The first time I did unpaid labour for a man, I was 14.
He was my church choir director and for some reason he thought my intelligence and writing were remarkable (I don’t remember why he knew I wrote but wtv). He told me so. I felt special. I also had a gigantic crush on him.
I had left the church choir, but he got me to translate the songs the choir would sing, as well as translate mini plays that would be enacted between each song. I also wrote additionnal mini plays for the same purpose. It was a big deal to 14 year old me, as I aspired to be a writer.
The choir show came, the songs I had translated were sung, the acts I had written or translated were played… It was a success. And in the pamphlet, the choir and actors were thanked. The person who had staged the mini plays and designed the costumes was thanked. Lots of other people were thanked.
But not me. My name was nowhere in the pamphlet.
Unpaid, unrewarded labour. And unexpectedly, my contribution had been turned into ghost writing. I knew from the start that I was “doing God’s work” thus wouldn’t be paid, but I thought I would at least gain an official “thank you”.
I was 14, and I learned that not citing one’s sources really sucks (lol). Not to trust pretty eyes, ‘cause pretty eyes / basic decency aren’t correlated. That “doing God’s work” is bullshit. That older people sometimes take younger people for granted.
When all of this happened, I was disappointed and hurt, but I let it slide. I regret not confronting my choir director. I guess I learned that I would have to fight for my labour to be appreciated and recognized.
My labour is worthy of recognition. And if I’m to ghost write, for instance on scholarly articles, I expect to know beforehand and to be paid accordingly.
Also it’s not my favorite song but I feel like ‘Yo Girl’ is criminally underrated. Like it starts off so creepy with the ghost choir taunting Veronica and saying she’s now “truly a heather”. But as it goes it builds up faster and faster like a horror movie. And oh my God I get so scared when they start singing about JD breaking into her room. I mean gosh it’s so good
Eh, Pewdiepie was okay guest starring, but I’d love to have seen Markiplier instead. Actually tbh I miss guest stars in general on the show. There used to be a bunch of goodies like Korn or the chick from Species. Sigh.
Ragged Wood - Fleet Foxes | Ceilings - Local Natives | I’ll Wait For You - Right Away, Great Captain! | Down In the Valley - The Head and the Heart | The Nest - Jose Gonzalez | Northern Wind - City and Colour | I Have Made Mistakes - The Oh Hellos | Grown Ocean - Fleet Foxes | Wide Eyes - Local Natives | Wash - Bon Iver | Timshel - Mumford and Sons | Bird In My Window - Roadkill Ghost Choir
((Everytime I hear this song I clearly imagine myself as the door of the Halloween Town opens and leads us to the creepy Kingdom of Nightmares. We don’t know what to wait, what to do, where to run… We are surrounded by all kind of pretty-scary, horrible and fascinating things. Our fear becomes the thread, which the evil monsters are weaving from your lonely screams. And the ghosts, spooks and shadows sing this creepy (but beautiful) song, beckoning you further and further into the nightmare. It is really beautiful. This song, surely, is from “Coraline” and even the translation fits to the movie, however, the mood of this song is only Halloween totally. I just clearly imagine Halloween Town ghosts, spooks, spirits and shadows singing this song…))
“Stepping back from the blazing energy of 2008’s Viva La Vida or Death and All His Friends and 2011’s Mylo Xyloto, Coldplay’s sixth album is an introspective, bittersweet meditation on love and loss that sounds every bit as spectral as its name suggests. The band’s gift for soaring melodies is evident throughout Ghost Stories- particularly on the magnetic first single, "Magic”. But aside from the EDM-infused throb of “A Sky Full of Stars”, the album offers little of the triumphant grandeur that defines the band’s stadium-filling oeuvre. Instead, Chris Martin’s heart-rending falsetto floats along in a haze of synth-washed ambience (as on the entrancing Kid A-influenced “MIdnight”) or sparely accompanied by acoustic instruments (“Oceans”, “O”). When the final track fades out, offering a wordless, melancholy, hymn from a distant choir, Ghost Stories demonstrates the expressive power of understatement".