfully extols admiration — and longing — for a female peer who’s crushing it in terms of financial independence. “Heard she drive a Beemer and she got it on her own,” Syd sings on the yearning chorus. “Heard she was a dreamer but she sleeping all alone / I just wanna meet her ’cause I just wanna know.” — G.M.

11. Jeremih feat. Chris Brown & Big Sean, “I Think of You”

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With “This Is How We Do It” being played out at seemingly every karaoke night and ’90s-themed party of the 21st century, a shift in retro-attention to Montell Jordan’s second-best hit, “Get It On Tonite,” has been long overdue. Luckily, Jeremih remembers: His “I Think of You” is as close a tribute to the 1999 hit’s slinking groove and frisky energy as you can get without risking lawsuit. It’s so much fun that Big Sean can’t help but sneak in a guest verse at the last second. — A.U.

10. Jacquees, “B.E.D.”

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Cash Money jumped into the R&B bigtime in 2017 with this explicit anthem from Jacquees, using Avant’s 2003 R&B/pop hit “Read My Mind” as the song’s springboard. The young crooner told Billboard of the lift, “I started singing [the Avant hook] over the beat. We knew it was going to be a hit the moment we heard it.” — G.M.

9. Jessica Ware, “Midnight”

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Nothing could’ve quite prepared Jessie Ware fans for the towering power balladry of “Midnight,” the lead track on third album Glasshouse, which essentially throws the curtains open on her earlier sensual slow jams to bathe them in jarringly bright moonlight. Over an insistent Prince-via-“Bennie and the Jets” stomp, the British singer-songwriter wails with increasing urgency, “This moment is made for you and I to go higher – higher – HIGHER – HIGHER!,” before pulling back to calmly plead “…can you meet me in the midnight?” Lord help you if the answer’s no. — A.U.

8. Frank Ocean, “Chanel”

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“My guy pretty like a girl/ And he got fight stories to tell” might be the best opening couplet of the year. That it signaled Frank Ocean’s renewed commitment to releasing music made it all the sweeter. Frank didn’t ghost on us in 2017 and of the loosies he released, “Chanel” felt the most essential to his evolving story. It laid out the themes he’d explore in the year’s subsequent releases and featured some of his most evocative writing to date. “I know you need to try for my belt,” he sings in a tone that lets you know the competition is zilch. Seeing both sides is good and all but there’s no point in arguing about Frank’s place at the top of the game. — R.S.

7. Miguel, “Told You So”

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The second single from Miguel’s War & Leisure harkens back to the singer/songwriter’s ‘80s-inspired EP series Art Dealer Chic. On this funky turn, Miguel dishes out multiple intentions: Is he talking to a lover or jabbing a finger at the country’s present and past social unrest? Both situations are depicted in the song’s video. Either way, the song ultimately reveals Miguel’s adeptness at delivering sly-yet-resonant messages. — G.M.

6. Daniel Caesar feat. Kali Uchis “Get You”

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Perhaps more than any other genre, R&B produces songs that feel instantly timeless, like you’ll be hearing them at weddings for generations to come as love springs eternal. “Get You,” Daniel Caesar’s collab with Kali Uchis is a gentle ode to romantic luck. “Who would’ve thought I’d get you?” Caesar sings on the hook, expressing neatly that dumbstruck feeling we all hope lasts forever. — G.M.

5. SZA, “The Weekend”

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You know you’ve got something when a Grammy winner does an impromptu cover of your song. But even before Miguel’s riveting version (and its top 15 status on Billboard’s Hot R&B/Hip-Hop Songs tally), “The Weekend” was among the stellar tracks singled out by critics when SZA released debut album Ctrl. The track samples “Set the Mood (Prelude)” from Justin Timberlake’s 2006 album FutureSex/LoveSounds, but it’s all about SZA here, as her soft, emotive voice searingly conveys the conundrum of sharing a boyfriend with other females: “My man is my man is your man, heard it’s her man, too.” – G.M.

4. Childish Gambino, “Redbone”

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“Redbone” achieved its No. 12 peak on the Billboard Hot 100 over half a year after its debut, and unlike some stupefying chart slow-burns, this one actually made sense: The narcotic creep of Childish Gambino’s first true crossover hit initially lands as “above-average P-Funk tribute,” proving itself something timely and unique only many listens later. Luckily, pop culture gave us the opportunity for the necessary exposure, as the song was ultimately revealed to be equally fit for a Twitter makeout meme as a foreshadowing musical cue in a horror comedy, simultaneously seductive and foreboding and just infectious. Without “Redbone,” Glover is still likely known in the U.S. as an actor with a musical side career, with the undeniable soul smash, he’s one of the most-nominated artists at this year’s Grammys. — A.U.

3. Khalid, “Location”

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The takeover began here. Pop upstart Khalid’s debut single “Location” makes magic from a contemporary dating request. The Kylie Jenner cosign surely helped but the song’s appeal is broad, even if the lyrics get specific to this phone-dependent generation. — R.S.

2. DJ Khaled feat. Rihanna & Bryson Tiller “Wild Thoughts”

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Here’s another perfect example of updating a classic vibe. Carlos Santana’s 1999 No. 1 pop and R&B hit “Maria Maria,” featuring The Product G&B, provides the foundation for DJ Khaled’s blast-from-the-past refresher course. Santana’s scorching guitar riffs fittingly underscore the sexual heat and wild thoughts radiating from Rihanna and Bryson Tiller’s ingenious pairing. — G.M.

1. Bruno Mars, “That’s What I Like”

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As with his guest appearance on Mark Ronson’s Grammy-winning “Uptown Funk,” the similarly Hot 100-besting “That’s What I Like” added another mega-hit to Bruno Mars’ repertoire. A deft balancing act between retro and contemporary R&B with an earworm hook, “That’s What I Like” rightly became one of the most ubiquitous songs of 2017. The midtempo groove (co-written by Mars along with Christopher Brody Brown, James Fauntleroy and Philip Lawrence, plus production/songwriting team the Stereotypes), is also a multiple Grammy contender: up for song of the year, best R&B song and best R&B performance. — G.M.

https://open.spotify.com/embed/user/billboard.com/playlist/0cpFIXFiyOQGF26gB9pjZl

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