#Joyful Celebration Concert

[redcarpetview]

Brian Courtney Wilson Joins Hezekiah Walker & Kathy Taylor for a Special Concert January 6, 2024

Brian Courtney Wilson.

(Englewood, New Jersey - December 6, 2023) — bergenPAC, in association with Ray and Vivian Chew of  Chew Entertainment, will ring in the New Year with a Joyful Celebration with a performance by Gospel Superstars Kathy Taylor, Hezekiah Walker, and Brian Courtney Wilson. The Joyful Celebration will occur on Saturday, Jan. 6, 2024, at 7:30 p.m., celebrating Rev. Dr. Lester W. Taylor Jr. and his 30 years of service as Senior Pastor of the Community Baptist Church in Englewood, New Jersey.

The evening will feature performances by gospel legend Kathy Taylor, multi-award-winning Brian Courtney Wilson, and the incomparable Bishop Hezekiah Walker, plus The Community Baptist Church Choir of Englewood. The concert will be under the direction of Ray Chew and Community Baptist Church’s Minister of Music, Tyrell Belle.

Kathy Taylor.

Don’t miss this special occasion to see Kathy Taylor, well-regarded as one of Gospel music’s standards, consistently offers tried and authentic Gospel music that is both effectual and relevant. An accomplished Minister of Music, songwriter, producer, and community activist, Taylor’s music and the message she eloquently sings about inspires, uplifts, and heals the spirit and soul of humanity. This is most evident in her new song “God Is With Us.” 

Hezekiah Walker.

With a career spanning over 30 years in the music industry, multi-GRAMMY® Award-winning and Gospel Music Hall of Famer Hezekiah Walker leads the Love Fellowship Tabernacle as its pastor in Brooklyn. His latest release was 2016’s Azusa the Next Generation 2 - Better, a project created to uplift the masses from far and wide with inspirational songs that focus on maintaining faith and overcoming life’s daunting moments.

Brian Courtney Wilson is a highly regarded singer-songwriter in and out of the Gospel music genre. A Stellar Award-winner, multiple GMA Dove Award-winner, ASCAP Rhythm & Soul Award winner, Wilson has also amassed three Grammy® Awards nominations, an NAACP Image Award, and Billboard Music Award nominations.

Dr. Lester W. Taylor Jr. began leading The Community Baptist Church in Englewood in 1993 and has helped it grow through the years, especially by building up its outreach programs to benefit City residents.

Tickets to see Kathy Taylor, Hezekiah Walker, and Brian Courtney Wilson are on sale now, reserve tickets at Ticketmaster.com, bergenPAC.org or by phone at 201.227.1020. Tickets can also be purchased at the box office at 30 North Van Brunt Street in Englewood, New Jersey.

[dispeldesigns]

LGBT Pride: A Celebration for All

June is Pride Month, a time to celebrate the lesbian, gay, bisexual, and transgender (LGBT) community and their contributions to society. While the event originally started as a response to police brutality and discrimination towards the LGBT community, it has since evolved into a celebration of love, acceptance, and equality for all. But why should everyone, regardless of their sexual orientation or gender identity, participate in Pride celebrations?

First and foremost, Pride is about celebrating diversity. The world is made up of people from different backgrounds, experiences, and identities, and it is important to recognize and celebrate these differences. By participating in Pride, you are showing your support for the LGBT community and their right to be themselves without fear of judgement or discrimination.

Additionally, Pride is a way to educate and raise awareness about the ongoing struggle for equality and acceptance. Despite progress in recent years, the LGBT community still faces discrimination, hate crimes, and barriers to equal treatment in many areas of life. By participating in Pride, you are helping to bring attention to these important issues and working towards creating a more inclusive and accepting society.

Pride is also an opportunity to bring people together and foster a sense of community. The event attracts people from all walks of life, and provides a platform for individuals to connect, share their experiences, and form lasting relationships. By participating in Pride, you are not only showing your support for the LGBT community, but also contributing to the creation of a supportive and accepting community for all.

Finally, Pride is simply a fun and joyful event! The festivities usually include parades, concerts, and other events, and provide an opportunity to come together and celebrate love and acceptance in a fun and celebratory way.

In conclusion, Pride is a celebration for everyone, regardless of their sexual orientation or gender identity. By participating, you are showing your support for the LGBT community, raising awareness about important issues, fostering a sense of community, and having fun in the process. So join the celebrations this Pride Month and be a part of the movement towards a more inclusive and accepting society for all.

[23victoria]

"Mmm, it's something 'bout that feelin' you give me"

pairings: f1 grid x you

word count: 500

authors note: anon thank you so much for the request!! first time writing a blurb! hope it’s okay! wasn’t to detailed but hopefully you guys like it!! any feedback is appreciated and please like, comment, and reblog!! hope you enjoy!!

wanna be tagged in my works?! CLICK HERE!

f1 masterlist 1k celebration

❥ He can’t help but talk about you to his friends, constantly sharing stories of your sweet moments and how much he adores you.

❥ Spontaneous dates are his specialty; whether it’s a surprise dinner at a fancy restaurant or a sudden getaway to a cozy cabin, he loves keeping you on your toes.

❥ He has a habit of checking your online shopping cart and buying everything in it, often adding extra surprises he knows you’ll love.

❥ Every week, a beautiful bouquet of flowers arrives at your doorstep, each one more extravagant than the last, accompanied by a heartfelt note.

❥ One of his love languages is all about acts of service and gift-giving; he constantly finds ways to make your life easier and more joyful.

❥ Surprise trips are a regular occurrence; one weekend you might be lounging on a tropical beach, the next exploring the streets of Paris.

❥ He showers you with thoughtful gifts, from custom-made jewelry to designer handbags, rings, necklaces and more.

❥ On your computer, he secretly looks at your wish list and makes sure you never have to wait for anything you want, adding items he knows will make you smile.

❥ He loves planning elaborate surprises, like a private dinner on a yacht with a live band or a day at the spa just for the two of you.

❥ Little acts of love fill your days, like finding your favorite snacks in the pantry or discovering a new book he picked out just for you.

❥ He arranges fun adventures, like a spontaneous road trip or a day spent at a theme park, always making sure you’re having the time of your life.

❥ You never know what surprise awaits you next; it could be tickets to a concert, a new piece of technology, phone, computer, or even a hand-written love letter hidden in your purse.

❥ He’s always thinking ahead, planning your next vacation or weekend getaway, ensuring you both have something exciting to look forward to.

❥ Acts of service are his way of showing love; from preparing your favorite meals to handling errands you dislike, he’s always finding ways to make your life easier.

❥ Spontaneous dates are a regular part of your life; whether it’s a quick trip to a new city or a romantic evening under the stars, he loves surprising you.

❥ He loves making memories with you, and every moment is filled with laughter, joy, and the warmth of his unwavering affection.

•☆.°. taglist .•☆.° : @ham1lton @ietss @animeandf1lover @nelly187 @heartsfromtaeyong @bloodyymaryyy @nor-4 @zacian117 @mel164 @uhhvictoria @hadidsworld @zabwlky1999 @sya-skies @lillysbigwilly @avengers-assemble123456 @santanasaintmendes @km-23mr @hookhausenschips @avada-kedavra-bitch-187 @Ronpho @minekarina @aeongism @formula1-motogpfa @slagclarens @aleexvqa @yoncesgroove @tellybearryyyy @exotic-iris13 @magixpracticality @eoduuung @eternoangel @ihtscuddlesbeeetchx3 @danieldaviddarren33 @flowerpetalk @xoscar3 @jimcarreyfann42 @demyackerman @oledoledoffen @poppyflower-22 @pear-1206 @revolutionsingingintherain

© 23victoria 2023-24 I all rights reserved. do not republish, steal repost, modify, translate or claim my work as your own

[louisupdates]

FULL ARTICLE ON EUPHORIAZINE

By Saskia Postema 26.4.2024

Mere days after winning “Artist of the Year” at the inaugural Northern Music Awards, Louis Tomlinson is celebrating the only way he knows how – by giving back. Tomlinson just dropped a surprise album, which includes a curated list of live performances over the past years. It’s a risky move, as live albums are notoriously difficult to make worthwhile. But there’s no doubt about it: Tomlinson is deserving of that award, and the recordings on Louis Tomlinson: LIVE deserve to live forever.

After an initial stop-start to his solo career, Tomlinson has certainly flourished since finally getting to hit the stage. He’s been touring extensively over the past few years, performing a mix of tracks from his first two albums. Both were solid records that heavily referenced anthemic, rich sonic soundscapes. In fact, Tomlinson previously admitted that he wrote certain tracks with a live show in mind. Indeed, songs like “Face The Music,” “Out Of My System” and “The Greatest,” from his No. 1 selling album Faith in the Future, absolutely benefit from the live instrumentals compared to their studio versions.

It isn’t often that live performances consistently seem to not only live up to but objectively improve the perfectly engineered studio recordings. Perhaps it’s the love that the album so clearly captures for live music that does it. The singer-songwriter is an avid fan of his own fans and gets to share a collective experience of joy with them. Just listen to the crowds serenading Tomlinson in return during “Chicago,” recorded live in – you guessed it, Chicago. From Tomlinson’s perspective, audiences across the world have always been part of breathing life into these live recordings. Now, people get to live that same experience with him by listening to this record that is woven together with impeccably mixed joyful screaming in the background.

Tomlinson’s storytelling isn’t hindered by the crowd’s reaction. Rather, it is bolstered by it. In both power ballads like “Common People” as well as raucous tracks like “Silver Tongues.” The live setting seems to function almost akin to a prism – each song shining brighter, richer, fuller. Perhaps the only track that is tighter in the original version, is the seductive “Written All Over Your Face.” Nonetheless, the instrumental break and palpable, wild excitement make for an enjoyable listen.

Similarly, right in the middle of the highly addictive “All This Time/We Are Beauty” mash-up, a fan can be heard screaming “I love you” if you listen closely. The sheer adulation of the crowd is decidedly earned. Tomlinson has worked hard to prove himself, despite never having lacked the talent. Perhaps merely the confidence that he could do it, would do it, has done it. Nevertheless, he’s been open about the tension between his own love for music, and his at times debilitating need for perfection. As he’s settled into his career, a quiet undertone of determination and grit, of relief and fulfillment – of gratitude remains in every single show.

On “Saturdays,” you can actually hear Tomlinson mumble that the view’s never been better from where he’s stood on stage. It’s a high-maintenance track with all the right ingredients for a Tomlinson classic. There’s confessional lyricism, emotive delivery, and a gradual yet powerful crescendo in musical arrangement. It needs to be sung with conviction, and it’s clear that Tomlinson pulls power from the audience to deliver.

Notably, none of the covers that Tomlinson frequently incorporates in his concerts made it onto this live album. With that in mind, perhaps this release signals that Tomlinson has finally embraced his own artistry. Because if anything, Louis Tomlinson: LIVE is a reckless celebration record. An ode to joy, the synergy between artist and audience, and the impact of well-timed, flawlessly executed live guitar solos.

[hldailyupdate]

Mere days after winning “Artist of the Year” at the inaugural Northern Music Awards, Louis Tomlinson is celebrating the only way he knows how – by giving back. Tomlinson just dropped a surprise album, which includes a curated list of live performances over the past years. It’s a risky move, as live albums are notoriously difficult to make worthwhile. But there’s no doubt about it: Tomlinson is deserving of that award, and the recordings on Louis Tomlinson: LIVE deserve to live forever.

After an initial stop-start to his solo career, Tomlinson has certainly flourished since finally getting to hit the stage. He’s been touring extensively over the past few years, performing a mix of tracks from his first two albums. Both were solid records that heavily referenced anthemic, rich sonic soundscapes. In fact, Tomlinson previously admitted that he wrote certain tracks with a live show in mind. Indeed, songs like “Face The Music,” “Out Of My System” and “The Greatest,” from his No. 1 selling album Faith in the Future, absolutely benefit from the live instrumentals compared to their studio versions.

It isn’t often that live performances consistently seem to not only live up to but objectively improve the perfectly engineered studio recordings. Perhaps it’s the love that the album so clearly captures for live music that does it. The singer-songwriter is an avid fan of his own fans and gets to share a collective experience of joy with them. Just listen to the crowds serenading Tomlinson in return during “Chicago,” recorded live in – you guessed it, Chicago. From Tomlinson’s perspective, audiences across the world have always been part of breathing life into these live recordings. Now, people get to live that same experience with him by listening to this record that is woven together with impeccably mixed joyful screaming in the background.

Tomlinson’s storytelling isn’t hindered by the crowd’s reaction. Rather, it is bolstered by it. In both power ballads like “Common People” as well as raucous tracks like “Silver Tongues.” The live setting seems to function almost akin to a prism – each song shining brighter, richer, fuller. Perhaps the only track that is tighter in the original version, is the seductive “Written All Over Your Face.” Nonetheless, the instrumental break and palpable, wild excitement make for an enjoyable listen.

Similarly, right in the middle of the highly addictive “All This Time/We Are Beauty” mash-up, a fan can be heard screaming “I love you” if you listen closely. The sheer adulation of the crowd is decidedly earned. Tomlinson has worked hard to prove himself, despite never having lacked the talent. Perhaps merely the confidence that he could do it, would do it, has done it. Nevertheless, he’s been open about the tension between his own love for music, and his at times debilitating need for perfection. As he’s settled into his career, a quiet undertone of determination and grit, of relief and fulfillment – of gratitude remains in every single show.

On “Saturdays,” you can actually hear Tomlinson mumble that the view’s never been better from where he’s stood on stage. It’s a high-maintenance track with all the right ingredients for a Tomlinson classic. There’s confessional lyricism, emotive delivery, and a gradual yet powerful crescendo in musical arrangement. It needs to be sung with conviction, and it’s clear that Tomlinson pulls power from the audience to deliver.

Notably, none of the covers that Tomlinson frequently incorporates in his concerts made it onto this live album. With that in mind, perhaps this release signals that Tomlinson has finally embraced his own artistry. Because if anything, Louis Tomlinson: LIVE is a reckless celebration record. An ode to joy, the synergy between artist and audience, and the impact of well-timed, flawlessly executed live guitar solos.

[dailytomlinson]

Mere days after winning “Artist of the Year” at the inaugural Northern Music Awards, Louis Tomlinson is celebrating the only way he knows how – by giving back. Tomlinson just dropped a surprise album, which includes a curated list of live performances over the past years. It’s a risky move, as live albums are notoriously difficult to make worthwhile. But there’s no doubt about it: Tomlinson is deserving of that award, and the recordings on Louis Tomlinson: LIVE deserve to live forever.

After an initial stop-start to his solo career, Tomlinson has certainly flourished since finally getting to hit the stage. He’s been touring extensively over the past few years, performing a mix of tracks from his first two albums. Both were solid records that heavily referenced anthemic, rich sonic soundscapes. In fact, Tomlinson previously admitted that he wrote certain tracks with a live show in mind. Indeed, songs like “Face The Music,” “Out Of My System” and “The Greatest,” from his No. 1 selling album Faith in the Future, absolutely benefit from the live instrumentals compared to their studio versions.

It isn’t often that live performances consistently seem to not only live up to but objectively improve the perfectly engineered studio recordings. Perhaps it’s the love that the album so clearly captures for live music that does it. The singer-songwriter is an avid fan of his own fans and gets to share a collective experience of joy with them. Just listen to the crowds serenading Tomlinson in return during “Chicago,” recorded live in – you guessed it, Chicago. From Tomlinson’s perspective, audiences across the world have always been part of breathing life into these live recordings. Now, people get to live that same experience with him by listening to this record that is woven together with impeccably mixed joyful screaming in the background.

Tomlinson’s storytelling isn’t hindered by the crowd’s reaction. Rather, it is bolstered by it. In both power ballads like “Common People” as well as raucous tracks like “Silver Tongues.” The live setting seems to function almost akin to a prism – each song shining brighter, richer, fuller. Perhaps the only track that is tighter in the original version, is the seductive “Written All Over Your Face.” Nonetheless, the instrumental break and palpable, wild excitement make for an enjoyable listen.

Similarly, right in the middle of the highly addictive “All This Time/We Are Beauty” mash-up, a fan can be heard screaming “I love you” if you listen closely. The sheer adulation of the crowd is decidedly earned. Tomlinson has worked hard to prove himself, despite never having lacked the talent. Perhaps merely the confidence that he could do it, would do it, has done it. Nevertheless, he’s been open about the tension between his own love for music, and his at times debilitating need for perfection. As he’s settled into his career, a quiet undertone of determination and grit, of relief and fulfillment – of gratitude remains in every single show.

On “Saturdays,” you can actually hear Tomlinson mumble that the view’s never been better from where he’s stood on stage. It’s a high-maintenance track with all the right ingredients for a Tomlinson classic. There’s confessional lyricism, emotive delivery, and a gradual yet powerful crescendo in musical arrangement. It needs to be sung with conviction, and it’s clear that Tomlinson pulls power from the audience to deliver.

Notably, none of the covers that Tomlinson frequently incorporates in his concerts made it onto this live album. With that in mind, perhaps this release signals that Tomlinson has finally embraced his own artistry. Because if anything, Louis Tomlinson: LIVE is a reckless celebration record. An ode to joy, the synergy between artist and audience, and the impact of well-timed, flawlessly executed live guitar solos.

[louistomlinsoncouk]

⭐⭐⭐⭐⭐

Mere days after winning “Artist of the Year” at the inaugural Northern Music Awards, Louis Tomlinson is celebrating the only way he knows how – by giving back. Tomlinson just dropped a surprise album, which includes a curated list of live performances over the past years. It’s a risky move, as live albums are notoriously difficult to make worthwhile. But there’s no doubt about it: Tomlinson is deserving of that award, and the recordings on Louis Tomlinson: LIVE deserve to live forever.

After an initial stop-start to his solo career, Tomlinson has certainly flourished since finally getting to hit the stage. He’s been touring extensively over the past few years, performing a mix of tracks from his first two albums. Both were solid records that heavily referenced anthemic, rich sonic soundscapes. In fact, Tomlinson previously admitted that he wrote certain tracks with a live show in mind. Indeed, songs like “Face The Music,” “Out Of My System” and “The Greatest,” from his No. 1 selling album Faith in the Future, absolutely benefit from the live instrumentals compared to their studio versions.

It isn’t often that live performances consistently seem to not only live up to but objectively improve the perfectly engineered studio recordings. Perhaps it’s the love that the album so clearly captures for live music that does it. The singer-songwriter is an avid fan of his own fans and gets to share a collective experience of joy with them. Just listen to the crowds serenading Tomlinson in return during “Chicago,” recorded live in – you guessed it, Chicago. From Tomlinson’s perspective, audiences across the world have always been part of breathing life into these live recordings. Now, people get to live that same experience with him by listening to this record that is woven together with impeccably mixed joyful screaming in the background.

Tomlinson’s storytelling isn’t hindered by the crowd’s reaction. Rather, it is bolstered by it. In both power ballads like “Common People” as well as raucous tracks like “Silver Tongues.” The live setting seems to function almost akin to a prism – each song shining brighter, richer, fuller. Perhaps the only track that is tighter in the original version, is the seductive “Written All Over Your Face.” Nonetheless, the instrumental break and palpable, wild excitement make for an enjoyable listen.

Similarly, right in the middle of the highly addictive “All This Time/We Are Beauty” mash-up, a fan can be heard screaming “I love you” if you listen closely. The sheer adulation of the crowd is decidedly earned. Tomlinson has worked hard to prove himself, despite never having lacked the talent. Perhaps merely the confidence that he could do it, would do it, has done it. Nevertheless, he’s been open about the tension between his own love for music, and his at times debilitating need for perfection. As he’s settled into his career, a quiet undertone of determination and grit, of relief and fulfillment – of gratitude remains in every single show.

On “Saturdays,” you can actually hear Tomlinson mumble that the view’s never been better from where he’s stood on stage. It’s a high-maintenance track with all the right ingredients for a Tomlinson classic. There’s confessional lyricism, emotive delivery, and a gradual yet powerful crescendo in musical arrangement. It needs to be sung with conviction, and it’s clear that Tomlinson pulls power from the audience to deliver.

Notably, none of the covers that Tomlinson frequently incorporates in his concerts made it onto this live album. With that in mind, perhaps this release signals that Tomlinson has finally embraced his own artistry. Because if anything, Louis Tomlinson: LIVE is a reckless celebration record. An ode to joy, the synergy between artist and audience, and the impact of well-timed, flawlessly executed live guitar solos.

[aeoki]

Number Eight - Epilogue

Characters: Rinne, HiMERU, Kohaku & Niki Location: Number Eight Filming Studio

ㅤㅤㅤㅤㅤ< After some time. Right before the “Number Eight” Goal Celebration Concert. >

Rinne: Looks like we’re ready for the filmin’.

We’ve reconciled with the staff, so let’s perform a song fitting for the ending of “Number Eight”!

Niki: Yeah. It’s our new song that they went through so much trouble to prepare for us.

HiMERU: “Crazy Anthem”. It’s a song that’s full of love – one that reminds us of the path we’ve walked.

Kohaku: We wouldn’t have imagined back then during “Idol Royal” that we’d now become idols who are so well-loved.

This is all thanks to our fans and the people in the entertainment industry.

HiMERU: Indeed. At the same time, we must ensure we do a good job with the song.

We’ll meet everyone’s expectations of us with the finest performance. That’s how we can repay everyone.

Isn’t that right, Amagi?

Rinne: Yup. Even the person holding up the portable shrine has the right to choose which one they want to hold up. We need to show that we’re worthy of doing that.

…And there’s another thing we should be grateful for.

HiMERU: ?

Niki: Another thing we should be grateful for…? What do you mean, Rinne-kun?

Kohaku: I want to know too. Rinne-han never fully explains anythin’. Stop beatin’ around the bush and tell us already.

Rinne: Oi, oi. Don’t be so greedy. It’s not like it’s some amazing riddle, ya know?

Uhh… How should I put this?

A lotta stuff happened in summer last year, right? It’s also the job of a ruler to reward his people.

Niki, Merumeru, Kohaku-chan. I wanna thank you guys for sticking with me despite all the trouble I got you guys in.

I know I’ve caused you guys nothing but trouble, but let’s have a great time and enjoy what the world has to offer us. Right now and in the future too – we’ll enjoy it all, the four of us, together…☆

HiMERU: Trouble? What are you saying now?

I never expected a comfortable ride in a luxury car. The ride we’ll be taking would be a broken vintage car and a bumpy road…

The drive might not be something I have control over, but it’s surprisingly interesting.

Niki: Yeah~ I don’t know how many times I got irritated on this crazy trip, but I think I’ve enjoyed this unique flavour!

Kohaku: Niki-han, you’re fine eatin’ weird food, after all. You actually like the local specialties, don’t you?

Well, it’s more or less the same for me. Whether we’re like-minded or enemies placed in the same boat, neither of those options sound half bad.

HiMERU: Alright, now that we’ve finished looking back on our trip, shall we get the cameras rolling?

HiMERU: Let’s sing of our travels thus far as we think nostalgically upon those crazy and dizzying days.

“♪~♪~”

Kohaku: “♪~♪~”

These lyrics really have a lot of thought put into them. Our “Crazy Anthem”…

…is noisy but also fun – like a lively honey bee party ♪

Niki: Nahaha. The stuff that happened this summer was so much fun that we can’t sum it up in a few words!

The sun setting on the horizon, the exciting neon night, the feast at midnight… We saw so many views.

We only got to see them because Rinne-kun stood at the front and got us involved.

The least I can do is to sing my feelings out in this song…♪

“♪~♪~”

Rinne: (Heheh! I’ve always been lucky enough to escape my troubles.)

(If I’ve got such fun people like you guys by my side, then I feel like I could go anywhere in the world.)

Rinne: Alright, it’s time for a new curtain to rise!

Idols, fans, haters – Let’s get everyone involved and singin’!

About our joyful and masterpiece of a journey that’s full of dreams…☆

“♪ ♪ ♪”

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ← Previous Chapter

[virgoilluminati]

Hello, I just wanted to say that I love love love your page and I love how you write. It is so beautiful and deep. Belongings has me on the edge of my seat and I can’t wait to see where it goes.

Can I get a Harry Styles one shot with the prompt 23-25. I had in my head like him maybe helping the reader to stay up and look after their children because he’s always away on tour and he feels guilty he always has to miss out on their milestones. Idk I thought it would be so sweet 🥹🥹🥹❣️

Sweet Cocoa

A/N: so my original plan was to do all 3 of those prompts but then I realise I was going overboard and I much rather this fic with just prompt 23. I love this fic it’s so cute and fluffy and ahhhhhhhhh I love these imaginary children ❣️

Requests: Yes - Prompt 23 “How about something warm? It will help you sleep.”

Word Count: 2.1K

Prompt list here

——————————————————————————————

The stage lights dimmed, and the crowd erupted in thunderous applause as Harry finished his concert, pouring his heart and soul into every note. With a smile on his face, he waved goodbye to his adoring fans and walked backstage, feeling a mix of elation and exhaustion. He couldn’t wait to see his wife, Y/N, and their two young children, Abel and Elliot.

Elliot, their eldest son, had Harry’s unmistakable resemblance, with his tousled brunette curls and adorable freckles that adorned his face. At four years old, he had been fortunate to experience the early years of his life with both Harry and Y/N always by his side. They treasured every moment, cherishing the precious memories they had created together.

Abel, on the other hand, arrived during a whirlwind phase in Harry’s life. She was born amidst the chaos of album creation, touring, and even Harry’s foray into the world of movies. Harry couldn’t help but feel a twinge of guilt for missing out on most of Abel’s life and the significant milestones that shaped her early years.

For example: whilst Harry had been there to witness Elliot’s first steps, he couldn’t be there for Abel’s.

The magical spirit of Christmas filled the air as the family gathered in their cozy living room. Twinkling lights adorned the Christmas tree, casting a warm glow on the scene. Harry, Y/N, Abel, and Elliot were surrounded by their loved ones, creating a joyful atmosphere.

Amidst the festive cheer, Elliot, with his bright eyes and contagious smile, stood in the middle of the room, wobbling on his tiny feet. The excitement was palpable as Harry, holding Y/N’s hand, watched their eldest son prepare to take his first steps. It was a moment Harry had eagerly anticipated.

With a burst of courage, Elliot took a few unsteady steps, his little hands reaching out for support. The room erupted in cheers and applause, celebrating this monumental achievement. Harry’s heart swelled with pride and joy as he quickly moved closer to his son, his eyes shining with love.

“Elliot, you did it!” Harry exclaimed, his voice filled with excitement. He knelt down, his arms outstretched, waiting to catch Elliot in his embrace. And just as his little boy stumbled forward, Harry scooped him up, spinning him around in a joyous dance.

Elliot’s laughter filled the room, a symphony of pure happiness that resonated in Harry’s heart. In that moment, surrounded by their loved ones, Harry felt an overwhelming sense of gratitude for his growing family.

However, halfway across the world, while Harry was immersed in filming his new movie, “Don’t Worry Darling,” he received an unexpected FaceTime call. With a mix of excitement and apprehension, he answered the call, only to find Y/N holding her phone and pointing it towards Abel, who was standing unsteadily on her own two feet.

Harry’s eyes widened, his heart skipping a beat as he witnessed Abel taking her first steps. Even though he was physically distant, the surge of emotions he felt mirrored the exhilaration of that Christmas day when Elliot took his first steps.

“Abel, my love, you’re doing it!” Harry exclaimed, his voice laced with awe and pride. Despite the distance, his eyes never left his daughter as she wobbled and toddled, finding her balance with determination. He couldn’t help but feel a bittersweet pang, wishing he could be there in person to witness this milestone.

Y/N smiled warmly, her own eyes filled with a mixture of joy and understanding. “She’s been practicing so much, Harry. We wanted to share this moment with you.”

Harry’s heart swelled with love and gratitude for Y/N’s thoughtfulness. He blew a kiss through the screen, sending his love and pride to his little girl. “I’m so proud of you, Abel. Daddy loves you so much.”

As Harry closed the FaceTime call, he couldn’t help but reflect on the parallels of these two precious moments. Both Elliot and Abel had taken their first steps, marking a significant milestone in their lives. While he had missed Abel’s steps in person, he was grateful for technology that bridged the physical distance, allowing him to be present in some way.

Opening the door, Harry was greeted by the sight of Abel and Elliot, their eyes shining with excitement. They rushed into his arms, hugging him tightly. “Daddy, you were amazing!” Abel exclaimed, her voice filled with admiration.

Harry chuckled, feeling the warmth of their love surround him. “Thank you, my little stars. But now it’s time for me to be your superhero and help Mommy, okay?”

Abel and Elliot nodded eagerly, their faces beaming with enthusiasm. They understood that Daddy was tired, but they also knew he was always there for them when they needed him the most.

As Harry stepped into the living room, he found Y/N sitting on the couch, a tired smile on her face. Her baby bump was prominent, a beautiful testament to the growing life inside her. Harry’s heart swelled with love and appreciation for the incredible woman he had married.

“Hey, love,” he said softly, making his way over to Y/N. “I’m here now, and I’m ready to help.”

Y/N’s eyes sparkled with gratitude, her exhaustion momentarily forgotten. “You don’t have to, Harry. You’ve had a long day.”

He gently brushed a strand of hair behind her ear, his touch filled with tenderness. “Nothing matters more to me than you and our children. I want to be here for you, every step of the way.”

A mixture of relief and adoration washed over Y/N’s face as she realized the depth of Harry’s commitment. “Thank you, Harry. I’m so lucky to have you.”

Together, they devised a plan to pamper Y/N and alleviate any worries or guilt she had been carrying. Harry fetched a cozy blanket and helped her settle on the couch, making sure she was comfortable. Abel and Elliot scurried around, eager to assist their parents.

Elliot ran to the kitchen, returning with a tray of Y/N’s favorite snacks and a glass of water. Abel picked up her toy toolbox and declared himself “Daddy’s little helper,” ready to take on any task assigned to her.

As Y/N reclined on the couch, Harry sat beside her, his hand resting on her belly. The little kicks and flutters beneath his touch reminded him of the new life they were about to welcome into their family. He felt a renewed sense of purpose, vowing to be present for every milestone and precious moment.

Together, they watched a movie, their laughter mingling with the soothing sounds of the television. Abel and Elliot snuggled close to their parents, their eyes growing heavy with sleep.

As the movie came to an end, Y/N leaned her head against Harry’s shoulder, a peaceful smile gracing her lips. “Thank you for tonight, Harry. This means the world to me.”

He pressed a gentle kiss to her forehead, his voice filled with sincerity. “I love you, Y/N. And I’m sorry for the moments I’ve missed. From now on, I’ll make every effort to be there, for you and our children.”

Y/N’s heart swelled with love and forgiveness. “You’re already an amazing father, Harry. We’re a team, and we’ll navigate this journey together.”

In the dimly lit room, surrounded by the warmth of their love, Harry and Y/N knew that no matter the challenges they faced, their bond was unbreakable.

As the two children lay nestled on y/n, Harry’s gaze wandered over to Elliot, peacefully asleep. With a tender smile, he turned his attention back to y/n, a silent understanding passing between them. It was time to reminisce on Elliot’s birth, a story they held dear.

“I can’t believe how much Elliot has grown,” Harry whispered, his voice filled with awe.

Y/n nodded, her eyes shining with affection. “He’s become such an amazing young person, Harry. It feels like just yesterday.”

Harry reached out, gently clasping y/n’s hand. “I remember that fateful day vividly, my love. It started with our car breaking down, right in the midst of your contractions.”

A wistful smile graced y/n’s lips. “Talk about timing, right? I wasn’t about to let a broken-down car stop us, though. I remember hopping on that bus, holding onto you tightly as the contractions came in waves.”

Harry chuckled softly, recalling the bus ride. “You were so strong, y/n. Despite the discomfort, you never lost your focus or determination. I was in awe of you.”

Y/n squeezed Harry’s hand, gratitude shining in her eyes. “And you, Harry, you were my rock. Your unwavering support gave me the strength to keep going. I couldn’t have done it without you.”

They fell into a moment of silence, their memories intertwining. The warmth of the room seemed to envelop them, creating a cocoon of love and nostalgia.

Finally, Harry spoke, his voice filled with tenderness. “Once we arrived at the hospital, everything felt like a blur. The nurses and doctors were incredible, guiding us through every step of the way.”

Harry’s voice lowered, his words carrying a hint of awe. “And then, in the midst of it all, Elliot arrived. The room filled with overwhelming joy as we held our precious baby for the first time.”

Y/n’s eyes glistened with tears of happiness. “That moment is forever etched in my heart. Seeing Elliot’s tiny face and feeling that indescribable love—it was pure magic.”

Their hands remained intertwined, their hearts connected by the profound bond they shared. In the quietude of the room, Harry and y/n found solace in their memories, grateful for the journey they had embarked upon as parents.

Harry’s gaze shifted to Abel, their youngest, her delicate form a reminder of the challenges they had faced during her birth. A mixture of concern and remorse washed over him as he thought back to that difficult time, his voice tinged with vulnerability.

“Abel’s birth… It still weighs heavily on my heart,” Harry murmured, his eyes filled with a mix of regret and sadness.

Y/n’s hand gently reached out to touch Harry’s, a gesture of comfort and reassurance. “Harry, you mustn’t blame yourself. We couldn’t have predicted what would happen. It wasn’t your fault that you weren’t there.”

Harry’s brow furrowed, his guilt evident. “But I should have been there, y/n. I should have been by your side, supporting you through it all. I beat myself up over it, even though I know it wasn’t within my control.”

Y/n’s voice softened as she squeezed his hand, her eyes brimming with understanding. “Harry, listen to me. We faced unforeseen circumstances, and it was a difficult and frightening time. Truth be told, even I struggle to recall much due to the medication I was on.”

A mixture of relief and sorrow flashed across Harry’s face. “I remember how scared I was to see you in so much pain, y/n. And yet, I didn’t want to miss a single moment. I wanted to be there for you.”

Y/n’s gaze met Harry’s, filled with compassion. “You were there in spirit, Harry, even if you couldn’t physically be present. And when we were finally allowed visitors, we both knew Abel was a fighter. She was so tiny, so fragile, but she had a strength that amazed us all.”

Harry’s eyes sparkled with a mix of pride and adoration. “Our special Abel. She proved time and again how resilient she is. She overcame those early struggles and grew into this incredible little person.”

“I love our family.” Y/N states as she admires all three of her children, including her bump. Y/n’s words filled the room with a tender warmth, echoing the depth of her love for their family. Harry’s heart swelled with gratitude and affection as he looked at their children and then at the bump that held their future.

“I love our family too, y/n,” Harry replied, his voice filled with sincerity. He gently placed his hand on her stomach, feeling the gentle kicks from within. “And I’m so grateful for these precious little ones, including the one growing here.”

Y/n’s eyes shimmered with a mixture of love and understanding. “They adore you, Harry. Even in their own unique ways, they feel your love and presence. You are their father, and your love shines through in everything you do.”

A soft smile touched Harry’s lips as he absorbed her words. He knew he couldn’t erase the guilt he carried for not being present during Abel’s birth, but he also realized that forgiveness and acceptance were vital for their family’s growth.

As the comfortable silence enveloped the room, a slight shiver ran through Abel, stirring her from her peaceful slumber. Y/n, ever the attentive mother, moved to pick her up and carry her to her bed, wanting to ensure her comfort.

However, Harry’s protective instinct kicked in, and he gently interjected, “I’ll take care of Abel, love. You’ve been holding her for a while. Let me handle this one.”

Y/n paused, her eyes meeting Harry’s, filled with gratitude for his willingness to step in. She nodded, a small smile tugging at the corners of her lips. “Thank you, Harry. I appreciate your thoughtfulness.”

With careful precision, Harry cradled Abel in his arms, feeling the warmth of her small body against his chest. He held her close, gently whispering words of comfort as he made his way to her bed.

As Harry tucked Abel in and adjusted the blankets around her, he couldn’t help but marvel at her peaceful expression. His heart swelled with love as he watched her, silently vowing to always be there for her and their entire family.

Y/n stood by, observing the tender moment between father and daughter. She couldn’t help but feel a surge of affection for Harry, appreciating his dedication and the deep bond he shared with their children.

In that gentle exchange, a silent understanding passed between y/n and Harry. They were a team, supporting and nurturing each other and their children through the ups and downs of parenthood. Their actions spoke volumes, reinforcing the unbreakable connection that bound them as a family.

As Abel settled into her bed, her breathing steadied, and a contented sigh escaped her lips. Harry stood by, his hand lingering on her forehead, before turning to y/n with a soft smile.

“Our little warrior is back to dreamland,” he whispered, his voice filled with tenderness. As Abel whispered her plea for warmth, her small frame curled against Harry’s back, he couldn’t help but chuckle softly at her adorable request. His heart melted at the sight of her, and he nodded, understanding her need for comfort.

“How about something warm, it will help you sleep?” Harry suggested, a mischievous glint in his eyes.

Abel’s face lit up with anticipation, her playful nature shining through. “Hot cocoa?” she asked, her voice filled with cheekiness, fully aware that sweet cocoa on a weekday was a rare indulgence.

Harry smiled warmly, knowing how much she enjoyed the occasional treat. He nodded, feigning seriousness. “I think we can make an exception tonight. Hot cocoa it is.”

Carefully, Harry settled Abel back onto the bed, making sure she was comfortable. He draped a soft blanket over her small body, tucking her in snugly. Then, with gentle strides, he made his way to the kitchen to prepare their special bedtime treat.

The aroma of cocoa filled the air as Harry carefully prepared the warm drink, stirring in the chocolate powder and adding just the right amount of sweetness. He poured the steaming liquid into a cup, watching the swirls of rich chocolate with a sense of satisfaction.

Returning to Abel’s room, Harry found her still nestled in bed, her eyes drooping with fatigue. He settled himself beside her, his free arm cradling the cup of cocoa.

“Here you go, my little one,” Harry whispered, his voice filled with tenderness. “Enjoy your hot cocoa. It’ll warm you up and help you drift off to dreamland.”

Abel’s eyes sparkled with delight as she took the cup in her small hands, blowing gently to cool it down. She took a cautious sip, a contented sigh escaping her lips. “Mmm, thank you, Daddy.”

Harry smiled, his heart full. He leaned back against the pillows, carefully cradling Abel against his chest as she settled in, the warmth of the cocoa and their shared embrace lulling her back to sleep.

In that quiet moment, Harry’s heart swelled with love and gratitude. He treasured these precious moments with Abel, cherishing the bond they shared. As he watched her, cocooned in warmth and love, he knew that being a father meant embracing both the role of caregiver and occasional indulgent treat-giver.

[cryptidvoidwritings]

Full text below.

A D.J. pawing through a carton of old LPs — Natalie Cole, Angela Bofill — comes upon a curiosity: the original cast album of “Cats.” When he opens the gatefold, glittery spangles fly everywhere.

That’s how “Cats: The Jellicle Ball” begins, and it’s basically what the Perelman Performing Arts Center’s drag remake of the Broadway behemoth does to the drab original. It sets the joy free.

Whether upper- or lowercase, cats never previously offered me much pleasure. The underlying T.S. Eliot poems, ad libbed for his godchildren, are agreeable piffle, hardly up there with “Prufrock” as fodder for the ages. The musical, instead of honoring the material’s delicacy, stomped all over it, leaving heavy mud prints. Andrew Lloyd Webber’s score, and especially the rigged-up story and original staging by Trevor Nunn, tried so hard to make big statements from little ditties and kitties that it wound up a perfect example of camp.

Camp, cleverly, is the new version’s base line, neutralizing that criticism. It turns out that the show once advertised vaguely (and threateningly) as “now and forever” — it ran on Broadway from 1982 to 2000 — works far better in a specific past.

That past is the world of drag balls, which at the time of the original “Cats” was beginning to achieve mainstream awareness. Madonna’s appropriation of the participants’ style and dance moves in her videos and concerts, as well as Jennie Livingston’s celebration of them in her documentary “Paris Is Burning,” helped pave the way for the supremacy of RuPaul and dragmania today. But beneath that triumph lay a darker truth: that the thrill of ball culture depended on its drawing extravagance from destitution, meeting prejudice with bravery, and staring down death with style.

The key insight of this “Jellicle Ball,” which opened on Thursday at the new downtown arts cube, is that at least some of those themes could resonate with Eliot’s subtext and Lloyd Webber’s score. The directors Zhailon Levingston and Bill Rauch have thus transported Grizabella, Skimbleshanks, Rum Tum Tugger and the rest from a metaphysical junkyard to a hotel ballroom for a vogueing competition, accompanied by new versions of the songs that go heavier on the synthesizers, turn some lyrics into raps and add a distinctive house beat.

It’s often a good fit. The former felines — now fantastically attired humans — compete in traditional categories, like Opulence and Hair Affair, that are to some degree matched to Eliot’s descriptions. The song “Mungojerrie and Rumpleteazer,” for instance, pits those two “knockabout clowns” against the pairing of the balletic Victoria and the acrobatic Tumblebrutus in a showdown called Tag Team Performance.

Not that it is any easier to keep the cats straight just because they’re queer. The structure of the show doesn’t allow it. Hemmed in by the Eliot estate, Nunn could not add dialogue, making it difficult to flesh out any characters or encourage specific emotional investment. His solution was a bizarre framing device with late-1970s woo-woo overtones: The clan meets each year on the evening of the Jellicle moon so that their leader, Old Deuteronomy, can choose one lucky cat to ascend to the Heaviside Layer and be reborn.

That silliness didn’t help much. It remained difficult to keep Jellylorum and Sillabub apart or care about either. In revivals like the one on Broadway in 2016, let alone the dreadful 2019 movie, the material seemed fatally ludicrous.

And if “Jellicle Ball” doesn’t quite solve that problem, it succeeds in making it mostly irrelevant. The new frame allows you to feel something for the characters, at least as a group, even when you don’t know what’s going on, which is often. The design of the long, narrow room, with the audience surrounding a runway on three sides, is awkward in the way one imagines the balls were: You can’t see everything, you’re constantly craning, the sound (by Kai Harada) is blurry and some fuss or hilarity is always happening somewhere you missed.

Even so, we recognize Rum Tum Tugger (Sydney James Harcourt) far better now that he competes in the Realness and Body competitions. (He’s a smooth playah.) Gus, the theater cat, is a more instantly recognizable type as performed by Junior LaBeija, the M.C. of the “Paris Is Burning” ball, as a catty old queen who, though “no longer a terror” can still throw ample shade. And it takes little more than the arrival of André De Shields, with his unsurpassed ability to freeze attention onstage, to show us that Old Deuteronomy is a Moses.

It helps, too, that he’s given a glowing Ten Commandments-like set of tablets, and that he’s dressed (by Qween Jean) in royal purple topped by a gigantic matching lion’s mane (by Nikiya Mathis). Indeed, the wonderfully over-the-top design of the show is as important as the concept itself in filling out the vast blanks of the characters as written. Enjoyable as that is in itself, the chief benefit of the physical staging (on sets by Rachel Hauck, with lighting by Adam Honoré and projections by Brittany Bland) is that it grounds the performative mayhem on the runway in a real environment that suggests the struggles of real lives.

Among other things, this rescues the nominal star role, Grizabella, from bathos. A faded “glamour cat” seeking the reincarnation nod, she has no other function in the original story, not even suspense. (We know she’s going to be chosen because she keeps popping up to sing fragments of “Memory.”) But here, in smeary makeup, a ratty fur and carrying a tarnished old trophy, scrambling about the outskirts of the action, we see at a glance the pain of an outsider now exiled from the place she’d once been safe. Especially as played by Chasity Moore, known in the ball world as Tempress, that pain feels authentic.

That is not something that ever occurred to me in watching the old-school “Cats.” At best the Broadway show felt like a stoned oratorio about nothing, with a dog’s breakfast of song styles including ear-wormy music hall, grating electronica and the occasional Gilbert and Sullivan chorale. (The choral singing here, under the direction of William Waldrop, is gorgeous.) Likewise, the original choreography, by the Royal Ballet star Gillian Lynne, seemed totally random despite its supposedly catlike footwork. The athletic vogueing created for this production by Arturo Lyons and Omari Wiles, sometimes blended with throwbacks to Lynne’s classical style, is instead perfectly tailored to its milieu, and thrilling besides.

I should say at this point that, no, I haven’t turned into a fan of the show itself, the one you can see at your community theater or license for your high school. I don’t believe musicals should need whisker consultants. But as happens occasionally, the right idea can transform the wrong material. If “Cats: The Jellicle Ball” has managed a Grizabella turn, reincarnating itself in fabulousness, do not expect an 18-year run or, pardon me, copycat productions. It’s a lightning strike: not now and forever but now and once.

(Honestly, I'd respect this guy more if he came out and said 'I'm taking money to pretend to review the new show but actually am just regurgitating 40 years of The Smart, Cultured Critics Hate CATS.')

[bittersweetsweetheart]

I hate the idea that if someone likes to go out, go to parties or clubs etc that they're shallow. Going out dancing with your friends is not shallow. A party is not preventing people from having deep relationships and a pop concert isn't 'a waste of time'. Dancing and music are inherently joyful and meaningful because they have been a part of humanity since the beginning. Birthdays, anniversaries, and accomplishments are meant to be celebrated, and a party just because can make things seem a little less bleak. Life is often hard, and things can change in an instant. Dance with your friends while you can, and love every minute of it.

[blackswaneuroparedux]

Anonymous asked: What’s your favourite piece of classical music that you discovered through a film soundtrack?

What an interesting question to which I have had to really scratch my head and think a little. The main issue is that if you are, like me, one of those kids who was exposed to classical music and some of its canon from an early age then the question becomes harder to answer. Like many other children, I was taught to play musical instruments and have music lessons from about 6 years old onwards. Films, especially the more adult themed ones with a classical score, were something you discovered much later in your teens onwards. So I’m going to cheat a bit here and there. For example I can’t include Milos Forman’s classic movie ‘Amadeus’ because I was already familiar with a range of Mozart’s repertoire before watching it.

Predictably, I’m going have to start with Walt Disney’s classic film ‘Fantasia’ (1940).  This was perhaps the first film I was truly exposed to classical music in all its glory. It was Disney’s love letter to classical music and I can still watch it with child-like wonder at the magnificent music set to an incredible animation.

I’m pretty sure that Igor Stravinsky almost certainly wasn't thinking of dinosaurs when he wrote his ballet The Rite of Spring. But Walt Disney and his talented team of animators decided to tell the story of these prehistoric creatures using the dramatic, angular sounds of Stravinsky's masterpiece. And it's become one of the most famous sequences of the 1940s film.

The score was performed by the Philadelphia Orchestra under Leopold Stokowski and was narrated by composer Deems Taylor was awesome. As magnificent was the music that Toccata and Fugue in D minor by J. S. Bach, selections from The Nutcracker Suite by Pyotr Ilyich Tchaikowsky, The Sorcerer’s Apprentice by Paul Dukas, Pastoral Symphony (Symphony No. 6) by Ludwig van Beethoven, and the “Dance of the Hours” by Amilcare Ponchielli, it was the last two pieces that left a real impression. Of course I’m talking about Night On Bald Mountain by Modest Moussorgsky, coupled with ‘Ave Maria’ by Franz Schubert.

I’m also going to add Léo Delibes’ Flower Duet (from the opera Lakmé). I used to hear this ad nauseam but not in a movie. This classic piece was the chosen soundtrack for the British Airways advertisement on television and in their departure lounges and flights. The ad - updated often - has been around in one form or another but with the same soundtrack since the 1980s. It was a huge feature of my childhood in the 90s. Whenever I boarded a flight in the Far East or South Asia or the Middle East to fly back home to Britain - because we lived overseas - you would hear this as you strapped yourself in to your seats.

As for my main list (in no particular order):

Second movement of Beethoven's Symphony No.7 from: The King’s Speech (2010)

The climactic scene where King George VI has to make his speech ‘unto the nations’ was made more powerful by this piece. Like King George VI and his personal battles with his voice, much speculation has taken place over what personal agony the musical piece reflects in Beethoven’s life, especially since sketches for the movement predate the symphony by several years.

One clue is that Beethoven, who conducted the premier in December of 1813 for the veterans of the Battle of Hanau, made an address to these veterans, saying: "We are moved by nothing but pure patriotism and the joyful sacrifice of our powers for those who have sacrificed so much for us." There is every reason to believe that the deep emotion of this movement was founded on anything but what he said it was. His sentiment had existed long before 1813, as had the wars. Napoleon was being repelled, and the symphony is overall joyous.

However, Beethoven was not the kind of man to casually dismiss sacrifice, and the concert was dedicated to veterans. I believe that this movement celebrates those military veterans who made sacrifices for their nation, in much the same way King George VI was asking his subjects in Britain and the Commonwealth in the fight against evil menace of Nazism and Fascism.

Ligeti's Lux Aeterna and Requiem from: 2001: A Space Odyssey (1968)

I hated it. I saw it as a teen and I thought something was wrong with the audio. I still hate the piece but at least I know who Ligeti is. It was way too avant garde for me back then and it remains so today. I think scratching your nails down a chalk board has more melody than a piece by Ligeti. Kubrick clearly loved his work and used it in his other films such as The Shining and Eyes Wide Shut.

Richard Strauss - Also Sprach Zarathustra from 2001: Space Odyssey (1968)

By contrast I loved it. Music can be the difference between a highly memorable scene and one that leaves viewers with an indifferent shrug. It’s hard to believe that this classical piece was used in the main opening scene of the film originally as a temporary place holder by Kubrick whilst he waited for the film composer, Alex North, from the full soundtrack. In the end Kubrick left Strauss in and it made all the difference.

Franz Schubert’s Piano Trio in E-Flat from: Barry Lyndon (1975)

The Piano Trio No. 2 in E-flat major for piano, violin, and cello, D. 929, was one of the last compositions completed by Franz Schubert in 1827 and one of the last pieces he heard being performed before he died. The track itself has been used in countless of movies over the decades such as The Hunger, Crimson Tide, The Piano Teacher, L'Homme de sa vie, Land of the Blind, Recollections of the Yellow House, The Way He Looks, The Mechanic, Miss Julie, The Congress, and the HBO miniseries John Adams. But I first heard it on Kubrick’s film Barry Lyndon and remember being captivated by the film and the music. I was a teen watching it my parents and the whole scene at the card table was beautifully directed and wonderfully lit. As I learned much later in life, Kubrick and his team invented new kind of film lens to be able to film in candlelight.

Handel's sarabande from: Barry Lyndon (1975)

The sarabande is traditionally the music written for a courtly dance in triple metre. Handel's version was composed for solo harpsichord at some point between 1703 and 1706 and first published in 1733. This classic piece is the 4th movement of the Cette pièce est le quatrième mouvement de la Suite in G minor composed for the harpsichord. Although the Sarabande was originally intended by its composer to be played solo on harpsichord, the orchestral version of the Sarabande is very well known these days thanks to the Barry Lyndon film. Moreover, the Sarabande is beloved by filmmakers and has been adapted several times for various films. It’s one of my favourite pieces and it reminds me of the English countryside for some reason rather than some formal court dance.

Domenico Cimarosa’s Concerto for Oboe in C Moll from: Though the Olive Trees (1994)

Directed by Abbas Kiarostami, this little known Iranian-French film was something I stumbled upon through my Norwegian mother who loved these kind of independent films when we lived in South Asia as an antidote to all the Bollywood films we children enjoyed. Kiarostami’s film traces the trouble arising when the romantic misfortune of one of the actors on a film set - a young man who pines for the woman cast as his wife, even though, in real life, she will have nothing to do with him - leaves the director caught in the middle. In hindsight I can now say it was a metafictional masterpiece. Kiarostami contemplates cinema and its romantic fallacies. The film is gorgeously grounded in Northern Iran’s folk traditions and with a soft focus on its shaken yet convalescent landscape. It’s a warmhearted tale that explores what happens when love goes unrequited - which was surprisingly relevant to a teen with raging hormones at the time.

Ralph Vaughan Williams’ Fantasia on a Theme by Thomas Tallis from: Master and Commander: The Far Side of the World (2003)

A classical musical masterpiece in a masterful cinematic movie - both epic in every sense of the word. As a former British Army combat pilot it’s the only film that made me have a smidgen of sympathy with the Royal Navy. It was one of the first films I was allowed to go and see at the cinema itself as a teen. The film is almost faultless in terms of acting, directing, cinematography, and authentic detail. It even made me go and read one or two of the books by Patrick O’Brian. How Peter Weir never won an Oscar for directing I shall never know.

Vaughan Williams’s Fantasia on a Theme by Thomas Tallis is a 15-minute (or so) work for double string orchestra and string quartet, based on a melody by the 16th century composer Thomas Tallis. The quartet traditionally sits away from the orchestra in performance, to create an atmospheric antiphonal (alternating voices) effect. It is often known simply as the ‘Tallis Fantasia’. The tune is from a setting of Psalm 2 that Tallis wrote in 1567. It originally sets the words ‘Why fumeth in sight: The Gentils spite, In fury raging stout? Why taketh in hond: the people fond, Vayne things to bring about?’ It was in 1910 at a festival that Vaughan Williams himself conducted the London Symphony Orchestra in the first performance, which was followed in the same concert by Elgar conducting his own The Dream of Gerontius. Vaughan Williams, in his late 30s, was already establishing himself as a major name, but the Tallis Fantasia raised his profile even higher, not least because the concept of harking back to the 16th century was a comparatively new one.

The piece by Vaughn Williams is what has stayed with me throughout the years. In a nod to Proust, I chiefly identify the piece with reflections of my time on the battlefields of Helmand during my time in Afghanistan and especially seeing wounded friends and comrades long after we got back home from war.

Carl Orff’s Carmina Burana from: Excalibur (1981)

I was already familiar with bits and pieces from Wagner’s operas - played loudly in our home by my parents - but I must admit this classic piece by Carl Orff I first heard watching John Boorman’s magical and majestical film about King Arthur and his knights of the Round Table. I know this piece has been used endlessly in other films and even gained fame as a men’s aftershave advertisement (so my father says) but I first heard it watching this film.

John Boorman’s 1981 fantastical retelling of Thomas Mallory’s Le Morte d’Arthur is, to quote Nicol Williamson’s Merlin in the film, “A dream to some. A nightmare to others!” It can sometimes come across as an episodic and hammy sword and sorcery tale, but I saw it as clever and satisfying retelling of an evergreen myth. I had read read Mallory’s epic books and so my expectations were unduly high. For the most part they were met and then some. Boorman took an abstract approach that shows us Arthur’s (unnamed) Kingdom, a place out of time, in several stages of transition; from dark to golden age, via loss of innocence, and painfully bloody rebirth. Excalibur arose out of the ashes of Boorman’s earlier attempt to bring J.R.R. Tolkien’s The Lord of the Rings to the screen (ironically after trying to get a filmic retelling of the Merlin myth off the ground).

Excalibur is a cautionary tale. The characters are all struggling to find their place in the world, to maintain harmony with nature. Merlin says poignantly of Excalibur to Arthur, “It was forged when the world was young, and bird and beast and flower were one with man, and death was but a dream.” The film is a longing for a golden age, and the struggle to balance the warring natures of honour and goodness with human greed and jealousy. Surely the most rousing image is when Percival has returned the Grail to Arthur who, rejuvenated, also recovers Excalibur from Guinevere (now a nun, to atone for her adultery with Lancelot). She has kept it safe, knowing her once and future king would one day seek its power. Merlin is unfrozen by Arthur, and even Lancelot, a raggedy wild man driven into exile by his own shame, heeds his true king’s call. Arthur rides out with his knights and these fellow warriors through a re-blossoming countryside to do battle with Mordred for the soul of the land, to Carl Orff’s stirring music.

The name of Orff’s piece has Latin roots. 'Carmina' means 'songs', while 'Burana' is the Latinised form of Beuren, the name of the Benedictine monastery of Benediktbeuren in Bavaria. So, Carmina Burana translates as Songs Of Beuren, and refers to a collection of early 13th-century songs and poems that was discovered in Beuren in 1803 - although it has since been established that the collection originated from Seckau Abbey, Austria - and is now housed in the Bavarian State Library. The songs (over 1000 of them) were written in a mix of Latin, German and medieval French by the Goliards, a band of poet-musicians comprising scholars and clerical students, who celebrated with earthy humour the joys of the tavern, nature, love and lust. Although Orff set the original texts, he chose not to use the primitive musical notation that accompanied some of the songs. The collection was first published in Germany in 1847, but it wasn’t until 1934 that Orff came across the texts; a selection had been translated into English and formed part of a publication called Wine, Women And Song. With the help of Michael Hofmann, a law student and Latin scholar, Orff chose 24 songs and set them to music in what he termed a “scenic cantata”.

It was in this form that it was first heard on June 8, 1937, in Frankfurt, under its full title Carmina Burana: Cantiones Profanae Cantoribus Et Choris Cantandae Comitantibus Instrumentis Atque Imaginibus Magicis (Songs Of Beuren: Secular Songs For Singers And Choruses To Be Sung Together With Instruments And Magic Images) Quite a mouthful! After the triumphant premiere of Carmina Burana, Orff, then 41, wrote to his publishers: “Everything I have written to date, and which you have, unfortunately, published, can be destroyed. With Carmina Burana my collected works begin.” However, nothing Orff subsequently wrote ever came close to approaching the popularity of Carmina Burana. Oh dear.

Richard Wagner’s Siegfried’s Funeral March (from the opera Götterdämmerung) from: Excalibur (1981)

The film almost plays like a screen Opera - it is a heightened reality, a world anew. One where sex, jealousy and pride threaten to undo the mystical balance and ties between the King and the land. A powerful aid to that feeling is the superb score which utilises music such as Siegfried’s Funeral March by Wagner, and O Fortuna, a medieval poem set to music by Carl Orff. Boorman was determined to squeeze as much of the legend into his film’s running time as possible, chopping and condensing characters, and switching acts around. He created a three-act saga - the dark ages and the birth of Arthur, a period of brutality and superstition; the rise of Camelot and its age of reason, law, and dawning of Christianity; and the final descent into chaos and wasteland, where a frail Arthur commands the Round Table knights to seek out the Grail. Arising out of this a final battle commences for the soul of the land and the people, a sense of renewal with a promise of a new age to come. Boorman called it the “past, present and future of humanity.”

Richard Wagner composed his opera Götterdämmerung between 1869 and 1874. It is the last of the four operas that make up Wagner’s Der Ring des Nibelungen cycle, a project that had taken him over 25 years to complete. The opera is much renowned for its orchestral sequences, and these are often performed as concert extracts. Siegfried's Funeral March is taken from Act Three after Siegfried has been murdered by Hagen. Following his murder at the hands of Hagen, the death knell of “Siegfried’s Funeral March” opens with funereal timpani as Siegfried’s body is placed on his shield and carried off by the vassals. The music vacillates from deep mourning and rage-filled outbursts to the majesty of the “Hero” motif, brought out in bold relief at the centre of the movement.The whole opera is made up of musical motives from previous operas that tell of Siegfried's background, including the Volsung theme, Siegmund and Sieglinde's theme, the Sword, Brünnhilde's love theme and the curse of the Ring. 

Richard Wagner’s Ride of the Valkyries (Die Walküre) from: Apocalypse Now (1979)

Francis Ford Coppola's Vietnam War phantasmagoria is an epic fresco oozing with madness. It is a madness that manages to escape from the frame and infect the director and his team, turning the film into a legend. It is impossible not to talk about this film without mentioning the Dantesque shooting of the film. A typhoon that destroyed the sets, a heart attack that nearly killed Martin Sheen, a Brando who was more obese and obtuse than ever, who arrived on the set without knowing his lines, and a director at the end of his rope physically and psychologically, on the verge of divorce and suicide. Instead of taking four months to complete, the shoot lasted 15 months. The analogy with the hell of Vietnam is obvious.

The film itself is about Benjamin Willard, a special forces captain, who is given a highly perilous mission: to find and assassinate Colonel Kurtz, a renegade who has set up his headquarters on the Cambodian border. To accomplish his mission, Willard must travel up a river in a small patrol boat with a handful of men. We follow Willard sinking into the madness and insanity of this war, personified by the character of Colonel Kurtz, an obese Buddhist, a true godfather of the Vietnamese jungle. Apocalypse Now is in fact a mirror for the spectator, it plays on our feelings about the Vietnamese conflict, and this is what sets it apart from other great war films. It is a physical and very real journey through Vietnam, but also an inner journey for its hero, Willard, a drug addict and alcoholic, which will allow Coppola to make his denunciation of the war. After watching this movie over several years I’ve come to regard Coppola’s movie as more than just a war movie but also an hallucinatory trip, as anxiety provoking as possible, about the human soul lost inside itself.

For a movie that had two of my greatest loves - combat helicopters and Wagner - the film surprisingly didn’t inform my future career path as a combat pilot for the British Army. I was too young as a teen and caught up with other feminine things girls of my age did. But watching it retrospectively I’m sure it had some unconscious influence on me. I noticed things more with each viewing such as before Jim Morrison's paradoxical and delightful prologue, it is the helicopter blades that open Apocalypse Now. The jerky noise that spatialises this mortifying horizon is a motif that will be the melodic line of the entire film. In crosshatching, it truncates reality and allows the initial confusion of a man in reverse who opens his eyes on an uncertain world. The fan in the hotel room is not the air-conditioned shelter of war. Everything, from then on, is under the sign of duality.

Then of course we have the euphoric scene but no less horrifying than the helicopter attack by Kilgore and his men to lay waste to a village so that they could surf. And all done to the terrifying bombast of Wagner’s Ride of Valkyries. It’s a demented scene but also so visually lyrical. Wagner’s Ride of the Valkyries is sadistically perfect. It’s a perfect mythical metaphor of the valkyries who majestically flew in the sky and decided who died in battle from above. Of course the symbolism of Wagner - wrongly tarred with its fascist connotations - as a place holder for Western imperialism over the Vietnamese is not lost on the viewer. It’s a clever piece of juxtaposition.

Armies have of course used music in warfare for millennia. The deployment of musicians - from trumpeters to drummers - in battle was useful in instilling regimentation and rhythmic purpose for soldiers; and in days before radio, in carrying specific orders across the battlefield. As well as unifying an army - it could potentially disorient the enemy, or as Kilgore eruditely elaborates: ‘We use Wagner, it puts the shits up the slopes. My boys love it!’. So what we are seeing is an age old military tactic being given a modern twist. This has already been established by the notion of an air cavalry, trading their horses for helicopters - which gets further embodied by Kilgore’s wearing of a cowboy hat, common to the Western film genre. The symbolism of linking old and new - ancient and modern, history and the present - occurs throughout Apocalypse Now, as it does in the original novella Heart of Darkness. It indicates an uncomfortable continuum, a never ending foreboding cycle. That beneath the fragile veneer of civilisation, humanity is endlessly repeating barbarism - a cycle foreshadowed by helicopter/fan blades at the start of the film which also loops back to become the end of the film - itself a cycle that won’t end.

When I flew combat helicopters over in Afghanistan we were banned from playing music in our cockpit. It’s simply not practical because you need to be aware of all your aural cues of what the hell is going on around you as every mission is task intensive. You’re focused on a mission where the shit can hit the fan such as coming under rocket attack at any second especially if you’re on a night mission. In theory you could,  as anyone with some audio equipment and electronics knowledge could wire in a 3.5mm headphone jack and hook up your music into your own helmet. I knew some pilots who broke the ban and did this. They would get their clever avionic ground staff technician crew to put in a some sort of patch cord that could plug through to their helmet ICS - in return you get them a case of beer. I’m not telling where we got the beer from.

Other honourable mentions:

Second movement of Schumann's Piano Quintet from: Fanny and Alexander (1982)

Gaetano Donizetti’s Lucia di Lammermoor "Il dolce suono" from: The 5th Element (1997)

Rodrigo's Concierto de Aranjuez from: Brassed Off (1996)

Maurice Ravel’s Trio en la mineur pour piano, violon et violoncelle, Sonata for Violin and Cello, Violin Sonata #2 in G, and Berceuse Sur le Nom De Gabriel Fauré from: Un Coeur en Hiver/A Heart in Winter (1992)

Mozart’s Divertimento in D major, K. 136 from: Out of Africa (1985)

Carl Orff - Schulwerk Volume 1: Musica Poëtica - Gassenhauer from Badlands (1973)

Puccini’s O mio babbino caro (aria from the opera Gianni Schicchi)  from: A Room with a View (1985)

Verdi’s La forza del destino (the Force of Destiny) overture from: Jean de Florette (1986)

Mozart’s Letter Duet (from The Marriage of Figaro) from : The Shawshank Redemption (1994)

Thanks for your question

[roo-bastmoon]

The Radical Act of Choosing Happiness

Hey, besties.

Got a secret for you...

Our mutual happiness is the best antidote to miserable antis.

Next time some troll starts up on their bullshit?

Make them choke on your bliss.

Solo dickheads victimizing or gatekeeping one of the members?

Don't fall into the trap. Instead, hashtag support for that member and move on.

Subgroup hell-bent on spreading lies and mistranslations again?

Don't engage at all. Just share the truth. Exalt in the truth. Celebrate the truth so loud, it drowns out the noise.

A bunch of antis dogpiling slurs and hate on your fave?

No need to stoop to their level or return their energy--energy is precisely what they want. Report, block, move on.

Instead, you lean on in to the absolute euphoria of BTS's relationships, official content, and fan works.

Are disingenuous anons clogging up your inbox?

Feel free to delete. We don't have time to waste playing tit-for-tat with assholes, and we aren't obligated to share our platforms to host their opinions. We've got songs to stream and folios to purchase and videos to like and share.

Not to mention voting. ARE Y'ALL STILL VOTING??

Look, my dear-hearts. I get that it's aggravating--these little shits coming into our spaces, trying to ruin things. But BTS has learned to rise above all that and work hard for ARMY. They still are out here working hard for us. They are the ones that deserve our focus. STAY FOCUSED, BROTHERS.

And every time we focus on BTS, it makes us happy, doesn't it?

I'm just out here on my soapbox today to encourage all my moots to choose to be unabashedly, uncontrollably, incandescently joyful.

The best revenge is to live well. Be radically happy.

And on that note, I'm gonna go get ready to see the Yet To Come Busan Concert in theaters. Today I am dragging my work bestie to see it with me. She says she's eager to become a newborn ARMY and might be Yoongi biased! HUZZAH!!

Go get out there and shift your focus to what brings joy. BTS would want you to.

Love and undaunted happiness to all of you,

Roo

[frenchkisstheabyss]

Hellouw 🥹 I don’t really know who else I could talk to about something that has been on my mind lately and I’m kinda questioning how “normal” it is so I wanted to ask you and hear your opinion about it. You’re always so nice and I feel like you wouldn’t judge others.. 

So..I know a lot of K-pop Stan’s joke about having a crush on their biases or when they say “giggling, blushing, kicking my feet to XYZs picture” or whatever but I’ve also seen so many fans judging others for that. 

I was feeling really down for a while and when I discovered my ult group and especially my bias I finally felt some sense of enjoyment and happiness again. I began to notice how my mood and happiness depended on them and also how much I actually liked my bias. Obviously most idols are super attractive and with all the fan service it’s easy to develop celebrity crushes on them but I began to wonder whether I should feel bad about it or even try to stop it by maybe taking a break from my ult group. It’s not that I’m delusional and think I could actually pull my bias or would get mad if he dated someone and cancel them for that. 

It’s more like daydreaming about him and admiring him, finding him obviously super attractive but with no ill intent. 

But then I see videos or tweets of other fans who talk about “breaking the first rule of K-pop”and they’re really harsh and mean and talk super negatively about people who have crushes on idols and then I feel bad about myself and wonder if I’m actually weird for that or if it’s okay as long as I’m not delusional about it.. 

Have you ever felt like you like an idol too much? Or where you were close to actually falling in love with one? 

I don’t even know if what I said makes a lot of sense but I’d really like to hear some more opinions on that topic without being judged 🙃

Let me be the realest of realest of real with you. Anyone who’s judging you can suck a dick and not in the fun way. In the most disrespectful way possible.

It’s completely okay if your biases and the groups you love are the thing that makes you happy. Kick your feet, giggle, smile, feel good. Have a nice time. Be joyful. You’re not hurting anyone by doing that.

Would it be ideal if we could source all of those feelings from within ourselves? Totally but that’s just not the case . Life is fucking hard and it can be a struggle to make it through the day.

It doesn’t matter what the people judging you wanna say, they’re into KPop because it does the same thing for them. They can pretend that the entire industry isn’t one big parasocial relationship factory but they’d be lying to themselves.

We love our biases and our groups and the music and the concerts because they make us happy. They bring light to our lives. And yeah sometimes you’re super duper into one of them but so what?

I gave up KPop after first getting into it cause friends shamed me for loving it so much but I got back into it and I love it more than ever now liiiiike Hyungwon from Monsta X is my man period. I’ll go to war over my lil 6ft tall chronically sleepy turtle boy lol

All of that is fine and if anyone ever gives you shit TAG ME. GIVE ME THEIR INFO. I got your back 💜

[underaverageheight]

SKZ Anniversary

Happy SKZ Day~

BC x fem!reader Warnings: none Fluff Angst: if you squint hard enough

Word Count: 687

Feel free to reblog and like with feedback, comments are great but I won't be able to respond since this is a sub-blog

You had, well, no idea how you got here. Ever since you saw groups performing when you were little, you wanted to be a star. Fast-forward a few years and instead of auditioning, you applied to be a manager, realizing that life in the entertainment industry was hard. But you wanted to stop that, at least make life more enjoyable for the talented people in entertainment. Employed under JYPE, you were to shadow and assist the managers for girl-group TWICE. You loved it, making a few close friends with some of the girls, who even send concert tickets today.

Today was a special day for you. Today marks the 5th year of the first and only group you manage, Stray Kids. Growing close to TWICE girls also meant meeting Chan. Chan was the hardest worker you knew at JYPE. Watching him from a distance during his trainee days fueled your purpose for becoming a manager, someone these stars can trust and depend on. You only ever greeted him or gave him some of the extra snacks you bought for TWICE. He always had a smile on his face, and it only made you pity him more for the amount of work he's put in for his debut.

Though you know you shouldn't, you and Chan grew to be close friends. A week after that, you were told that you can stop shadowing. You were getting your first managing job. Nothing, nothing in the world could ever have made you believe that your first official job would be managing a new boy band. Especially one with your best friend.

"Congrats guys!" You walked into the conference room with gifts and bags. Joyful greetings were yelled from each member. "Let me help you with that," Chan grabbed some bags from you, lightening your load. "Thanks," You set down each bag gently, not wanted its contents to break, spill, or fall out of place. "Here you guys go, a little gift from me," you said as the boys looked through the bags to find one with their name delicately written on there. "Thank you, Sunbaeee," Hyunjin got up and hugged you, delighted with his new art supplies. Jeongin and Felix started to tear up reading the letter you wrote to each member, expressing your gratefulness to them. Chan watched his members open up theirs gifts and opened his soon after. He pulled out a few snacks and other items that had their own special meanings between the two of you and smiled. Flicking open the letter, he too hugged you as his letter was more personal, sharing the fond trainee memories you shared together.

Later on, after celebrating with STAY, Chan decided to treat the group and the managers with dinner.

Abandoning your usual attire of casual clothes, you wore a dress and heels. Sure, you felt a little overdressed but it was a very special occasion.

"You look stunning Y/n," Chan gestured to an open seat next to him. Butterflies erupted in your stomach. It wasn't everday you dressed up so compliments weren't a common thing. "Aw thanks," you return, "You look pretty handsome yourself- even more than you usually are," You quickly picked up a menu to cover your face. "So, what are you all having?" You tried to focus on the menu and before you felt it, Chan leaned over, giving you his answer. "A date," you felt a little overdressed but it was a very special occasion.

Chan chuckled and looked at your eyes, his eyes reflecting the same happiness you felt his warm breath in your ear, "a date with you," You tried to gather your composure, used to the other members being a flirt but Chan always managed to break that. "Wow Channie, I didn't know you felt that way about me," you teased making him blush a bit. You leaned over to him, "Cause I feel the same way," you laughed, putting your hand over his under the table. "So...you and Chan-hyung?" Han smiled. The two of you blushed, thankful the other managers were busy ordering.

"Yes. Us."

Masterlist

A/N: y'all they are going on Jimmy Kimmel's show on the 29th, makes a great birthday gift for me to enjoy

[maximumwobblerbanditdonut]

The Christmas spirit is in the air, just in time to celebrate the holidays with The Vienna Boys Choir 🇦🇹 and their angelic voices.

The Vienna Boys Choir is one of the most iconic cultural institutions in Austria. The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The Wiener Hofmusikkapelle was founded by a statute issued and established by a letter from Holy Roman Emperor Maximilian I on 30th June 1498, instructing court officials to employ a singing master, two basses and six boys to the Imperial court as members of the newly formed court music band. Ever since the Vienna Boys' Choir has been a fixture in Austrian musical life.

In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue-and-white sailor suit, replacing the imperial military cadet uniform that included a dagger. 🗡️

The Vienna Boys' Choir has produced numerous highly respected musicians, among them Joseph Haydn and Franz Schubert. Today, the 100 or so boys range between the ages of 10 and 14 years and give about 300 concerts each year, around the world.

“Singa is ins’re Freud” (Singing is our joy).

I wish each of you joyful days! 🎄

@viennaboyschoir #viennaboyschoir #choir holidaymusic #classicalmusic #holidayconcert #christmasinvienna #christmascarols #Austria