Snowy nights will turn into fields of marigolds, into constant rays of sunshine , into crisp leaves falling. We expect the seasons to change. We know its coming, and its gradual. We prepare ourselves. I wasn’t able to do that the day you decided it wasn’t worth the effort anymore – THAT I wasn’t worth the effort anymore. Its simple and messy. One day, you just didn’t bother. I wish I knew why. Weeks have passed. Still, nothing. Seasons change, people change, but Jesus Christ after all we have been through, who would’ve thought YOU’D be the one to walk away from me?
I open our Facebook chat and stare at it. Dozens of messages that I have sent go unanswered. I feel pathetic. No friendship should be one sided. Whenever I get the urge to talk to you, its like a slap in the face and it hurts just as much as it did the first time. I will have to find a way to live without you.
A piece of me feels lost and I want to put “MISSING” posters up, I am crying out for help but no one wants to listen – you certainly don’t.
I FUCKING LET YOU IN. I LET YOU IN. I TOLD YOU EVERY MISERABLE THING ABOUT MYSELF. EVERYTHING THAT MAKES ME WANT TO VOMIT WHEN I LOOK INTO A MIRROR. I TOLD YOU EVERY DETAIL OF EVERY HORRIBLE NIGHTMARE AND NOW YOU ARE GONE. How am I supposed to EVER let anyone else in? HOW.
Do you realize how badly you have hurt me? I am scared because you were the first good thing to happen to me in awhile. When I had no one, you were there. I’ve told everyone how fucking happy you make me. How wonderful you are. And now you’re gone? What am I supposed to do? And if you come back, then what? Do you really think things will go back to how they were?
Its ironic. YOU are the one who taught me how to stand up for myself. YOU always told me not to deal with peoples bullshit, because I deserve better. You’re fucking right, I DO deserve better.
I will question everyday with, “Why?”. You know how I am. You know this is tearing me apart, and I think that’s what disgusts me the most. HOW COULD YOU?
I’ll be okay. I mean, don’t get me wrong. Every time my phone gets a notification I’ll be hoping its you. And every time that it isn’t, I will be one step closer to realizing that maybe, I didn’t know you so well after all. Because the person I once called my best friend, would never do something like this to me.
Rap Monster ideal type is someone with good voice, tall, has pale skin, feminine Girl, looks good in a white T-Shirt, jeans and a pretty girl who wears a high top sneakers and has her ankle line showing (Red Converse)
Well,well who would have thought that Rap Mon’s IDEAL TYPE is PRECISELY IN BTS! LOL Namjoon you better make a move on “her” before somebody else does
So since I reached 4k followers around a week ago I decided to make a new follow forever and it’s finally done! lol It’s been a while since I made one and I followed a lot of new blogs since then too~ I don’t wanna be too cheesy and stuff but honestly wow… Who would have thought I’d ever make it this far?? (because I didn’t, that’s for sure) I’m a really boring person so this is mind-blowing to me :o
But! I’m so glad I made a tumblr and found the inuyasha fandom! Everyone here is so friendly, it’s great
So I made this follow forever to thank all my followers but also my favorite blogs because you all are awesome! And I’m pretty sure I didn’t forget anyone this time because this is the longest list I’ve made so far!!! So here it is…
YOU ARE A HUNDRED PERCENT NOT BORING AND WOULD ONLY LOOK THAT WAY TO A SPY WATCHING YOUR HOUSE. I bet you're super fun and engaging and restful to hang out with and I wish I could show up and make you laugh even just once!!!
(your tumbling makes me laugh all the time and totally brightens my day)
(also my main form of physical affection is ‘sharing a couch and using the other person as a footrest’ and I would totally 100% couchpute with you and use you as a footrest with no hesitation. friendship.)
how would the guys react if they found out their friend had a crush on splinter (lets face it, we all had crushes on people that were older than us at one point)
o H MAN.
Admin 1 and I have talked this over before (please dont ask why…) And she came up with- The boys would end up finding out that she had a crush on someone in the lair but no one knew who at first. So all the boys get kind of competitive, trying to impress her and show off, and they’b be wondering who it is among each other and no one would have thought it would be their sensi so whens she actually comes out and admits its Splinter they’re all just
The guys love to make fun of Ward for how mushy and smitten he acts around the pregnant Skye (who would have thought that the tough specialist was capable of that?), but as soon as their baby girl is born, they all are wrapped around her tiny finger as well.
Darren aside (he's a flop in everything he does including breathing) Broadway has been so hot and cold lately. Sting should have been successful. Gigi should have been more successful. It goes to show the critics have no idea what they are talking about.
It’s always hard to judge what shows will be successful hits and which ones wither and die quickly. Who would have thought that a musical focusing on the music of ABBA (which is about as fluff as you’re going to get) would end up being a monster hit for years? I liked the premise of The Last Ship (Sting’s musical) and I was impressed by the score but I’ll grant that it’s depressing stuff for musical theater and while I was disappointed that it didn’t find an audience, I wasn’t overly surprised. Gigi is based on a classic film (and an excellent one even if it is something of a relic) but the translation to stage didn’t seem to work and the reviews were very mixed (and Vanessa Hudgens is as much a Broadway heavyweight as Darren is). Even staging a revival of a successful show can be iffy, with Les Miserables struggling right now.
It’s not even so much that critics don’t know what they’re doing - their jobs are to critique shows but in the end it’s the opinion of someone with a lot of theater knowledge and sits through a lot of shows. Some shows that get a lot of critical acclaim do well as the box office, but likewise there are shows that the critics pan that still find an audience. Wicked got very mixed reviews when it opened (the NYT was especially unimpressed) and it’s about as much a Broadway powerhouse as anything in recent years. In the end it’s the audience that decides what shows will be successful and they vote with their ticket purchases.
And there’s no way to predict what shows they will gravitate towards and which ones they’ll ignore. And with even modest productions costing millions to produce and stage, producers try to hedge their bets by creating shows based on successful films and/or books - if you look at the list for shows with possible 2015 openings, there are a whole bunch based on popular films and books (Tuck Everlasting, The First Wives’ Club, The Heroin Diaries, The Nutty Professor, etc.). Some will be successes and some will fail.
the loneliness that just oozes from those posts though really hurts. And it’s amazing like I have friends now?? I have tumblr friends which I never thought would happen. I have mutuals who are just there who I appreciate and love talking to sometimes and then I also now have several bloggers I adore follow me and occasionally talk with and just it’s a huge step from where I was even two years ago thank u all
Doctor Who Symphonic Spectacular 2015 London #DWSS
have thought that the Doctor Who Symphonic Spectacular #DWSS would go on to do
another 36 shows after their humble beginnings in Melbourne on February 4th,
2012? I did not. Nor did I predict that I would be attending so many. For me at least, seeing this iridescent
production grow each year, has become a special thing to witness and is also
perhaps one of the reasons that I continue to attend the show despite not
actually being located in any of the countries or cities that the team have toured to.
this heartwarming feeling is quantified this spring, for after performing a
total of 23 shows in Australia and New Zealand for the last three years, the
wonderful #DWSS team, of whom I have a grown to feel a deep affection for, are
taking the show back home to the UK.
in six cities across the United Kingdom with a total of thirteen performances,
this May indeed promises to be bigger on the inside, as the whole gang, (which this time includes the BBC National Orchestra of Wales), will travel and
perform an average of two shows a day with barely a day of rest between each
day. Having worked on productions before, I can just imagine what this feels
like (bump-in, bump-out, tech rehearsals, performances, repeat) and take my hat
off to the whole team, especially the techies and in particular the stage manager(s), for this TARDIS of a feat.
stop of the tour begins in London at the SSE Arena Wembley on 23rd
and 24th May, a total of three performances – two matinees and an
evening. With a programme similar to the array of compositions during the ANZ
tour earlier this year, I was definitely looking forward to listening to, and
breathing it all in, if music notes could be inhaled, all over again.
The set list of the DWSS UK included ‘A Good Man?’, ‘Wherever, Whenever (Anywhere in time and Space?)’, ‘Doctor’s Theme / Song of Freedom’, ‘The Companions’, ‘To Darkness’, ‘Last Christmas’, ‘All the Strange, Strange Creatures’, ‘The Impossible Girl’, ‘66 Seconds’, ‘The Pandorica Suite’, ‘Abigail’s Song’, ‘Fifty - The is Gallifrey’, ‘Death in Heaven’, ‘Vale Decem’, and the ‘Doctor Who Theme’.
in late July 2014, it took me just as long to wait for this UK production as it
was to save up the quids for its journey. Yet, hearing that first set of notes
of ‘A Good Man?’ performed by the BBC National Orchestra of Wales usually set
asides all reservations of what madness prompted me to ‘follow the tour’…
There is a
certain incandescent magic that exist in ‘A Good Man?’ - the prelude that
builds up; a combination of lighting on stage, the legato strings, and the
vocals by soloist Elin Manahan Thomas - as it slowly draws the audience into
the composition, like skipping stones across a water body of stars…
then explodes majestically, and your heart just explodes along with it. The
strings, followed by the percussion, all intertwined together with that level
of conducting – worth every single of my work day and hours at the theatre and
arena that I took to save up for it!
second movement, it becomes almost possible that every heart string imaginable
in all of space and time has been pulled, the heart soars with the music notes
that reverberate and cascade around the venue.
movement ends the piece as the Welsh orchestra bring the composition to a close
and Elin’s voice pulls it all together - perfection, and what I consider, when
I first heard it in Perth in January, to be the best piece to start with. It is
a representation of what the DWSS performance is –just iridescence. There will
be tears, there will be more tears, there will admiration for every single
detail that goes into making the production, from music to lighting to
conducting to choreography, there will be laughter, and scares, and above all,
it will be like no other concert that you have ever attended.
attended numerous DWSS performances down under, and I still get goosebumps at
every single one of them.
Man?’ is followed next by the first of many monster appearances.
It is one
of the highlights of a Doctor Who concert – seeing monsters invade the venue as
you hear the wonderful music from Who. For the children, I cannot help but
smile at their excitement with a pinch of terror, as they look excitedly around
the hall for Daleks and other monsters.
sometimes, it does not matter whether you are a child or an adult, this
excitement-terror feeling is evident in all ages. For the third performance in
London, the lady beside me who was almost deleted by a Cyberman, turned to me
after the piece and said, “That truly did scare me! I was not expecting that!”
This same lady, I noticed later, was crying during ‘The Companions’.
is moments like these which merely heightens the rare nature of this concert
and makes it all the more special. I was attacked by a Dalek and a Judoon. And while I have not actually cried during a DWSS, there are many wonderful poignant moments in the pieces that is played that strikes a core with me, tugging at my heartstrings like love at first sight or a first heartbreak.
Composer Murray Gold, does these compositions so well. Each element blends in so succinctly with the characters and the story, it is almost like watching and listening to music that was created in and for all of time and space.
For most moments, I cannot help but count along to the time signature, for others, tap my fingers, and for others yet, sing along. I happily blame the Doctor Who Fan Orchestra, of which I am a part of, for this, especially for the singing. For instance, I can never get through ‘To Darkness, without singing along, albeit softly or just mouthing the lyrics. A bit hard when you are also trying to avoid a roving dalek or two…
aside, there are elements of the technical side of a DWSS production that makes
it so interesting, and more so for me since I have studied arts management and
worked on productions before.
of the monsters, for instance, might seem like a simple process of walking
around the arena dressed up in a costume. However, there is a certain art and
precision to it that goes beyond just walking around and scaring the living
daylights out of the Whovians in the arena, which is also why only dancers and
actors are chosen to play these monsters. Just like a dance performance, there
is a certain way to stand, each gait is different, the timing to move on cue
and be in sync with the beats in the music, almost like a click track you hear
in your head, as well as being aware of the surroundings around you - that last
bit, particularly difficult if you cannot see much from inside your costume. I
noticed this for the Dream Crabs and the Cybermen; the former, a sort of
walk-pause-walk gait, almost during ‘Last Christmas’, while for the latter, a
fast march during the last movement in ‘Death in Heaven’, which I absolutely
adored as each step synced with the time signature of the piece, and just made
me want to mentally count the beats or tap my fingers along.
addition, with not all venues alike, particularly in terms of the house and
backstage area, a complicated backstage with minimal entry and exits points to
the stage, (like having to run around the whole round to get from stage right
to stage left), would have in turn affect timing as well. It is this technical aspect, among many others
of the DWSS that I have watched and noticed and which I find extremely intriguing.
In terms of
lighting, I am amazed how it continues to improve at each tour. For the
gobos/patterns on the lights, one of my favourites include the ones towards the
third movement of ‘A Good Man?’, the oval-shaped with an almost kaleidoscope
effect in ‘Last Christmas Suite’, and the Gallifrey symbols-like ones in ‘This
is Gallifrey’. I also love the lighting sequence, gels and sync between the lighting
on stage, with the music and time signature of some of the pieces.
The DWSS really continues to be the pinnacle of what music of time and space really is about.
elements of the choir combined with conducting, nothing competes with ‘Song of
Freedom’, a poignant which builds up right up to the end. Both the choir and
conducting in this piece is just epic, and at one point, you can even see conductor
Ben Foster singing along. Such beautiful by the BBC National Chorus of Wales. Loved the altos in ‘Death in Heaven’!
Elin Manahan Thomas sang beautiful throughout and I fell in love with her
vocals in ‘A Good Man?’, ‘Abigail’s Song’ and ‘Death in Heaven’. The haunting
yet ethereal voice of Thomas in that latter piece…I could listen to that
‘lullaby’ all day.
“Sing the days of love, Softly lay me down.
Tenderly the night will come…”
There is a certain deep, round, if I were to describe coffee or wine, rich and full-bodied flavour to her voice, that coats, in this case the hearing palates instead of the taste ones. My favourite was her version of ‘Abigail’s Song’ as well as her powerful delivery of vocals at the end of ‘A Good Man?’. I had a deep affection for Antoinette Halloran (who does most of the DWSS ANZ shows) before, but it is now a close fight between her and Elin Manahan Thomas now. Exquisite singing!
favourite section in an orchestra has always been the strings, partly because I also play the violin in the DWFO, but mostly because I love the
sound it produces, be it a violin, viola, cello or double bass. ‘A Good Man?’,
‘Pandorica Suite’, ’66 Seconds’ and ‘Death in Heaven’ were a treat to hear, from
plucking, to vibrato, to spiccato to legato. My favourites still remain ‘A Good
Man’ (the second movement), and the final movement in ‘Death in Heaven’.
had watched any DWSS performances, I was never particularly interested in the
aesthetics of conducting. This has changed having watched maestro Ben Foster conduct
during a DWSS performance.
I have been
to numerous other classical concerts, yet I have never seen a conductor drive
the orchestra, be it the BBC National Orchestra of Wales, Melbourne Symphony
Orchestra, Queensland Symphony Orchestra, West Australian Symphony Orchestra,
the way Foster does. There is a certain style to his conducting; the passion,
swashbuckling swish, jig-dance movements is extremely, if not intriguing and
rather entertaining to gaze upon, also extremely infectious and inspiring to watch
instance, in ‘Pandorica’s Suite’ during variations of ‘Majestic Tale’ and ‘I am
the Doctor’, this incandescence spark of conducting level just ignites, and I
am constantly in awe of such precision and talent.
In addition, apart from
conducting, this rebel conductor who defends the show and the orchestra against
Daleks that come on stage during ‘To Darkness’. How Foster regenerated from a slave conductor (back in earlier DWSS productions) to a rebel conductor, I have no idea. But the ‘BAFTA-acting’ has escalated, and it is always one of my favourite segments to watch, especially if I am seated in the first row. In addition, Peter Davison has got into the act as well. There is tea involved…
great conductor, comes an equally great host and who else to better host a DWSS
other than the Doctor himself, Peter Davison? The script and the banter
between Davison and Foster was extremely witty, it varies from venues and for Wembley, there were jokes about the WWII bomb that was found in the Wembley area just prior to start of tour. I shudder in anticipation to think how mad
this script would be implemented by the time Glasgow came around.
There are indeed so many things concerning a DWSS production which I love, and for obvious reasons since I have been to so many, but I will leave that for my reviews for Cardiff, Birmingham, Leeds and Glasgow.
For those who have been to one, you will now understand what I mean. I am actually really glad that this production has finally been shown in the UK, because it is different from any previous Doctor Who concerts. It is indeed a very, very special production with a very, very special team.
A team of which, if I were British and have the right to be hired in the UK, would have applied for any position with them a long time ago. But, until they actually come to Singapore, I will always save up and try to go to one…
To me, it will always be the most iridescent show in all of space and time…
All in all, with the minor kerfuffle when one of the LX cues came out a tad delayed for the evening London performance during ‘All the Strange, Strange Creatures’, to my worry for the actors and dancers in the monsters, the hat trick of performances in the UK were great. There were so many happy Whovians in the audience; adults and children, and it certainly brought back memories of the inaugural one in Melbourne on Feb 4th 2012. You always remember your first and I am sure many would remember that day for a long time to come…