Prompt: Describe a color
Kristina is wearing it today. I love pulling on the strings of this sweatshirt
The color of your whitie-tighties after you've had them for five years
My socks (which I don't wear)
Severus Snape's boxers
The color of the sky on the most depressing days
Skeletons from minecraft
And silverfish... damn annoying little leeches
Color of your face when there's no blood in it
rocks
gloomy
lugubrious
rainy days
clouds
thunderstorms
Gin-chan's hair and Sephiroth's hair and... lots of people's hair
Hairs this color are like the end of the frickin' world
The color of professionalism
boring, bland, flat, blank
shade... so I guess it's not really a color, is it?
hematite, silver, platinum, diamond
halfway between the dark and the light side of every corny movie
and between black and white the color, but that's unnecessary information
have you guessed yet?
The desks at school sans the blue tint
concrete, pavement, roads
most boring color ever
my favorite version of it is the dark, dark version; it has a sort of solidity to it
the light version looks washed-out
elephants, rhinos and fish
One of CPHS's colors :D
Note: Okay, I'm getting bored again... this color is boring, too. What was I thinking when I took Roxy up on hsi suggestion?
Wednesday, November 30, 2011
Don't Run Around With Scissors... Or Else
Prompt: Journal about 10 reasons why you should not run with scissors--five serious and five ridiculous. You never know when you might need a list like this someday
1. You could die. I mean really. I once saw a re-run of the ER where a guy came in with a pair of scissors stabbed up through his ribcage. Ew... I mean, really. And it would be a painful way to go. Not fun.
2. Sephiroth fears scissors, therefore you should, too
3. They are evil and they cut hair. If you ever touch any, wash your hands immediately or you might be contaminated by their demonic aura
4. You could kill someone else. Yes, really. That wouldn't be fun, either.
5. You could go blind. If those sharp edges make contact with your eye and rip into the cornia and through the pupil, you will never see again. Therefore, caution when handling such a possibly life-altering object is a necessity.
6. You could go blind. Have you see the colors those monstrosities come in?
7. What if you cut your finger open while running with scissors, fall into the ocean and get attacked by sharks? Also, I've always wondered if mosquitoes flock to open wounds. Wanna experiemnt?
8. It hurts to cut your fingers open, and I'm sure it hurts to cut other people's fingers open, too.
9. You could be dismembered. Yes! Literally! Remember that episode of Heroes? Claire cut her toe off with a pair of scissors. (And she has the same name as me, too... bad karma...)
10. If you drop them they will hold a grudge against you for all eternity and you will be cursed for the rest of your life and beyond. That would really suck.
Note: This is ridiculous >.>
1. You could die. I mean really. I once saw a re-run of the ER where a guy came in with a pair of scissors stabbed up through his ribcage. Ew... I mean, really. And it would be a painful way to go. Not fun.
2. Sephiroth fears scissors, therefore you should, too
3. They are evil and they cut hair. If you ever touch any, wash your hands immediately or you might be contaminated by their demonic aura
4. You could kill someone else. Yes, really. That wouldn't be fun, either.
5. You could go blind. If those sharp edges make contact with your eye and rip into the cornia and through the pupil, you will never see again. Therefore, caution when handling such a possibly life-altering object is a necessity.
6. You could go blind. Have you see the colors those monstrosities come in?
7. What if you cut your finger open while running with scissors, fall into the ocean and get attacked by sharks? Also, I've always wondered if mosquitoes flock to open wounds. Wanna experiemnt?
8. It hurts to cut your fingers open, and I'm sure it hurts to cut other people's fingers open, too.
9. You could be dismembered. Yes! Literally! Remember that episode of Heroes? Claire cut her toe off with a pair of scissors. (And she has the same name as me, too... bad karma...)
10. If you drop them they will hold a grudge against you for all eternity and you will be cursed for the rest of your life and beyond. That would really suck.
Note: This is ridiculous >.>
Tuesday, November 29, 2011
How to Describe a Color Part III
Prompt: describe a color
I could be lazy and do something easy, but that's just no fun
The color with the most different shades on the spectrum
analogous to teal
complementary to red and pink
If you look out the window, chances are you will see it all over the ground, unless, of course, it snows between now and the next time you look out the window
leaves before they crinkle up into dried husks of their former selves
Ulquiorra's tears
emerald, peridot, agate
May and August
I've never seen a flower in this color before
I wonder what the sky would look like if the grass was blue (sorry, that was random)
Shade of my sister's eyes
I associate it too much with Government and Politics, especially in its brightest incarnation
mint chocolate chip ice cream (yummy...)
frogs
Jiraya, Ulquiorra, Lily Potter, Sephiroth, Aeris Gainsborough
Kyouka Suigetsu
Ulquiorra's eye-liner (which does not serve as eyeliner)
leaves, plants, ferns, trees, grass, loneliness, envy, jealousy
the color of my mom's thumbs when she's feeling productive
why are my tabs turning this color? What does that mean, doesn't anyone know?
celery, broccoli, peppers, watermelon...
No, I'm not drooling, every single one of those is nasty. And so are cucumbers
vines, poison ivy, Sakura Haruno...
I just realized that lots of things are this color, but I only own one shirt this color. Isn't that sad? I used to have a really pretty emerald-color one, but my sister stole it from me. Go figures, huh?
sharpie markers and the cat-bed in my room (which needs a bath badly)
Ebony's eyes
Using the subtlest shades of this color on a back-drop of black combined with the deepest of burgandy reds, it is possible to make a black shirt appear three-dimensional. Believe me, I've tried it. Took forever to do though...
Deviant Art!
Sorry, random
Zetsu
Ulquiorra... already said him, but I'll say it again
The color of the grass. If you haven't guessed by now, then that is very bad.
Note: I'm getting bored; there's just too much to list. I should pick a rarer color next time. Maybe then I'll be more creative.
I could be lazy and do something easy, but that's just no fun
The color with the most different shades on the spectrum
analogous to teal
complementary to red and pink
If you look out the window, chances are you will see it all over the ground, unless, of course, it snows between now and the next time you look out the window
leaves before they crinkle up into dried husks of their former selves
Ulquiorra's tears
emerald, peridot, agate
May and August
I've never seen a flower in this color before
I wonder what the sky would look like if the grass was blue (sorry, that was random)
Shade of my sister's eyes
I associate it too much with Government and Politics, especially in its brightest incarnation
mint chocolate chip ice cream (yummy...)
frogs
Jiraya, Ulquiorra, Lily Potter, Sephiroth, Aeris Gainsborough
Kyouka Suigetsu
Ulquiorra's eye-liner (which does not serve as eyeliner)
leaves, plants, ferns, trees, grass, loneliness, envy, jealousy
the color of my mom's thumbs when she's feeling productive
why are my tabs turning this color? What does that mean, doesn't anyone know?
celery, broccoli, peppers, watermelon...
No, I'm not drooling, every single one of those is nasty. And so are cucumbers
vines, poison ivy, Sakura Haruno...
I just realized that lots of things are this color, but I only own one shirt this color. Isn't that sad? I used to have a really pretty emerald-color one, but my sister stole it from me. Go figures, huh?
sharpie markers and the cat-bed in my room (which needs a bath badly)
Ebony's eyes
Using the subtlest shades of this color on a back-drop of black combined with the deepest of burgandy reds, it is possible to make a black shirt appear three-dimensional. Believe me, I've tried it. Took forever to do though...
Deviant Art!
Sorry, random
Zetsu
Ulquiorra... already said him, but I'll say it again
The color of the grass. If you haven't guessed by now, then that is very bad.
Note: I'm getting bored; there's just too much to list. I should pick a rarer color next time. Maybe then I'll be more creative.
Past, Present and Future
Prompt: Spend at least 15 minutes writing about your interpretation of this quote (or write a short story using this quote as a motto or path for your main character): "The past is a ghost, the future a dream. All we ever have is now." ~Bill Cosby
Note: If you don't know the Silmarillion, chances are you won't understand a word of this story.
"I want to give you a second chance."
That's what he'd said, the foolish cousin. Bitterly, Maedhros felt his brow furrowing. His single hand was poised beneath his chin, supporting the weight of his strong jaw as he gazed out the window onto the hazy wasteland that was their battlefield. Whoever had allowed Finrod to get such a foolish notion in his head was an imbecile. The only thing that second chance had done was gotten him killed.
He always was too sweet and kind, too forgiving. Maedhros couldn't even find it within his empty heart and battered, broken fragments of emotion to feel bad about the elf's death; he'd brought it down upon himself as surely as each and every one of them had sealed the fate on their own suffering. Besides, Maedhros didn't have time for pity.
"What are you thinking about?"
Golden eyes drifted away from the bleak, demoralizing world outside to meet glimmering silver. Maglor was smiling, but it was fake and hollow. Those silver eyes never stopped looking sad nowadays.
"Second chances," he replied, looking back out the window. Seeing his brother's pained eyes bothered him more than he would have liked.
Had he been looking, he would have seen the frown on his brother's face. "Still about Findarato...?"
Maedhros grunted; he didn't feel like speaking honestly. And he hated how well Maglor could read him. No lie that passed his lips ever tiptoed its way past the keen ears of his younger brother. Maybe it had something to do with being a bard. Maedhros didn't much care, as long as he could avoid a scolding from the other elf.
After all, Maglor was the only one who could make him feel guilty, the only one who knew him well enough to pull all the right strings, playing him every bit as skillfully as the bard's hands played a guilded harp. He hated it.
A tense silence settled over them. Neither was going to move, both too obstinate. Finally, Maedhros broke, sick of having his baby brother hanging over his shoulder. "He was an idiot."
"Says you."
"Says everyone."
"So pessimistic, you are, Nely--"
"I told you not to call me that," Maedhros interrupted. "That is not my name."
Maglor was unaffected by the glare he sent across the neutral space between them. The bard was never affected by his stares or by his scowls or the harsh tones of his words. It was as if Maglor blithely ignored them all.
"Findarato was not an idiot. I think his philosophy was rather admirable. You should be grateful that he held us in high enough esteem to allow--"
"I should be grateful?" Maedhros cut his brother off with a snarl. "Should I be grateful that because of his idiocy he is dead, along with two of my brothers, and Nargothrand now lies in the hands of a weak-minded fool being led around by the nose... by a man, too... shameful."
With a sigh, his brother leaned against the pillar of the window, hair swishing back from his face with the hot, arid breeze while his arms crossed over his lithe chest. "You never used to be so bitter, Maedhros."
"You never used to be so hare-brained. As if Findarato's 'second chance' could ever change anything. His naivety astounds me!" Maedhros snorted, tossing back his auburn hair, blazing golden eyes focused on the current source of his ire. "Second chances do not exist. Nothing he could have done would have changed anything, not the past, not the future, no fate. Do you not remember what--?"
"I remember everything." It was strange to hear Maglor's velvety, gentle voice so harsh, rasping with restrainted emotion. "I do not forget. Still... still..." The spike of visceral emotion dissipated. "Still, I wish you would try to see things from his perspective. He was only trying to help."
"And Morgoth is only trying to restore peace to all of Ea."
Maglor's eyebrow twitched. Maedhros found himself smirking triumphantly. Even though he would probably lose this game to his philosophical, genius of a baby brother, at least he could pluck some of the other elf's strings in vengeance of his mistreated ego.
"You just do not understand, do you? You are so convinced that there is nothing we can do--"
"There is not."
"--to change our supposed 'destiny' that you sit and wallow here like a lazy old donkey."
"Did you just call me a jacka$$, little brother?"
"Just shut up and listen!"
Oh, now he is angry... Maedhros leaned back, deciding to play it safe for now, and brushed the fingers of his left hand absently through the tangled curls of his fiery red hair.
"Maybe we cannot change what has been done, but that does not mean we should continue down a path of damnation willingly, like pigs led to slaughter!" Maglor's passion was all in his eyes and the hard set of his full lips and the clench of his square jaw. "Why will you not see reason, brother? We do not need to set out and chase after some ridiculous glowing jewel."
"But Feanor--"
"Feanor this and Feanor that," Maglor mocked. "You have been like this ever since we left Menegroth. Quit being a fool and open your eyes for once, Nelyo. We have a chance to change our fate!"
Ridiculous. Absolutely ludicrous. What is he harping on about now? "We cannot," he growled. "We cannot change the past and we cannot change the future. You wonder why I sit and stare out this filthy window day-in and day-out? It is because there is nothing--nothing--out there waiting for us but death and suffering. Why should I want to part myself from the moment for that?"
"You are wrong."
"No, I am not." He knew he couldn't win this argument, not against Maglor, who was as stubborn as he was and five times as fiery with passion and determination. "Dinner will be ready soon; we should cease discussing such a useless subject."
"You just want to avoid thinking about it, about the possibility that you are wrong!"
"Maglor, stop it..."
But his brother wasn't going to stop. Silver eyes were bright as stars, all too reminiscent of another pair of fiery silver eyes as they glared down at him. "You just cannot accept that you might be wrong, can you? You cannot accept that everything we have done up until now has been for nothing--"
"Maglor, stop!"
"--and that everyone has died for nothing. That all those poor people in Menegroth and Alqualonde died for nothing!"
"Shut up!"
A stricken look crossed Maglor's face. It was painful to look at. Even as detached as he was from the world around him, the heat and intensity of the despair hiding just beneath the sheen of tears that would never fall ate away at the part of him he was desperately stifling. "It does not matter," he gasped out softly, panting between his parched, cracked lips. "I will see you in an hour, brother."
"You are wrong, though..."
"I am not." Maedhros paused halfway through the doorway, hand poised on the rough stone, nails digging into the craggy surface. "The past is nothing but a ghost and the future is nothing but a dream. There is not anything waiting there for either of us. We are here, where we are supposed to be, and when the end comes we will be where fate dictates, and nothing you do can change that."
Maybe it was cynical of him, maybe even hypocritical. But he didn't allow himself to dream of a future that was anything but what it was. In his dreams, the future was a nightmare of blood and fire that ended in nothing but darkness.
With one last backwards glance at Maglor, he left the room, yanking his cloak down to cover the mutilated remains of his right hand, the single greatest reminder of the ghost that was the past.
Had he stayed, he would have seen the tiny little tear that glimmered on the edge of his brother's lip, dark lashes. "You are right, the future is a dream. It is a dream of whatever you want it to be, you fool."
But then, the two were fundamentally different at the core. Maedhros had always believed his younger brother to be too much of a dreamer.
Note: I'm not sure if this is sappy or angsty or what the hell it is. It's 12:30 and I'm too tired to think about my own insanity right now.
Note: If you don't know the Silmarillion, chances are you won't understand a word of this story.
"I want to give you a second chance."
That's what he'd said, the foolish cousin. Bitterly, Maedhros felt his brow furrowing. His single hand was poised beneath his chin, supporting the weight of his strong jaw as he gazed out the window onto the hazy wasteland that was their battlefield. Whoever had allowed Finrod to get such a foolish notion in his head was an imbecile. The only thing that second chance had done was gotten him killed.
He always was too sweet and kind, too forgiving. Maedhros couldn't even find it within his empty heart and battered, broken fragments of emotion to feel bad about the elf's death; he'd brought it down upon himself as surely as each and every one of them had sealed the fate on their own suffering. Besides, Maedhros didn't have time for pity.
"What are you thinking about?"
Golden eyes drifted away from the bleak, demoralizing world outside to meet glimmering silver. Maglor was smiling, but it was fake and hollow. Those silver eyes never stopped looking sad nowadays.
"Second chances," he replied, looking back out the window. Seeing his brother's pained eyes bothered him more than he would have liked.
Had he been looking, he would have seen the frown on his brother's face. "Still about Findarato...?"
Maedhros grunted; he didn't feel like speaking honestly. And he hated how well Maglor could read him. No lie that passed his lips ever tiptoed its way past the keen ears of his younger brother. Maybe it had something to do with being a bard. Maedhros didn't much care, as long as he could avoid a scolding from the other elf.
After all, Maglor was the only one who could make him feel guilty, the only one who knew him well enough to pull all the right strings, playing him every bit as skillfully as the bard's hands played a guilded harp. He hated it.
A tense silence settled over them. Neither was going to move, both too obstinate. Finally, Maedhros broke, sick of having his baby brother hanging over his shoulder. "He was an idiot."
"Says you."
"Says everyone."
"So pessimistic, you are, Nely--"
"I told you not to call me that," Maedhros interrupted. "That is not my name."
Maglor was unaffected by the glare he sent across the neutral space between them. The bard was never affected by his stares or by his scowls or the harsh tones of his words. It was as if Maglor blithely ignored them all.
"Findarato was not an idiot. I think his philosophy was rather admirable. You should be grateful that he held us in high enough esteem to allow--"
"I should be grateful?" Maedhros cut his brother off with a snarl. "Should I be grateful that because of his idiocy he is dead, along with two of my brothers, and Nargothrand now lies in the hands of a weak-minded fool being led around by the nose... by a man, too... shameful."
With a sigh, his brother leaned against the pillar of the window, hair swishing back from his face with the hot, arid breeze while his arms crossed over his lithe chest. "You never used to be so bitter, Maedhros."
"You never used to be so hare-brained. As if Findarato's 'second chance' could ever change anything. His naivety astounds me!" Maedhros snorted, tossing back his auburn hair, blazing golden eyes focused on the current source of his ire. "Second chances do not exist. Nothing he could have done would have changed anything, not the past, not the future, no fate. Do you not remember what--?"
"I remember everything." It was strange to hear Maglor's velvety, gentle voice so harsh, rasping with restrainted emotion. "I do not forget. Still... still..." The spike of visceral emotion dissipated. "Still, I wish you would try to see things from his perspective. He was only trying to help."
"And Morgoth is only trying to restore peace to all of Ea."
Maglor's eyebrow twitched. Maedhros found himself smirking triumphantly. Even though he would probably lose this game to his philosophical, genius of a baby brother, at least he could pluck some of the other elf's strings in vengeance of his mistreated ego.
"You just do not understand, do you? You are so convinced that there is nothing we can do--"
"There is not."
"--to change our supposed 'destiny' that you sit and wallow here like a lazy old donkey."
"Did you just call me a jacka$$, little brother?"
"Just shut up and listen!"
Oh, now he is angry... Maedhros leaned back, deciding to play it safe for now, and brushed the fingers of his left hand absently through the tangled curls of his fiery red hair.
"Maybe we cannot change what has been done, but that does not mean we should continue down a path of damnation willingly, like pigs led to slaughter!" Maglor's passion was all in his eyes and the hard set of his full lips and the clench of his square jaw. "Why will you not see reason, brother? We do not need to set out and chase after some ridiculous glowing jewel."
"But Feanor--"
"Feanor this and Feanor that," Maglor mocked. "You have been like this ever since we left Menegroth. Quit being a fool and open your eyes for once, Nelyo. We have a chance to change our fate!"
Ridiculous. Absolutely ludicrous. What is he harping on about now? "We cannot," he growled. "We cannot change the past and we cannot change the future. You wonder why I sit and stare out this filthy window day-in and day-out? It is because there is nothing--nothing--out there waiting for us but death and suffering. Why should I want to part myself from the moment for that?"
"You are wrong."
"No, I am not." He knew he couldn't win this argument, not against Maglor, who was as stubborn as he was and five times as fiery with passion and determination. "Dinner will be ready soon; we should cease discussing such a useless subject."
"You just want to avoid thinking about it, about the possibility that you are wrong!"
"Maglor, stop it..."
But his brother wasn't going to stop. Silver eyes were bright as stars, all too reminiscent of another pair of fiery silver eyes as they glared down at him. "You just cannot accept that you might be wrong, can you? You cannot accept that everything we have done up until now has been for nothing--"
"Maglor, stop!"
"--and that everyone has died for nothing. That all those poor people in Menegroth and Alqualonde died for nothing!"
"Shut up!"
A stricken look crossed Maglor's face. It was painful to look at. Even as detached as he was from the world around him, the heat and intensity of the despair hiding just beneath the sheen of tears that would never fall ate away at the part of him he was desperately stifling. "It does not matter," he gasped out softly, panting between his parched, cracked lips. "I will see you in an hour, brother."
"You are wrong, though..."
"I am not." Maedhros paused halfway through the doorway, hand poised on the rough stone, nails digging into the craggy surface. "The past is nothing but a ghost and the future is nothing but a dream. There is not anything waiting there for either of us. We are here, where we are supposed to be, and when the end comes we will be where fate dictates, and nothing you do can change that."
Maybe it was cynical of him, maybe even hypocritical. But he didn't allow himself to dream of a future that was anything but what it was. In his dreams, the future was a nightmare of blood and fire that ended in nothing but darkness.
With one last backwards glance at Maglor, he left the room, yanking his cloak down to cover the mutilated remains of his right hand, the single greatest reminder of the ghost that was the past.
Had he stayed, he would have seen the tiny little tear that glimmered on the edge of his brother's lip, dark lashes. "You are right, the future is a dream. It is a dream of whatever you want it to be, you fool."
But then, the two were fundamentally different at the core. Maedhros had always believed his younger brother to be too much of a dreamer.
Note: I'm not sure if this is sappy or angsty or what the hell it is. It's 12:30 and I'm too tired to think about my own insanity right now.
Monday, November 28, 2011
Stream of Consciousness: Seal the Wind
Prompt: write a five-minute stream of consciousness
Seal the Wind
Yuna
FFX-2
beautiful
flying
gentle
raindrops
little diamonds glittering in the faintest of lights
hope
romance
my feet feel like they come off the ground whenever I play it
absolutely glorious melody
seven flats... yeah, you bet it's hard to play
first time doing two-against-three
more difficult than it sounds, trust me
but totally worth it
song I played in my personal narrative
oh dear, that thing... do I really have to talk about that in front of everyone?
oh well,
back to the music, huh?
it's always reminded me of stars
I often have images of my favorite couples dancing to it with the girl in a silver dress and her eyes closed... I'm not really sure why
and no, it's never me... I hate dancing
climax of the piece makes my skin shudder with pure delight
funny, I've never imaged Yuna and Tidus dancing to it
but I hate Tidus
I would never associate him with something so beautiful
Roxy ruined him for me, meh
first recital piece at the music school downtown
moonflowers
don't ask
dark blue, violet, deep pink and magenta
silver, gold, diamonds, stars, moonlight on the grass, dappling the bottom of the pool through the refracting water
Luna
moon... it reminds me of the moon
something about the color silver
melody dances over the harmony
rings like a pure little bell... you know I love pure sounds, so dolce and brilliant
starts on a G-flat
left hand does all the word. arpeggios and runs galore; it never stops moving
took forever to learn
worth it
I should make an oil-pastel in tribute to it; I can't do it justice with words alone
Note: finite
Seal the Wind
Yuna
FFX-2
beautiful
flying
gentle
raindrops
little diamonds glittering in the faintest of lights
hope
romance
my feet feel like they come off the ground whenever I play it
absolutely glorious melody
seven flats... yeah, you bet it's hard to play
first time doing two-against-three
more difficult than it sounds, trust me
but totally worth it
song I played in my personal narrative
oh dear, that thing... do I really have to talk about that in front of everyone?
oh well,
back to the music, huh?
it's always reminded me of stars
I often have images of my favorite couples dancing to it with the girl in a silver dress and her eyes closed... I'm not really sure why
and no, it's never me... I hate dancing
climax of the piece makes my skin shudder with pure delight
funny, I've never imaged Yuna and Tidus dancing to it
but I hate Tidus
I would never associate him with something so beautiful
Roxy ruined him for me, meh
first recital piece at the music school downtown
moonflowers
don't ask
dark blue, violet, deep pink and magenta
silver, gold, diamonds, stars, moonlight on the grass, dappling the bottom of the pool through the refracting water
Luna
moon... it reminds me of the moon
something about the color silver
melody dances over the harmony
rings like a pure little bell... you know I love pure sounds, so dolce and brilliant
starts on a G-flat
left hand does all the word. arpeggios and runs galore; it never stops moving
took forever to learn
worth it
I should make an oil-pastel in tribute to it; I can't do it justice with words alone
Note: finite
Sweetness Between Silences
Prompt: write a poem utilizing the phrase "between silences"
So many things happen
between the silences
You hear my voice, don't you?
The plip-plop of raindrops against your bedroom window
The gentle strums of a guitar being played on your neighbor's porch
The sound of little kids playing down the street
It seems like everything happens between silences
Because the silences are the stillness
The nothingness and emptiness
The days when you stare blankly at your white-washed ceiling
You don't want to move
You just want... to think... and breathe... and be
You want to be silent.
But then you hear the soft rumbling purr of the cat
as she curls up against the curve of your waist
and buries her soft head into your belly, her tail twitching
flicking softly across your hand
The whistling soprano of the flute coming from the room next to yours
delicate, sweet and pure, like the fluttering of a heartbeat
Racing, racing... ba-dum... ba-dum...
breaking the silence over and over again
I love the silence
But even the silence cannot compare to the dolce of the piano
when the drifting, rolling chords are strummed by nimble fingers
What is the lack of sound compared to such?
Silence is sweet in of itself
but between silences is oftentimes sweeter still
Note: meh... sappy again... I'm too tired...
So many things happen
between the silences
You hear my voice, don't you?
The plip-plop of raindrops against your bedroom window
The gentle strums of a guitar being played on your neighbor's porch
The sound of little kids playing down the street
It seems like everything happens between silences
Because the silences are the stillness
The nothingness and emptiness
The days when you stare blankly at your white-washed ceiling
You don't want to move
You just want... to think... and breathe... and be
You want to be silent.
But then you hear the soft rumbling purr of the cat
as she curls up against the curve of your waist
and buries her soft head into your belly, her tail twitching
flicking softly across your hand
The whistling soprano of the flute coming from the room next to yours
delicate, sweet and pure, like the fluttering of a heartbeat
Racing, racing... ba-dum... ba-dum...
breaking the silence over and over again
I love the silence
But even the silence cannot compare to the dolce of the piano
when the drifting, rolling chords are strummed by nimble fingers
What is the lack of sound compared to such?
Silence is sweet in of itself
but between silences is oftentimes sweeter still
Note: meh... sappy again... I'm too tired...
Clair de Lune
Prompt: there really isn't one. This is just my way of geeking out.
I'm sure most of you (if anyone is reading this) have heard of the song Clair de Lune by Debussey. I always wanted to listen to it when I first heard the name because, hey, it's my name in there, you know? Well, of course, it was named before me, but that's beside the point.
It's one of the most popular, well-known piano instrumental pieces around. I even heard it being played in the bookstore a couple of weeks ago. It took me a few minutes to figure out what it was, though. I must've been tired, heh.
Anyway, I picked up the sheet music for it again today. It's an absolutely breathtaking song (which is probably the reason why so many people are in love with it), but one that I've never actually learned all the way through. I have started learning it and, with my busy schedule, have left it unfinished for almost an entire year now... until today, at least.
You'd be shocked how much a difference a year makes... well, anyway...
I guess the thing the song reminds me of most is water. The beginning is like floating... like floating on a crystal clear lake with nothing around for miles and miles, the silence only broken by the soft swishing of the ebb and flow of the water around you. I can imagine my fingertips just breaking the surface and watching the silvery ripples flow outwards from the point of contact, making those beautiful little rings that you see in animated movies that shimmer and bounce off one another. I think that's part of why people love it so much, is that the beginning captivates you completely right from the get-go. Truly genius.
Then there are the raindrops. Well, I wouldn't describe them precisely as raindrops. They sound like soft little impacts, more like groups of droplets falling into the water all together, disturbing the surface with their distinct patterns, yet not being invasive. It's very hard to explain, but the part with the octaves is one of my favorite parts of the entire piece, even more so than the rippling, swift and flowing progressions of sixteenth notes that follow. It makes me think of golden and silver light bouncing on a dark background.
Not to say, of course, that the sixteenth notes aren't beautiful. They're very hard to play correctly, bringing out the hidden melody within their flowing harmony, like the strings of a harp constantly strumming, waving back and forth... back and forth... Maybe the reason I instantly think of water when I hear this is because it sounds very reminiscent of a song called Watermark by Enya. That, too, is a beautiful piece (and you should listen to it if you ever get the chance to. Some of her world is simply gorgeous, but it's not everyone's cup of tea. She sings a lot in Latin, which I love.) There's this one part, though... da-da-da (down one tone) da-da-da (down one tone) da-da-da (up one tone) da-da-da daaaa..... I don't know, but that definitely struck me as raindrops falling into a still pool, like when you see those slow-motion videos of droplets of water hitting a stationary (or as stationary as water can be) surface, the backlash diamond droplet flying upwards in a glimmering arch as tiny waves branch outwards.
I just love this piece. I love the entire thing, a true rarity, to be sure. If you've never heard it, you should listen to it. I don't think I do it justice as all, but there you have it. After all, how could I explain in words what is expressed quite intently through the musical genius of another? Sometimes, music just can't be put into words. You have to hear it to believe it.
Here I am, getting philosophical... I think I need sleep before I get even more sappy. This is all I'm going to write for now, except to say that many of Debussey's pieces are phenomenal (such as the Prelude de Pour le Piano) and should be treasured. They're certainly something else.
I'm sure most of you (if anyone is reading this) have heard of the song Clair de Lune by Debussey. I always wanted to listen to it when I first heard the name because, hey, it's my name in there, you know? Well, of course, it was named before me, but that's beside the point.
It's one of the most popular, well-known piano instrumental pieces around. I even heard it being played in the bookstore a couple of weeks ago. It took me a few minutes to figure out what it was, though. I must've been tired, heh.
Anyway, I picked up the sheet music for it again today. It's an absolutely breathtaking song (which is probably the reason why so many people are in love with it), but one that I've never actually learned all the way through. I have started learning it and, with my busy schedule, have left it unfinished for almost an entire year now... until today, at least.
You'd be shocked how much a difference a year makes... well, anyway...
I guess the thing the song reminds me of most is water. The beginning is like floating... like floating on a crystal clear lake with nothing around for miles and miles, the silence only broken by the soft swishing of the ebb and flow of the water around you. I can imagine my fingertips just breaking the surface and watching the silvery ripples flow outwards from the point of contact, making those beautiful little rings that you see in animated movies that shimmer and bounce off one another. I think that's part of why people love it so much, is that the beginning captivates you completely right from the get-go. Truly genius.
Then there are the raindrops. Well, I wouldn't describe them precisely as raindrops. They sound like soft little impacts, more like groups of droplets falling into the water all together, disturbing the surface with their distinct patterns, yet not being invasive. It's very hard to explain, but the part with the octaves is one of my favorite parts of the entire piece, even more so than the rippling, swift and flowing progressions of sixteenth notes that follow. It makes me think of golden and silver light bouncing on a dark background.
Not to say, of course, that the sixteenth notes aren't beautiful. They're very hard to play correctly, bringing out the hidden melody within their flowing harmony, like the strings of a harp constantly strumming, waving back and forth... back and forth... Maybe the reason I instantly think of water when I hear this is because it sounds very reminiscent of a song called Watermark by Enya. That, too, is a beautiful piece (and you should listen to it if you ever get the chance to. Some of her world is simply gorgeous, but it's not everyone's cup of tea. She sings a lot in Latin, which I love.) There's this one part, though... da-da-da (down one tone) da-da-da (down one tone) da-da-da (up one tone) da-da-da daaaa..... I don't know, but that definitely struck me as raindrops falling into a still pool, like when you see those slow-motion videos of droplets of water hitting a stationary (or as stationary as water can be) surface, the backlash diamond droplet flying upwards in a glimmering arch as tiny waves branch outwards.
I just love this piece. I love the entire thing, a true rarity, to be sure. If you've never heard it, you should listen to it. I don't think I do it justice as all, but there you have it. After all, how could I explain in words what is expressed quite intently through the musical genius of another? Sometimes, music just can't be put into words. You have to hear it to believe it.
Here I am, getting philosophical... I think I need sleep before I get even more sappy. This is all I'm going to write for now, except to say that many of Debussey's pieces are phenomenal (such as the Prelude de Pour le Piano) and should be treasured. They're certainly something else.
Sunday, November 27, 2011
Film Critique Practice: Avatar
This is for my film critique. I don't know, it just seems easier to do this when I've got something to start with, so here goes nothing, huh?
Claim: The theme of Avatar, while informative, is an overused one. Many of the characters are also stereotypical to the extreme and feel two-dimensional. Nevertheless, the glorious use of special effects and cinematography as well as the heart-stopping action keep the viewer interested all the way to the end.
Overall, the storyline of Avatar is gripping for the viewer; however, when you look deeper, the theme behind that story is one which has been repeated over and over many times, not only in real life, but in many facets of fiction as well. It essentially attempts to embody the idea that humans by nature are prone to sacrificing others of different races (or in this case, species) in order to gain what they want. Like the Conquistadors, who came to the "New World" for gold and killed millions of natives and like the Europeans who invaded and colonized Africa in search of riches to trade at the expense of the native people, this story is about how the natives are disregarded and murdered in order to gain what the "humans" want.
By no means does the overused theme make the story or movie itself inadequate. To the contrary, the movie itself held my attention and kept me on the edge of my seat. The world of Avatar crafted through complex visual and special effects taking thousands of hours of work made this movie come to life. There are scenes, such as the scene overlooking the Hallelujah Mountains (the floating mountains of Pandora) which are so corporeal and yet so surreal at the same time that it becomes breathtakingly easy to imagine that Pandora itself actually does exist. This is part of the magic of the movie.
It is also amazing how realistic the Avatar bodies of the characters appear. Unlike the often waxy or entirely fake appearance of aliens in other movies, such as the older Star Wars movies, the bodies of the Na'vi appear extremely realistic, as do the appearances and movements of the many other creatures found in the movie. Scars, veins, injuries and blood all appear as real as they would on any person or living creature, which would have taken hours upon hours of special effects to maintain. You can see their muscles moving, see them breathing, just like any real life animal, and they don't appear fake. For example, the Toruk (the large orange flying creature, for those of you who don't know Na'vi) had absolutely phenominal detail on its skin, from texture to scars to even the most minute of movements. The animated artistry of Avatar is mouth-watering.
The setting is also glorious. The use of color, special effects, music and sound to create mood in each scene was incredibly ingenius. In the scene at night in the forest--which does look very much like an overgrown, real forest--the use of orange fireflies, the hyena-like cackles of the "viperwolves", dramatic music and the shadows to create a tense, anxiety-inducing atmosphere had my heart racing as if it were me being stalked through the forests of Pandora. In contrast, the love scene was emphasized by the brilliant glowing colors of the exotic and creative flora brought to life by the special effects, the sweet harp tones like pure little raindrops in the background and the contrasting soft darkness giving the scene a feeling of being the "only place in the world" was a masterful way to set up a sweet, romantic aura around the hero, Jake Sully, and Neytiri.
While the beautiful visual world of Avatar and the dramatic action-packed scenes rolled up within the story are captivating, I found the storyline itself to be a bit boring and the characters to border often on the stereotypical. While the acting was well-done--the actors being able to carry out their rolls gracefully--I think some of the characters needed a bit more development in order to truly have substance. While loner-botanist and secret marshmallow Grace Augustine and dragon-lady yet wise and loving mother Mo'at were gripping characters, many others, such as the reckless hero himself, the nerdy scientist and the evil, antisocial personality disorder inflicted main antagonist all seemed a bit two-dimensional.
Quaritch, for example, has no personality other than "I hate all of the blue savages and they all should die". Nowhere in the entire movie does he show even a drop of remorse for murdering hundreds of innocents, which implies that he does not possess a conscience. He blatantly disregards the suffering of the clearly sentient native people by saying things such as "let's make this mission tight; I wanna be home for dinner" right before setting out to destroy what's left of a people he's already driven from their home. I understand the necessity of his character, but he feels extremely two-dimensional; there's nothing more to him.
On the other hand, there's Selfridge, the corporate guru who doesn't care about anyone or anything but himself and making money. The fact that he's about to kill hundreds of Na'vi for a deposit of Unobtainium in order to make money doesn't bother him in the least. As he said "The only thing the company hates more than bad press is a bad quarterly statement." He then elaborates to Jake that "We need to find a carrot, otherwise, it's gonna have to be all stick." He never feels remorse and he never questions his actions. Also, I dislike the actor playing him--Giovanni Ribisi--because he looks like he should be stupid (as Selfridge) and he's not. In fact, his role in leadership is almost equal to that of Quaritch, which I didn't think fit his appearance or initial characterization where he was depicted as a frivolous layabout putting golfballs and so dumb that he couldn't operate his own equipment.
By no means does this make the story a bad one. It merely becomes apparent, when one looks closer, that this makes the storyline itself seem unrealistic. What is the real likelihood of all the marines except Jake and Trudy following Quaritch into these evil deeds without even questioning themselves? Are all of them lacking a conscience? I understand that in our society we are often conformists who follow the leader and go with the flow to avoid confrontation, but it strikes me as odd that no one else backed out or stood up but the scientists, which, of course, brings about a whole other point.
The black-and-white line drawn between the "good guys" (also known as the Science Department) and the "bad guys" (who are the ex-Marines) is so set that it seems unreal when one looks closer. This, of course, fits perfectly with the storyline itself, but seems incredibly unlikely and unrealistic when you really think about it. Not one of the scientists in the Science Department in this movie hated the Na'vi, while only Jake and Trudy found it within themselves to not hate the "hostiles" and be ready to kill them all off for no other reason then for enjoyment or to make money. In this way, the human race is depicted in a very, very negative fashion, and I think it's important for viewers to realize that this does not mean all ex-Marines are bad and willing to murder hundreds of innocents for fun, or that the human race is inexplicably willing to commit such atrocities for the sake of getting what it wants. Is it a possibility, yes. But not everyone out there is like that.
I think that in of itself, Avatar was a great and captivating movie at first glance and really kept me focused on the action and the beautiful "other world" that Pandora created to woo the viewer. By no means was it a poor movie, but some flaws were apparent within it. The ending was a wonderful ending, by the way, but I feel like that isn't the end. My last complaint would be that I somehow doubt the RDA will run back to Earth with their tails between their legs and never return. Nevertheless, the happy ending left me feeling breathless.
Note: This was my practice round. It helps me organize my thoughts.
Claim: The theme of Avatar, while informative, is an overused one. Many of the characters are also stereotypical to the extreme and feel two-dimensional. Nevertheless, the glorious use of special effects and cinematography as well as the heart-stopping action keep the viewer interested all the way to the end.
Overall, the storyline of Avatar is gripping for the viewer; however, when you look deeper, the theme behind that story is one which has been repeated over and over many times, not only in real life, but in many facets of fiction as well. It essentially attempts to embody the idea that humans by nature are prone to sacrificing others of different races (or in this case, species) in order to gain what they want. Like the Conquistadors, who came to the "New World" for gold and killed millions of natives and like the Europeans who invaded and colonized Africa in search of riches to trade at the expense of the native people, this story is about how the natives are disregarded and murdered in order to gain what the "humans" want.
By no means does the overused theme make the story or movie itself inadequate. To the contrary, the movie itself held my attention and kept me on the edge of my seat. The world of Avatar crafted through complex visual and special effects taking thousands of hours of work made this movie come to life. There are scenes, such as the scene overlooking the Hallelujah Mountains (the floating mountains of Pandora) which are so corporeal and yet so surreal at the same time that it becomes breathtakingly easy to imagine that Pandora itself actually does exist. This is part of the magic of the movie.
It is also amazing how realistic the Avatar bodies of the characters appear. Unlike the often waxy or entirely fake appearance of aliens in other movies, such as the older Star Wars movies, the bodies of the Na'vi appear extremely realistic, as do the appearances and movements of the many other creatures found in the movie. Scars, veins, injuries and blood all appear as real as they would on any person or living creature, which would have taken hours upon hours of special effects to maintain. You can see their muscles moving, see them breathing, just like any real life animal, and they don't appear fake. For example, the Toruk (the large orange flying creature, for those of you who don't know Na'vi) had absolutely phenominal detail on its skin, from texture to scars to even the most minute of movements. The animated artistry of Avatar is mouth-watering.
The setting is also glorious. The use of color, special effects, music and sound to create mood in each scene was incredibly ingenius. In the scene at night in the forest--which does look very much like an overgrown, real forest--the use of orange fireflies, the hyena-like cackles of the "viperwolves", dramatic music and the shadows to create a tense, anxiety-inducing atmosphere had my heart racing as if it were me being stalked through the forests of Pandora. In contrast, the love scene was emphasized by the brilliant glowing colors of the exotic and creative flora brought to life by the special effects, the sweet harp tones like pure little raindrops in the background and the contrasting soft darkness giving the scene a feeling of being the "only place in the world" was a masterful way to set up a sweet, romantic aura around the hero, Jake Sully, and Neytiri.
While the beautiful visual world of Avatar and the dramatic action-packed scenes rolled up within the story are captivating, I found the storyline itself to be a bit boring and the characters to border often on the stereotypical. While the acting was well-done--the actors being able to carry out their rolls gracefully--I think some of the characters needed a bit more development in order to truly have substance. While loner-botanist and secret marshmallow Grace Augustine and dragon-lady yet wise and loving mother Mo'at were gripping characters, many others, such as the reckless hero himself, the nerdy scientist and the evil, antisocial personality disorder inflicted main antagonist all seemed a bit two-dimensional.
Quaritch, for example, has no personality other than "I hate all of the blue savages and they all should die". Nowhere in the entire movie does he show even a drop of remorse for murdering hundreds of innocents, which implies that he does not possess a conscience. He blatantly disregards the suffering of the clearly sentient native people by saying things such as "let's make this mission tight; I wanna be home for dinner" right before setting out to destroy what's left of a people he's already driven from their home. I understand the necessity of his character, but he feels extremely two-dimensional; there's nothing more to him.
On the other hand, there's Selfridge, the corporate guru who doesn't care about anyone or anything but himself and making money. The fact that he's about to kill hundreds of Na'vi for a deposit of Unobtainium in order to make money doesn't bother him in the least. As he said "The only thing the company hates more than bad press is a bad quarterly statement." He then elaborates to Jake that "We need to find a carrot, otherwise, it's gonna have to be all stick." He never feels remorse and he never questions his actions. Also, I dislike the actor playing him--Giovanni Ribisi--because he looks like he should be stupid (as Selfridge) and he's not. In fact, his role in leadership is almost equal to that of Quaritch, which I didn't think fit his appearance or initial characterization where he was depicted as a frivolous layabout putting golfballs and so dumb that he couldn't operate his own equipment.
By no means does this make the story a bad one. It merely becomes apparent, when one looks closer, that this makes the storyline itself seem unrealistic. What is the real likelihood of all the marines except Jake and Trudy following Quaritch into these evil deeds without even questioning themselves? Are all of them lacking a conscience? I understand that in our society we are often conformists who follow the leader and go with the flow to avoid confrontation, but it strikes me as odd that no one else backed out or stood up but the scientists, which, of course, brings about a whole other point.
The black-and-white line drawn between the "good guys" (also known as the Science Department) and the "bad guys" (who are the ex-Marines) is so set that it seems unreal when one looks closer. This, of course, fits perfectly with the storyline itself, but seems incredibly unlikely and unrealistic when you really think about it. Not one of the scientists in the Science Department in this movie hated the Na'vi, while only Jake and Trudy found it within themselves to not hate the "hostiles" and be ready to kill them all off for no other reason then for enjoyment or to make money. In this way, the human race is depicted in a very, very negative fashion, and I think it's important for viewers to realize that this does not mean all ex-Marines are bad and willing to murder hundreds of innocents for fun, or that the human race is inexplicably willing to commit such atrocities for the sake of getting what it wants. Is it a possibility, yes. But not everyone out there is like that.
I think that in of itself, Avatar was a great and captivating movie at first glance and really kept me focused on the action and the beautiful "other world" that Pandora created to woo the viewer. By no means was it a poor movie, but some flaws were apparent within it. The ending was a wonderful ending, by the way, but I feel like that isn't the end. My last complaint would be that I somehow doubt the RDA will run back to Earth with their tails between their legs and never return. Nevertheless, the happy ending left me feeling breathless.
Note: This was my practice round. It helps me organize my thoughts.
Friday, November 25, 2011
Polonaise Op. 26 No. 1
Prompt: This really doesn't have a prompt, but I'm preparing for my music scholarship performances and I figured it couldn't hurt to use this blog as some sort of study method, since I'm trapped at my grandparents' house with no way to actually practice. Perhaps this will help me out a big, ne? If not... oh well. If you are not musically inclined, don't read this; it won't make any sense to you (it might not even if you are musically inclined).
Polonaise Op. 26 No. 1 (Chopin)
It says the beginning is supposed to be fortissimo with an emphasis on the second note of each pair--thirty-second, double-dotted quarter--repeated five times in descending octaves. It reminds me of a heartbeat--ba-dum, ba-dum, ba-dum... This is the heartbeat of the song. In the past I've had trouble keeping this beat constant throughout the A and B sections of the piece--must keep slow and steady! Followed by (fortississimo) dum, da-dum, dum, dum, dum (ascending rolling chord--upwards motion with hand; it makes me feel like my feet are coming off the ground; I want to throw my head back (resist the urge, heh)) Completely cut off, let the music take a deep breath.
Soft--sforzando on the fifth to a D sharp and then two Polish sixteenths in the left hand, slightly rushed. Elise says I should slow them down on one of the repeats, probably the second one, or risk making them repetitive. Ignore pedal-markings; they're completely useless. Can't read pedal-markings anyway (do by ear). Want to start off soft after the sforzando and gradually build dynamics through the little twirls of notes (that's what they remind me of anyway, like a girl's toes touching the floor as she spins--this is dancing music after all). Hit the G sharp and then prance up the triplets--work on the two-against-three in the left hand; it slips every time. High D sharp and then dissipate, let the music relax; the next section should be softer, even though I'm tempted to make it wilder. (Perhaps give it a dynamic boost in the second repetition to keep things interesting?)
Triplet--drill two-against-three, though it's much better here than two measures before--same prancing with softly rising dynamics; try to keep noise level at a minimum for a crescendo, though; it's supposed to be piano. Note the G sharp in the left hand--last half of second beat--keep missing it (check, check, check). Left hand: take C sharp over first finger with the second, switch to thumb, switch back. Right hand: take E sharp, F sharp, G sharp and A with thumb (last is a rolled chord, do not forget!) Hit high B and try to remain soft and drifting, like a little falling leaf (trill on fourth triplet-eigth) that does a little flip before it plops into the water--last note is like a ripple. Keep tempo relatively constant there--only retardando on the last repetition of this theme (at the end) for emphasis.
Repeat (louder?)
Dip down and back up, building--arpeggio with first three notes with the first eigth note and the second three with the second (nail the E!) and return back immediately with emphasis on the second half of the second beat, letting up slightly on the second half of the third--press firm on the downwards stroke and then lift wrists gently. Keep the left and right hands exactly together! No ka-dunking! Next set a little louder--same idea, but different arpeggio with the first three notes on the first eigth note and second four on the second--nail the A! Even if you screw up the rest, the A must be heard! And keep hands together, emphasize first note, let up on the second. Dynamics increase--building to the climax of the section. Forte--final two arpeggios (more than two octaves in one beat). First four notes on the first eigth note and next five on the second (like a rolling chord)--hit the E! (try not to kill your pinky finger again, huh?)--firm and together, then release--forte for the second arpeggio (a repeat of the other one), but this time do not let up on the last note. Following measure is fortissimo and the climax of the section--make it sing! Polish sixteenths--play normally at least once throughout the piece), bring out the B sharp and A sharp in the right hand above the C and F sharps, sforzando on the first eigth note of the next measure and begin to let up. Give the pedal baby-pumps to gradually grain out the mixture of sound; don't want it to cut off or linger when the last of the three D sharps is played. By the time you reach the third beat you want a pure tone with no harmony to sharp the next section.
Gentle, happy, sweet (dulce) with dancing right hand and calm left hand--like an interlude between violent passion and anger. Gradually getting softer and softer (want to reach a pianissimo by the end)--remember, that one set of seven, three with the first eight and four with the second). Drop an octave, start over until you reach the B. A double-sharp, B-sharp, C-sharp and then tremollo between B sharp and C-sharp with second and third finger, three rotations per eight note for the entire measure--let up the pedal on the last eight note, do not want the B sharp to bleed into the next section.
Next part similar to the first set of prancing feet--notice, no E sharps are present (Elise missed this the first time we studied it) and left hand is different. Starts with a B sharp goes up to a C sharp and then down to an A natural. Do not go the other direction. (Drill this part; it likes to play tricks!) Ends on the same G sharp with the same little twirl of triplets up to a D sharp and then ends as the A section of the piece does, only with a ritardando and a piano instead of a pianissimo. Switch this out for a louder bit on the second repetition to match the idea of the first (if you played the second repetition of the A section louder--think about pronto!)
Repeat (louder?)
Much gentler. Key change to five flats rather than four sharps (nasty key change too, might I add). F--constant droning F's underneath; tap with thumb. Ascending notes in the left hand from A-flat to A-natural to B-flat to C--emphasize! Also, bring out the triplet on the third beat over the droning beneath; that's what needs to be heard. Keep the thumb gentle even though it goes against its natural disposition, and make sure to pump the pedal between the A-flat and the A-natural or the sound will not be pretty. This part isn't meant for dissonance. Allow for pause in strict heartbeat (slower than sections A and B) to allow for the trill on the second beat--bring out the A-flat, trill, C and B-flat, not the F! And on next measure, hit the E loud enough that it doesn't blend with the D-flats beneath it. (Always miss that). Bring out the triplet, B-flat, A-flat, G-flat--emphasize the low A-flat in the left hand, but don't let it overshadow the melody in the right--grace-notes, F--make the change from A-flat to C-flat in the left hand obvious with a good breath from the pedal. D-flat--leave space for the trill once more, like a little breath of fresh air, then emphasize the descending notes in the left hand: B-double-flat, A-flat, G-natural, G-flat, F, F-flat. The dynamics in this whole section should be slowly rising to the following B-flat, which should ring--four notes following that, keep a close eye on, they're hard to catch if they're off even the tiniest bit. Hit forte with the G-flat octave, not the D-flat, and bring the sixteenth notes out especially there; they are the important part of this measure. Then one-two-three-two-two-three-three-two-three, emphasis on the first note of each set of six--be careful in the left hand of the last beat, the A-flat is a whole octave farther down--next just is three octaves--and then breathe.
Start again with the F--Left hand: D-flat an octave down. Same basic idea as the beginning of section C, at least in the first measure. Ascending notes in the left hand, but bring out the four in the second to last eight note and the six in the last, which should spiral straight down into an A-flat (that's the note we want to hear!). From there on, the pedal should breathe at least at every beat. Do not mix the A-flat with the B-double-flat or the B-double-flat with the F-sharp and A-natural combo (blech!). In the left hand, notes are descending, breathe every eigth note after the second half of the second beat or else. Emphasize in the right: D-natural, C-sharp, D-flat, B-double-flat and D-flat, then the sixteeths--in the second beat that is a B-double-flat; DO NOT FORGET!--E-flat, F, G-flat, sixteeths, F, C (important, we want to hear! part of the melody!--note this is the only spot where the left-hand part changes intervals in the C section!), F, sixteenths, E-flat, B-flat (this is important, don't leave it out, it's part of the melody!), E-flat, sixteenths, trill-triplets (that is a rolling chord there with the trill!), rolling chord, pause... breathe... ba-dum... dum... dum... da-dum, da-dum, da-dum, da-dum, da-dum, dum, dum, dum... out the B-flat and A-flat, then the B-double-flat and A-flat, and repeat as necessary. The A-flat is an important part of the melody; do not abandon it! The second to last note of the right hand has a G-flat, not an A-flat--press down firmly (as in section B, but lighter) and then release softly on the last note, like the flutter of a bird's wing. It should not be chunky!
Repeat
Section D--in my opinion, the most difficult. Melody is in the left hand. Practice the right hand extra hard so it doesn't hold back the artistic freedom of the left. The weaker hand is often the hand which holds the stronger back. Bring out the E-flat and (to a lesser extent) the D-flat an octave above, also the C and the D-flat in the right hand, but underneath the melodic turn in the second beat in the left hand. Then the F, E-flat and D-flat in the right hand underneath the melody in the left. Third measure right hand: emphasize D-flat, C, D-flat beneath the sixteenths. Left hand: sixteenths should rise up to a peak on the G-flat in the third beat. Pay attention to the B-double-flat, land on the E-flat with the thumb and reach over with the index finger to give a powerful G-flat rather than shifting the thumb awkwardly upwards three steps. Next measure right hand: emphasize F, E-flat and mostly D-flat and C (these are practically part of the melody and should therefore be brought out as the introduce us to the sudden shift in key that follows, but do not let the F and E-flat cover the left-hand melody).
Key changes--A is flat again. Emphasize in the right: C, B-natural, C, but once again do not cover up the sixteenths in the left hand. Left hand: The first two notes are introductory; what we really want to hear is a trembling little descent from the solid G-natural. Next measure right hand: emphasize E-flat, D-natural, C but don't cover up the melody in left hand. Then emphasize C, B-natural, C (like in the first measure again), while playing sixteenths in the left hand, which should rise in dynamics to the F. D and G are natural, but A is not. Then let the dynamics drift once more on next measure. Right hand: bring out the D-natural a little, but really bring out the last three eigth notes which act as a sort of catalyst for the next measure: D-natural, C, B-flat--
Lnd on the E-flat, emphasize D-natural and C beneath the sixteenths. Sixteenths are building, but slowly and sweetly--not forte yet! Next measure, right hand should really bring out that C, because it lasts for two whole beats (haha!), and sixteenths are once more building. G is still natural, A is not. Right hand: don't forget the B-flat on the third beat. Then right should emphasize E-flat, A-natural and B-flat, but not overdo it. The left hand sixteenth notes build to the immediate precursor of a forte. Next measure: right gets C, left gets sixteenth-note chromatic scale uwards, then skip D-flat and E-natural--build, build, build to that G-natural. Play it loud to cover up the sudden lack of a harmony in the right hand--sudden key-change again. It'll sound really weird, but its not. We want the F-flat and E-flat to be heard. Right hand in the next measure is tricky--do the trill with fourth and fifth finger even though Elise said not to do it, do it anyway (>.>) and then emphasize B-flat, A-natural, B-flat, B-natural, C while simultaneously bringing out the E-flat and B-double-flats. This is the spot where left hand needs to get serious: two measure from the climax of the D-section! Right hand continues: bring out D-flat, D-natural (beneath the B-double-flats), then the E-flat and C. Last three eigth notes in right hand serve as catalyst to climax of the entire piece. B-natural and D-natural, C and E-flat, C and E-natural, and then a big fat F octave with a D-flat squished in the middle--put your elbows into it! This should echo through the entire house! Fingers curved (no caving in on the joints) and wrists up so there's room to press down; want it to be firm.
The rest is mostly a repeat of section C, though at the end the left hand plays some little tricks. Rather than only one interval being changed, the intervals are changed four times--don't let this trip you up!
To back to the beginning.
Repeat section A--soft again? No repeat this time; just once!
Repeat section B--soft again? Once again, no repeat this time; just once! And make sure to really bring out the ritardando on the last few measures so people know the song is ending, otherwise it'll sound like it just cut off.
Finite.
Sigh... so much work, so little time. But I really do like this piece. Chopin was an amazing Romantic Era artist! He brings out emotions so beautifully! The beginning really is passionate, and the C section is so sweet, but the D... *shivers* He just sounds so tortured! It's just wonderful... *sighs dreamily* Well, enough of that. I'm off now!
Polonaise Op. 26 No. 1 (Chopin)
It says the beginning is supposed to be fortissimo with an emphasis on the second note of each pair--thirty-second, double-dotted quarter--repeated five times in descending octaves. It reminds me of a heartbeat--ba-dum, ba-dum, ba-dum... This is the heartbeat of the song. In the past I've had trouble keeping this beat constant throughout the A and B sections of the piece--must keep slow and steady! Followed by (fortississimo) dum, da-dum, dum, dum, dum (ascending rolling chord--upwards motion with hand; it makes me feel like my feet are coming off the ground; I want to throw my head back (resist the urge, heh)) Completely cut off, let the music take a deep breath.
Soft--sforzando on the fifth to a D sharp and then two Polish sixteenths in the left hand, slightly rushed. Elise says I should slow them down on one of the repeats, probably the second one, or risk making them repetitive. Ignore pedal-markings; they're completely useless. Can't read pedal-markings anyway (do by ear). Want to start off soft after the sforzando and gradually build dynamics through the little twirls of notes (that's what they remind me of anyway, like a girl's toes touching the floor as she spins--this is dancing music after all). Hit the G sharp and then prance up the triplets--work on the two-against-three in the left hand; it slips every time. High D sharp and then dissipate, let the music relax; the next section should be softer, even though I'm tempted to make it wilder. (Perhaps give it a dynamic boost in the second repetition to keep things interesting?)
Triplet--drill two-against-three, though it's much better here than two measures before--same prancing with softly rising dynamics; try to keep noise level at a minimum for a crescendo, though; it's supposed to be piano. Note the G sharp in the left hand--last half of second beat--keep missing it (check, check, check). Left hand: take C sharp over first finger with the second, switch to thumb, switch back. Right hand: take E sharp, F sharp, G sharp and A with thumb (last is a rolled chord, do not forget!) Hit high B and try to remain soft and drifting, like a little falling leaf (trill on fourth triplet-eigth) that does a little flip before it plops into the water--last note is like a ripple. Keep tempo relatively constant there--only retardando on the last repetition of this theme (at the end) for emphasis.
Repeat (louder?)
Dip down and back up, building--arpeggio with first three notes with the first eigth note and the second three with the second (nail the E!) and return back immediately with emphasis on the second half of the second beat, letting up slightly on the second half of the third--press firm on the downwards stroke and then lift wrists gently. Keep the left and right hands exactly together! No ka-dunking! Next set a little louder--same idea, but different arpeggio with the first three notes on the first eigth note and second four on the second--nail the A! Even if you screw up the rest, the A must be heard! And keep hands together, emphasize first note, let up on the second. Dynamics increase--building to the climax of the section. Forte--final two arpeggios (more than two octaves in one beat). First four notes on the first eigth note and next five on the second (like a rolling chord)--hit the E! (try not to kill your pinky finger again, huh?)--firm and together, then release--forte for the second arpeggio (a repeat of the other one), but this time do not let up on the last note. Following measure is fortissimo and the climax of the section--make it sing! Polish sixteenths--play normally at least once throughout the piece), bring out the B sharp and A sharp in the right hand above the C and F sharps, sforzando on the first eigth note of the next measure and begin to let up. Give the pedal baby-pumps to gradually grain out the mixture of sound; don't want it to cut off or linger when the last of the three D sharps is played. By the time you reach the third beat you want a pure tone with no harmony to sharp the next section.
Gentle, happy, sweet (dulce) with dancing right hand and calm left hand--like an interlude between violent passion and anger. Gradually getting softer and softer (want to reach a pianissimo by the end)--remember, that one set of seven, three with the first eight and four with the second). Drop an octave, start over until you reach the B. A double-sharp, B-sharp, C-sharp and then tremollo between B sharp and C-sharp with second and third finger, three rotations per eight note for the entire measure--let up the pedal on the last eight note, do not want the B sharp to bleed into the next section.
Next part similar to the first set of prancing feet--notice, no E sharps are present (Elise missed this the first time we studied it) and left hand is different. Starts with a B sharp goes up to a C sharp and then down to an A natural. Do not go the other direction. (Drill this part; it likes to play tricks!) Ends on the same G sharp with the same little twirl of triplets up to a D sharp and then ends as the A section of the piece does, only with a ritardando and a piano instead of a pianissimo. Switch this out for a louder bit on the second repetition to match the idea of the first (if you played the second repetition of the A section louder--think about pronto!)
Repeat (louder?)
Much gentler. Key change to five flats rather than four sharps (nasty key change too, might I add). F--constant droning F's underneath; tap with thumb. Ascending notes in the left hand from A-flat to A-natural to B-flat to C--emphasize! Also, bring out the triplet on the third beat over the droning beneath; that's what needs to be heard. Keep the thumb gentle even though it goes against its natural disposition, and make sure to pump the pedal between the A-flat and the A-natural or the sound will not be pretty. This part isn't meant for dissonance. Allow for pause in strict heartbeat (slower than sections A and B) to allow for the trill on the second beat--bring out the A-flat, trill, C and B-flat, not the F! And on next measure, hit the E loud enough that it doesn't blend with the D-flats beneath it. (Always miss that). Bring out the triplet, B-flat, A-flat, G-flat--emphasize the low A-flat in the left hand, but don't let it overshadow the melody in the right--grace-notes, F--make the change from A-flat to C-flat in the left hand obvious with a good breath from the pedal. D-flat--leave space for the trill once more, like a little breath of fresh air, then emphasize the descending notes in the left hand: B-double-flat, A-flat, G-natural, G-flat, F, F-flat. The dynamics in this whole section should be slowly rising to the following B-flat, which should ring--four notes following that, keep a close eye on, they're hard to catch if they're off even the tiniest bit. Hit forte with the G-flat octave, not the D-flat, and bring the sixteenth notes out especially there; they are the important part of this measure. Then one-two-three-two-two-three-three-two-three, emphasis on the first note of each set of six--be careful in the left hand of the last beat, the A-flat is a whole octave farther down--next just is three octaves--and then breathe.
Start again with the F--Left hand: D-flat an octave down. Same basic idea as the beginning of section C, at least in the first measure. Ascending notes in the left hand, but bring out the four in the second to last eight note and the six in the last, which should spiral straight down into an A-flat (that's the note we want to hear!). From there on, the pedal should breathe at least at every beat. Do not mix the A-flat with the B-double-flat or the B-double-flat with the F-sharp and A-natural combo (blech!). In the left hand, notes are descending, breathe every eigth note after the second half of the second beat or else. Emphasize in the right: D-natural, C-sharp, D-flat, B-double-flat and D-flat, then the sixteeths--in the second beat that is a B-double-flat; DO NOT FORGET!--E-flat, F, G-flat, sixteeths, F, C (important, we want to hear! part of the melody!--note this is the only spot where the left-hand part changes intervals in the C section!), F, sixteenths, E-flat, B-flat (this is important, don't leave it out, it's part of the melody!), E-flat, sixteenths, trill-triplets (that is a rolling chord there with the trill!), rolling chord, pause... breathe... ba-dum... dum... dum... da-dum, da-dum, da-dum, da-dum, da-dum, dum, dum, dum... out the B-flat and A-flat, then the B-double-flat and A-flat, and repeat as necessary. The A-flat is an important part of the melody; do not abandon it! The second to last note of the right hand has a G-flat, not an A-flat--press down firmly (as in section B, but lighter) and then release softly on the last note, like the flutter of a bird's wing. It should not be chunky!
Repeat
Section D--in my opinion, the most difficult. Melody is in the left hand. Practice the right hand extra hard so it doesn't hold back the artistic freedom of the left. The weaker hand is often the hand which holds the stronger back. Bring out the E-flat and (to a lesser extent) the D-flat an octave above, also the C and the D-flat in the right hand, but underneath the melodic turn in the second beat in the left hand. Then the F, E-flat and D-flat in the right hand underneath the melody in the left. Third measure right hand: emphasize D-flat, C, D-flat beneath the sixteenths. Left hand: sixteenths should rise up to a peak on the G-flat in the third beat. Pay attention to the B-double-flat, land on the E-flat with the thumb and reach over with the index finger to give a powerful G-flat rather than shifting the thumb awkwardly upwards three steps. Next measure right hand: emphasize F, E-flat and mostly D-flat and C (these are practically part of the melody and should therefore be brought out as the introduce us to the sudden shift in key that follows, but do not let the F and E-flat cover the left-hand melody).
Key changes--A is flat again. Emphasize in the right: C, B-natural, C, but once again do not cover up the sixteenths in the left hand. Left hand: The first two notes are introductory; what we really want to hear is a trembling little descent from the solid G-natural. Next measure right hand: emphasize E-flat, D-natural, C but don't cover up the melody in left hand. Then emphasize C, B-natural, C (like in the first measure again), while playing sixteenths in the left hand, which should rise in dynamics to the F. D and G are natural, but A is not. Then let the dynamics drift once more on next measure. Right hand: bring out the D-natural a little, but really bring out the last three eigth notes which act as a sort of catalyst for the next measure: D-natural, C, B-flat--
Lnd on the E-flat, emphasize D-natural and C beneath the sixteenths. Sixteenths are building, but slowly and sweetly--not forte yet! Next measure, right hand should really bring out that C, because it lasts for two whole beats (haha!), and sixteenths are once more building. G is still natural, A is not. Right hand: don't forget the B-flat on the third beat. Then right should emphasize E-flat, A-natural and B-flat, but not overdo it. The left hand sixteenth notes build to the immediate precursor of a forte. Next measure: right gets C, left gets sixteenth-note chromatic scale uwards, then skip D-flat and E-natural--build, build, build to that G-natural. Play it loud to cover up the sudden lack of a harmony in the right hand--sudden key-change again. It'll sound really weird, but its not. We want the F-flat and E-flat to be heard. Right hand in the next measure is tricky--do the trill with fourth and fifth finger even though Elise said not to do it, do it anyway (>.>) and then emphasize B-flat, A-natural, B-flat, B-natural, C while simultaneously bringing out the E-flat and B-double-flats. This is the spot where left hand needs to get serious: two measure from the climax of the D-section! Right hand continues: bring out D-flat, D-natural (beneath the B-double-flats), then the E-flat and C. Last three eigth notes in right hand serve as catalyst to climax of the entire piece. B-natural and D-natural, C and E-flat, C and E-natural, and then a big fat F octave with a D-flat squished in the middle--put your elbows into it! This should echo through the entire house! Fingers curved (no caving in on the joints) and wrists up so there's room to press down; want it to be firm.
The rest is mostly a repeat of section C, though at the end the left hand plays some little tricks. Rather than only one interval being changed, the intervals are changed four times--don't let this trip you up!
To back to the beginning.
Repeat section A--soft again? No repeat this time; just once!
Repeat section B--soft again? Once again, no repeat this time; just once! And make sure to really bring out the ritardando on the last few measures so people know the song is ending, otherwise it'll sound like it just cut off.
Finite.
Sigh... so much work, so little time. But I really do like this piece. Chopin was an amazing Romantic Era artist! He brings out emotions so beautifully! The beginning really is passionate, and the C section is so sweet, but the D... *shivers* He just sounds so tortured! It's just wonderful... *sighs dreamily* Well, enough of that. I'm off now!
Sunday, November 20, 2011
Stream of Consciousness: Haku
Prompt: Write a five minute stream of consciousness
Note: I'm writing about Haku because he's instrumental in the part of my story I'm working on for NaNoWriMo, and this is a good way to get a better look at him without writing out a lengthy character chart for the poor thing. I already know what color his hair and eyes are, after all.
Haku
brown hair
dark brown eyes
looks like a girl
I mean he really does
has full pretty feminine lips and beautiful girly eyes
Naruto called him "sis" in the English dub (and nee-chan in the Japanese)
which means sister, by the way if anyone was wondering
wears dark greenish-blue and brown
beautiful
amazing hunter-nin
has a creepy mask with red swirls that remind me of blood
awesome with his senbon (1)
I wish he wasn't so obsessed with Zabuza-sama
Thinks of himself as an object or tool
father murdered his mother and tried to murder him
he killed a whole bunch of people (he was like five, poor thing)
adopted by Zabuza
gratitude?
a bit obsessed
a bit psychotic
self-sacrificing
gets bisected (almost twice)
wears hair up in a bun like Momo Hinamori from Bleach
believes that he serves no purpose other than to do Zabuza's bidding
(I think the demon actually cares about him, too, a little, cause he started crying after Haku died and then viciously sought revenge--actually, I didn't mind that so much, because Gatou really deserved to die after kicking dead-Haku's face)
yes, in canon Naruto he's dead... and resurrected... and dead again
killed by Kakashi (by accident)
while saving Zabuza's ungrateful hide
and bisected by Zabuza's giant kitchen knife
once again... bloody ungrateful scum
I wish he would live
I really wanted him to live
for some reason, he's very likeable
asked Naruto to kill him when he thought he was inadequate--inferiority issues? or just self-esteem issues probably
he shouldn't--he's an amazing ninja (and saved Zabuza's ungrateful hide several times)
uses ice kekkei genkai (2)
it's amazing and beautiful
nearly kills Sasuke
actually, he pretends to kill Sasuke, cause he doesn't like killing
very sweet in reality
wants to fight for the people he cares about (namely, Zabuza)
actually is nice to Naruto
doesn't like killing or being a ninja (because it means he has to kill)
Note: Finished. Okay, so it was a little short (because I only had five minutes), but this helped me sort out my scattered brain a little bit, you know? I have to get to know him really well in order to write him, have to get inside his head and his thoughts and feelings and past, all that nasty stuff. He's just such an interesting character!
(1) senbon - throwing/acupuncture needles (if you don't know what acupuncture is, look it up) that can be used (in Naruto) to either kill or paralyze victims
(2) kekkei genkai - in Naruto-verse it's sort of a special genetic ability that's hereditary and passed down from generation to generation. Haku's special ability is Ice Release (control over ice). In his home country, people with kekkei genkai were hunted and slaughtered, thus the reason his father tried to kill him. Sad huh?
Note: I'm writing about Haku because he's instrumental in the part of my story I'm working on for NaNoWriMo, and this is a good way to get a better look at him without writing out a lengthy character chart for the poor thing. I already know what color his hair and eyes are, after all.
Haku
brown hair
dark brown eyes
looks like a girl
I mean he really does
has full pretty feminine lips and beautiful girly eyes
Naruto called him "sis" in the English dub (and nee-chan in the Japanese)
which means sister, by the way if anyone was wondering
wears dark greenish-blue and brown
beautiful
amazing hunter-nin
has a creepy mask with red swirls that remind me of blood
awesome with his senbon (1)
I wish he wasn't so obsessed with Zabuza-sama
Thinks of himself as an object or tool
father murdered his mother and tried to murder him
he killed a whole bunch of people (he was like five, poor thing)
adopted by Zabuza
gratitude?
a bit obsessed
a bit psychotic
self-sacrificing
gets bisected (almost twice)
wears hair up in a bun like Momo Hinamori from Bleach
believes that he serves no purpose other than to do Zabuza's bidding
(I think the demon actually cares about him, too, a little, cause he started crying after Haku died and then viciously sought revenge--actually, I didn't mind that so much, because Gatou really deserved to die after kicking dead-Haku's face)
yes, in canon Naruto he's dead... and resurrected... and dead again
killed by Kakashi (by accident)
while saving Zabuza's ungrateful hide
and bisected by Zabuza's giant kitchen knife
once again... bloody ungrateful scum
I wish he would live
I really wanted him to live
for some reason, he's very likeable
asked Naruto to kill him when he thought he was inadequate--inferiority issues? or just self-esteem issues probably
he shouldn't--he's an amazing ninja (and saved Zabuza's ungrateful hide several times)
uses ice kekkei genkai (2)
it's amazing and beautiful
nearly kills Sasuke
actually, he pretends to kill Sasuke, cause he doesn't like killing
very sweet in reality
wants to fight for the people he cares about (namely, Zabuza)
actually is nice to Naruto
doesn't like killing or being a ninja (because it means he has to kill)
Note: Finished. Okay, so it was a little short (because I only had five minutes), but this helped me sort out my scattered brain a little bit, you know? I have to get to know him really well in order to write him, have to get inside his head and his thoughts and feelings and past, all that nasty stuff. He's just such an interesting character!
(1) senbon - throwing/acupuncture needles (if you don't know what acupuncture is, look it up) that can be used (in Naruto) to either kill or paralyze victims
(2) kekkei genkai - in Naruto-verse it's sort of a special genetic ability that's hereditary and passed down from generation to generation. Haku's special ability is Ice Release (control over ice). In his home country, people with kekkei genkai were hunted and slaughtered, thus the reason his father tried to kill him. Sad huh?
In Memoriam
Prompt: There is none, I'm just here to geek out :D
Okay, so I found this amazing song about... ten minutes ago. As you may have guessed (if you've read any of this blog), I am more than slightly obsessed with music. Okay, even that's an understatement, but that's all beside the point. The point is, I spend a great deal of time and effort in the quest for new music to keep my musical libido satiated. I go through songs really fast, and finding one that catches my fancy for more than a couple of days gets difficult, because I listen to them over and over until they're beaten into my brain.
You may be wondering by now what my point is, right? Well, I found a new song to geek out over. I love contemporary music, particularly music that mixes together many different mediums and elements into one big fat lovely package of wonderful melodic goodness. Choir, orchestra, rock and soloistic vocal all mixed into one... I could just melt.
It's not, of course, often that I find such an amazing work of art. People are not very big fans of what has been dubbed somewhat stereotypically to be "gothic rock". I, however, harbor a particularly guilty pleasure for it (because I know that everyone else in my house hates it and my friends don't particularly like it either... most of the time anyway).
So, I suppose I should get to the song, ne? I've known about the band Globus for a long time. One of my all-time favorite songs is Preliator--the song which ultimately led me to my Final Fantasy VII obsession and beyond. I wouldn't be where I am today without it (through a long and confusing chain of events which you don't need to hear about but involves copious amounts of anime, music, video games, my friends and our mutual obsessions with music). Suffice to say, Globus has always harbored a particularly special little place in my heart. Yesterday, I discovered that they have a new Album out called Breaking From the World, and on that album are several breathtaking pieces. I have found one that makes me positively giddy. It was like the freaking sky was opening up the moment I heard it. You can probably guess what it's called by the title of this entry, but I'll tell you anyway. In Memoriam is an amazing piece!
I have been searching for a beautiful, pure male voice for ages. It's so hard to find, because all I ever hear is the not-unpleasant but slightly raspy and not-quite-in-tune, sort-of-monotonic voices on the radio--country, rock, rap, you name it. I don't really fancy such voices. I love pure, perfectly in-tune sounds that ring in my ears and make invisible light drape down from the sky in beams of warm bliss. Okay, so, delusions aside, I found this piece and just had a meltdown.
I don't know who it is singing in there, but his voice is amazing. It's just so beautiful! (And I typically go for a female voice, particularly soprano range, because it rings so gorgeously.) By the time I was halfway through the piece, I was so distracted by it that I lost two games of Tetris and read the same paragraph of my Naruto fanfiction five times over without understanding a word. That is how awesome this song is!
Now I'm really tempted to go and look up the lyrics to it. It just makes my heart stutter and race. OMJ~ So pretty.... It's all in Latin, too, so I honestly have no idea what the guy is singing about, except that there are mentions of "love" and judging by the title, someone probably died.
This song is forever going to remind me of Maglor from the Silmarillion. This is exactly how I imagine his singing voice. God, I can't emphasize any more how much this song gets to me. It sends shivers down my spine... And the drums and rock elements enter at exactly the perfect time and blend just so with the choir in the background. The sheer strength of the piece itself just... Perfect orchestra backup at the beginning behind the beautiful feminine lead-in--not too fancy or overdone, but sweet in its simplicity--and then that voice... (Okay, I'll try not to go on about it anymore, but I just love it so much <3). And then the whole thing rises to an amazing peak that just makes reality completely disappear *sighs* Amazing... just amazing...
Yeah...
Yeah...
I should calm down now, before you think there's something seriously wrong with me. I think I'm done with my rant, or I'll start repeating myself even more than I already am. I will be on my way and I might write again tonight. Originally I was going to rant about my Concerto en Sol, because that's amazing, too, and I'm actually learning that one on the piano right now--well, only the second movement, because the other two are insanely difficult, but that's beside the point--so I'm done now. Yeah...
Okay, so I found this amazing song about... ten minutes ago. As you may have guessed (if you've read any of this blog), I am more than slightly obsessed with music. Okay, even that's an understatement, but that's all beside the point. The point is, I spend a great deal of time and effort in the quest for new music to keep my musical libido satiated. I go through songs really fast, and finding one that catches my fancy for more than a couple of days gets difficult, because I listen to them over and over until they're beaten into my brain.
You may be wondering by now what my point is, right? Well, I found a new song to geek out over. I love contemporary music, particularly music that mixes together many different mediums and elements into one big fat lovely package of wonderful melodic goodness. Choir, orchestra, rock and soloistic vocal all mixed into one... I could just melt.
It's not, of course, often that I find such an amazing work of art. People are not very big fans of what has been dubbed somewhat stereotypically to be "gothic rock". I, however, harbor a particularly guilty pleasure for it (because I know that everyone else in my house hates it and my friends don't particularly like it either... most of the time anyway).
So, I suppose I should get to the song, ne? I've known about the band Globus for a long time. One of my all-time favorite songs is Preliator--the song which ultimately led me to my Final Fantasy VII obsession and beyond. I wouldn't be where I am today without it (through a long and confusing chain of events which you don't need to hear about but involves copious amounts of anime, music, video games, my friends and our mutual obsessions with music). Suffice to say, Globus has always harbored a particularly special little place in my heart. Yesterday, I discovered that they have a new Album out called Breaking From the World, and on that album are several breathtaking pieces. I have found one that makes me positively giddy. It was like the freaking sky was opening up the moment I heard it. You can probably guess what it's called by the title of this entry, but I'll tell you anyway. In Memoriam is an amazing piece!
I have been searching for a beautiful, pure male voice for ages. It's so hard to find, because all I ever hear is the not-unpleasant but slightly raspy and not-quite-in-tune, sort-of-monotonic voices on the radio--country, rock, rap, you name it. I don't really fancy such voices. I love pure, perfectly in-tune sounds that ring in my ears and make invisible light drape down from the sky in beams of warm bliss. Okay, so, delusions aside, I found this piece and just had a meltdown.
I don't know who it is singing in there, but his voice is amazing. It's just so beautiful! (And I typically go for a female voice, particularly soprano range, because it rings so gorgeously.) By the time I was halfway through the piece, I was so distracted by it that I lost two games of Tetris and read the same paragraph of my Naruto fanfiction five times over without understanding a word. That is how awesome this song is!
Now I'm really tempted to go and look up the lyrics to it. It just makes my heart stutter and race. OMJ~ So pretty.... It's all in Latin, too, so I honestly have no idea what the guy is singing about, except that there are mentions of "love" and judging by the title, someone probably died.
This song is forever going to remind me of Maglor from the Silmarillion. This is exactly how I imagine his singing voice. God, I can't emphasize any more how much this song gets to me. It sends shivers down my spine... And the drums and rock elements enter at exactly the perfect time and blend just so with the choir in the background. The sheer strength of the piece itself just... Perfect orchestra backup at the beginning behind the beautiful feminine lead-in--not too fancy or overdone, but sweet in its simplicity--and then that voice... (Okay, I'll try not to go on about it anymore, but I just love it so much <3). And then the whole thing rises to an amazing peak that just makes reality completely disappear *sighs* Amazing... just amazing...
Yeah...
Yeah...
I should calm down now, before you think there's something seriously wrong with me. I think I'm done with my rant, or I'll start repeating myself even more than I already am. I will be on my way and I might write again tonight. Originally I was going to rant about my Concerto en Sol, because that's amazing, too, and I'm actually learning that one on the piano right now--well, only the second movement, because the other two are insanely difficult, but that's beside the point--so I'm done now. Yeah...
Wednesday, November 16, 2011
Stream of Consciousness: Apple Pie
Prompt: Write a five minute stream of consciousness
Apple Pie
I don't like apple pie
I mean really, I don't
have you ever seen apple pie? It's like the grossest thing ever (is grossest a word?)
like, we had it at my grandparents' house over Thanksgiving and it was just so gross looking, like squishy puke stuffed into a crusty covering
Just ew
I like apples, though
I mean, especially green apples, they're very yummy
apples are one of the few fruits that I like. the fact that people ruin them by putting them into pies or squishing them into apple sauce makes me wince at the sacriligiousness of it. I mean, really, it's just horrible
I love apples though, especially green ones
red ones, not so much
or gold ones
though it's pretty to color them, you know
like you combine brilliant yellow for the shine in the sunlight with a deep golden glow around the edges mixed with orange shadowing. Just gorgeous, especially when it's surrounded by red apples with purple shadowing. Not only to orange and purple contrast ridiculously (especially during Halloween, which is pretty much the only time that the two should be used together in my opinion), but golden-yellow and deep purple just naturally make each other pop. The fact that the golden apple is surrounded by the mundane crimson of the others makes it that much more amazing
By the way, in Minecraft, golden apples are ridiculously hard to get. You have to make nine gold blocks and then you need to have 9 golden blocks and put them together to get one golden apple.
Just ridiculous
Note: the end :D
Apple Pie
I don't like apple pie
I mean really, I don't
have you ever seen apple pie? It's like the grossest thing ever (is grossest a word?)
like, we had it at my grandparents' house over Thanksgiving and it was just so gross looking, like squishy puke stuffed into a crusty covering
Just ew
I like apples, though
I mean, especially green apples, they're very yummy
apples are one of the few fruits that I like. the fact that people ruin them by putting them into pies or squishing them into apple sauce makes me wince at the sacriligiousness of it. I mean, really, it's just horrible
I love apples though, especially green ones
red ones, not so much
or gold ones
though it's pretty to color them, you know
like you combine brilliant yellow for the shine in the sunlight with a deep golden glow around the edges mixed with orange shadowing. Just gorgeous, especially when it's surrounded by red apples with purple shadowing. Not only to orange and purple contrast ridiculously (especially during Halloween, which is pretty much the only time that the two should be used together in my opinion), but golden-yellow and deep purple just naturally make each other pop. The fact that the golden apple is surrounded by the mundane crimson of the others makes it that much more amazing
By the way, in Minecraft, golden apples are ridiculously hard to get. You have to make nine gold blocks and then you need to have 9 golden blocks and put them together to get one golden apple.
Just ridiculous
Note: the end :D
Monday, November 14, 2011
The Joys of Hot Chocolate and Indulgence
Prompt: Inspired by my previous stream of consciousness involving the list of things I do on a rainy day
Melt-on-your-tongue goodness that makes you want to weep from the sheer heavenly flavor that assaults your palate... that's what chocolate is in the essence. So sweet, warm and wonderful when it makes your fingers and toes tingle. There's a reason people like to eat it when it's cold outside.
I think I just love chocolate. It's my singular most guilty pleasure. Sure, I occasionally break rules, but my self-control completely vanishes when I am faced with the purely tantalizing sight of chocolate. You'd think something that's so brown would be unappetizing--I'll be the first to admit that its color is not the most appetizing out there--but the taste of it is enough to pull me away from the disturbing mental images. I could smell it from across the room, its creamy, velvety scent wafting straight up my nostrils and making little lights flicker on and off in my brain.
As soon as that scent registers, it's like my superego--the conscience of my being--turns off and lies dormant. Sure, I don't eat a ridiculous amount (okay, sometimes, I do), but I can't seem to help myself. The temptation is too great, and I'm fallen from grace.
Hot chocolate is one of my favorite treats. Chocolate cake, ice cream and pie are all great, but hot chocolate is something otherworldly and amazing. As soon as it flows down inside you, it swirls and spreads its tendrils of sweet goodness all the way through your body. Logically I know that chocolate makes the body produce happiness-inducing endorphins, but I think it's much more metaphorically pleasing to think of it as the catalyst of cheeriness rather than a chemical reactions which flows through the body, putting out a mass of hormonal signals that light up in the pleasure part of the brain.
Usually when I drink it, though, I don't merely mix in the chocolate and the milk, stick it in the microwave and call it a day. That's just plain sacriligious! No... it must be carefully tended with precisely three spoonfuls of mixture (added after scraping the thin film of milk-fat off the surface of the steaming liquid), stirred to a pale, creamy confection with curls of heated air wafting upwards. Then one piece of hershey's chocolate may be added to it via spoon and let sit for several minutes to heat.
You know, my favorite part is licking up the semi-melted remains of that chocolate once the spoon is lifted. Heaven, plain and simple.
You may think it's weird (I know my sister does), but I have found this ritual to bee particularly helpful (especially in motivating me to do my homework: one piece of chocolate per section of government text read) and I find myself in a much better mood after the occasional indulgence. Speaking of which, I don't think I've had hot chocolate for several months. You know, it's really not a summer drink. I don't need to get warmer when it's already 90 degrees outside! Now that it's November, though, and the weather should be cooling down soon, I can once again indulge without guilt. After all, I have to walk a whole block and a half through the unshoveled snow (did you know that's illegal--the neighbors have to shovel the sidewalks by law, but they never do!) I should be rewarded for getting snow down my shoes and socks and gaining a case of runny nose and sniffles while my face gradually regains its natural pallor instead of the acerbated red color it adopts when I'm outside in the cold.
I deserve some hot chocolate after that. *pouts*
Note: just a little something I wrote for fun
Melt-on-your-tongue goodness that makes you want to weep from the sheer heavenly flavor that assaults your palate... that's what chocolate is in the essence. So sweet, warm and wonderful when it makes your fingers and toes tingle. There's a reason people like to eat it when it's cold outside.
I think I just love chocolate. It's my singular most guilty pleasure. Sure, I occasionally break rules, but my self-control completely vanishes when I am faced with the purely tantalizing sight of chocolate. You'd think something that's so brown would be unappetizing--I'll be the first to admit that its color is not the most appetizing out there--but the taste of it is enough to pull me away from the disturbing mental images. I could smell it from across the room, its creamy, velvety scent wafting straight up my nostrils and making little lights flicker on and off in my brain.
As soon as that scent registers, it's like my superego--the conscience of my being--turns off and lies dormant. Sure, I don't eat a ridiculous amount (okay, sometimes, I do), but I can't seem to help myself. The temptation is too great, and I'm fallen from grace.
Hot chocolate is one of my favorite treats. Chocolate cake, ice cream and pie are all great, but hot chocolate is something otherworldly and amazing. As soon as it flows down inside you, it swirls and spreads its tendrils of sweet goodness all the way through your body. Logically I know that chocolate makes the body produce happiness-inducing endorphins, but I think it's much more metaphorically pleasing to think of it as the catalyst of cheeriness rather than a chemical reactions which flows through the body, putting out a mass of hormonal signals that light up in the pleasure part of the brain.
Usually when I drink it, though, I don't merely mix in the chocolate and the milk, stick it in the microwave and call it a day. That's just plain sacriligious! No... it must be carefully tended with precisely three spoonfuls of mixture (added after scraping the thin film of milk-fat off the surface of the steaming liquid), stirred to a pale, creamy confection with curls of heated air wafting upwards. Then one piece of hershey's chocolate may be added to it via spoon and let sit for several minutes to heat.
You know, my favorite part is licking up the semi-melted remains of that chocolate once the spoon is lifted. Heaven, plain and simple.
You may think it's weird (I know my sister does), but I have found this ritual to bee particularly helpful (especially in motivating me to do my homework: one piece of chocolate per section of government text read) and I find myself in a much better mood after the occasional indulgence. Speaking of which, I don't think I've had hot chocolate for several months. You know, it's really not a summer drink. I don't need to get warmer when it's already 90 degrees outside! Now that it's November, though, and the weather should be cooling down soon, I can once again indulge without guilt. After all, I have to walk a whole block and a half through the unshoveled snow (did you know that's illegal--the neighbors have to shovel the sidewalks by law, but they never do!) I should be rewarded for getting snow down my shoes and socks and gaining a case of runny nose and sniffles while my face gradually regains its natural pallor instead of the acerbated red color it adopts when I'm outside in the cold.
I deserve some hot chocolate after that. *pouts*
Note: just a little something I wrote for fun
What do I do on a Rainy Day?
Prompt: List 10 things you usually do on a rainy day, then pick one and free write for five minutes.
1. read fanfiction - angst is my favorite on rainy days
2. write stories - usually angsty fanfiction (Lord of the Rings/Silmarillion fanfiction is my favorite to write when it rains)
3. listen to music - light rock, classical or instrumental
4. play the piano - Seal the Wind, Musique Pour le Tristesse de Xion, Clair de Lune
5. watch anime with sister - it's the only time she's trapped in the house long enough to actually get her to sit still in one place
6. play minecraft - it's a bit of a guilty pleasure, this game, but it's amusing (and you can build all sorts of pretty things in creative mode...)
7. lay on my bed and listen to the rain patter against the windows and the roof
8. stare out the window watching the rain fall in sheets in my backyard - it's mesmerizing
9. drink hot chocolate - this is usually accompanied by copious amounts of chocolate bars which are melted down to optimal levels of softness for easy consumption
10. talk to my friends - over the phone or the internet
Note: overall, I just love it when it rains outside.
hot chocolate
tasty
one of the best things ever
warm
fills up your belly with its warmth and makes you all tingly
tastes awesome with hershey's chocolate bars
especially when they're melted
in the hot chocolate
makes the hot chocolate more chocolate-y
is chocolate-y a real word?
I love chocolate
favorite candy/desert
chocolate muffins
chocolate cream pie
chocolate cake with chocolate frosting
chocolate syrup-smothered ice cream
chocolate syrup-smothered chocolate ice cream... with sprinkles
sprinkles = love
too bad we're out right now (makes me sad)
we have way too much junk food at my house
honestly, our freezer is full of ice cream
it's a wonder that i'm not rounded out and squishy from the amount of junkfood I consume on a day-to-day basis
one thing my ego cannot seem to regulate properly is chocolate
my superego says "you'll get fat"
and I'm just like "yeah, I don't really care, 'cause it's chocolate we're talking about here"
and my id's just like "yay!"
and so everyone is happy... sort of
I mean, my ego properly regulates everything else
I do all my chores even though I don't want to
and clean my room (occasionally)
and the bathroom
I shower everyday
make my lunch
brush my hair and teeth
take care of my sister
clean up her dirty clothes off the bathroom floor
feed the cats
do homework
go to school
do homework
give up computer time
do homework
do more homework
did I mention that I don't really sleep? Well, I don't, because I'm always doing homework (it's so annoying *sigh*, but I did sign up for my classes willingly)
I think it's because I have two writing classes at once during NaNoWriMo
by the way, my word count is current 75,358 words :D
Note: Finite. We weren't even talking about hot chocolate by the end, but there's a stream of consciousness for you
1. read fanfiction - angst is my favorite on rainy days
2. write stories - usually angsty fanfiction (Lord of the Rings/Silmarillion fanfiction is my favorite to write when it rains)
3. listen to music - light rock, classical or instrumental
4. play the piano - Seal the Wind, Musique Pour le Tristesse de Xion, Clair de Lune
5. watch anime with sister - it's the only time she's trapped in the house long enough to actually get her to sit still in one place
6. play minecraft - it's a bit of a guilty pleasure, this game, but it's amusing (and you can build all sorts of pretty things in creative mode...)
7. lay on my bed and listen to the rain patter against the windows and the roof
8. stare out the window watching the rain fall in sheets in my backyard - it's mesmerizing
9. drink hot chocolate - this is usually accompanied by copious amounts of chocolate bars which are melted down to optimal levels of softness for easy consumption
10. talk to my friends - over the phone or the internet
Note: overall, I just love it when it rains outside.
hot chocolate
tasty
one of the best things ever
warm
fills up your belly with its warmth and makes you all tingly
tastes awesome with hershey's chocolate bars
especially when they're melted
in the hot chocolate
makes the hot chocolate more chocolate-y
is chocolate-y a real word?
I love chocolate
favorite candy/desert
chocolate muffins
chocolate cream pie
chocolate cake with chocolate frosting
chocolate syrup-smothered ice cream
chocolate syrup-smothered chocolate ice cream... with sprinkles
sprinkles = love
too bad we're out right now (makes me sad)
we have way too much junk food at my house
honestly, our freezer is full of ice cream
it's a wonder that i'm not rounded out and squishy from the amount of junkfood I consume on a day-to-day basis
one thing my ego cannot seem to regulate properly is chocolate
my superego says "you'll get fat"
and I'm just like "yeah, I don't really care, 'cause it's chocolate we're talking about here"
and my id's just like "yay!"
and so everyone is happy... sort of
I mean, my ego properly regulates everything else
I do all my chores even though I don't want to
and clean my room (occasionally)
and the bathroom
I shower everyday
make my lunch
brush my hair and teeth
take care of my sister
clean up her dirty clothes off the bathroom floor
feed the cats
do homework
go to school
do homework
give up computer time
do homework
do more homework
did I mention that I don't really sleep? Well, I don't, because I'm always doing homework (it's so annoying *sigh*, but I did sign up for my classes willingly)
I think it's because I have two writing classes at once during NaNoWriMo
by the way, my word count is current 75,358 words :D
Note: Finite. We weren't even talking about hot chocolate by the end, but there's a stream of consciousness for you
Saturday, November 12, 2011
Stream of Consciousness: Sunshine
Prompt: Sunshine. Write a five minute stream of consciousness.
Sunshine.
I don't like it
bright
garish
annoying as hell
burns my skin
makes it peel and blister
painful
gross
disgusting
feels weird
itches too much... wish it wouldn't so much
you know what it's like to wake up the middle of the night and itch your back and feel your skin peeling of in wads? I'm telling you, it's scary as hell and extremely repugnant (ha, I used the word repugnant!)
I just don't like sunshine
pale skin--burns extremely quickly
only takes 20 minutes in summertime
watch sister and friends at pool = red shoulders and back for a week
heck, it only took fifteen minutes when we were waiting for the buses in NYC
had sunburn for the rest of the trip--not fun
wish I didn't have to deal with it, though sunlight is much more pleasant than the yellow-tinted false light indoors
supposedly healthy
I've yet to see proof of such a phenomenon; I live inside (and by inside, I mean I almost never come out) and I haven't died yet
reminds me of Maglor from Silmarillion
poor baby
it's actually the prompt for a story I wrote in January which I was rereading today, which is why I chose this prompt
maybe i'll post that story, if I can figure out how to copy-paste stuff on this blog >.>
it doesn't let me
I wish sometimes that it wasn't sunny
I love it when it rains--if you've read my blog, though, you already know this
I wish it wouldn't be sunny as often as it is
hurts my eyes
makes it hard to drive
I don't like wearing sunglasses either--they don't exactly fit well over my regular glasses, if you know what I mean, da?
Sometimes I just really wish it would stop
necessary
plants like
photosynthesis (did I spell that right?)
whatever... like their food
energy
required to sustain life
let's just say that if it didn't exist we wouldn't be here, huh? That would really suck, so I suppose I should be grateful
I'm not. Really. But I should be.
Note: Finished. You must be sick of streams of consciousness by now, but that's all I have time for during NaNoWriMo.
Sunshine.
I don't like it
bright
garish
annoying as hell
burns my skin
makes it peel and blister
painful
gross
disgusting
feels weird
itches too much... wish it wouldn't so much
you know what it's like to wake up the middle of the night and itch your back and feel your skin peeling of in wads? I'm telling you, it's scary as hell and extremely repugnant (ha, I used the word repugnant!)
I just don't like sunshine
pale skin--burns extremely quickly
only takes 20 minutes in summertime
watch sister and friends at pool = red shoulders and back for a week
heck, it only took fifteen minutes when we were waiting for the buses in NYC
had sunburn for the rest of the trip--not fun
wish I didn't have to deal with it, though sunlight is much more pleasant than the yellow-tinted false light indoors
supposedly healthy
I've yet to see proof of such a phenomenon; I live inside (and by inside, I mean I almost never come out) and I haven't died yet
reminds me of Maglor from Silmarillion
poor baby
it's actually the prompt for a story I wrote in January which I was rereading today, which is why I chose this prompt
maybe i'll post that story, if I can figure out how to copy-paste stuff on this blog >.>
it doesn't let me
I wish sometimes that it wasn't sunny
I love it when it rains--if you've read my blog, though, you already know this
I wish it wouldn't be sunny as often as it is
hurts my eyes
makes it hard to drive
I don't like wearing sunglasses either--they don't exactly fit well over my regular glasses, if you know what I mean, da?
Sometimes I just really wish it would stop
necessary
plants like
photosynthesis (did I spell that right?)
whatever... like their food
energy
required to sustain life
let's just say that if it didn't exist we wouldn't be here, huh? That would really suck, so I suppose I should be grateful
I'm not. Really. But I should be.
Note: Finished. You must be sick of streams of consciousness by now, but that's all I have time for during NaNoWriMo.
Wednesday, November 9, 2011
Stream of Consciousness: The Grossness of Bananas
Prompt: Write a five minute stream consciousness
The grossness in bananas
They are the most disgsusting thing I think I've ever tasted in my life
Okay, not the most disgusting, but pretty damn close
And then my mom brings home raspberry-banana cotton candy--
what's wrong with her, huh? Geez, she knows I don't eat bananas
meanie
The first time I had them was at--
daycare
horrible lady
named Kitty
grandchildren
partial to former
hated her, hated her house, hated her attitude and hated watching Blue's Clues on the TV--
stupidest little kid's how ever
Anyway, so she made me eat this slice of banana, right?
And I told her "no" cause I knew I couldn't do it
And the freaking b**ch makes me eat it anyway
Somehow, afterwards, she was surprised that I puked all over her favorite rug in the kitchen
and then I got in trouble
what the crap is that all about, huh?
Right, so they're yellow
I hate the smell
it makes me nauseous, even just a tiny whiff of it
and the texture of them in my mouth
squishy
slimy
gross
mushy
gross
did I mention gross
then again, I'm writing about the grossness of bananas, aren't I, huh?
and they're yellow
which, did I mention, is my least favorite color
it's so bright and happy and obnoxiously disgusting that I dislike it to the point of almost refusing to wear it
actually, I wore yellow yesterday, but that's beside the point, you know
so anyway, and I just can't stand them
Serena had one at lunch today
and we were talking about the shape
if you know what I'm talking about you'll know why that makes them even less appetizing than they are, ne?
so disgusting--funny--but disgusting
I wish they didn't exist
they're like this disease that becomes ubiquitous in the lunch room
a disease of yellow phallic-shaped fruit that reek to high heaven
and then people peel them and it's just
ew
ewwwwwwwwww
at least we don't have a lot at my house
mom's the only one who eats them
I wouldn't even touch them
hell, I won't even touch banana bread when my mom brings it home
and banana laffe-taffes are like a waste of perfectly good sugary confections
why would someone spoil something so amazing by flavoring it like bananas?
But I guess some people must like them--craziness, I say
I just don't understand
but you know, that's okay, as long as I never have to eat one again
You don't want to see me puke.
Note: Finite. (Is grossness even a word?)
The grossness in bananas
They are the most disgsusting thing I think I've ever tasted in my life
Okay, not the most disgusting, but pretty damn close
And then my mom brings home raspberry-banana cotton candy--
what's wrong with her, huh? Geez, she knows I don't eat bananas
meanie
The first time I had them was at--
daycare
horrible lady
named Kitty
grandchildren
partial to former
hated her, hated her house, hated her attitude and hated watching Blue's Clues on the TV--
stupidest little kid's how ever
Anyway, so she made me eat this slice of banana, right?
And I told her "no" cause I knew I couldn't do it
And the freaking b**ch makes me eat it anyway
Somehow, afterwards, she was surprised that I puked all over her favorite rug in the kitchen
and then I got in trouble
what the crap is that all about, huh?
Right, so they're yellow
I hate the smell
it makes me nauseous, even just a tiny whiff of it
and the texture of them in my mouth
squishy
slimy
gross
mushy
gross
did I mention gross
then again, I'm writing about the grossness of bananas, aren't I, huh?
and they're yellow
which, did I mention, is my least favorite color
it's so bright and happy and obnoxiously disgusting that I dislike it to the point of almost refusing to wear it
actually, I wore yellow yesterday, but that's beside the point, you know
so anyway, and I just can't stand them
Serena had one at lunch today
and we were talking about the shape
if you know what I'm talking about you'll know why that makes them even less appetizing than they are, ne?
so disgusting--funny--but disgusting
I wish they didn't exist
they're like this disease that becomes ubiquitous in the lunch room
a disease of yellow phallic-shaped fruit that reek to high heaven
and then people peel them and it's just
ew
ewwwwwwwwww
at least we don't have a lot at my house
mom's the only one who eats them
I wouldn't even touch them
hell, I won't even touch banana bread when my mom brings it home
and banana laffe-taffes are like a waste of perfectly good sugary confections
why would someone spoil something so amazing by flavoring it like bananas?
But I guess some people must like them--craziness, I say
I just don't understand
but you know, that's okay, as long as I never have to eat one again
You don't want to see me puke.
Note: Finite. (Is grossness even a word?)
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