#song: don't cry for me argentina

[gleesongtournament]

Glee Song Tournament Round 1

[dummerjan]

i just came across ai covers on youtube and people are requesting songs in the comments instead of getting enraged and i am further losing hope in humanity and turning to misanthropy

[marybeatriceofmodena]

What did Andrew Lloyd Webber do to make Patti Lupone upset? Sorry, saw your tags and i was curious

Oh.

Oh honey.

You sweet child.

Anyway, get ready for one of the most infamous showdowns in all musical theatre history, with the guy who writes the straightest musicals on Broadway (derogatory) and the one and only, the matriarch, the queen, two three-time Tony award winner Patti LuPone.

So, Andrew Lloyd Webber was basically kind of a boy genius in his prime - he met his future collaborator Tim Rice when they were 17 and 20 respectively, he wrote his first big hit, Jesus Christ Superstar, at 22, with Tim Rice writing the lyrics. And it was kind of a big deal at the time because the topic was controversial (you know, the Passion with rock music), but also because Broadway wasn't that far off from its golden age and let's just say the music and style were very different from, say, My Fair Lady. Or The Sound of Music. Or Funny Girl. It was basically the Rent/Hamilton of its time. (Yeah, Stephen Sondheim was around at that time, he worked on West Side Story which was revolutionary in of itself, but he's kind of an oddball in this case. You'll understand why later.)

Their real follow up (I'm not counting Joseph and the Amazing Technicolor Dreamcoat for a variety of reasons) was a little musical called Evita, which you might know mainly because of a song called Don't Cry For Me Argentina. Or at least, your mom has probably heard it once at the very least. It's that song that's oversung from a musical while being out of context along with I Dreamed a Dream for Les Misérables. Or Memory from Cats.

Evita tells the story of Eva Peron, the wife of an Argentinian dictator, who basically screws her way to the top and ends up becoming the mistress of Juan Peron and the most beloved woman in her country through guile and deceit. Yes, I know the historical accuracy is very much debated but I know jackshit about Argentina's history except the bare basics so don't come at me. It was first produced in the West End in London, with Elaine Paige in the role, but because of Equity issues, she couldn't reprise her role for the Broadway production. So a Julliard graduate who was mostly starring in David Mamet plays got the part instead, and that was Patti LuPone.

Patti... did not have a good time during Evita, because the part is basically the kind of score where you can tell the composer is used to writing male parts, but most female singers have a two-octave range (yes, you got Julie Andrews who used to have a three-octave range, and many others, but they're exceptions), so she struggled a lot. That being said, if you listen to live recordings of her, you wouldn't be able to tell, and it got a lot easier later on. But she had this to say:

"Evita was the worst experience of my life. I was screaming my way through a part that could only have been written by a man who hates women. And I had no support from the producers, who wanted a star performance onstage but treated me as an unknown backstage. It was like Beirut, and I fought like a banshee."

This is from Patti's autobiography, which she wrote in 2007 - 8 years after shit with ALW went down. With all that said, she won a Tony Award for Evita, and she pretty much became a musical theatre household name from then on. She played Fantine in Les Misérables, Nancy in Oliver!, Reno Sweeney in Anything Goes. Meanwhile, ALW's next big hits were Cats (I'm not even kidding, Cats was a hit), and, you guessed it, The Phantom of the Opera, which he wrote in part to showcase his then wife Sarah Brightman's triple threat talents.

So, you need to understand before I continue that ALW, from my perspective, has always had a bit of an inferiority complex. He's basically associated to writing these commercially successful musicals that show a big spectacle but aren't ultimately substantial. I'm not sure I entirely agree with that, but I do think that if he didn't have Hal Prince, Maria Bjornson, Charles Hart and Gillian Lynne backing him up for Phantom, it would have probably been a Rocky Horror Picture Show knockoff people would have forgotten about pretty quickly. This is what I mean:

Yep, that was Phantom before any of the people I mentioned above (and Michael Crawford) were really involved.

Remember how I said Stephen Sondheim was an oddball? The thing with him is that his musicals weren't always commercially successful, but in general, in part thanks to being Leonard Bernstein's protégé, he was generally pretty well-respected and it was considered that his work was bringing musicals to a whole other level. Without Sondheim, you wouldn't have Jonathan Larson, and you wouldn't have Lin-Manuel Miranda. I am convinced ALW is resentful of that, and when you stop and think about it for more than 10 seconds, it's so obvious he REALLY wants to be Sondheim or at least command the same level of respect, but that's a story for another day.

So, after Phantom, ALW had other musicals that followed that either got a meh reception or outright flopped. Then there was Sunset Boulevard, which is based on the movie of the same name with Gloria Swanson. Despite all of her griefs for Evita, Patti LuPone agreed to partake in the musical as Norma Desmond, for its production in London, with the promise that she would transfer to Broadway once that production would open. And overall, after a string of flops, Sunset was actually doing pretty well.

HOWEVER. One day, while reading the gossip column of a newspaper, Patti found out that contrary to what she was promised, Glenn Close, who was meanwhile starring as Norma in the Los Angeles production, was to play Norma on Broadway. That was a complete surprise for her since no one on the production team had bothered to tell her it was happening - and keep in mind that for the news to come up the way it did in a gossip column, it probably would have necessitated a delay of a few weeks between the producers and the newspaper, which would have given them plenty of time to break the news to Patti. And Patti kind of needed the leg up because she was pretty bitter that a) Madonna was cast in the Evita adaptation instead of her; b) they actually lowered the key to fit Madonna's voice range, and she still had to expand her own to be able to sing the (lowered) score. And trust me, Patti is mad about it to this day.

So of course, she trashed her dressing room, the cast and crew weren't even mad about it because they were as shocked and angered as she was by the news. Patti sued Andrew Lloyd Webber for breach of contract, namely for 1 MILLION DOLLARS (yup, those are the real numbers), won, used the money she got from the lawsuit to get a swimming pool, which she called (and I SHIT YOU NOT) the Andrew Lloyd Webber Memorial Pool. Since then, Webber is dead to her, to the point rumor has it she had part of a building blocked during an event so she could get out of it without coming across Webber, because she hates him so flipping much she doesn't even want to be in the same building as the guy.

(There's also drama that happened with Faye Dunaway who was supposed to replace Glenn Close after she went from Los Angeles to Broadway, except they abruptly closed the show down after Close left, but that's a story for another day)

So with all the bad press, and with ALW forced to pay 1 million dollars for Patti's lawsuit, that led Sunset's productions to close earlier than expected. ALW has stayed around since, with... mitigated output, so to say. The lowest point for a lot of people is Love Never Dies, the sequel to Phantom, which some people love, and that's fine, but it didn't do well with either critics nor fans of the original show, which ALW is EXTREMELY BUTTHURT ABOUT. And like, there are so many stories I could tell about LND alone, but I will share my own crack theory about it, since it does relate to the ask.

Anyway, buckle up.

So. There have been jokes going around for years that the Phantom in LND is basically ALW's self-insert, where he displays to the world that he's totally not over Sarah Brightman leaving him (in part because making Phantom kinda ruined their marriage lmao), despite, you know, having married since. (Aaaaaakward.) So LND basically becomes this really uncomfortable therapy session where a man writes a self-insert musical about how his ex-wife made a big mistake of leaving a sensitive artistic soul such as himself. The characters from Phantom who appear in LND are all more or less unrecognizable as a result, and one who gets it worse (in my humble opinion) is Meg Giry, who was basically Christine's sweet and loyal ballerina friend who basically went into the Phantom's lair on her own to save her friend despite the danger. In LND, she's basically a bitter hag (because ALW hates women, guess Patti was right about that), who really likes the swim and even has a stripping vaudeville number about it, written in universe by the Phantom, no less.

For comparison, here's Don Juan Triumphant (the Phantom's opera in the original):

And here's Bathing Beauty (the vaudeville number):

Yeah, so... do you see why people hate LND already?

And that's not the only thing with Meg! She's also pining for the Phantom to pay attention to her and threatens to drown the Phantom and Christine's secret love child when he makes it clear that he's gonna love Christine for EVA AND EVA.

So, with everything we learned today about ALW, would someone like him view someone like Patti LuPone as some sort of crazy, bitter diva who's obsessed with him for whatever reason? Absolutely. Would he be petty enough to insert Patti LuPone into his self-insert musical, which gave us the version of Meg Giry we got in LND? Of course. Why does Meg love to swim so much and why does she drag Gustave out ostensibly for a swim? Is it a dig at Patti's Andrew Lloyd Webber Memorial Pool? Maybe.

I kind of hope we find out one day if that theory is true. And maybe start a kickstarter so Patti can add this painting from the 2004 movie in her collection.

Fun fact: during the process of casting for the 2004 movie adaptation of POTO, ALW allegedly suggested Patti LuPone to play Carlotta... only for Joel Schumacher to have to awkwardly remind him that they were not on speaking terms. The idea was therefore promptly dropped.

[blubffsd]

— WORLDS COLLIDE PT. 3

summary: The lie you believed your whole life just fell apart, the person you loved the most let you down once again. Why did you think this time would be different?

previous chapter

note: i really don't know what song to recommend for this part, just play your favorite sad song lol. please pretend that on social media it says "Mia" instead of Y/N, i edited it like 3 times and it never saved so i gave up.

@http-isabela love u 😚💞

Indignation.

That's what Mia feels now.

She has a hard time believing what she sees, but unfortunately it is real.

They backstabbed her in front of miles of people.

It wasn't until she arrived in Argentina that she found out about their tweets, all thanks to Anto, who had found out from Jorgelina Cardoso, Di Maria's wife.

After Mia found out, the players of the Argentina team found out too, Lio told them what happened after Anto told him.

Most are completely outraged by the audacity of her brother-in-law and his wife to make such comments.

All of them are still euphoric for having become world champions less than 2 days ago, and even more so now that they are waiting in Ezeiza to celebrate with the Argentines at the Obelisk.

So right now they do and say things that they wouldn't do at another time.

And Mia too.

Will she regret of this? Yeah.

Does she care now? No.

Obviously people suspect that the tweets are for Melissa and Jirès (especially those of Enzo and Julián).

If Kylian and Mia's names was a trend before, now there are even newspaper articles speculating what happened between them.

And as if that weren't enough, now she has his boyfriend's fans attacking her on twitter, just like when he said he's dating her.

Jirès even had the audacity to reply to her tweet.

Mia knows she were wrong a lot, but is all that necessary?

It's okay that they're mad at her and she understand it. But why increase the hate she is getting?

Why are they treating her like this if two days ago they had dinner with her and told her how grateful they are to have her in their lives?

Did they lie to her or were her attitudes so bad that they changed their opinion drastically?

Even if it hurts Mia keeps seeing the tweets out there about all the drama.

Wonderful.

Now they are relating the songs of her favorite singer with her love dramas.

THEY EVEN MAKE A PLAYLIST. (it's real btw)

Mia lets out a laugh when she saw the songs they chose to "cry over your divorce".

At least they are not criticizing her or judging her actions.

It doesn't make Mia feels better, but she doesn't feel worse. That's okay.

She wants to believe that's okay.

Mia arrives at her father's house hours after arriving in Argentina.

Anto insisted so much that she stays with her and the children but Mia refused, she needs to talk to her dad, she miss him so much.

Mia knocks on the door of the house while she sees the Argentine flag hanging.

Her father opens the door for her in a matter of seconds and when he sees her he smiles and hugs her.

Mia smiled slightly as she felt his arms around her.

It feels good to hug him again. And that he is the one who took the initiative makes her happy.

Although deep down in her heart she knows that he is hugging her because Argentina won the World Cup and not because she came home after 5 years.

He invites her in and she enter his house.

Everything in the house was the same as when she left, but it felt different.

—Sentate si querés (Sit down if you want) –he says pointing to the couch in front of Mia.

She nods and sit back watching him do the same.

There is an awkward silence between the two of them until Mia speak.

—Y... ¿cómo andás? (So... how are you?) –her father turns to look at her and smiles widely.

He's going to talk about football.

—Estoy re bien, hija. Me siento tan feliz, nunca me había sentido así en mi vida, te lo juro. (I'm fine, daughter. I feel so happy, I have never felt like this in my life, I swear.)

He doesn't have to swear for Mia to believe him, she knows he's not lying. He was never this happy.

—Qué alegría, pa. (What a joy, dad) –she smiles slightly not knowing what else to say.

Mia wish she were as happy as her dad, but she can't knowing what she did.

She can't get Kylian out of her mind and how he must be now, a few hours away from his birthday.

She knows she have to explain everything to him but she doesn't have the courage to do it.

What excuse could she make for having abandoned him after not having achieved what he dreamed of all his life?

Mia comes back to reality when she feels her dad's touch on her shoulder.

—¿Eh? ¿Qué pasó, pa? ¿Me dijiste algo? (What happened, dad? Did you say something?)

She hears her dad laugh and sees how he shakes his head.

—Te pregunté qué dice tu noviecito por haber perdido (I asked you what "that guy" you're dating thinks about losing) –a mocking smile appears on his face.

"That guy you're dating"? Is that the way he intends to name her boyfriend?

—No sé, todavía no hablé con él. (I don't, I didn't talk with him yet).

—¿No quiere hablar con vos todavía después de haber perdido? Qué idiota. ¿Cómo se llama? ¿Kyle? ¿Kylan? (He doesn't want to talk to you after losing? What a idiot. What's his name? Kyle? Kylan?)

The mocking smile doesn't leave her father's face and that can't bother Mia anymore.

He doesn't even know his name.

—No es ningún idiota y su nombre es Kylian. Me sorprende que no sepas el nombre de mi novio, con quien estoy hace 4 años. (He's not an idiot and his name is Kylian. I'm surprised you don't know the name of the guy I've been in a relationship with for 4 years.)

Her father laughs mocking Mia's words.

—Kylian, nombre de perdedor en las finales (Kylian, name of a loser in the World Cup finals) –he laugh again.

Mia frowns. He's acting like her boyfriend hasn't hattrick or won a world cup yet.

He's trying to humiliate Kylian and she is not going to allow it.

—Te recuerdo que "ese perdedor" ya ganó un mundial y en su primer intento, y también casi gana su segundo mundial por su cuenta (I remind you that "that loser" has already won a World Cup and in his first attempt, and he also almost won his second World Cup on his own).

Now her father is the one who frowns, surprised by her words.

—Dejá de defender a ese tarado, ese chico no vale la pena, te lo dije millones de veces. Estás haciendo lo mismo que hiciste en 2018. (Stop defending that dumb guy, that boy is not worth it, I told you millions of times. You're doing the same thing you did in 2018.)

Mia takes a deep breath trying to calm down, what is happening cannot be real.

—Te hacías la que querías que ganáramos nosotros para que acá en los medios de comunicación no te dijeran nada, pero seguramente querías que gane ese estúpido que tenés por novio. Y sí, no querías que te pase lo mismo que en 2018, que lo apoyaste a él cuando estaba jugando contra tu país y me hiciste quedar como un tarado. Me traicionaste y me dejaste de lado por tu novio, lo elegiste antes que a mí y no tuviste ni un poco de consideración conmigo (You pretended that you wanted us to win so that here in the media they wouldn't tell you anything, but surely you wanted that stupid boyfriend of yours to win. Of course, you didn't want the same thing to happen to you as in 2018, that you supported him when he was playing against your country and you made me look like a stupid. You betrayed me and dumped me for your boyfriend, you chose him over me and you didn't have one bit of consideration for me).

Mia can't believe what she is hearing.

—Ese chico te va a dejar por la primera chica que encuentre, no sé cómo duró tanto con vos. Todos los futbolistas son iguales. No me sorprendería si me decís que prefiere el fútbol antes que a vos (That boy is going to leave you for the first girl he finds, I don't know how he lasted so long with you. All footballers are the same. I wouldn't be surprised if you tell me that he prefers football over you).

That was the last straw.

—Entonces estás diciendo que Kylian va a hacerle lo mismo que vos me hiciste a mí (So you're saying that Kylian is going to do the same thing to me that you did to me?)

Mia feels her dad's stunned look and her let out a sarcastic laugh.

—Según vos él va a elegir el fútbol antes que a mí ¿no? Y me estás advirtiendo. Qué considerado, no querés que pase por lo mismo que me hiciste pasar vos (According to you, he is going to choose football before me, right? And you're warning me. How thoughtful, you don't want me to go through the same thing you put me through).

Her dad gets up from the couch completely angry.

—¿Qué decís, nena? Si a vos te di todo lo que pude para que no te faltara nada (What do you say? If I gave you everything I could so that you didn't lack anything).

Mia sighed completely frustrated, he doesn't get it.

Obviously he doesn't get it.

—Ya sé y te lo agradezco. Pero siempre hubo algo más importante que yo, no te importaba qué pasaba conmigo ni nada, nunca fui tu prioridad (I know and thank you for that. But there was always something more important than me, you didn't care what happened to me or anything, I was never your priority).

She feels how a lump forms in her throat and tears appear in her eyes.

Her father keeps glaring at her in front of her, as if she just insulted him.

—Siempre había un partido más importante que mi cumpleaños, una práctica más importante que mi graduación. Cuando nací mamá me dijo que te quejaste porque tenías que jugar un partido ese fin de semana y no ibas a poder por tener que cuidarme a mí. Y tenés el descaro de venir a advertirme de Kylian. (There was always a game more important than my birthday, a practice more important than my graduation. When I was born, mom told me that you complained because you had to play a game that weekend and you couldn't make it because you had to take care of me. And you have the nerve to come warn me about Kylian).

Her father does not take his eyes off her.

—Bueno, y decime entonces, ¿dónde está tu noviecito ahora? ¿Te buscó o algo por lo menos o no le importas lo suficiente como para querer saber dónde estás? (Well, and tell me then, where is your boyfriend now? Did he look for you or something at least or does he not care enough to want to know where you are?).

That hurt Mia.

Kylian hasn't called her.

But she didn't call him either and she should have.

—Él al menos no me llamó gritándome que soy una traidora, que no merezco vivir y que dejé de existir para él como tú lo hiciste (He at least didn't call me yelling that I'm a traitor, that I don't deserve to live and that I ceased to exist for him like you did).

There isn't a single hint of regret on his face, her father looks at her seriously, as if telling her that if he had to do it again, he would.

—Estabas apoyando al enemigo (You were supporting the enemy).

Mia remember Hiba's words to her during the match.

"You're wearing Kylian's jersey and sitting next to his family as you clap for the enemy."

This whole situation is so similar to 2018 but feels so different.

—Kylian necesitaba mi apoyo y estuve ahí para él. (Kylian needed my support and I was there for him).

Her father laughs sarcastically.

—¿Y por qué estás acá conmigo y no con él? Si él tanto te necesita (And why are you here with me and not with him? If he needs you so much).

Mia looks at her dad and then at her bags.

He's right, for the first time since she were born.

Why is she there with him if the one who really deserves to talk to her is Kylian?

Why did she think her dad would change this time?

Why is she there with him and not with Kylian? How could she get so carried away?

Mia takes her bags under the stupefied look of her dad and take one last look at his house.

The walls still have the same photos of her dad when he played football, it makes Mia a little sad to remember when she asked him why he hasn't photos of her there.

"It's just that I don't care enough about you".

After saying it, he laughed, implying that it was a joke.

Mia opens the door and walk out of her dad's house.

Maybe it wasn't after all.

note: HELLOWODOWODO

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[spenglersweetheart]

Hello it’s me again with another Ray request

Ray with a reader who can sing, like they sing ballads and stuff like that and always wanted to be on broadway but had a passion for science instead. I just wanna sing for my baby 😭😭😭

this is actually so adorable 🥹 fun random fact about me i used to be a musical theatre major lol

─────────────── ✦ ───────────────

Sing Me to Sleep

Ray Stantz x Reader

WARNINGS : none!

─────────────── ✦ ───────────────

THE GHOSTBUSTERS WERE KNOWN NOT TO REALLY SLEEP. You would often find yourself walking through the halls as well most parts of the night. It's weird, really. Making sure that the rest of them went to sleep before you went to sleep. Maybe you just cared more about their sleeping habits than yours. But, it could be something else.

You were actually downstairs at the Firehouse, as you're the one who relieved Janine out for the night. But after you did that, you head upstairs to the sleeping quarters. When you got up there, you immediately scoped out the room to see who had been sleeping.

Your eyes land on Egon. You know he's asleep. He sleeps like a rock. He's flat on his back. You find Peter, who's asleep. He's drooling on his pillow. Winston was asleep, too. Although he slept on his side, you can slightly hear him snoring.

Your head tilts to the side. You walk over Ray's bed and you find that he isn't asleep. That he's just turned over. You lean down to him, slight worried expression written all over your face.

"How come you're not sleeping?"

"Can't sleep," Ray told you, "I've been tossing and turning all night."

"Really? How come?" You ask him.

"Dunno."

This was the second day that Ray had gone without sleep. You weren't going to let that happen. You wanted him to rest. You guys were always busy. It's like that time that you caught Egon sleeping in his lab and his eyes were still on the microscope.

He looks up at you. "Could you sing to me?"

Only Ray knew this, but you were a singer. Not very professional, but you knew most of the technique. Your dream for the longest time was to be an actress on the Broadway stage. Though, you didn't know if you were ever going to get there.

"Sing to you," you repeat. You thought for a moment before you asked, "What do you want me to sing to you?"

Ray gives a shrug. "Anything really," he answered, "Maybe one of those showtunes you hum around here."

A chuckle escaped your lips. You motion him over. He laid his head onto your lap. Your first instinct is to run your hand through his hair. You do this repeatedly, just to soothe him. You start to sing.

"Don't cry for me, Argentina / The truth is I never left you / All through my wild days / My mad existence / I kept my promise / Don't keep your distance."

Evita was a show that has hit you in your feels. You saw it and your life was changed when you walked out of that theatre. And to think that they were actually making that into a movie. You look down, as you sing to Ray, you can see his eyes closing. You keep singing for him.

"And as for fortune, and as for fame / I never invited them in / Though it seemed to the world they were all I desired / They are illusions ..."

Between the singing and the repeating of your hand running through his hair, Ray had fallen asleep in no time. When you notice this, you carefully set his head down on his pillow. You run your hand through his hair one more time before you give a gentle kiss to his forehead.

"Goodnight, Ray ..." You whisper to him before you carefully stand back up.

You left the bedrooms, humming the song that you just sang to him. But before you leave, you look back, just to make sure that he's sleeping. And when you find that he is, you make it out of the room before going home for the night.

[smicksstuff]

heyyy if you’re still writing for alejandro garnacho could you do a smau with just a couple cute posts between him and the reader? preferably sabrina carpenter as the fc pls, thank youu❤️

forever and always

alejandro garnacho x y/n I/n

face claim: sabrina carpenter

the story in which two childhood bestfriends realise that what they dreamed of all along was staring them right in the face.

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yn.jpg stay tuned 17.03.23

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garnacho7

liked by yn.jpg, rasmus.hoejlund, marcusrashford10 and 156,727 others

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new tweet by garnacho7

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garnacho7

liked by yn.jpg, marcusrashford10, antony00,

872,728 others

garnacho7 i’d like to hang out with you for the rest of my life ❤️

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liked by taylorswift, garnacho7, lucialoi, marcusrashford10 and 826, 627 others

yn.jpg one boy. thousands of feelings ❤️‍🔥

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facupellistri come watch spain next time 🇪🇸

yn.jpg will add that to my list of games

facupellistri let me know and ill see you there

garnacho7 excuse me.. you only watch argentina games

facupellistri 😤😡

username she really is living the life

username this is my dream life

username football, concerts and taylor swift

-

31 December

garnacho7 & yn.jpg

liked by yn.jpg, facupellistri, antony00, marcusrashford10 and 1,283,729 others

garnacho7 my forever midnight kiss ✨💋

view comments

yn.jpg always my love ❤️

username omg they are so cute!! i love them so much

facupellistri happy new vear love birds

manchesterunited ❤️❤️❤️

username when will this be meeeee

username my new years wish to find love like this

username power couple

perriedwards happy new year my kiddos! more dates in the new year

username omg i want more pics of ale, yn and axel

-

2 Years Later .......

yn.jpg & garnacho7

liked by taylorswift, traviskelce, perrieedwards, marcusrashford10 and 1, 972, 497 others

yn.jpg short story: he kneeled, showed the ring and made me his wife-to-be

view comments

garnacho7 te amo mi corazon ❤️

taylorswift CONGRATULATIONS !! Im so happy for the both of you!! 🥂🍾

manchesterunited Congratulations to you both !!

masonmount Congratulations you too !! Im so glad the pictures turned out so good !! 🤍📸

yn.jpg these are lovely pictures masey!! i cant thank you enough for capturing it

garnacho7 thanks mate!! and thank you for all your help too !! Amazing Photography

username OMG not mason sneaking around to take pictures for them !!

facupellistri can i just say that we may athletes but we arent equipped with enough skills to camouflage in the bushes

facupellistri also CONGRATULATIONS mi amigos

yourbff congratulations to my favourite couple in the world 💘💍💐

-

credits: all pictures are found from pinterest and instagram

a/n: sorry for the long wait!! thank you for reading this far!! If you have any one-shot scenarios send them to me!! I would love to try and recreate them for you ◡̈

[that-ari-blogger]

Iconic (Defying Gravity)

If you look up "iconic Broadway songs", you get lists upon lists of musical numbers, but there are a few constants. Beside One Day More from Les Misérables, Don't Cry For Me Argentina from Evita, and Seasons Of Love from Rent, you will usually find Defying Gravity, from Wicked.

If you think about it, this is actually rather weird, right? The aforementioned songs are about preparing for death, dying, and looking back on life, respectively. Defying Gravity is about a witch deciding to fly. A story that is objectively fantastical (it depicts magic and flying monkeys in a place that definitely does not exist) stands next to stories of real-world history and events, and nobody bats an eyelid because... well... because it's just that good.

This is like a corgi winning a race fair and square against a ton of cheetahs.

I think it's worth examining just what Defying Gravity does to stand beside giants, and what story it is telling.

Let me explain.

SPOILERS AHEAD: (Wicked)

Defying Gravity is a battle cry.

When you examine a piece of media, the first thing you need to understand is what it is that that piece of media is trying to achieve. For example, if you examine a commercial for toothpaste through the same lens as a commercial film, that commercial will fall short. Similarly, if you examine a song that is trying to get stuck in your head through a classical, technical lens, things get funky.

You can, of course, apply those different lenses if you want. That's the fun thing about art, there are few rules. But even then, you need to understand the purpose of the text.

Defying Gravity is a battle cry.

It is a song that calls to arms its listeners. It says to Oz that things will get better, if Elphaba has to tear down the world to make it so. And it tells the audience to get excited, because someone has just started shaking things up.

The song is a turning point in the musical. It is the end of act one, and it sets the trajectory of the second half of the story. It defines how the characters will behave going forwards. But also...

Defying Gravity is a breakup song.

I don't think the two are disconnected at all. Wicked is about reality and dreams colliding, and it follows the seeking of freedom. The twist is that for freedom, you have to give up your safety, and Glinda isn't prepared to do that, but Elphaba is.

This is a piece by @abd-illustrates (Youtube, Deviantart). Although I believe it's technically about No Good Deed, I feel it's relevant here and a spectacular feat of artistic merit that I had to put it in.

Wicked has been accused of queer bating by fans, and while I see that angle, I don't quite agree. I think that the romantic relationship between Glinda and Elphaba does happen, but the fact that it doesn't work is key to the story. They are doomed lovers, and this song is that breaking point.

What is more valuable to our protagonists? Autonomy or stability? Both characters pick different options, and that incompatibility tears them apart.

"Elphaba, why couldn't you have stayed calm for once? Instead of flying off the handle!

I hope you're happy

I hope you're happy now

I hope you're happy how

you've hurt your cause forever

I hope you think you're clever"

Glinda's perspective here is clear, she believes in the system she is a part of. She sees its flaws, but because they work for her, she sees them as strengths. And this is understandable, the system has only benefited her, so she is blind to its faults.

But understandable is not the same as agreeable, and I am inclined to follow Elphaba's logic here. The system is unjust, and directly in opposition to her goal of fairness and equality. She wants to make the world a better place, and now that the system's lies are revealed to her, she needs to take things in a different direction.

"I hope you're proud how you would grovel in submission

To feed your own ambition"

So, the sides are established, and this song serves as a battle of ideas. Both characters want their friend to join them, and its notable how they go about doing that.

Glinda falls on aspiration and references a previous song to get her point across.

"You can still be with the wizard

What you've worked and waited for

You can have all you ever wanted"

I feel the need to point out that Glinda wasn't present when Elphaba sang The Wizard and I, and yet she matches the tune and meaning almost perfectly. Elphaba hasn't merely told Glinda her dream, she has shared her dream with her, and confided in her that incredibly vulnerable side of herself.

Elphaba acted so differently in The Wizard and I than in the rest of the story, she was less guarded, and more childish with that naive hope that she holds onto throughout the entirety of the show. That hope just becomes less naive and more relentless.

Elphaba has shared that naivety and hope and whimsicality with Glinda, and it's that relationship that Glinda is calling on now. Remember us, remember our dream.

However, for all Glinda's canniness and understanding of the world, she doesn't understand people, and she doesn't understand Elphaba.

Elphaba wanted to meet the wizard for a reason. She had a motive behind her dream that superseded the specifics of how it would play out.

"But I don't want it

No, I can't want it anymore"

Notice the vernacular that Elphaba uses. She can't want to be with the wizard. In her mind, doing the right thing isn't a choice. To Elphaba, good is a force that has pushed her to where she is right now, and forced her to sing this song.

Essentially, Elphaba is a paragon hero and is actively unmaking the grey morality of the setting. Often in media, "realism" is shorthand for everyone being either selfish or misunderstood. It's a pessimistic worldview of life that I don't entirely agree with.

That does happen in real life, don't get me wrong. The vast majority of the world is made up of people who are capable of actions that are good, bad, or neither.

But there are people out there who are truly cruel and evil, trust me, I've met some of them. But I've also met their opposite, people who are kind and compassionate and do what they think is right because to them, there isn't another option.

Elphaba is that second type of person, and the musical has got its audience to take this for granted at this point. But it's worth remembering that this character is the Wicked Witch of the West, the cartoon bad guy of an iconic work of literature. The musical hasn't made her more morally nuanced; it has made the world more nuanced, and that has reframed this character entirely.

The song even reminds the audience of this fact through the ensemble, just to make the juxtaposition more obvious.

"Look at her! She's wicked, get her.

No one mourns the wicked! So we've got to bring her

Down"

This is actually foreshadowing for a later song.

Back to this part, the backing of the song has spent the majority of its run time playing elaborate movements, but for Galinda and Elphaba's talk about dreams, it simplifies. Galinda gets a bare trickle of that floaty harmony, but Elphaba gets next to nothing for her line. Mostly.

This, combined with the slowing down effect brought on by the fermata (the symbol that looks like an eye), gives the conversation an intimate tone. The two have just each other to hear, and nothing to get in the way. It also frames Elphaba's line as reassurance. There is a storm coming and she is telling her girlfriend that things are going to work out ok in the end.

However, the big chords come back in on the "anymore" and lead into the key change that covers the rest of the song. This is a metaphor for the change that is happening in Elphaba's mind. As she makes her decision on how to proceed, and recognises that things are now different, the slow build up to this song's finale is finally got underway.

The rest of this song is just a build up to a final crash of sound. It rises in a few beats with the choruses, as Elphaba tests her wings, so to speak. And the song gains momentum slowly as more instruments are added.

If you thought I wasn't going to at least reference Glee's multiple performances of this song and how in that series, Defying Gravity is explicitly synonymous with queerness and pride, welcome to the blog. I make analysis posts, maybe stick around if you like this kind of thing.

"Too late for second guessing,

too late to go back to sleep"

There are two separate ideas being intertwined here. First up is the reiteration of Elphaba's inability to stop. Once again, she is doing the right thing because someone has to do it, and soon it will be too late. But the duality of this phase links that idea with the revelation about Oz. She can't go back to sleep, she can't go back to ignorance. Now that she knows what she knows, she has to act.

"Too long I've been afraid of

Losing love I guess I've lost.

Well, if that's love, it comes at much too high a cost."

This isn't particularly complex storytelling, but it's effective none the less. Elphaba is saying her realisations out loud to keep the audience up to speed. In this instance, she has been chasing acceptance, and now understands that she was never going to get it from Oz, and that what she would have to do to obtain a facade of understanding is not worth it.

The fact that my analysis of that phrase is just saying it again but slightly differently is a pretty good example of how effective the storytelling in the line is.

"I'd sooner buy defying gravity

Kiss me goodbye, I'm defying gravity

And you can't pull me down"

The first chorus of this song is remarkably understated. It doesn't have the confidence of latter verses, and I will discuss why I think that is in a moment. The orchestra pulls back to a few instruments, and the drum plays a light rhythm on one of its... ok I my musical knowledge is a bit limited here. The bit of the drum that goes "tss tss tss", you know the one.

This gives it a light feeling that adds to the unsteady feeling of the chorus as Elphaba tests the waters and learns to fly. But she needs guidance, and support, and who does she turn to for that?

"Glinda, come with me."

This is the first time Elphaba has been thinking on the spot. Usually, she thinks everything through before she says it, but now she is running entirely on a single train of thought. I cannot stress enough how this thought process is literally: "love, kiss goodbye, Glinda". Historians will say they were close friends.

A leitmotif is a recurring musical phrase that represents a certain theme. For example, earlier in the musical, Galinda's "you deserve each other" musical phrase was repeated to show false relationships and false promises, and was also used in The Wizard and I to foreshadow the false promise of the Wizard and his gifts.

The Unlimited Leitmotif is used exclusively to symbolise Elphaba and Glinda's relationship. You can read that as platonic if you want, but there are some context clues that I would argue suggest otherwise. For example, it's called the "Unlimited" leitmotif for a reason.

As I have kept harping on about, the most valuable thing a person can achieve in this musical is freedom. This is a song about defying the laws of physics themselves. And the thing that Elphaba is offering Glinda here, the thing that is so defining for their relationship that it is literally the shorthand for it, is complete and total freedom.

Together, the two are unlimited.

The second chorus is sung together. Glinda gives Elphaba the strength of spirit to continue and is quite literally the reason she can fly in the first place.

But Glinda doesn't want that. She wants to feel in control of herself more than autonomy, and that's why the relationship falls apart. The two are doomed lovers, and it's not because one of them lies or cheats or any of that soap opera nonsense, but because they want different things out of life.

"Well, are you coming?"

"I hope you're happy

Now that you're choosing this"

"You, too

I hope it brings you bliss"

All in all, I think this breakup goes remarkably well. The two realise that their lives are taking each of them in a direction that the other cannot follow, and so they offer their goodbyes peacefully and get ready for the finale of this act.

Glinda even gives Elphaba a cloak to protect her from the elements as a final goodbye gift. Which, if you are keeping track, means that both the hat and the cloak, the Wicked Witch's most iconic visual elements besides her skin, were gifts from a very close friend.

I don't need to explain why the final chorus of this song is so good, do I? The music is phenomenal, the vocal performance is unrivaled, and it outright says half of the points I have been trying to make in this post.

I do think that the sheer skill on display here is important for the theming as well. Yes, the high note symbolises the flight and escape, yes it's synonymous with rising above petty grievances, and yes the rising is literally a reverse Deus Ex Machina. But it's also just the actress who plays Elphaba showing off and having a blast. There are no limits on her vocal performance, she doesn't have to rein in anything, and she can instead belt out a number as loud and powerfully as she wants because nobody is stopping her.

"As someone told me lately,

Everyone deserves a chance to fly"

This is a reference to something that the Wizard said to Elphaba, but when he said it, he was completely talking out of his arse. The Wizard, and a significant portion of Oz as a whole, parade around saying nebulously benevolent things, but they don't actually mean it. The Wizard has created a nation based around surveillance and oppression, there is no way that he believes in everyone getting a fair go.

The important thing to understand is that the Wizard's worldview is wrong. Everyone does deserve fairness. So his lie to appease Elphaba was in fact true. Elphaba's role in this is making that lie into a reality, by giving the people someone who will say things honestly and try to actually make the world a better place.

Finally, however, as the lights prepare to shut off and Elphaba rises into the distance. Glinda stands beneath her, looking up. She is now just another face in the crowd, but her sentiment stands in stark contrast to the rest of Oz.

Simultaneously, Glinda says goodbye, and wishes Elphaba good luck on the road ahead.

"I hope you're happy."

Final Thoughts

It needs to be understood that part of why Defying Gravity stands beside historical giants like Don't Cry For Me Argentina is the fact that it is fantastical.

Wicked is a musical about the relentlessness of hope. It is set in a world where anything is possible, and it brings that to life. Through the application of some truly impressive stagecraft, the actress who plays Elphaba genuinely flies for all to see.

This is a story that takes the impossible and makes it possible, and this is the song which cemented that theme in the minds of anyone who watched it. This song fully deserves its place as my second favourite in this musical.

That's right, my favourite is yet to come, and I'm enjoying watching y'all guess at what it is in the replies.

Next week, I will be looking at Thank Goodness and how it sets up the plot of the second act. So, stick around if that interests you.

Previous - Next

[cityelf]

My brain is trapped in a box labelled "worst hypothetical episodes of Glee based on the concept of the show existing at an earlier point of time in history"

It's September 1997. The world is mourning the People's Princess. Schue inexplicably decides the best way to pay tribute to Oor Di is by compiling a jukebox musical in her honour. Rachel is immediately furious at the baseless assumption that Quinn will get the lead role based on looks alone. Naturally this is solved by auditions being held blindfolded, culminating in the horror of everyone involved when Kurt's pearly pipes snag him the role of Princess Diana with a gut-wrenching rendition of Don't Cry For Me Argentina

December 1969. Schue gives everyone the assignment to pick a historically significant event from the 60s to inspire their performances for a big NYE bash they've been invited to perform at, for some reason. The writers shoehorn Mercedes into celebrating MLK JR's I Have A Dream Speech, obviously. Finn picks the assassination of JFK, but confuses him with Abraham Lincoln and dresses accordingly. Brittany and Santana do a gorgeous tribute to Marilyn Monroe. Rachel, highly inappropriately, picks the Vietnam War. Kurt does Stonewall. Almost every single song is a Beatles cover.

The Ides of March. Yes, the original one. Exploited travelling band of Greek entertainers, Νέες κατευθύνσεις, are roped into the plot to stab Caesar. They do the ancient Greek equivalent of Hit Me Baby One More Time as good ol' Jules gets got.

The crucifixion of christ is low-hanging fruit

Although, Lady Gaga's Judas is right there,

[knighthoracely]

Um..... Guys????? All the other 3 fans who are invested in E&H lore???? Why aren't we talking about this vid???

My wonderful @prawnprank sent me this and we had a discussion concerning what it might mean. This is going to be long, so the rest is under the cut!

Warning: this is NOT a fact that Poki or Daedalic Entertainment (or any of the creators) stated! We just want to share our silly idea with you guys!!!

It seems that the OP has the game on a disk, and it has this interesting little puzzle which needs to be solved before starting the game. Unfortunately, we are not exactly fluent in German, but we had a friend translate it, so we think this idea of ours might be true or at least has a place to be.

So the idea is that the second game took place on the exact date stated in the video — 18.05.2002.

Why, you might ask? Because after choosing all the parts of this date, the OP ends up... in the main menu. Which can pretty much mean that this is when the game took place.

Thus, the first game might have happened a bit earlier — September 2001. Why? Well, we know for a fact that it was September, and Edna's disappearance is still relevant in Harvey's New Eyes — the asylum workers are looking for her, which means it couldn't have been long since she pushed Dr. Marcel down the stairs, and it would be realistic for people to look for her (or her remains) in the spring.

This theory also doesn't clash with the things we see in both games: the tech looks like something from the 2000s (like telephones, TVs, surveillance cameras, TV antennas, etc.), also real songs and movies that are referenced in the game also were released before the 2000s ("Don't Cry for Me Argentina" by Madonna, 1996; "Waterworld" with Kevin Costner, 1995).

Furthermore, it means that we can deduce when the characters with confirmed ages were born.

In alphabetical order:

- Adrian — 1965

- Alfred — circa 1982 I guess?? (idk if we get told whether he & Edna are the same age, correct me if his age is known & is different from Edna's)

- Almo — 1969

- Aluman — 1937

- Barman — 1956

- Beeman — 1952

- Blase — 1962

- Bruce Broker (Juppi) — 1961

- Chauffeur — 1943

- Dr. Marcel — 1933

- Droggelbecher (I'm NOT calling him Droggeljug.) — March 1971 (he's exactly 30,5 y.o. as his dossier states)

- Edna — 1982

- Front Door Officer — 1940

- Herr Mantel — 1926

- Hornbusch — 1932

- Hoti & Moti — 1966

- Hulgor — 1960

- Keymaster — 1974

- Mattis — 1950

- Neurotic — 1972

- Newbie (Tall Asylum Worker) — 1974

- Pastor — 1969

- Peter — September 1961

- Petra — 1967

- Prof. Nock — 1920

- Stiesel (I'M NOT CALLING HIM BABBIT.) — 1968

- Ticket Inspector — 1954

- Tobi (the watchman at the gate) — 1969

Also, we can say Alfred died on 03.08.1991, with Mattis being executed after that date.

So, in conclusion, I must say that it is not confirmed that it is the exact date but it sure seems plausible to us (we also genuinely hope that this wasn't debunked or something, but if it was, please let us know). So, if you like, you can adopt this little headcanon we came up with!

[lqtraintracks]

20 Questions for Fic Writers

Thank you @maesterchill @danpuff-ao3 and @nv-md for the tag! <333

1. How many works do you have on AO3?

314

2. What’s your total AO3 word count?

1,295,054

3. What fandoms do you write for?

Harry Potter is the big one. I've also written some Captive Prince, Locked Tomb, and one Call Me By Your Name fic

4. What are your top 5 fics by kudos?

Right Hand Red; Hung Like a Horntail; Slip Into My Lover's Hands; Weeds or Wildflowers (written with the very talented @unmistakablyoatmeal); and check this hand 'cause I'm marvelous

5. Do you respond to comments? Why or why not?

I try. I'm seriously behind. The truth is, I'll never get around to replying to them all. I will someday die with a thousand unanswered comments. But I do try. And I read each and every one and they touch my heart. I'm so very grateful for all the wonderful comments I've received and continue to receive!

6. What is the fic you wrote with the angstiest ending?

Oof. I hardly ever end things badly. But there was one wee ficlet; lemme go hunt it down. (*plays elevator music*) Ah, here it is: Not-Forever Is Still Forever. It's not MCD or anything. Draco just leaves for Argentina for two years. *shrug emoji* But I like to think I've gotten pretty good at baking some realistic angst into the middle of things, if not writing angty endings. I prefer it that way.

7. What’s the fic you wrote with the happiest ending?

All of them except for Burning the Ground, which is an open ending. I'll be honest, I don't like the word fluff. I'm never trying to write fluff, which, to me, denotes a level of uncomplicated sweetness. Maybe others define it differently. But I don't think happy endings are necessarily fluffy. I want my happy endings to put tears in your eyes, to move you. I want to evoke different things with different sorts of happiness for different phases of life. RHR's ending is about a feeling of freedom mostly, of getting to face the next part of their lives without dread. Take You Home has a similar vibe but with them a bit older; they've experienced the painful and mundane disappointments you have to weather in this life that have nothing to do with fighting a dark wizard and everything to do with existential questions about who we are, how we go on, what do you do when it doesn't work out, when you've changed and you don't know who you are anymore. I loved ending it with all their friends, at a march for trans rights. Heart Like Neon has an ending that makes *me* the most happy. I modeled it after an episode of Grey's Anatomy where you find out at the end of the ep that two important characters got married. The whole ep, none of their friends know, then at the end they play 'Bones' by Josh Record, and you go back in time by a few weeks and you see it. When I wrote the end of HLN, I had that song playing in my head from the end of the party at the Weasley's, to jumping three months earlier, to Harry and Draco in Paris. That's a pretty goddamned happy ending. It makes me cry. <3 (Also the art that @bluebutter-art made for it makes me bawl happy tears!!!)

8. Do you get hate on fics?

I was going to say hardly ever but then I *just* got some last week! LOL. Still, I'm very lucky that it's not even once in a blue moon. That stuff is so arbitrary too. I'm going to quote my good friend @elrhiarhodan: People... they're fuckin nuts. :D

9. Do you write smut? If so, what kind?

LOL yes. A lot of different kinds? I want to try a little of everything as a writer.

10. Do you write crossovers? What’s the craziest one you’ve written?

No. I mean, I probably have a couple times over the course of my literal decades in some fandom or other, but they're not worth noting.

11. Have you ever had a fic stolen?

Yes.

12. Have you ever had a fic translated?

Yes, several, and into multiple languages. I think that's so cool!

13. Have you ever co-written a fic before?

Definitely! In HP I've written with sdk, @the-starryknight and @nv-md, plus I once did a wild round robin with a big group of people. I'm not good at round robins, I've realized. Too much of a control freak.

14. What’s your all time favourite ship?

Drarry, totally. But right up there is Harry/Teddy and Harry/Teddy/Draco. Then Ginny/Pansy, Charlie/Teddy, James Sirius/Albus Severus (with Teddy too sometimes). In CaPri, I love Damen/Laurent, but @linecrosser had totally made me ship when Damen lends Laurent out to Nikandros for a threesome and also Auguste/Laurent. I also hardcore ship my own original characters from my novel. <3

15. What’s a WIP you want to finish but doubt you ever will?

I don't do WiPs really.

16. What are your writing strengths?

Oof, this is tough. Pacing? Interpersonal relationships? Smut, for sure. LOL. I think I do well writing things that are transgressive or maybe even filthy with a lot of tenderness and compassion and deep, deep love mixed in. And I think I'm getting really good at making people cry when I want them to. Readers, that is. :D

17. What are your writing weaknesses?

Convoluted plots. Can't do them. I wish I could. I can't write a mystery to save my life. I'm also pretty bad at heavy angst. I also wish I could write something nonlinear, but my brain just doesn't work that way.

18. Thoughts on writing dialogue in another language in fic?

It's interesting that this is a question because it's meaningful to me not because of fic but because of my novel. I have a Spanish-speaking character, fluent in English, but sometimes he says things in Spanish. I'm very VERY lucky that @capiturecs read my novel both as a sensitivity reader for Latinx/Latine/Latino aspects but also to correct my Spanish and make it realistic and conversational! I'll be forever grateful! I also now really REALLY want to learn Spanish! <3

19. First fandom you wrote for?

Sorry, I don't share this publicly.

20. Favourite fic you’ve written?

Oh this is mean. This is cruel. I can't possibly answer this! RHR has got to be in there. Heart Like Neon. Blood and Fire. Phoenix in the Fire. Take You Home. Wonderful Electric (cover me in you). A Pain of Our Choosing. My Name in Your Mouth. Bloom. collarbones like a bow, skin an arrow to the heart. I'll stop there!

Okay, this was fun! I'll tag @corvuscrowned @ruinsplume @floydig @sweet-s0rr0w @lettersbyelise @magpiefngrl @skeptiquewrites and Elr! <3

[bestmusicalworldcup]

Found this one Minecraft noteblock cover channel that has done some musical songs. The videos are put together quite well, with interesting visual elements. There are ten songs in their musicals playlist.

"More than Survive" and "Michael in the Bathroom" from Be More Chill

"Memory" from Cats

"The Phantom of the Opera," "The Music of the Night" and "Masquerade" from The Phantom of the Opera

"Don't Cry for Me Argentina" from Evita

"Any Dream Will Do" from Joseph and the Amazing Technicolor Dreamcoat

"Seize the Day" from Newsies

"Defying Gravity" from Wicked

Very Andrew Lloyd Webber heavy as you can see. Most of the songs on the channel seem to be sourced from movies and TV, alot of them being Disney.

[thisisyourdriverspeaking]

Qualifying for the Indy 500 is here so in honour of that, this is Indycar 2024 number two songs. Enjoy. Consider this as a hype playlist if you want 😂

Helio Castoneves (10th May 1975) - Minnie Riperton - Lovin' You

Takuma Sato (28th January 1977) - Julie Covington - Don't Cry For Me Argentina

Katherine Legge (12th July 1980) - Odyssey - Use It Up And Wear It Out

Scott Dixon (22nd July 1980) - Olivia Newton John & Electric Light Orchestra - Xanadu

Ryan Hunter-Reay (17th December 1980) - St Winifred's School Choir - There's No One Quite Like Grandma

Will Power (1st March 1981) & Ed Carpenter (3rd March 1981) - Ultravox - Vienna

Romain Grosjean (17th April 1986) - Cliff Richard & The Young Ones - Living Doll

Marco Andretti (13th March 1987) - Ben E King - Stand By Me

Colin Braun (22nd September 1988) - Phil Collins - Groovy Kind Of Love

Graham Rahal (4th January 1989) - Angry Anderson - Suddenly

Agustin Canapino (19th January 1990) - Kylie Minogue - Tears On My Pillow

Marcus Ericsson (2nd September 1990) - Betty Boo - Where Are You Baby?

Josef Newgarden (22nd December 1990) - Vanilla Ice - Ice Ice Baby

Alexander Rossi (25th September 1991) - Salt-N-Pepa - Let's Talk About Sex

Felix Rosenqvist (7th November 1991) - U2 - The Fly

Conor Daly (15th December 1991) - George Michael & Elton John - Don't Let The Sun Go Down On Me

Kyle Larson (31st July 1992) - Snap! - Rhythm Is A Dancer

Jack Harvey (15th April 1993) - Snow - Informer

Scott McLaughlin (10th June 1993) - Ace Of Base - All That She Wants

Tom Blomqvist (30th November 1993) - Elton John & Kiki Dee - True Love

Pietro Fittipaldi (25th June 1996) - Baddiel, Skinner & Lightning Seeds - Three Lions

Alex Palou (1st April 1997) - Spice Girls - Who Do You Think You Are?

Santino Ferrucci (31st May 1998) - Brandy & Monica - The Boy Is Mine

Kyle Kirkwood (19th October 1998) - 911 - More Than A Woman

Callum Ilott (11th November 1998) - E-17 - Each Time

Linus Lundqvist (26th March 1999) - Boyzone - When The Going Gets Tough

Pato O'Ward (6th May 1999) - Offspring - Why Don't You Get A Job?

Colton Herta (30th March 2000) - Moloko - The Time Is Now

Christian Rasmussen (29th June 2000) - Black Legend - You See The Trouble With Me

Marcus Armstrong (29th July 2000) - Ronan Keating - Life Is A Rollercoaster

Rinus Veekay (11th September 2000) - Sonique - Sky

Christian Lundgaard (23rd July 2001) - D12 - Purple Pills

Sting Ray Robb (3rd September 2001) - Five - Let's Dance

David Malukas (27th September 2001) - DJ Otzi - Hey Baby

Theo Pourchaire (20th August 2003) - Ultrabeat - Pretty Green Eyes

Kyffin Simpson (9th October 2004) - Ronan Keating - I Hope You Dance

Nolan Siegel (8th November 2004) - Destiny's Child - Lose My Breath

All added to this playlist 😊😊

[glennmillerorchestra]

i don't think people give the carpenters enough credit for the absolute crazy freak tracks they were sneaking in between the saccharine hits like. ok rainy days and mondays sure they're so wonder bread and white sugar OH WAIT here's their performance of don't cry for me argentina COMPLETE WITH BALCONY SCENE AND DIALOGUE in the middle of their album followed by a 7 minute orchestral pop song about space invaders with alien sound effects. oh you didn't know their very first 60s pop album OPENS AND CLOSES with a multi-part harmonic hymn? or that there's a baroque interlude in the middle of their top-selling 70s pop album? and a song about a guy too busy to "play with his girlfriend" because he's sitting around practicing piano all day? what about the song where karen carpenter has sex in a cave. you didn't know about that? what about the love ballad where they absolutely rip an electric guitar solo and then received death threats for it?

[h-f-k]

tw: me being sappy and pathetic

taylor's show being so close from happening still feels like the most bizarre thing ever but it also made me think of the longevity of my love for taylor and how i have such vivid memories of my childhood/teeange years which involve her in one way or another. I remember the first time i listened to breathe, being a dramatic clown listening to white horse or invisible and making them about the crushes i used to have on these stupid boys lmao. The first time the lyrics of tied together with a smile truly hit and could understood them and i broke down crying, how i witnessed the drama and messiness of the speak now era with joe jonas, camila belle, taylor lautner, etc shjdbfhjsz. I remember how hard i tried to make my friends like taylor because i wanted to have someone to enjoy her songs with and how i just gave up and ended up being the crazy taylor swift fan who would be the butt of the joke most the time. I remember how i was so stupid to believe, with every album release, that taylor would perform here and it was always hard to keep watching everyone make their dreams come true while latam fans were relegated time and time again.

This (and not only the argentina shows but taylor playing in latam in general) feels like the biggest, warmest and tightest hug to my 12 year old self, or my 15 year old, or 17, or 20, or 22, or 25. It's the biggest hug to all the past versions of me who once believed this moment would never come. It brings me so much joy that for the first time in our lives taylor is performing here and i can't wait for her to experience the argentine crowd, to feel loved and celebrated, for her to FULLY regret being this stupid for only touring united states, two random countries from europe and australia/nz all these years (yeah i WILL be petty and salty about this, i don't care lmao, i have the right) I wish i could time travel and show my three tickets, my tour outfits and all the friendship bracelets i did to an 11 year old Nina who first listened to this american country artist for the first time and decided to become a fan and integrate Taylor in her life.

[fantastickkay]

Album Review of the Week: Madonna - Finally Enough Love (2022)

When I heard about this compilation, I was cautiously intrigued. 50 songs is a big commitment! I have always been more of a casual Madonna fan and already had the Celebration (2009) 2-disc compilation, which gets a good amount of airtime.

The big selling point for me was that this compilation features remixes from the original timeframe in which the singles were released, so it almost becomes a history of dance remixes of the last 40 years as a whole, more than just a Madonna collection. As well as the fact that the remixes are condensed to 4-5 minutes, so we don't get any 10-minute affairs which is very appealing to me! I love a good club remix, but I'll take the radio edit any day. This also has a good amount of songs that are missing from the aforementioned 2009 package, and therefore new to me and my collection.

Disc 1 covers singles from 1983-1994. The earliest remixes do not divert enough from the originals to make them especially appealing. Once we get into the 90s, the remixes start to become more unique as individual tracks. Standout tracks here are Into the Groove, Deeper and Deeper and Fever.

Disc 2 covers singles from 1995-2003. This is my favorite disc, the remixes are unique and engaging and primed for a fantastic dance party! I especially enjoy Don't Cry For Me Argentina, this is the one track that made me decide "yes, I am buying this album right now!" I was not very familiar with this song previously and her vocals and melody paired with the beat are phenomenal! Ray of Light and Music have some great 90s rave vibes. Beautiful Stranger is really bright and bouncy, goes very well with the vocals and melody. I normally detest Die Another Day, but this remix makes it much more tolerable! The high pitched vocals are buried just enough that they aren't quite so harsh and I like the pulsating drumbeat.

Disc 3 covers singles from 2005-2020. Hung Up is already a masterpiece and this remix elevates it to dance party perfection! Girl Gone Wild is a great Trance selection, I nearly forgot to write something about it as I was so mesmerized! Bitch I'm Madonna was such a bold single in 2014 and this remix elevates it to new unhinged heights (I mean that in the best way possible)! I was not very into Medellín when it was first released, but this remix definitely had me rethinking that opinion and I am glad to have it in my collection now! The original was a little too slow-moving for me. Crave is another one that was largely unfamiliar to me, the remix and song itself are great!

If you are at all interested in remixes, this is definitely a collection to have. A great portrait of a great artist that spans nearly 40 years of pop music evolution.

[weaversweek]

"On the street where you live" - Vic Damone

1956 Music: Frederick Loewe; lyric: Alan Jay Learner

"Are there lilac trees In the heart of town? Can you hear a lark in any other part of town? Does enchantment pour Out of every door? No, it’s just on the street where you live."

By George, he's got it! I do believe he's got number 8 in Let's Do It, my personal fifty favourite singles from 1954-76.

Learner and Loewe's musical My Fair Lady was the toast of Broadway in 1956. Based on George Bernard Shaw's play Pygmalion, the musical tells of Henry Higgins and Eliza Doolittle, and the bet that Higgins can pass cockney sparra Eliza off as a duchess. While training to win the bet, Eliza captures the heart of Freddy Eynsford-Hill, and the posh young lad is head over heels in love at first sight.

"On the street where you live" is sung by Freddy, the most love-struck and giddy fool in the show. The song captures a headrush of emotions and hormones and wanting to be with your unrequited crush so badly. The song wasn't appreciated in previews, on the grounds that Freddy hadn't been properly introduced: this is why they do re-writes.

A top ten hit Stateside in 1956, and a number 1 on Britain in 1958 after the musical became the must-see show in the West End: it was the Hamilton or Wicked or Cats of its day. Julie Andrews and Rex Harrison transferred from Broadway in the lead roles, Freddy was played by Leonard Weir (father of Nick Weir, the sometime Catchphrase host. Can we imagine Stephen Mulhern being this giddy? Easily!)

Although John Michael King originated the stage role, it was Vic Damone who had the big hit single. Vic was an experienced actor and singer, though he failed to move with the times and never embraced rock 'n' roll.

In the grand parade of number 1 singles, it's the end of an era: musicals and theatre had been eclipsed by beat music. If I'm not mistaken, only three songs from current stage musicals have been to number 1 on GB since ("Don't cry for me Argentina" in 1977; "Any dream will do" in 1991; "No matter what" in 1998).